September saw the release of a six-track Marc Almond EP, Brel Extras, which includes three new studio recordings, plus two remastered live recordings of “The Devil (Okay)” and “If You Go Away.” The limited edition disc also includes the 1984 fan club flexi version of “My Death.”

In October, fans can expect a DVD/CD package, Marc Almond in Bluegate Fields — Live at Wilton's Music Hall. The DVD features a show recorded earlier this year along with bonus songs. The audio-only CD will include guest appearances by Little Annie and Baby Dee.

Almond has also confirmed new live dates for the UK, Serbia, Lithuania and Russia. Please follow the links for more information.

Parenthetical Girls - Entanglements (2008)

Precocious and provocative, this densely orchestrated melange of orchestral entanglements draws on a whole range of pop’s maverick stylists to create something as strange and compelling as I’ve heard all year. There are hints of the decadent, Isherwood’s 1930’s Berlin, splashes of solo Marc Almond and slatherings of vintage Scott Walker - the ghosts of Brel and Brecht stalk the hinterlands of this wonderful record, rubbing their hands at the prospect of another doomed tilt at the windmills of popular culture.

"You may have noticed various re-issues of some of Marc's albums being made available. The Jacques/Absinthe re-issue is of great disappointment to Marc. Marc had offered exclusive new tracks, live tracks and brand new special artwork and packaging to make this an exciting double album with new interest to fans. Although he was led to believe this would happen, even to the point of having the new sleeve designed and recording three new Brel songs, he was messed around so much by Some Bizzare that, frustrated with his efforts, he told Some Bizzare to just go ahead with the normal releases. The extra songs (The Desperate Ones, Amsterdam and a new studio recording of If You Go Away) will be made available as downloads in the near future. The albums have been remastered and are albums that Marc is proud of (particularly Absinthe). If one or two of you out there haven't yet heard them, check them out.

Marc would like to state that the constant re-issues by Some Bizzare are nothing to do with him although he tries as much as possible to see that correct B sides are included but is often frustrated in his efforts. He is most unhappy about the constant scraping of the bottom of the barrel with Soft Cell demos and re-issues and wishes it to stop. He will do everything possible to stop further demos to be re-issued through Some Bizzare if at all. There are no more Little Rough Rhinestone compilations but it is possible that the existing albums could be available via download soon.

Regarding the All The A's compilation, Marc has battled for over three years to have this released in a format that would include all relevant videos to make a complete, never before released, quality collection. He has come up against nothing but problems with Some Bizzare. It has been time and energy consuming and, once again, frustrating. We can go as far as announcing imminent releases only to come up against another brick wall, usually with Some Bizzare creating more problems that really don't exist. Having released tracks under many different labels it has been a fight to get the rights from all the different companies involved and Marc is now on the point of giving up on this compilation. He still hopes that a DVD collection will be released at some point in the future but it is unlikely to be a complete collection of all his singles. Marc has even considered giving up on having anything to do with any of his back catalogue owned by Some Bizzare as working with them in any capacity is a complete nightmare. Marc would rather think about future ideas than waste his time on the past.

It is important that past albums are re-issued, to have them available in the shops. Too much of Marc's vast back catalogue has only been sporadically available. Marc would like them to be available at all times in good pressings with decently printed covers and the correct, relevant B sides and extra's included. This hasn't happened in the past. Marc apologises for what must be frustrating to some fans but despite Marc's good intentions, it really is out of his hands."

listen to it HERE: http://www.myspace.com/GL1TCHG0R3

Once upon a time ... we were asked to take a stab at doing a Soft Cell remix for their upcoming HEAT album. From the get go it was a dicey situation at best. The UK mail system "lost" the master tracks, and we had to get them resent at the last minute. We had about a week to come up with something in the hopes (yet another carrot on a stick) that it might generate some interest and play, and if accepted might make it onto Soft Cell's HEAT remix album ... along with 300 pounds ... someday ... maybe. We came up with what we felt was a good mix true to our mad sound, but respectful to the original artist's work.

And ... to make a long story short, we were "advised" to add in more squeeky toys and insane sound effects that in the end sounded more like a Spike Jones comedy number. In short ... to fuck the whole thing up. Our preferred mix was never played for the artist ... and the "goofy" mix was (we suspect) pretty much a ploy to have a particular notorious producer to use as leverage. As we understand it, Dave and Marc pretty much dropped their jaws when they heard the fucked up version we were told to make ... which is understandable ... cuz it was pretty over the top even by our insane standards, but you-know-who INSISTED we do it that way. "They'll LOVE it!" we were told.

NØT!

And it was obvious that it was never intended to ever go anywhere except to be used as an insult and a wedge. Sorry guys ... we were played big time. Live and learn ya know? Sooooo ... needless to say the "mental mix" never saw the light of day, nor was it accepted by the artists ... (that's an understatement we're sure) but we were disappointed that our original "Mondo Mix" was never presented. So, here it is.

Sorry I haven't updated in ages, nor actually talked about my NYC trip. 

To summarize, I got very little sleep, I ate too much, and I fell in love with the musical "A Tale of Two Cities". If you're going to NYC soon, you have to see this show! I cried no less than 3 times. It's very powerful. And I don't care what else you say about James Barbour, that man has the voice of an angel...

But on to more pressing matters:

IT'S YOU TUBE TIME!!

This time I have two videos, to make up for the fact that I have been slacking. 

Our first video is the amazingly talented, yet sorely unrecognized Marc Almond. Most people know him as the lead singer of the band Soft Cell who made the song "Tainted Love" a hit back in the 80's. What most people don't know is that since then, Marc has recorded over a dozen more albums, both solo and with other bands, in every style from covers of Frank Sinatra tunes, to the cutting edge techno that made him famous. In this video, we see him featured with the band T-Total, doing a techno cover of the song "Baby's on Fire" from the glam rock movie-musical Velvet Goldmine. Listen and enjoy... and maybe dance a little. 

Our second video is a small taste of the sheer brilliance of "A Tale of Two Cities" and exactly why I have fallen in love with James Barbour. Here he is in an early workshop of the show, performing one of Sydney Carton's most touching ballads, "Let Her Be A Child". I suggest have tissues handy... 

Well, I hate to say it, but that's all I've got for now...

Hopefully you got something interesting out of all that!!

Till next time!

~CBT~

A mi m'encanta el clip. Per cert, la metàfora de les vies de tren del principi és genial! I Jimmy Sommerville està per menjar-se'l amb patates, què mono!

I aquí teniu una versió ultra-kitsch del "I feel love" de Donna Summer juntament amb Marc Almond. Petardeo i activisme gai. Com ja he dit, ara aquest clip, afortunadament, semblaria trivial, però fa 24 anys les coses no eren ben bé iguals. Boníssima l'obsessió eròtica que tenia Marc Almond amb els toreros!

You're right, ME! You know, just because I work in a record store doesn't mean I know everything about music...far from it. Everyday I learn something new, like, Soft Cell covered "Tainted Love". Huh? I guess some Soft Cell fans knew this, but I'm not a super fan of them or GLORIA JONES.

But we're not here for Ms. Jones...so let's make with SOFT CELL already!

How can I not love a song called SEX DWARF!

Or check out the original video filled with trannys, raw meat, chainsaws, and a real live sex dwarf...if you dare...

WOOF, indeed!

Let's keep it uncomfortable, shall we?

SEEDY FILMS

Well, I don't know about y'all, but I need a shower...

7 th June 2008
De La Warr Pavillion, Bexhill, Sussex, UK
Tickets available from www.dlwp.co.uk
Resident/Rounder Records in Brighton.

Marc Almond is one part of British electro-duo: Soft Cell whohad a string of international hits, the most successful being their multi-million selling version of the northern soul song 'Tainted Love'.
The song is as popular today as it was in 1981 and is regularly aired with the duo's other hit singles Bedsitter, Numbers, Torch and Say Hello Wave Goodbye. The single Memorabilia was the first ever techno record and set the pace for a whole musical movement. Soft Cell notched up in excess of 10 million record sales worldwide and established a style that was to influence several generations of musicians that followed.

An offshoot project called The Mambas followed, recording two double albums, Untitled and the seminal Torment and Toreros, an important turning point in Marc's career and one that imbued his artistry with further credibility. The Mambas featured an orchestra both in the studio and on-stage, establishing another first in the 80's - orchestration becoming a main feature of his sound throughout much of his career. This, too, was to influence so many musicians and bands. It was during this period that he was affectionately referred to by the press as the 'Jim Reeves for the bedsit generation' and 'The Judy Garland of the Garbage Heap'. The transition from group to solo artist proved a major success as he produced a series of diverse albums, always surprising and leading his audience in a new direction. Retaining a sense of humour and a touch of bitterness, combined with a strong sense of irony, his themes are perhaps best reflected in the hymns to the 'Saints of the Underworld'; the brilliant and audacious Vermin In Ermine and the reflective cabaret of Stories Of Johnny; the romantic and personal Mother Fist and his most successful solo album of the eighties, the lush and sparkling The Stars We Are which also spawned the international hit Something's Gotten Hold of My Heart, a duet with Gene Pitney.

The nineties were another prolific and successful decade for Marc with the albums Enchanted, the Trevor Horn produced album Tenement Symphony, Fantastic Star, and the mature and acclaimed Open All Night. Further top 30 hits followed; A Lover Spurned, Jacky, My Hand Over My Heart and the top 3 hit The Days of Pearly Spencer. In the latter part of the decade Marc undertook a project that would take almost three years to complete. An album of Russian Romance songs called Heart On Snow, recorded in St Petersburg and Moscow and featuring a cross section of Russian singing stars and musicians, the St Petersburg Naval Choir and the Orchestra Russia. The album was a groundbreaking work, held up to critical acclaim and found a home in Moscow and a place in the hearts of many Russians who refer to him as 'an adopted son'. As well as all this Marc found time to release an anthology of poems and lyrics entitled 'A Beautiful Twisted Night' and his autobiography 'Tainted Life'.

In March 2001 Marc Almond and Dave Ball reformed Soft Cell to play their first series of concerts in 17 years to rapturous welcome. Commentators called it not a revival but a rebirth. The response was ecstatic and resulted in a brand new album, Cruelty Without Beauty, and a tour of Britain, Europe and America followed. The album received glowing reviews from the music critics and the tour was not only welcomed by hard core fans but a whole new young audience that was now listening to the new electro clash sounds from Europe and America that had in turn been influenced originally by Soft Cell. The single The Night, taken from the new album, was a Top 40 hit and saw Soft Cell perform together on the British chart show Top Of The Pops for the first time since the eighties.

Marc Almond has collaborated with a wide range of artists throughout his extensive career which includes working and recording with the likes of Gene Pitney, Nico, Nick Cave, The The, PJ Proby, Antony Hegarty and the iconic Siouxsie Sioux. In 2001 it was two different collaborations that gave Marc two European hits, firstly with a dance record entitled Soul On Soul with the trance producer Ferry Corstan; the track reached number one in many dance charts across Europe including six weeks at the top of the dance chart in Holland. The second collaboration was with the German band Rosenstolz and created a Top 20 hit in Germany with the song Total Eclipse. Further collaborative work has included recording tracks with British garage/hip hop producer Mekon, a single Baby's On Fire with T-Total and several recordings with Punx SoundCheck. Since 2001 Marc has toured extensively with Jools Holland and recorded a big band version of Say Hello Wave Goodbye for Jools Holland's double platinum album Big Band Small World.

2004 was an important year in the life of Marc Almond; first there was the publication of his book In Search Of The Pleasure Palace - a humorous travelogue and a journey through a mid-life crisis in search of inspiration, then the summer brought a limited run of shows at London's acclaimed Almeida Theatre. The performances, entitled Sin Songs - Torch and Romance, were a huge success with fans and critics alike. Marc received some of the best reviews of his career and the show was recorded for a DVD that went Top 10 on release. As the year unfolded a diverse array of engagements were undertaken, including an appearance performing with the Pussycat Dolls for New York Fashion Rocks and, in complete contrast, an acoustic show at Leicester Cathedral. It looked like the year was proving to be one of the most successful of his career but then, on 17 October, it all stopped when Marc was involved in a near fatal motorcycle crash. He remained unconscious for over two weeks whilst sustaining critical injuries.

All work was put on hold from that point and for the next two years Marc underwent a slow and difficult process of gradual recovery. The injuries sustained to his head, hearing and voice were extremely traumatic yet his determination not to be beaten carried him through and, after working with his physiotherapist and vocal coach, he made a remarkable recovery which included returning to the stage for full shows and recording a new studio album in 2007.

His own song writing apart, over the years Marc has received acclaim as an interpreter of other people's songs. He recorded a tribute album to Jacques Brel, entitled Jacques which received unparalleled critical acclaim in Europe, with Brel's estate praising him as the greatest living performer of Brel's work. He went on to record a twin album called Absinthe of French songs by writers as diverse as Baudelaire, Greco and Barbara. As well as this love of the French Chansons Marc Almond has always had a passion for the 'great voices' from the 50's and 60's and this love proved to be the inspiration for his first studio album since the accident. During his recovery, a time when he found song writing difficult, he recorded Stardom Road a collection of cover songs (plus one original song) that embodied all the diverse influences that shaped much of Marc's musical life. The choice of songs, some standards delivered with a subversive twist and some unusual choices that represented a part of Marc's musical journey, also included the first song writing since the accident - Beauty Will Redeem The World.

Overcoming all the odds Marc Almond has fought back and regained his previous status as a singer and songwriter and his reputation as a premier torch singer. In 2007 he returned to the London stage performing three intimate shows at the historic Wilton's Music Hall, followed by a sell-out full band concert at Shepherds Bush Empire on his 50th birthday. An emotional event for both the audience and Marc himself and one which he later cited as being one of his best shows ever.

Marc Almond is a survivor and since the accident, although he realises that many aspects of his life will never be the same, he retains his unique way of looking at life, through his humour and optimism.

http://www.marcalmond.co.uk

“Tickets for Marc Almond...any spare tickets for Marc Almond?”.  It was obvious that the ticket touts were having a bit of trouble pitching this one.  “’Ere Trev…what’s this Current 93 all about then?” “To be honest, it is just another example of your run of the mill apocalyptic folk band…visions of the second coming of Christ, eternal damnation, what have you.” (a pause) “That "Tainted Love" is a good tune though, innit? Spare tickets, any spare tickets, I'll buy or sell!”

A long time associate of David Tibet, the extraordinary Baby Dee got an extended warm-up slot after the withdrawal of Om from the bill due to one half of the band leaving the band.  I’m not sure if that means there is still a band or not, it is all a bit like one hand clapping for me.  Last time we came across her (stealing the Homefires festival last year) she played solo, she began here at the harp accompanied only by a cellist for “Small Wonder” and a devastating “Black But Comely” (“If I can’t have you, I can love you just the same”).  She switched to the Steinway and was joined by some of tonight’s stellar band – Matt Sweeney, Andrew WK, and the brilliant percussionist Alex Nielsen.  The songs that followed (including “Safe Inside The day” and “So Bad”) lost a little for having there deep swell of emotion buried under these layers, but Baby Dee’s cackling, panting, bellowing, hissing performance was still a thing of wonder.

The number for musicians on stage was supplemented still further (with the addition of, amongst others, Michael Cashmore on guitar and Andrew Liles on industrial-sounding electronics) to complete the current line-up of Current 93.  They opened a set which was otherwise based primarily based on the most recent album proper, the  Black Ships Ate The Sky masterpiece, with a version of Bill Fay’s “Time of The Last Persecution”. From the off, David Tibet (for those unfamiliar with his appearance or mannerisms, it may help to imagine Jarvis Cocker trapped in Jasper Carrot’s body) was in mesmerising form – prowling the front of the stage (and off the front of the stage, up as far as about Row D) jabbing and gesticulating, pleading and beseeching.  When the lyrics of “Vau Vau Vau” mentioned “skipping to Armageddon”, he skipped to, erm, the other side of stage.  True, that side did look marginally scarier.  Maybe that was just because it was further away. In his animation, he kicked over the bottle of wine he had been slugging from, and had to steal some from the rest of the band for the remainder.

For the second time this week for me, Antony shuffled out of the shadows for the single song – but what a song.  His version of “Soft Black Stars” – just him, his piano, and that voice and all its emotive trembling – was stunning and worth the price of admission alone.  The touts got their “headliner” right after that when Marc Almond took to the boards (David Tibet came and sat next to me at this point.  He managed to kick over another bottle of wine).  He performed his torch song version of “Idumae”, accompanied by a range of slowly unfurling dramatic gestures, and followed this with a couple of songs from his collaboration with Michael Cashmore entitled “Lunatic Lover” and “Gabriel”.  He seemed genuinely delighted to have been given the chance to work with this extraordinary bunch of characters, and the extraordinary bunch of characters who made up tonight’s crowd seemed pretty delighted to have him back, especially after all that near-death shenanigans the other year.

After this interlude, Tibet rejoined his band as they struck up another hellish dirge.  Throughout the show the Black Ships songs had been stripped of their more delicate folkier elements, and in there place had been installed a raging torrent of noise, with the loose-limbed Nielsen performing miracles in the centre. Whorling, sickening cyclical layers of guitar built once more to another, dare I say it, apocalyptic crescendo; by the end Tibet was doubled over at the front of the stage, weeping.  Anyone selling their ticket to the charming chaps outside missed one hell of a show.

/subliminal

Soft Cell - "Non-stop erotic cabaret" (1981)

El món és ple d'injustícies i, de vegades, fins i tot la fama i l'èxit poden ser injustos. Primera injustícia: que Soft Cell sigui "el grup de Marc Almond", perquè Marc Almond era el 50% d'una parella musical on les dues meitats comptaven, i molt: sense els teclats de Dave Ball, aquest disc no estaria en aquesta llista ni es consideraria Soft Cell precursors, amb 6 anys d'antelació, de la música house amb el seu primer single, "Memorabilia". Segona injustícia: que Soft Cell sigui "el grup de Tainted Love", perquè "Tainted Love" no deixa de ser una versió i una cançó més d'un repertori emocionant, intens i molt interessant.

"Non-stop Erotic Cabaret" és un àlbum a la vegada iconoclasta i accessible, comercial però ple de "doubles entendres". Benvinguts a un "voyage au bout de la nuit", a un món de cabaret, llums vermelles i sexualitats ocultes ("Isn't it nice/Sugar and spice/Luring disco dollies to a life of vice?"). Aquest disc només podia haver sortit en l'efervescència creativa de la Gran Bretanya post-punk i pre-SIDA, en la confluència estranya entre el teatre amateur, la performance i el tecno-pop, el glamour de plomes i setí i la classe obrera anglesa i, per sobre de tot, una urgent i primària necessitat d'expressió artística i de viure de pressa. Com cantava un Marc Almond anfetaminitzat a "Entertain me": "I've seen it before and I've done it before". I de regal, per cloure el disc, una de les cançons més tristes, àgries i cíniques que s'hagin escrit mai sobre el final d'una relació: "Say hello, wave goodbye": "Take your hands off me / I don't belong to you, you see / Take a look at my face for the last time / I never knew you, you never knew me / Say hello goodbye". I si tot això us ha semblat poc, recordar-vos que el disc te una cançó que es diu "Tainted love"...

Life is a Cabaret, old chum, come to the Cabaret

Mylène Farmer - "Ainsi soit je..." (1988)

Anglaterra, Anglaterra... Sí, el pop no seria el mateix sense les contribucions d'aquesta part insular de... ¿Europa? Però el món de la música pop no s'acaba pas al pop anglès i com a humil mostra aquesta petita obra mestra força desconeguda a les nostres latituds, tot i que vingui del veí del nord.

Es pot veure a Mylène Farmer de dues maneres. Com una artista seriosa o com "la Madonna francesa". Com a creadora, juntament amb el seu inseparable company d'aventures, Laurent Boutonnat, d'un univers personal tan enigmàtic com fascinant o com a l'artista més venedora de França a la segona meitat dels 80 i la primera dels 90. Com a adaptadora ambiciosa de la tradició literària francesa (atrevir-se a obrir un disc musicant Baudelaire en clau pop és molt atrevir-se, com fa Mylène amb "L'holorge", però encara ho és més si tanques el mateix disc adaptant una de les grans de la chanson com Juliette Gréco) o bé com a vulgar i pretensiosa lletrista.

"Ainsi soit je" és segurament el seu àlbum més reeixit, que consolida les maneres que ja s'apuntaven en el debut, "Cendres de lune". Un clàssic modern que és tant hereu de Jane Birkin com precursor de Carla Bruni. Els ingredients? Pessimisme existencial i glamour erotitzant a dosis iguals, temes volgudament polèmics i irreverents (el suicidi a "Jardin de Vienne", el transgenerisme a "Sans contrefaçon", la irreligiositat a "Sans logique", les obsessions sexuals a "Pourvu qu'elles soient douces") i, sobretot, una gran habilitat per treure partit d'una veu poc dotada i per escriure rimes sorprenents que se't queden a la primera, com si d'eslògans publicitaris es tractés: "Ton regard oblique / en rien n'est lubrique / ta maman t'a trop fessé / Ton goût du revers / n'a rien de pervers / et ton bébé n'est pas fâché ...", "Puisqu'il faut choisir / à mots doux je peux le dire / sans contrefaçon / je suis un garçon ...", "... tu dis qu'il faut du temps / qu'aimer n'est pas un jeu d'enfant / je sais bien que tu mens / mais je suis si seule à présent ..." o, potser, la rima que més s'escau a la setmana santa, de la cançó "Sans logique": "Si Dieu nous fait à son image / si c’était sa volonté / il aurait dû prendre ombrage / du malin mal habité".

L'àngel pelroig... o era dimoni? (font: www.mylene.net)

Edelweiss met Bring me edelweiss.

En ook heel erg fout: Marc Almond & Gene Pitney met Something's gotten hold of my heart.

Wie kent er nog foute(re) nummers?
Ik heb wat hoofdpijn, maar zo van die zottigheid kan dan wel deugd doen. :mrgreen:

Foute Xixarro

Qui di seguito la lista di tutto ciò che prima non avevo e ora posso vantarmi di possedere:

- affitto per il mese di Gennaio

- guanti neri Tommy Jeans

- profumo Puma Sport

- euro 50 da parenti

Non vi dico per quale punto in particolare, ma è andata anche meglio del previsto : )

Ps: conosco almeno due persone che hanno ricevuto in regalo una playstation 3.. non vi invidio, ok?!?

Ah, ecco due canzoncine che suonano adatte al periodo (anche se si canta di tutt'altro..!), magari le mettete su durante una tombolata, o tra una portata e l'altra

Marc Almond - A Woman's Story

Sleepy Jackson - Don't You Know

Pps: Auguri di buon natale a tutti!

"Smalltown Boy"

"Why?"

"I Feel Love" (with Marc Almond)

"Hit That Perfect Beat"

This is a link to the video above. For some reason it doesn't play in Netscape from WordPress. However, with the IE browser it plays just fine. If you want to view it and can't you can either click the link, switch to IE or click over to the Peace One Day site which I've linked below.

Peace One Day is an annual event I just found out about when I was watching CNN International. Richard Quest is doing a special show called Quest for Peace. He showed part of a piece he did on British film maker Jeremy Gilley who heads up Peace One Day.

In the piece Quest asked if idealism is the way to go? Peace One Day is most certainly idealistic and optimistic, but really, I think that idealism and optimism are needed in a world that can bring you down just by watching the news.

Here is a letter from Gilley explaining Peace One Day.

July 2007

Dear Friends

I founded Peace One Day in 1999 to document my efforts to create an annual day of global ceasefire and non-violence with a fixed calendar date. In 2001, POD achieved its primary objective. United Nations General Assembly resolution (A/Res/55/282) was unanimously adopted by UN member states, formally establishing an annual day of global ceasefire and non-violence on the UN International Day of Peace, fixed in the global calendar on 21 September – Peace Day.

With the Day in place, POD’s main aim is to raise awareness of Peace Day 21 September. POD is a non-profit organisation, impartial and independent of any government, political persuasion, corporation or religious creed.

Last year on 21 September, 27.6 million people from 200 countries did something for Peace Day. I hope you’ll make your own commitment for Peace Day and log it on this website. By working together there will be Peace One Day. We look forward to hearing from you.

With thanks and best wishes

In peace

Jeremy Gilley

A lot of celebrities have participated in Peace One Day events. This year there was a concert at Royal Albert Hall. The concert was headlined by Annie Lennox but many other musicians contributed: Corinne Bailey Rae, James Morrison, Beth Orton, Marc Almond and others. Also, Jude Law is a friend of Gilley's and has taken on the cause as a spokesperson.

Here is more information on Peace One Day from this year's concert press release (this is an Adobe Acrobat Reader document - .pdf):

Notes on Peace One Day:

Peace One Day began life as a film project, the vision of one man, British filmmaker, Jeremy Gilley. Launched in September 1999, Peace One Day has gained active support from governments through to individuals the world over. In September 2001, Peace One Day achieved its primary objective: a United Nations General Assembly Resolution (A/Res/55/282), put forward by the UK and Costa Rican governments, was unanimously adopted by UN member states formally establishing an annual day of global ceasefire and non-violence on the UN International Day of Peace – Peace Day – fixed in the global calendar on 21 September.

Jeremy Gilley and Peace One Day continue the journey to inform the world’s people of the Day's existence, engaging them in the Day's observance in accordance with UN GA Resolution 55/282. The finished feature-length documentary Peace One Day has played all over the world and has become a powerful tool in the awareness raising process.

In 2006, for the first time in the Day’s history, Peace One Day successfully drove the initiative to instigate commitments to Peace Day in 200 countries, including all 192 UN member states, directly involving 27.6 million people. On 21 September 2006 there were life-saving activities by humanitarian organisations in southern Sudan and the DRC with immunisation campaigns in a further nine countries worldwide; there were peace marches, festivals, music events, multi-faith celebrations, sports events, debates, parties, dance events, and the Song for Peace initiative, which involved 2.2 million young people in over 6,000 schools across the UK.

Peace One Day's Flickr page.