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Dylan Sanchez
Dylan Sanchez

Bbc News Theme Mp3 Free 37 [VERIFIED]

Lewis's success continued with the release of her debut studio album, Spirit (2007), which was certified 10 platinum in the UK and became the fourth best-selling album of the 2000s and one of the best-selling albums in UK chart history. According to the Official Charts Company, Spirit is the best-selling debut album by a female artist in the 21st century. The lead single, "Bleeding Love", spent seven weeks at number one in the UK and was the best-selling single of 2007. In the US, it was the best-selling single of 2008 and Lewis was proclaimed Best New Artist by Billboard the same year. In 2009, she released her second studio album, Echo, and recorded the theme song, "I See You", for the film Avatar.

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The first single released from Echo was "Happy", which was written by Lewis, Tedder and Evan Bogart and produced by Tedder.[64] The single was released on 15 September 2009,[65][66] peaking at number two in the UK,[67] and reaching the top ten in Austria, Belgium, Germany, Ireland, Japan and Switzerland.[68] Lewis also recorded the theme song for the 2009 science fiction film Avatar, directed by James Cameron.[69] The song, "I See You", was written by James Horner and Simon Franglen. It was nominated for Best Original Song at the 67th Golden Globe Awards.[70] Another usage of Lewis' album can be found in "My Hands", which was used in the international release of the Square Enix video game Final Fantasy XIII.[71] In January 2010, Lewis provided vocals on a cover of "Everybody Hurts", released to help raise money for victims of the 2010 Haiti earthquake.[72] The second single from Echo, "I Got You", was released in February 2010. In April 2010, she featured on a duet with Italian singer Biagio Antonacci, called "Inaspettata (Unexpected)", from his album Inaspettata.[73] They performed the song on the Italian TV show Io Canto on 22 October 2010.[74]Lewis performed a 13-piece set list at the Rock in Rio festival in Lisbon, Portugal, on 22 May 2010, including songs from Spirit and Echo.[75]

Lewis released a single, the dance-pop song "Collide", written by Autumn Rowe and produced by Sandy Vee, in the UK on 4 September 2011 and Germany on 9 September 2011.[90][95][96] It debuted on the official UK top 40 singles chart at number 4.[97][98] Furthermore, "Collide" charted at number one on the Dance Club Songs (Billboard) in the US,[99] with the Afrojack remix nominated for Best Remixed Recording at the 2012 Grammy Awards. Lewis released an EP on 9 December 2011, Hurt: The EP, containing three covers.[100] Lewis went on to perform on the American version of X Factor,[101][102] and as the featured performer for the closing of the 2011 Doha Film Festival, where she sang ten songs, including several cover versions.[103] In June 2012, she performed at BBC Radio 1's Hackney Weekend 2012 after being announced on 25 May 2011 as an ambassador for the event. It was the BBC's biggest ever free-ticketed live music event.[104][105] Following the announcement that Lewis would be an ambassador, she performed a special Live Lounge at the Hackney Empire, with a reggae version of "Better in Time", which incorporated Rihanna's "Man Down", and a cover of Labrinth's "Let the Sun Shine".[106][107] At the Hackney Weekend, Lewis performed further cover versions and debuted the song "Come Alive" from Glassheart.[108]

In 2011, Lewis was a guest judge on Platinum Hit,[175] and in May 2012, she returned to The X Factor as a guest judge during auditions in London for the ninth series.[176] In March 2013, Lewis was announced as the new brand activist for The Body Shop[177] and released a cruelty-free makeup range.[178] She has also shown support for Little Kids Rock, a non-profit organization that works to restore and revitalize music education in disadvantaged US public schools, by donating items for auction to raise money for the organization.[179] In February 2016, she became a brand ambassador for Kiss Products.[180] Lewis headlined Cirque du Soleil's One Night for One Drop performance in Las Vegas in March 2016, to help to raise funds and awareness for critical water issues worldwide.[181] In June 2016, she released a charity single "(We All Are) Looking for Home", created in collaboration with Diane Warren for the Vanderpump Dog Foundation's public service announcement, in opposition to the Yulin Dog Meat Festival.[182]

Lewis signed a modelling contract with Wilhelmina Models in 2017.[183] That year, she became ambassador of MTV Staying Alive to "empower and educate the new generation" in the fight against HIV/AIDS.[184] Lewis and MTV Staying Alive partnered with Kiehl's to create a Creamy Eye Treatment, with 10 from every product sold going towards educating young people in preventing HIV/AIDS.[184] In 2018, she designed Christmas-themed jumpers with Hopefield Animal Sanctuary, with all net profits going towards the charity.[185] Moreover, she supports (RED)'s Global Fund to end AIDS, and in association with the app Calm contributed narration of a sleep story, thus providing 100,000 people with life-saving HIV medication.[186] Lewis, initially contracted to serve as a guest judge, became a permanent judge on The X Factor: The Band in December 2019, joining during the Audience auditions.[187] That same month, Lewis opened a vegan cafe in Pasadena called Coffee and Plants, which is plant-based with everything recyclable and a tree planted after 100 cups sold. The cafe works in partnership with Hopefield Animal Sanctuary, with proceeds of select items donated to the charity.[188]

Initially the adaptations received generally negative reviews, although the reception improved somewhat as the series went on, and directors were allowed more freedom, leading to interpretations becoming more daring. Several episodes are now held in high esteem, particularly some of the traditionally lesser known and less frequently staged plays. The complete set is a popular collection, and several episodes represent the only non-theatrical production of the particular play currently available on DVD. Beginning May 26, 2020, all 37 plays are available to stream in North America via BritBox.[1]

Both [director] Rakoff and Messina were sure that the play should be staged as naturalistically as possible. "You have to see a proper ballroom, a balcony, the garden, the piazza," Messina insisted. "In order to grab the audience's attention, you've got to do it as realistically as possibly," Rakoff stresses. "You're asking the audience to do a hell of a thing; the most real medium in the world is television; they're watching the news at nine o'clock and they're seeing real blood and suddenly we're saying 'Come to our pretend violence.' I've done stylised productions before, and it takes the audience a hell of a long time to get with you. You could do Romeo & Juliet against white or black drapes but I think you'd alienate a hell of a lot of the potential viewers. I would love to have tried to do Romeo outside in a Verona town somewhere.[39]

In the US, the BBC hired Stone/Hallinan Associates to handle publicity. However, because the show aired on public television, many US newspapers and magazines would not cover it.[48] To launch the show in the US, a reception was held at the White House, attended by Rosalynn Carter, followed by lunch at the Folger Shakespeare Library. The main representative was Anthony Quayle, who had been cast as Falstaff for the second season Henry the Fourth episodes. It also helped that, unlike many of the other actors appearing in early episodes, Quayle was well known in the US. Also in attendance were Richard Pasco, Celia Johnson, Patrick Ryecart and Helen Mirren. James Earl Jones was initially scheduled to appear, in anticipation of the second season production of Othello, but by the time of the reception, Messina had been forced to abandon casting him.[49] In the weeks leading up to the premier, Stone/Hallinan sent out press kits for each episode, whilst Exxon produced TV and radio commercials, and MetLife held Shakespearean open days in its head office, and sent out posters and viewer guides for each episode.[50]

Much as the UK promotional efforts by the BBC focused at least partially on education, so too did US publicity, where the underwriters spent as much on the educational material as they did on underwriting the series itself. The job of handling the US educational outreach program was given to Tel-Ed, a subsidiary of Stone/Hallinan. Educational efforts were focused on middle school and high school, which is when US students first encounter Shakespeare. Tel-Ed had a three-pronged goal; to make students familiar with more plays (most schools taught only Romeo and Juliet, Julius Caesar and Macbeth), to encourage students to actually enjoy Shakespeare, and to have Shakespeare taught more frequently. Tel-Ed's aim was to make the entire series available to every high-school in the US. During the first season, they sent out 36,000 educational packs to English departments, receiving 18,000 requests for further information.[53] The educational aspect of the series was considered such a success that when the show went off the air in 1985, Morgan Bank continued with educational efforts, creating The Shakespeare Hour in 1986. The concept of the show was that episodes of the BBC Television Shakespeare would be presented specifically as educational tools. Planned as a three-year show with five episodes per year over a fifteen-week season, the series would group plays together thematically. Walter Matthau was hired as host, and each episode featured documentary material intercut with extensive clips from the BBC productions themselves. A book was also published with the full transcript of each episode; The Shakespeare Hour: A Companion to the PBS-TV Series, edited by Edward Quinn. In all, the first season cost $650,000, but everyone expected it to be a success. Covering the theme of love, it used A Midsummer Night's Dream, Twelfth Night, All's Well That Ends Well, Measure for Measure and King Lear. However, the show achieved very poor ratings and was cancelled at the end of the first season. The second season had been set to cover power (King Richard the Second, The First Part of King Henry the Fourth, The Tragedy of Richard III, The Taming of the Shrew, Macbeth and Julius Caesar), with the third looking at revenge (The Merchant of Venice, Hamlet, Prince of Denmark, The Winter's Tale, The Tempest and Othello).[54]


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