Translator: Maurício Kakuei Tanaka Reviewer: Leonardo Silva
I started "Only Boys Aloud"
just coming up for two years ago,
because I come from the South Wales Valleys
from a small community called New Tredegar.
And
when I was growing up,
it was a very proud part of the world,
with a lot of industry,
with a lot of ambition,
with a sustainable economy.
In the middle of the '80s,
that was basically taken away
when the industries collapsed for a variety of reasons
and left an enormous void
in the middle of the part of the world that I call home.
Consequently,
there are huge problems of unemployment
in the South Wales Valleys,
and all of the problems that come with that also.
The biggest, I think, and the most destructive,
is a lack of aspiration.
And I wanted to use singing to encourage lads from this area
to aspire to be something.
So our strapline is "inspiring to aspire."
I believe most passionately
in the transformative power of community singing,
because in our increasingly virtual world,
we have fewer and fewer opportunities of coming together physically,
and interacting with fellow human beings.
So "Only Boys Aloud" is designed to encourage these lads
to leave their Xboxes,
to leave Facebook,
and come together.
Of course, Eric Whitacre has very famously with his fabulous virtual choir
done this online.
But I passionately believe that there is no substitute
for getting together and having a damn good sing.
The tradition of male choir singing is very prevalent in South Wales.
We still have a proliferation of male choirs,
but they are getting older,
and there is an argument
that male choir singing is irrelevant now.
I completely disagree with all of this.
I believe something that unifies anybody as choral singing does
is increasingly more needed in our world today.
"Why boys?" is something I often get asked.
Well, because of the very strong tradition of male choirs in Wales.
That's first and foremost.
Also there is a huge disparity
between the number of boys who choose to sing
and the number of girls that choose to sing.
And I think that's a problem generally,
but in a very masculine environment, like South Wales.
Although I have to say, in South Wales, ma'ams rule.
It's a very matriarchal society,
but at the same time, there are lots of pressures on boys
not to do something that isn't seen as "macho."
So with "Only Boys Aloud," we started 10 choirs,
predominantly in rugby clubs, around the South Wales area,
covering a nine-hundred-square-mile area,
where the idea is that no boy is fewer than 15 or 20 minutes away
from his local rehearsal.
So these choirs enrich their individual communities,
but we also bring them together to do large-scale events,
and we have about half of them here today.
Well, over 200 lads between the ages of 14 and 19
have engaged with "Only Boys Aloud" in the last two years.
And I'm delighted to say,
with the support of the Welsh Government and the Principality Building Society,
back in Wales,
we are able to look forward to a future
where we've signed an agreement for three years of sponsorship,
because I believe this work is absolutely fundamental,
especially as young men are often blamed for the problems in our society.
I think the lads on stage here will prove
that, far from problems, there is so much good
and there is something very beautiful
about boys coming together and just singing.
I'd like to first introduce...
It was supposed to be a big surprise revealed
when we lifted the curtain,
and there were loads of them there.
But you all saw the rehearsals so that's gone out of the window.
So just act shocked.
Give me a nice big gust of air when they come out, please.
Can I introduce firstly our two soloists, who are going to sing the first piece.
One of the things we want to do is we want to move the choir forward,
but we also really respect our roots, and where we come from.
And that's why the first song we've chosen to sing this afternoon
is a song called "Calon Lan,"
which really is a prayer for good heart,
because the words say, "a good heart can sing all day and all night."
So this is "Calon Lan."
Please give a warm welcome to Gareth Evans and Yvonne Jenkin.
(Applause)
Oh!
(Laughter)
(Music)
(Applause)
(Welsh music - "Calon Lan")
♪ Nid wy'n gofyn bywyd moethus ♪
♪ Aur y byd na'I berlau mвn ♪
♪ Gofyn wyf am galon hapus ♪
♪ Calon onest, calon lвn ♪
♪ Calon lвn yn llawn daioni ♪
♪ Tecach yw na'r lili dlos ♪
♪ Dim ond calon lвn all ganu ♪
(Choir)
♪ Canu'r dydd ♪
♪ A chanu'r nos ♪
(Piano music)
♪ Pe dymunwn olud bydol ♪
♪ Hedyn buan ganddo sydd ♪
♪ Golud calon lвn, rinweddol ♪
♪ Yn dwyn bythol elw fydd ♪
♪ Calon lвn yn llawn daioni ♪
♪ Tecach yw na'r lili dlos ♪
♪ Dim ond calon lвn all ganu ♪
♪ Canu'r dydd a chanu'r nos ♪
♪ Hwyr a bore fy nymuniad ♪
♪ Gwyd I'r nef ar adain cвn ♪
♪ Ar I Dduw, er mwyn fy Ngheidwad ♪
♪ Roddi I mi galon lвn ♪
♪ Calon lвn yn llawn daioni ♪
♪ Tecach yw na'r lili dlos ♪
♪ Dim ond calon lвn all ganu ♪
♪ Canu'r dydd a chanu'r nos ♪
♪ Calon lвn yn llawn daioni ♪
♪ Tecach yw na'r lili dlos ♪
♪ Dim ond calon lвn all ganu ♪
♪ Canu'r dydd ♪
♪ A chanu'r nos ♪
♪ Calon lвn ♪
♪ Calon ♪
♪ Lвn ♪
(Applause) (Cheers)
Thank you.
(Applause)
Thank you very much.
Now one of the reasons
that we've been asked to finish this day off...
That's the wrong words, completely.
I'm not intending on finishing anything off.
But "il finale" for this day
is because it's time for you to sing, ladies and gentlemen.
Oh, look at the enthusiasm there!
Oh, it's amazing!
One of the ways...
Oh, people are running for the doors now.
Lock the doors!
We don't have any audition requirements for "Only Boys Aloud."
So it's fine for you all to just let go.
Now, ladies and gentlemen,
one of the things that you need to try and do with "Only Boys Aloud"
is think about choral singing, and what's relevant to young people.
So the first song we did -
you might think it's a little bit cheesy -
but I'd really love it
if you just go with it for me, ladies and gentlemen.
I'm going to teach you, in three parts, a little four-bar riff.
If you're very good, I'll make it an eight-bar riff.
But we'll just start small,
and we'll go on if we can.
OK.
I'd like people who enjoy singing low.
Actually, no.
Can I get you guys down here?
As you're on the bottom, you'll be the bass part for me, please.
OK, so we're going to do this.
And if anyone guesses what...
There's an elaborate prize for anyone who guesses what the piece is.
OK, so we're going to do,
♪ Dum duh-duh-dum duh-duh-dum ♪
♪ Duh-duh-dum duh-duh-dum ♪
Just that much, please; this is the stalls.
One, two, three, four.
Audience: ♪ Dum duh-duh-dum duh-duh-dum ♪
♪ Duh-duh-dum duh-duh-dum ♪
TRE: Right, OK.
Let's everyone on your feet, please, because that was a bit rubbish.
(Laughter)
OK, can you shake out for me, ladies and gentlemen?
That includes you in the posh seats,
and those in the cheap seats at the top, as well.
(Laughter)
Shake your hand for me, ladies and gentlemen, please.
Give me a, "Brrrrr!"
Audience: Brrrrr!
TRE: That's better.
Now shoulders back, please; circulate them nice and back.
Up!
Really squeeze --
You've been sat there all day listening to people talk -
and let it go, "Ah!"
You were very good at the gasp. Thank you for that!
(Laughter)
And up!
Wiggling fingers, wiggling knees.
Make a noise, "Aaaaahhhhh!"
Audience: "Aaaaahhhhh!"
TRE: And release!
I never thought
the first time I stood on the stage in Sadler's Wells I would be doing that.
(Laughter)
Now let's do that again.
Stalls, ♪ Dum duh-duh-dum duh-duh-dum ♪
♪ Duh-duh-dum duh-duh-dum duh-duh-dum... ♪
And now, keep going, OK.
Right, good, thank you.
There's some very good singing down here, well done!
Let's get the middle to do the middle part.
Yours goes,
♪ Duh-duh duh-duh duh-duh duh-duh duh-duh duh-duh ♪
(Lower tone) ♪ Duh-duh duh-duh duh-duh duh-duh ♪
Cases the last bar.
Do you think you can cope with that, middle row?
Middles, a grand circle, "Mmmm!"
(Speaking in Welsh)
Oh, sorry, that was Welsh. One, two, three, four.
♪ Duh-duh duh-duh ♪
Audience: ♪ Duh-duh duh-duh duh-duh duh-duh duh-duh duh-duh duh-duh ♪
TRE: ♪ Duh-duh duh-duh duh-duh duh-duh duh-duh duh-duh duh-duh duh-duh ♪
♪ Duh-duh duh-duh duh-duh duh-duh ♪
(Lower tone) ♪ Duh-duh duh-duh duh-duh ♪
Good. There are, in fact, two distinct notes here.
(Laughter)
It'd be great if you could use them.
OK.
(Laughter)
So, grand circle, you are on that note,
unless put out of the bottom.
♪ Dummmm... ♪
One, two, three, four.
♪ Dum... ♪
Audience: ♪ Duh-duh-dum... ♪
TRE: ♪ Duh-duh-dum duh-duh-dum duh-duh... ♪
♪ Duh-duh duh-duh duh-duh duh-duh duh... ♪
Audience: ♪ Dum... ♪
TRE: ♪ Duh-duh duh-duh duh-duh duh-duh duh-duh duh-duh, duh... ♪
Thank you.
Top! You all the top part say, "Hoo!"
That's what I like, a lit bit of enthusiasm!
OK, so we go,
♪ Duh duh duh duh ♪
(Higher tone) ♪ Duh duh duh duh ♪
(Lower tone) ♪ Duh duh duh duh ♪
(Even lower tone) ♪ Duh duh duh duh ♪
(Higher tone) ♪ Duh duh duh duh ♪
(Even higher tone) ♪ Duh duh duh duh ♪
(Lower tone) ♪ Duh duh duh duh ♪
♪ Duh duh duh duh ♪
Again.
Audience: ♪ Duh duh duh duh ♪
♪ Duh duh duh duh ♪
TRE: Middle part, you're going to join in noooooow.
♪ Duh-duh duh-duh duh-duh duh-duh duh-duh duh-duh ♪
♪ Duh-duh duh-duh duh-duh duh-duh duh-duh duh-duh duh-duh duh... ♪
And bottom!
Audience: ♪ Dum duh-duh-dum duh-duh-dum ♪
♪ Duh-duh-dum duh-duh-dum ♪
TRE: ♪ Duh duh duh duh ♪
(Higher tone) ♪ Duh duh duh duh ♪
♪ Duh duh duh duh ♪
(Lower tone) ♪ Duh duh duh duh ♪
Well done! Well done!
We're getting somewhere.
I'm going to make this quickly.
I'm going to turn this four-bar phrase into an eight-bar phrase that repeats.
All we need to do, bottom, is we go,
♪ Dum duh-duh-dum duh-duh-dum duh-duh-dum... ♪
Actually, no. Forget it.
We'll just stick with the four-bar phrase.
(Laughter)
We're not in the land of song anymore, boys.
(Laughter)
(Applause) (Cheers)
Right. OK.
(Music - "Don't Stop Believin'")
Here we go. That's all. Be great.
♪ Duh duh duh duh ♪
♪ Duh-duh-dum duh-duh-dum duh-duh-dum ♪
♪ Duh duh duh duh ♪
♪ Duh-duh-dum duh-duh-dum duh-duh-dum ♪
♪ Duh duh duh duh ♪
♪ Duh duh duh ♪
♪ Just a small town girl ♪
♪ Livin' in a lonely world ♪
♪ She took the midnight train goin' anywhere ♪
♪ Just a city boy ♪
♪ Born and raised in South Detroit ♪
♪ He took the midnight train goin' anywhere ♪
TRE: Keep going!
Audience: ♪ Duh duh duh duh ♪
♪ Duh-duh-dum duh-duh-dum duh-duh-dum ♪
♪ Duh duh duh duh duh duh duh duh ♪
♪ Dum duh-duh-dum duh-duh-dum ♪
♪ Duh duh duh duh ♪
♪ Duh-duh-dum duh-duh-dum ♪
♪ A singer in a smoky room ♪
♪ A smell of wine and cheap perfume ♪
♪ For a smile they can share the night ♪
♪ It goes on and on, and on, and on ♪
♪ Strangers waiting ♪
♪ Up and down the boulevard ♪
♪ Their shadows searching in the night ♪
♪ Streetlights, people ♪
♪ Living just to find emotion ♪
♪ Hiding somewhere in the night ♪
(Music)
♪ Duh duh duh duh duh duh duh duh ♪
♪ Working hard to get my fill ♪
♪ Everybody wants a thrill ♪
♪ Payin' anything to roll the dice ♪
♪ Just one more time ♪
♪ Some will win, some will lose ♪
♪ Some were born to sing the blues ♪
♪ Oh, the movie never ends ♪
♪ It goes on and on, and on, and on ♪
♪ Strangers waiting ♪
♪ Up and down the boulevard ♪
♪ Their shadows searching in the night ♪
♪ Streetlights, people ♪
♪ Living just to find emotion ♪
♪ Hiding somewhere in the night ♪
♪ Duh duh duh duh duh duh duh duh ♪
♪ Duh-duh-dum duh-duh-dum duh-duh-dum ♪
♪ Duh duh duh duh duh duh duh duh ♪
♪ Duh-duh-dum duh-duh-dum duh-duh-dum ♪
♪ Don't stop believin' ♪
♪ Hold on to the feelin' ♪
♪ Streetlights, people ♪
♪ Don't stop believin' ♪
♪ Hold on to the feelin' ♪
♪ Streetlights, people ♪
♪ Don't stop believin' ♪
♪ Hold on to the feelin' ♪
♪ Streetlights, people ♪
♪ Don't stop believin' ♪
♪ Hold on to the feelin' ♪
♪ Streetlights, people ♪
♪ Don't stop ♪
(Cheers)
(Applause)
TRE: Thank you very much.
Thank you.
(Cheers)
(Applause)