Every day, over 168 million children around the world wake up and go to work. They work in mines and sweatshops, on farms and on the street. Over half of them work in ways that put their health and safety at risk. That's unacceptable.
On 12 June, the ILO will launch the 2014 edition of the Red Card to Child Labour campaign. To mark the occasion, we're releasing a new song, Til Everyone Can See, written especially for the campaign by Incubus guitarist Mike Einziger and violinist Ann Marie Simpson, with featured artists Pharrell Williams, Hans Zimmer, Dominic Lewis, Travis Barker, LIZ, and Minh Dang.
Everyone who joins the #RedCard to Child Labour campaign will be able to download the song on 12 June.
Join this Thunderclap today and be part of the global movement to end child labour and give children around the world a brand new start.
Composer Zimmer Talks Sherlock Holmes, Inception, Dark Knight, It’s Complicated
In many ways, the best thing about Sherlock Holmes is its score (released January 12), featuring exotic Hungarian and gypsy instruments. It’s one of about a hundred movie scores delivered by prolific German composer Hans Zimmer, who has earned six Oscar nominations; he won for The Lion King in 1994.
Articulate and charming, Zimmer invited me to his lair in Santa Monica, a sprawling complex housing other composers as well as rooms crammed with synthesizers, computers and towers of servers. He’s currently working on Inception for Chris Nolan, for whom he composed the score for The Dark Knight. He gave me a tour, showed me where and how he composes and explained his working process on the scores for Sherlock Holmes, It’s Complicated, Gladiator, and The Dark Knight. He even plays a bit.
Hard Times features a variety of characters from The Simpsons, most notably greedy billionaire C. Montgomery Burns. As Mr. Burns faces the loss of his fortune and worldly belongings, he learns to appreciate lifes simple pleasures like friends and family. The commercial was first shown during Super Bowl XLIV (44) 2010.
Conan Doyle realized that a successful lead character needs to play the fiddle. I wish all filmmakers did. It makes writing the score so much easier. With Guy's great encouragement we took the orchestra out of the lofty spheres of the concert hall and brought them back to the pub, where they seem right at home. After all, There is no human emotion that has not - at one time or other - been profoundly expressed in a pub, and I'm so grateful that my peers at the Academy have recognized that. This is the year where we pit the humble banjo against the might of the orchestra.