Artist Review: Revisiting Sting-An Under-Recognized Existentialist Song Writer1
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Music Initiative Jka Peer - Reviewed Journal of Music
VOL. 01 NO. 01 APRIL 2018 MUSIC INITIATIVE JKA PEER - REVIEWED JOURNAL OF MUSIC PUBLISHED,PRINTED & OWNED BY HIGHER EDUCATION DEPARTMENT, J&K CIVIL SECRETARIAT, JAMMU/SRINAGAR,J&K CONTACT NO.S: 01912542880,01942506062 www.jkhighereducation.nic.in EDITOR DR. ASGAR HASSAN SAMOON (IAS) PRINCIPAL SECRETARY HIGHER EDUCATION GOVT. OF JAMMU & KASHMIR YOOR HIGHER EDUCATION,J&K NOT FOR SALE COVER DESIGN: NAUSHAD H GA JK MUSIC INITIATIVE A PEER - REVIEWED JOURNAL OF MUSIC INSTRUCTION TO CONTRIBUTORS A soft copy of the manuscript should be submitted to the Editor of the journal in Microsoft Word le format. All the manuscripts will be blindly reviewed and published after referee's comments and nally after Editor's acceptance. To avoid delay in publication process, the papers will not be sent back to the corresponding author for proof reading. It is therefore the responsibility of the authors to send good quality papers in strict compliance with the journal guidelines. JK Music Initiative is a quarterly publication of MANUSCRIPT GUIDELINES Higher Education Department, Authors preparing submissions are asked to read and follow these guidelines strictly: Govt. of Jammu and Kashmir (JKHED). Length All manuscripts published herein represent Research papers should be between 3000- 6000 words long including notes, bibliography and captions to the opinion of the authors and do not reect the ofcial policy illustrations. Manuscripts must be typed in double space throughout including abstract, text, references, tables, and gures. of JKHED or institution with which the authors are afliated unless this is clearly specied. Individual authors Format are responsible for the originality and genuineness of the work Documents should be produced in MS Word, using a single font for text and headings, left hand justication only and no embedded formatting of capitals, spacing etc. -
Music: Music and Me (Part 1) Hi Everyone! We Are Going to Be Exploring Our Identity Through Music
Music: Music and Me (Part 1) Hi everyone! We are going to be exploring our identity through music. Our identity is made up of all the different things that make us who we are. Each one of us is completely unique with our own experiences, feelings, family background and dreams. Music is a brilliant way of exploring and expressing our identity. It gives up confidence, power and purpose. Our gender is also a really important part of our identity. For different reasons, there haven’t been enough women working in the music industry. This is completely unjust, and meant that many women weren’t given a fair chance. People all around the world have been working really hard to change this, and we’re starting to see the results. We are going to look at 4 talented female musicians who are exploring their own musical and cultural identity. You will hear how they got to where they are, and see how you can do the same. You can be part of the change. How exciting! We will invite you to try out some different ways of making your own music and to explore some of the most inspirational and influential women in music from the last 100 years. Now don’t worry if you’ve never created your own music before; just enjoy the experience, and have fun! For today’s music lesson, let’s meet the 4 artists. When you listen to each song, write down your personal answers to the following questions (the more detailed your answers, the better): 1. -
Social Issues in Ballads and Songs, Edited by Matilda Burden
SOCIAL ISSUES IN BALLADS AND SONGS Edited by MATILDA BURDEN Kommission für Volksdichtung Special Publications SOCIAL ISSUES IN BALLADS AND SONGS Social Issues in Ballads and Songs Edited by MATILDA BURDEN STELLENBOSCH KOMMISSION FÜR VOLKSDICHTUNG 2020 Kommission für Volksdichtung Special Publications Copyright © Matilda Burden and contributors, 2020 All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the copyright owners. Peer-review statement All papers have been subject to double-blind review by two referees. Editorial Board for this volume Ingrid Åkesson (Sweden) David Atkinson (England) Cozette Griffin-Kremer (France) Éva Guillorel (France) Sabina Ispas (Romania) Christine James (Wales) Thomas A. McKean (Scotland) Gerald Porter (Finland) Andy Rouse (Hungary) Evelyn Birge Vitz (USA) Online citations accessed and verified 25 September 2020. Contents xxx Introduction 1 Matilda Burden Beaten or Burned at the Stake: Structural, Gendered, and 4 Honour-Related Violence in Ballads Ingrid Åkesson The Social Dilemmas of ‘Daantjie Okso’: Texture, Text, and 21 Context Matilda Burden ‘Tlačanova voliča’ (‘The Peasant’s Oxen’): A Social and 34 Speciesist Ballad Marjetka Golež Kaučič From Textual to Cultural Meaning: ‘Tjanne’/‘Barbel’ in 51 Contextual Perspective Isabelle Peere Sin, Slaughter, and Sexuality: Clamour against Women Child- 87 Murderers by Irish Singers of ‘The Cruel Mother’ Gerald Porter Separation and Loss: An Attachment Theory Approach to 100 Emotions in Three Traditional French Chansons Evelyn Birge Vitz ‘Nobody loves me but my mother, and she could be jivin’ too’: 116 The Blues-Like Sentiment of Hip Hop Ballads Salim Washington Introduction Matilda Burden As the 43rd International Ballad Conference of the Kommission für Volksdichtung was the very first one ever to be held in the Southern Hemisphere, an opportunity arose to play with the letter ‘S’ in the conference theme. -
Smash Hits Volume 34
\ ^^9^^ 30p FORTNlGHTiy March 20-Aprii 2 1980 Words t0^ TOPr includi Ator-* Hap House €oir Underground to GAR! SKias in coioui GfiRR/£V£f/ mjlt< H/Kim TEEIM THAT TU/W imv UGCfMONSTERS/ J /f yO(/ WOULD LIKE A FREE COLOUR POSTER COPY OF THIS ADVERTISEMENT, FILL IN THE COUPON AND RETURN IT TO: HULK POSTER, PO BOXt, SUDBURY, SUFFOLK C010 6SL. I AGE (PLEASE TICK THE APPROPRIATE SOX) UNDER 13[JI3-f7\JlS AND OVER U OFFER CLOSES ON APRIL 30TH 1980 ALLOW 28 DAYS FOR DELIVERY (swcKCAmisMASi) I I I iNAME ADDRESS.. SHt ' -*^' L.-**^ ¥• Mar 20-April 2 1980 Vol 2 No. 6 ECHO BEACH Martha Muffins 4 First of all, a big hi to all new &The readers of Smash Hits, and ANOTHER NAIL IN MY HEART welcome to the magazine that Squeeze 4 brings your vinyl alive! A warm welcome back too to all our much GOING UNDERGROUND loved regular readers. In addition The Jam 5 to all your usual news, features and chart songwords, we've got ATOMIC some extras for you — your free Blondie 6 record, a mini-P/ as crossword prize — as well as an extra song HELLO I AM YOUR HEART and revamping our Bette Bright 13 reviews/opinion section. We've also got a brand new regular ROSIE feature starting this issue — Joan Armatrading 13 regular coverage of the independent label scene (on page Managing Editor KOOL IN THE KAFTAN Nick Logan 26) plus the results of the Smash B. A. Robertson 16 Hits Readers Poll which are on Editor pages 1 4 and 1 5. -
“The Gospel According to Sting” Proper 17C (September 1, 2019
1 “The Gospel According to Sting” Proper 17C (September 1, 2019) Rev. Dr. David A. Kaden >>Put a hand on our shoulder and point us in the right direction. Put our hand on someone’s shoulder and let it matter. Amen<< On July 10th, NPR’s “All Songs Considered” released a special called the “Tiny Desk Concert,” which featured two musicians performing together: Gordon Matthew Thomas Sumner - also known as “Sting,” once the lead singer of the band The Police - and reggae star Orville Richard Burrell - also known as “Shaggy.”1 Sting and Shaggy - an Englishman and a Jamaican. The two have collaborated on projects before - they put out an album together in 2018 and went on tour - and they’re buddies. Shaggy affectionately calls Sting, “Sting-y.” On the day they sat down together at NPR’s Tiny Desk, which looks like a set in a Barnes and Noble store, they played several songs, including Sting’s Englishman in New York. That song was first released in February of 1988, and it has a little something for everyone: a reggae beat for reggae fans; a saxophone for jazz fans; strings for classical music fans; Sting’s voice for Police fans; it’s light-hearted for pop fans; and it was performed most recently in an NPR studio for….NPR fans. The song’s lyrics tell a story about living in the U.S. but being from a different country - living as an Englishman in New York. Sitting in NPR’s Tiny Desk studio, Sting played the guitar, Shaggy clapped the beat, and Sting sang these words: I don’t take coffee, I take tea, my dear / I like my toast done on one side / And you can hear it in my accent when I talk / I’m an Englishman in New York / See me walking down Fifth Avenue / A walking cane here at my side / I take it everywhere I walk / I’m an Englishman in New York When Shaggy took over the lyrics he changed the words and sang, “I’m a Jamaican in New York,” delighting the small crowd of fans in the NPR studio that day. -
Marc Zermati
Marc Zermati: farewell to the 'hippest man in Paris' Zermati, who has died aged 74, was an anglophile dandy whose label Skydog crashlanded rock’n’roll into conservative France Andrew Gallix Wed 17 Jun 2020 13.42 BST arc Zermati, who died of a heart attack on Saturday at the age of 74, was a true underground legend: a national treasure France had never heard of and probably did not deserve. Rock Is My Life – the title of a 2008 exhibition celebrating his career on the radical fringes of the music business – would serve as a fitting M epitaph. Skydog, which Zermati co-created with Pieter Meulenbrock in 1972, was the first modern indie label, directly inspiring the launch of Chiswick and Stiff in England – its most successful release was the Stooges’ Metallic KO in 1976. As a promoter Zermati organised the world’s first punk festival, at Mont-de-Marsan, and introduced bands such as the Clash to a French audience. His heroin addiction and wheeler-dealing landed him on the wrong side of the law, and in latter years his curmudgeonly rightwing views alienated many people. But as one of the earliest champions of punk his importance in rock history cannot be overstated; if cut, he would have bled vinyl. Zermati was born into a family of Sepharadi Jews in Algiers. Growing up against the bloody background of the war of independence, he took refuge in rock’n’roll records imported from the US, which were more readily available – as he often boasted – than in metropolitan France. Like so many other pieds-noirs (the name given to people of European origin born in Algeria under French rule) the family fled to la métropole in 1962, when the country gained independence. -
Bob Geldof and the Boomtown Rats
“D A ESL MIX ” – CALIFORNIA SYSTEMS I DON ’T LIKE MONDAYS Bob Geldof and The Boomtown Rats The_silicon chip inside_her head gets_switched to overload; and nobody's gonna go to_school today, she's gonna make them s tay at home. And Daddy doesn't_understand it , He_always said she was good_as gold. And he can see no reason, 'cause there are no reasons. What reason do you need to be shown? Tell me why - I don't like Mondays Tell me why - I don't like Mondays Tell me why - I don't like Mondays I wanna shoot the whole day down. The Telex machine is kept so clean, And_it types to_a waiting world. And Mother feels_so shocked, father's world is rocked, and their thoughts turn to their_own little girl. Sweet sixteen ain't_that peachy keen. No, it_ain't so neat to_admit defeat. They can see no reasons, 'cause there are no reasons What reason do you need? Oh-h-h Tell me why - I don't like Mondays Tell me why - I don't like Mondays Tell me why - I don't like Mondays I wanna shoot the whole day down. Down, down, shoot it all down. And_all the playing's s topped in the playground now. She wants to play with her toys_a_while. And school's o ut early and_soon we'll be learning, and the lesson today is how_to_die. Telephone: 627 433 609 ● E-mail: [email protected] ● www.californiasys.com “D A ESL MIX ” – CALIFORNIA SYSTEMS And then the bullhorn crackles, and the captain tackles, with the_problems a nd the how's a nd_why's And he can see no reasons, 'cause there are no reasons What reason do you need to die, die? Oh-h-h And th e_silicon chip inside_her head gets_switched to overload; and nobody's gonna go to_school today, she's gonna make them s tay at home. -
La Técnica Publicitaria Del Product Placement Aplicada Al Género Cinemátográfico De Suspense
LA TÉCNICA PUBLICITARIA DEL PRODUCT PLACEMENT APLICADA AL GÉNERO CINEMÁTOGRÁFICO DE SUSPENSE. CASO DE ESTUDIO: DAVID FINCHER Grado en Publicidad y Relaciones Públicas Curso 2020 – 2021 María Blanco Torres TRABAJO FIN DE GRADO LA TÉCNICA PUBLICITARIA DEL PRODUCT PLACEMENT APLICADA AL GÉNERO CINEMÁTOGRÁFICO DE SUSPENSE. CASO DE ESTUDIO: DAVID FINCHER Alejandro Buitrago Alonso Segovia, febrero 2021 1 Resumen: En este trabajo de fin de grado se ha realizado un análisis exhaustivo del uso de la técnica del product placement dentro de la filmografía del cineasta David Fincher, concretamente centrándose en su obra asociada al género de suspense. Una vez fijado el objetivo, los motivos por los que se ha elegido este tema y este objeto de estudio son, por una parte, el interés personal acerca de la utilización de esta técnica en el mundo cinematográfico y por otra, la capacidad narrativa de dicho director. Además, Fincher logra emplazar la publicidad de una manera tan sutil que en ocasiones pasa desapercibida. Para esta investigación, primero se ha llevado a cabo una aproximación teórica donde se han recogido los conceptos principales. En este caso han sido el origen del product placement y su importancia, además de su uso y los tipos de emplazamientos que se pueden emplear, y por otro lado se ha analizado la figura de David Fincher, desde sus inicios en la industria cinematográfica hasta sus últimos trabajos, examinando también su cine y su técnica narrativa. Después se ha escogido la metodología de la investigación, que se basa en un análisis exhaustivo de las cinco películas de su filmografía pertenecientes a la categoría de suspense. -
Sting Ten Summoner's Tales, 1992 Mercury Falling, 1996
Sting Ten Summoner’s Tales, 1992 Mercury Falling, 1996 (A & M records) “Honig ist die erste Wohltat, die Gott den Menschen erwiesen hat”, heisst es im Koran. Das Geschenk Gottes, von den Bienen durchwirkt, lässt den Menschen ein wenig das Paradies erahnen. Man wähnt sich beim Genuss im Garten Eden. Doch lautlos sterben Milliarden von Bienen und unsere gesamte Nahrungskette ist in Gefahr. Der verantwortungs- und respektlose Umgang mit den Ressourcen dieser „paradiesischen“ Welt verschliesst uns den Garten. Einer, der immer wieder in seinem musikalischen Schaffen und in seinem privaten Einsatz auf die soziale und ökologische Verantwortung hingewiesen hat, ist der Musiker Sting, welcher die Popmusik stark geprägt hat. Seine zwei Alben „Ten Summoner’s Tales“ (zehn Pilgergeschichten) und „Mercury Falling“ (das Quecksilber fällt) sind geprägt von einer Grundhaltung – nämlich die Natur erst mal wahrzunehmen, zu achten, und als Metapher für das Leben zu sehen. Sting ist kurz vorher auf das Land gezogen, in ein Gutshaus mit einem schönen Garten aus dem sechzehnten Jahrhundert. Kein Wunder sind die Texte dieser zwei Alben durchdrungen von „geschöpften“ Bildern, welche uns auch in der Bibel begegnen. Der Song „Fields of Gold“ kann es mit dem Hohelied der Liebe aufnehmen. Wenn der Wind die schimmernde Oberfläche der Gerstenfelder in Bewegung bringt, wie Wellen auf einem Meer aus Gold, ist es als liebten sich Wind und Gerste wie Mann und Frau: „See the west wind move like a lover so upon the fields of barley feel her body rise when you kiss her mouth among the fields of gold” In “I was brought to my senses” wird durch Einsicht und Besinnung die Blindheit genommen. -
New Video (;Lips
AS OF JUNE 25, 1986 Y} Vdeo music PROGRAMMING hW5 fi.CiBE11r10M This report does not include videos in recurrent or oldie rotation. 0 CHURCH COLUMBUS Warner Bros. NEW GW CINDERELLA SHAKE ME PolyGram BREAKOUT New Video (;lips 03 ELVIS COSTELLO /JIMMY CLIFF 7 -DAY WEEKEND Columbia BREAKOUT Q COUP DEVILLES BIG TROUBLE IN CHINA Enigma NEW ó= EURYTHMICS MISSIONARY MAN RCA POWER I- FABULOUS THUNDERBIRDS WRAP IT UP Epic POWER DANCING HOODS David Hillier W This weekly listing of new video IO FALCO JEANNY A &M POWER Pleasure clips generally available for pro- LISA LISA & CULT JAM WITH FULL FORCE JULIAN LENNON THIS IS MY DAY Atlantic POWER 12 Jealous Rosen Relativity > gramming and /or promotional John Bentham /Jettisoundz All Cried Out LET'S ACTIVE IN LITTLE WAYS I.R.S. NEW Karen Bentham Lisa Lisa & Cult Jam With Full Force /Columbia LEVEL 42 HOT WATER PolyGram MEDIUM purposes includes artists, title, al- Softer Pantelich bum (where applicable). label, pro- DEL LORDS Simeon Softer MADONNA PAPA DON'T PREACH Warner Bros. POWER Heaven OZZY OSBOURNE LIGHTNING STRIKES Epic BREAKOUT house, THE SECRET POLICE (FEATURING ducer/production director. Johnny Marching Home STING) Comes /EMI America OUTFIELD ALL THE LOVE IN TI I! WORLD Columbia POWER Please send information to Bill- Sally Norvell /No Pictures I Shall Be Released New Tamara Davis The Secret Policeman's Other Ball/ Island DAVID LEE ROTH YANKEE ROSE Warner Bros. POWER board, Video Clips, 1515 Martin Lewis/Amnesty International STYLE COUNCIL (WHEN YOU) CALL ME Geffen BREAKOUT EURYTHMICS Julien Temple Broadway, New York, N.Y 10036. -
Music Video Goes Global
Jeremy Harry Harris always wanted to be a musician. However, when he was younger his parents said he needed a job with prospects. He joined the army, but at 21-years-old, he had an accident during a parachute jump. My parachute failed to open correctly during a 330 metre descent. I fell to the ground too fast. I came down and hit my head and damaged my eye. Then followed two and a half years of rehabilitation. Jeremy Harry Harris - Singer Jeremy turned to his music and singing after losing his sight in one eye The accident meant Jeremy lost his sight in his right eye. Rather than dwell on what he'd lost, he felt this as a sign to throw his energy into something else. That meant returning to his first love of music and singing. Music video goes global Fast forward twenty-two years and Jeremy is now an accomplished musician and singer, touring America and South America several times over. Now at the age of 44 he's an award winner - securing a film festival award for his music video 'Shout Down the Silence.' Jeremy has toured globally as a singer and musician “You could say music became my therapy. My instrument of choice is the guitar and drums but in recent years I've moved across to singing,” he explains. Jeremy's first band 'Stone Circle' was very popular in Cuba and gathered a huge following there. He also formed an INXS tribute band called 'New Sensation' touring throughout Australia. While he never met Michael Hutchence he has been lucky enough to meet and perform for Sir Bob Geldof at his request. -
Reggatta De Blanc (White Reggae)
“Reggatta de Blanc (White Reggae) & the Commercial Rock Industry: Intersections of Race, Culture, and Appropriation in Bob Marley and The Police (1977-1983)” Colin Carey Music University of Wisconsin-Eau Claire Introduction Ethical Concerns Origins of Reggae This project was designed to approach a discussion about cultural and The appropriation of culturally sensitive music and expression is a musical appropriation in popular music. The connection between reggae and common, but often overlooked issue in popular music. It is important to mainstream rock was perhaps no more evident or lucrative than within the understand that Western cultures inherently possess a privilege that can musical career trajectory of the wildly popular new wave group, the Police be used to take advantage of other societies—especially those (1977–1983), comprised of lead singer/songwriter Sting (Gordon Sumner), comprising the so-called “third world.” The Police owe their substantial guitarist Andy Summers, drummer Stewart Copeland, and a promotional success to this imbalance, directly adapting the distinctive music cadre of behind-the-scenes agents and businessmen. Their particular practices of a foreign culture for their own musical purposes and industrial rock model enjoyed startlingly quick, widespread renown and recordings to create a sound that was unlike most popular rock groups success—within only a couple of years of their formation, the Police had of their time. This appropriation is further troubling in that it stripped the become the leading rock group of their time and would go on to influence the Jamaican source material of its definitive social and political direction of the music marketplace itself, including countless other acts such significance, gaining success instead through an appeal entirely as the then up-and-coming Irish group, U2.