Interview with Toni Gibson

Total Page:16

File Type:pdf, Size:1020Kb

Interview with Toni Gibson Interview with Toni Gibson Interview with Toni Gibson By Natasha Barbieri What inspires you to make music? impressed because he asked me if I would want to sign to his Fanfare Record There isn’t any particular ‘thing’ that Label. Fanfare record Label is another inspired me to sing. I Just love to sing part of the Ambition Entertainment label. and always have ever since I was little. It just comes naturally to me, it is part of Once I was signed to the Label, Robert me. suggested some more songs for the album and possibly replacing the new Your debut album, “Echo in my Soul” songs with some previous ones. I really is out now. What was the song selection liked his suggestions and was happy to process like? scratch a few songs that didn’t quite work and flow alongside the rest of the We started working on my album over a songs on the album. couple of years ago. I had a big input with what songs I wanted to have on the I wanted to create something that hasn’t album because the album started out as really been done in the classical- our own project. I have been working crossover world before. I wanted to add with Gray Bartlett (he started Hayley not just light elements to the music, but Westenra’s career) over the last 3-4 also darker elements. To mix them years, and he also suggested some together in such a way and create a songs that would be suitable for the spiritual atmosphere within the music. I album and I really liked his suggestions. also like lots of different styles of music and wanted to bring some of these Later down the track when we were close elements into the album to. You will find to finishing recording for the songs, traces of Rock, Celtic, gothic, classical, Robert Rigby (who owns Ambition musical and even a bit of country Entertainment Record Label in Australia) throughout the journey. Yet I feel all was invited by Gray to see me in Concert these elements work together and flow in New Zealand. Robert must have been and this has been a challenge over the last 2-3 years. We didn’t want the different elements to be confusing and Growing up you took part in a lot of make it unclear on ‘the type of artists competitions. How do you think those that I am’. I am a classical-crossover experiences impacted you as a artist with a bit of an edge, that is the best performer? way I can explain what I am trying to do :). The music is honest. I like to think All the performances I have done over that the album is an expression of my the years have helped me to feel more soul. confident in my ability today. Your first music video for the album is I used to be so scared to perform on stage “She’s like the swallow.” What made but after forcing myself past all the you pick that song and how much nerves I eventually learnt to control influence did you have on the video them. I still get nervous all the time but I itself? am in my ‘happy place’ when I am performing on stage and I can feel the During a singing lesson with my singing energies from the audience and I feel like teacher Ellen Barrett, she found the sheet I am doing a good performance. No music to ‘She’s like the swallow’. I doubt the road ahead is scary but it is learnt the song and decided I really liked because all of my years growing up and it because the music has a beautiful performing through many different melody and yet the lyrics paint a vivid situations, I feel that I am ready for what picture of a loss of a loved one. There is is ahead. I am also very excited and so much love in the lyrics and yet so blessed to be in a position now where I much sadness, I felt I could express these am heading down the right path to feelings through my voice. Even though achieving many of my dreams that I have this song has quite an eerie feeling to it, had ever since I was little. It is quite it also has beauty and I thought this surreal. would be the perfect song for my first music video. Which artists or composers would you like to collaborate with in the future? Throughout the video process I was lucky to have a big say in how I I love many different types of artists. To envisioned the video and how I wanted it name a few Michael Bubble, Adam to be. I first emailed the 90 seconds video Lambert, Pink, Hayley Westenra, Sarah crew and painted an outline for them of Brightman, Michael Crawford and one how I wanted the video to be. When it day I would love to sing for Andrew came to recording for the video, they Lloyd Webber! And so many more. followed the outline of what I had asked for and with their professional eye Social media is obviously a very created something that I couldn’t be important medium for the singer these more happier with? days. How did you use it to launch your songs on it. Shortly after I had finished own career? my E.P CD, the family and I went to a Hayley Westenra concert. Dad noticed in Social Media is very important. I was not the back of the program that Gray really into all the social media stuff, it’s Bartlett’s contact details were there. Dad not really my cup of tea but one day decided to contact him and give him a when I had some free time I recorded copy of my CD. Gray replied and said myself singing and then decided to put it ‘come back in a few years, she is a bit up on YouTube. Not to long after that, young at the moment’. So that is what we my Dad was looking through the internet did. A couple of years passed and I made and came across classical- another E.P CD at Capital E. We sent it crossover.co.uk website. After looking to Gray and he replied with the same through it, he decided to contact Nicola thing ‘come back in a couple of years, Jarvis (owner of the site) regarding my she is to young’. Obviously, we were singing. She replied shortly after and said disappointed but we tried again… We ‘is this your daughter singing on contacted him when I was about age 16 YouTube?”, and dad said ‘yes’. Nicola and he recommended for us to come up then said she wanted to make a profile on to Auckland and record in Manuka her site for me! We couldn’t believe it Studios with Mike McCarthy. I recorded because we often contacted people trying ‘A bit of Earth’ and ‘Wild Horses’ and to get them to listen to my music and then we sent that E.P CD to him. He they didn’t always reply let alone want to then finally said ‘I want to take Toni make a profile for me. My profile is a on!’? long side all the famous classical- crossover singers- It was very exciting I have really enjoyed working with Gray, for us! That incident helped with gaining he has taught me a lot and he really heaps of fans around the world. I then believes in me. He has opened many started using Facebook and started up a doors for me due to many contacts he has twitter account. Social media is definitely within the music industry. Gray and helpful when you are trying to get Trish (Gray’s wife) are both so lovely to recognized with your music. me. They make me feel welcome at their house and Gray drives me around to You have been mentored by Gray meetings and gigs and Trish makes Bartlett. What has that experience been me yummy food :). I am so thankful that like? I have had the opportunity to work with Gray and get to know Gray and Trish. It We first contacted Gray when I was has been great for my music but I also around 12 yrs old. I had won a feel that they are part of my family now. competition and the prize included studio time in Capital E in Wellington. I was You played Joanna in a production of lucky enough to make an E.P CD with 3 Sweeney Todd. Are musicals something you would like to pursue further in the Taekwondo and I am currently on Blue future? Belt, Red Stripe. In my free time I love to spend time with my animals, go for One of the best times in my life was walks or bike rides. Hang out with my playing the part of Johanna in the friends and Family and my partner and I production of Sweeney Todd. I just loved like to watch TV and eat? it so much and I would really love to play that part on the big stage one day! I love Where would you like to see yourself 5 the musical Sweeney Todd because the years from now artistically? music is so fantastic and unusual and the story line fascinates me. I loved playing In 5 years’, time I would like to be the part of Johanna cause she was the overseas, hopefully making a name for little bit of light in the darkness? myself.
Recommended publications
  • Excesss Karaoke Master by Artist
    XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not
    [Show full text]
  • Who's Who at Metro-Goldwyn-Mayer (1939)
    W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H.
    [Show full text]
  • Not Your Mother's Library Transcript Episode 11: Mamma Mia! and More Musicals (Brief Intro Music) Rachel: Hello, and Welcome T
    Not Your Mother’s Library Transcript Episode 11: Mamma Mia! and More Musicals (Brief intro music) Rachel: Hello, and welcome to Not Your Mother’s Library, a readers’ advisory podcast from the Oak Creek Public Library. I’m Rachel, and once again since Melody’s departure I am without a co-host. This is where you would stick a crying-face emoji. Luckily for everyone, though, today we have a brand new guest! This is most excellent, truly, because we are going to be talking about musicals, and I do not have any sort of expertise in that area. So, to balance the episode out with a more professional perspective, I would like to welcome to the podcast Oak Creek Library’s very own Technical Services Librarian! Would you like to introduce yourself? Joanne: Hello, everyone. I am a new guest! Hooray! (laughs) Rachel: Yeah! Joanne: So, I am the Technical Services Librarian here at the Oak Creek Library. My name is Joanne. I graduated from Carroll University with a degree in music, which was super helpful for libraries. Not so much. Rachel: (laughs) Joanne: And then went to UW-Milwaukee to get my masters in library science, and I’ve been working in public libraries ever since. I’ve always had a love of music since I've been in a child. My mom is actually a church organist, and so I think that’s where I get it from. Rachel: Wow, yeah. Joanne: I used to play piano—I did about 10 years and then quit. (laughs) So, I might be able to read some sheet music but probably not very well.
    [Show full text]
  • Entertainment Industry, 1908-1980 Theme: Residential Properties Associated with the Entertainment Industry, 1908-1980
    LOS ANGELES CITYWIDE HISTORIC CONTEXT STATEMENT Context: Entertainment Industry, 1908-1980 Theme: Residential Properties Associated with the Entertainment Industry, 1908-1980 Prepared for: City of Los Angeles Department of City Planning Office of Historic Resources October 2017 SurveyLA Citywide Historic Context Statement Entertainment Industry/Residential Properties Associated with the Entertainment Industry, 1908-1980 TABLE OF CONTENTS Preface 1 Contributors 1 Theme Introduction 1 Theme: Residential Properties Associated with the Entertainment Industry 3 Sub-theme: Residential Properties Associated with Significant Persons in the Entertainment Industry, 1908-1980 13 Sub-theme: Entertainment Industry Housing and Neighborhoods, 1908-1980 30 Selected Bibliography 52 SurveyLA Citywide Historic Context Statement Entertainment Industry/Residential Properties Associated with the Entertainment Industry, 1908-1980 PREFACE This theme is a component of SurveyLA’s citywide historic context statement and provides guidance to field surveyors in identifying and evaluating potential historic resources relating to residential properties associated with the entertainment industry. Refer to www.HistoricPlacesLA.org for information on designated resources associated with this context (or themes) as well as those identified through SurveyLA and other surveys. CONTRIBUTORS The Entertainment Industry context (and all related themes) was prepared by Christine Lazzaretto and Heather Goers, Historic Resources Group, with significant guidance and input from Christy
    [Show full text]
  • The Soft Goodbye
    The Soft Goodbye Chloë Agnew, Lisa Kelly, Méav Ní Mhaolchatha - Celtic Woman CD + DVD Živě: The Original Show (2005, 2006 - po většinu tour (oba roky) s Deirdre Shannon místo Méav), A New Journey (2007 - Chloë, Lisa K., Méav / Hayley Westenra (jaro) => Lynn Hilary (podzim), 2008 - Chloë, Alex Sharpe, Lynn) Hudba & Text: David Downes, Barry McCrea, David Agnew, Caitriona Nidhubhghaill Text: When the light begins to fade Překlad: And shadows fall across the sea One bright star in the evening sky Když se světlo začne ztrácet Your love’s light leads me on my way A stíny padnou na moře Jedna jasná hvězda na večerní obloze There’s a dream that will not sleep Světlo tvé lásky mne vede na cestě A burning hope that will not die So I must go now with the wind Je tu sen, co nebude spát And leave you waiting on the tide Hořící naděje, co nezahyne Proto teď musím jet s větrem Time to fly, time to touch the sky A nechat tě čekat u přílivu One voice alone – a haunting cry One song, one star burning bright Čas letět, čas se dotknout oblohy Let it carry me through darkest night Jeden osamělý hlas - vtíravý pláč Jedna píseň, jedna jasně zářící hvězda Rain comes over the grey hills Nechť mne převezou nejtmavší nocí And on the air, a soft goodbye Hear the song that I sing to you Déšť přichází přes šedé kopce When the time has come to fly A ve vzduchu je něžné sbohem Slyš píseň, kterou ti zpívám When I leave and take the wing Když nadešel čas letět And find the land that faith will bring The brightest star in the evening sky Až odejdu a naberu kurs Is your love waiting far for me A najdu zem, co přinese víru Is your love waiting far for me Ta nejjasnější hvězda na večerní obloze Je tvoje láska, co na mne tam daleko čeká Je tvoje láska, co na mne tam daleko čeká Zdroj informací: http://www.celticwomanforum.com/index.php?topic=9541.0.
    [Show full text]
  • Marx, Windows Into the Soul: Surveillance and Popular Culture, Chapter A
    Marx, Windows Into the Soul: Surveillance and Popular Culture, Chapter A Culture and Contexts (intro from printed book) News stories don’t satisfy on a human level. We know that Guantanamo is still open, but do we really know what that means?’ The idea is to experience an emotional understanding, so it’s not just an intellectual abstraction. -Laura Poitras, filmmaker The structure, process and narrative units that make up most of the book rely on language in presenting facts and argument. In contrast, the emphasis in this unit is on forms of artistic expression. .Images and music are one component of the culture of surveillance that so infuses our minds and everyday life. The symbolic materials and meanings of culture are social fabrications (though not necessarily social deceptions). They speak to (and may be intended to create or manipulate) needs, aspirations, and fears. Culture communicates meaning and can express (as well as shape) the shared concerns of a given time period and place. Surveillance technology is not simply applied; it is also experienced by agents, subjects, and audiences who define, judge and have feelings about being watched or a watcher. Our ideas and feelings about surveillance are somewhat independent of the technology per se. As with the devil in Spanish literary tradition (image below) the artist can serve to take the lid off of what is hidden, revealing deeper meanings. Here the artist acts in parallel to the detective and the whistleblower: Marx, Windows Into the Soul: Surveillance and Popular Culture, Chapter A In the original version of the book I divided the cultural materials into two units.
    [Show full text]
  • B1-Felker-Cognative Bias
    UNCLASSIFIED//FOR OFFICIAL USE ONLY//DRAFT//PRE-DECISIONAL U.S. ARMY COMBAT CAPABILITIES DEVELOPMENT COMMAND – AVIATION & MISSILE CENTER Cognitive Bias Name of Presenter Rank/Title of Presenter DISTRIBUTION STATEMENT GOES HERE Organization of Presenter DD MMM YYYY UNCLASSIFIED//FOR OFFICIAL USE ONLY//DRAFT//PRE-DECISIONAL UNCLASSIFIED//FOR OFFICIAL USE ONLY//DRAFT//PRE-DECISIONAL Pencils down UNCLASSIFIED//FOR OFFICIAL USE ONLY//DRAFT//PRE-DECISIONAL 2 UNCLASSIFIED//FOR OFFICIAL USE ONLY//DRAFT//PRE-DECISIONAL PEOPLE Mike Love Brent Johnson Jordin Sparks Richard Petty Dennis Wilson Bella Thorne Terry Beasley Thomas Gainsborough Jeff Gordon Jake Short Stanley Nowlan William Turner Kristin Walker Ruben Studdard Douglas Felker Ron Brown Dale Earnhardt Pat Sullivan Gordon Ramsey Tracy Rocker Bobby Flay Ozzie Newsome China Anne McClain Cornelius Bennett Joshua Reynolds Jamie Oliver Clair Bailey Carrie Underwood Waloddi Weibull Lee Roy Jordan Carl Wilson Brian Wilson Jimmie Johnson George Stubbs Debby Ryan Bridgit Mendler Cam Newton Bo Jackson Larry Kaplow David Pearson Rachael Ray Howard Heap George Romney Derrick Thomas Al Jardine Wolfgang Puck Scotty McCreery Kelly Clarkson John Hannah James Crowley UNCLASSIFIED//FOR OFFICIAL USE ONLY//DRAFT//PRE-DECISIONAL 3 UNCLASSIFIED//FOR OFFICIAL USE ONLY//DRAFT//PRE-DECISIONAL RAM WORK Observation • Ignorance • Mistakes Characterization • Data Noise • Dishonesty Correlation Causation Prediction Communication UNCLASSIFIED//FOR OFFICIAL USE ONLY//DRAFT//PRE-DECISIONAL 4 UNCLASSIFIED//FOR OFFICIAL USE
    [Show full text]
  • Crossing Over: from Black Rhythm Blues to White Rock 'N' Roll
    PART2 RHYTHM& BUSINESS:THE POLITICAL ECONOMY OF BLACKMUSIC Crossing Over: From Black Rhythm Blues . Publishers (ASCAP), a “performance rights” organization that recovers royalty pay- to WhiteRock ‘n’ Roll ments for the performance of copyrighted music. Until 1939,ASCAP was a closed BY REEBEEGAROFALO society with a virtual monopoly on all copyrighted music. As proprietor of the com- positions of its members, ASCAP could regulate the use of any selection in its cata- logue. The organization exercised considerable power in the shaping of public taste. Membership in the society was generally skewed toward writers of show tunes and The history of popular music in this country-at least, in the twentieth century-can semi-serious works such as Richard Rodgers and Lorenz Hart, Cole Porter, George be described in terms of a pattern of black innovation and white popularization, Gershwin, Irving Berlin, and George M. Cohan. Of the society’s 170 charter mem- which 1 have referred to elsewhere as “black roots, white fruits.’” The pattern is built bers, six were black: Harry Burleigh, Will Marion Cook, J. Rosamond and James not only on the wellspring of creativity that black artists bring to popular music but Weldon Johnson, Cecil Mack, and Will Tyers.’ While other “literate” black writers also on the systematic exclusion of black personnel from positions of power within and composers (W. C. Handy, Duke Ellington) would be able to gain entrance to the industry and on the artificial separation of black and white audiences. Because of ASCAP, the vast majority of “untutored” black artists were routinely excluded from industry and audience racism, black music has been relegated to a separate and the society and thereby systematically denied the full benefits of copyright protection.
    [Show full text]
  • Concert History of the Allen County War Memorial Coliseum
    Historical Concert List updated December 9, 2020 Sorted by Artist Sorted by Chronological Order .38 Special 3/27/1981 Casting Crowns 9/29/2020 .38 Special 10/5/1986 Mitchell Tenpenny 9/25/2020 .38 Special 5/17/1984 Jordan Davis 9/25/2020 .38 Special 5/16/1982 Chris Janson 9/25/2020 3 Doors Down 7/9/2003 Newsboys United 3/8/2020 4 Him 10/6/2000 Mandisa 3/8/2020 4 Him 10/26/1999 Adam Agee 3/8/2020 4 Him 12/6/1996 Crowder 2/20/2020 5th Dimension 3/10/1972 Hillsong Young & Free 2/20/2020 98 Degrees 4/4/2001 Andy Mineo 2/20/2020 98 Degrees 10/24/1999 Building 429 2/20/2020 A Day To Remember 11/14/2019 RED 2/20/2020 Aaron Carter 3/7/2002 Austin French 2/20/2020 Aaron Jeoffrey 8/13/1999 Newsong 2/20/2020 Aaron Tippin 5/5/1991 Riley Clemmons 2/20/2020 AC/DC 11/21/1990 Ballenger 2/20/2020 AC/DC 5/13/1988 Zauntee 2/20/2020 AC/DC 9/7/1986 KISS 2/16/2020 AC/DC 9/21/1980 David Lee Roth 2/16/2020 AC/DC 7/31/1979 Korn 2/4/2020 AC/DC 10/3/1978 Breaking Benjamin 2/4/2020 AC/DC 12/15/1977 Bones UK 2/4/2020 Adam Agee 3/8/2020 Five Finger Death Punch 12/9/2019 Addison Agen 2/8/2018 Three Days Grace 12/9/2019 Aerosmith 12/2/2002 Bad Wolves 12/9/2019 Aerosmith 11/23/1998 Fire From The Gods 12/9/2019 Aerosmith 5/17/1998 Chris Young 11/21/2019 Aerosmith 6/22/1993 Eli Young Band 11/21/2019 Aerosmith 5/29/1986 Matt Stell 11/21/2019 Aerosmith 10/3/1978 A Day To Remember 11/14/2019 Aerosmith 10/7/1977 I Prevail 11/14/2019 Aerosmith 5/25/1976 Beartooth 11/14/2019 Aerosmith 3/26/1975 Can't Swim 11/14/2019 After Seven 5/19/1991 Luke Bryan 10/23/2019 After The Fire
    [Show full text]
  • Popular Music, Stars and Stardom
    POPULAR MUSIC, STARS AND STARDOM POPULAR MUSIC, STARS AND STARDOM EDITED BY STEPHEN LOY, JULIE RICKWOOD AND SAMANTHA BENNETT Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au A catalogue record for this book is available from the National Library of Australia ISBN (print): 9781760462123 ISBN (online): 9781760462130 WorldCat (print): 1039732304 WorldCat (online): 1039731982 DOI: 10.22459/PMSS.06.2018 This title is published under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cover design by Fiona Edge and layout by ANU Press This edition © 2018 ANU Press All chapters in this collection have been subjected to a double-blind peer-review process, as well as further reviewing at manuscript stage. Contents Acknowledgements . vii Contributors . ix 1 . Popular Music, Stars and Stardom: Definitions, Discourses, Interpretations . 1 Stephen Loy, Julie Rickwood and Samantha Bennett 2 . Interstellar Songwriting: What Propels a Song Beyond Escape Velocity? . 21 Clive Harrison 3 . A Good Black Music Story? Black American Stars in Australian Musical Entertainment Before ‘Jazz’ . 37 John Whiteoak 4 . ‘You’re Messin’ Up My Mind’: Why Judy Jacques Avoided the Path of the Pop Diva . 55 Robin Ryan 5 . Wendy Saddington: Beyond an ‘Underground Icon’ . 73 Julie Rickwood 6 . Unsung Heroes: Recreating the Ensemble Dynamic of Motown’s Funk Brothers . 95 Vincent Perry 7 . When Divas and Rock Stars Collide: Interpreting Freddie Mercury and Montserrat Caballé’s Barcelona .
    [Show full text]
  • Further Concert Repertory Can Be Added to These Programmes
    An Enchanted Evening Virtuoso pianist and singer Jamsheed Master lights up the stage with a programme drawn from musical theatre, the silver screen and the ballroom. Songs that move you, nostalgic medleys that help you remember and Viennese waltzes to dance to. Jamsheed brings something unique to the concert platform with stunning displays of virtuosity and profoundly moving interpretations of popular music from the stage and screen. With music from West Side Story, The Sound of Music, Phantom of the Opera, My Fair Lady, South Pacific, Mack & Mabel, waltzes by Strauss and arias by Puccini. Memorable musical theater is all about those transporting moments when a song reaches out and communicates that ineffable something to the audience, connecting with our feelings and deepening our insights in ways that dialogue alone cannot. Jamsheed blends these deeply moving moments of musical theatre with flashes of sheer joy and fun at the piano. The songs are linked with anecdotes, musical ephemera and stories that give the programme a charming, engaging flow. The journey has the audience captivated by drama one moment and up waltzing in the aisles the next. He’s one of the few pianists you’ll hear who can really make the piano sing and has quite a voice of his own too, lending it to carefully chosen songs throughout the programme. An Enchanted Evening is an inventive concert experience bringing together wonderful medleys of shows, moments of musical magic, personality, warmth and humour. Every performance has ended with the audience on its feet cheering for more. Videos & Audio Visit www.jamsheedmaster.com for more information, video and audio clips.
    [Show full text]
  • Senior Oliver Haynes Publishes Ffrst Novel
    The Vol. XCVIII. NO. 4 Get in the Halloween ou’wester spirit with spooky TV SOctober 24, 2012 e Fortnightly Student Newspaper of Rhodes College See Page 6 Senior Oliver Haynes publishes fi rst novel Tyler Springs Staff Writer photo courtesy of C. Slawson Chip Slawson Staff Writer In recognition of October being Domestic Violence Awareness Month, Sigma Nu sponsored a viewing of ‘Telling Amy’s Story,’ a documentary of one woman’s tragic struggle with an abuser. Shelby County Attorney General Amy Weirich delivered opening remarks. Following the viewing, Sigma Nu philanthropy chairman Kondwani Joe Banda moderated a panel discussion with Carol Casey; Marianne Luther; Oliette Murry-Drobot, director of the Memphis Family Safety Shelter; and Lia White-Roemer, a domestic violence survivor. Better Together: Promoting Religious Graphic courtesy of O. Haynes Oliver Haynes ’13 self-published his rst full-length novel, which debuted on Amazon.com Unity and Tolerance earlier this month. The artwork is his own. Julia Fawal To write and publish any book at an early age requires an immense amount time, discipline and energy. Co-News Editor F. Scott Fitzgerald dropped out of college and did a stint in the army before successfully revising and selling Fasting is a tradition shared by almost every major faith. It unites people of his fi rst novel at age 24. Michael Crichton managed to get his fi rst novel printed while he was still in medi- all religious affi liations and highlights that they are not as diff erent as it might cal school at age 27. seem.
    [Show full text]