DOCSLIB.ORG

Cambodian Rock Band

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cambodian Rock Band SC 54th Season • 516th Production JULIANNE ARGYROS STAGE / MARCH 4-25, 2018 Marc Masterson Paula Tomei ARTISTIC DIRECTOR MANAGING DIRECTOR David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS presents CAMBODIAN ROCK BAND by Lauren Yee featuring songs by Dengue Fever Takeshi Kata Sara Ryung Clement David Weiner Mikhail Fiksel Se Hyun Oh COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN SCENIC DESIGN Andy Knight Joshua Marchesi Joanne DeNaut, CSa Bryan Sommer DRAMATURG PRODUCTION MANAGER CASTING STAGE MANAGER Music Director Matthew MacNelly Directed by Chay Yew Carolyn & Bill Klein Samuel & Tammy Tang Honorary Producer Honorary Producer CAMBODIAN ROCK BAND was commissioned by South Coast Repertory as part of SCR’s CrossRoads Initiative, with funding from the Time Warner Foundation. This play is a recipient of an Edgerton Foundation New American Play Award. Developed with support from The Ground Floor at Berkeley Repertory Theatre, Berkeley, CA. Cambodian Rock Band • South CoaSt RepeRtoRy • P1 CAST OF CHARACTERS (In order of appearance) Duch ................................................................................................................... Daisuke Tsuji Chum ............................................................................................................................ Joe Ngo Neary/Sothea ................................................................................................ Brooke Ishibashi Ted/Leng ............................................................................................................ Raymond Lee Rom/Journalist ................................................................................................... Abraham Kim Pou/S-21 Guard ........................................................................................................... Jane Lui SETTING Phnom Penh, Cambodia. 2008, 1975 and 1978. LENGTH Approximately two hours and 15 minutes, including one 15-minute intermission. PRODUCTION STAFF Assistant Stage Manager ............................................................................................. Kathleen Barrett Fight Choreographer ......................................................................................................... Ken Merckx Associate Costume Designer ..................................................................................... Kathryn Poppen Assistant to the Set Designers ....................................................................................... Natalie Nagar Stage Management Intern ............................................................................................. Amber Goebel Video Installation and Programming ........................................................................ Lilly Bartenstein Light Board Operator .......................................................................................................... Sean Deuel Sound Board Operator ................................................................................................... James Busker A2 .................................................................................................................................. Rachel Deering Automation Operator ....................................................................................................... Ben Morrow Deck Crew ..................................................................................................................... Sam Maytubby Dresser ....................................................................................................................... Anna de la Cour Wig and Makeup Technician .............................................................................................. Alissa Goetz Hair Stylist ....................................................................................................................... Shelley Mosley Additional Costume Staff .................................................................................................... Alexis Riggs Language Coach ............................................................................................................... Tina Tao Lim ACKNOWLEDGEMENTS Di Glazer, Celine Glasman James, May Adrales, Joshua Kahan Brody, Vichet Chum, Rithy Hanh, Benjamin Kamine, Kristin Leahey, Josh Mills, Yana Morgulis and Bob Dylan and Special R. “Uku” “Tokay” “Family Business” “One Thousand Tears of a Tarantula” “Cement Slippers” “Sni Bong” “Tooth and Nail” all written by Dengue Fever. All Dengue Fever songs administered by Ellipsis Music Corp. (ASCAP) and Pentagon Lipservices (BMI) on behalf of CHHOM CHIMNEY • 1 ARMED CRAB PUB • FOOLISH MORTAL PUB • NOON KEY MUSIC • S W O P SONGS • TROLL UNDER THE BRIDGE Dengue Fever music and information are available from http://denguefevermusic.com “The Times They Are A-Changin’” Written by Bob Dylan Copyright © 1963, 1964 by Warner Bros. Inc.; renewed 1991, 1992 by Special Rider Music. Used by permission. All rights reserved. The actors and stage managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Please refrain from unwrapping candy or making other noises that may disturb surrounding patrons. Videotaping and/or recording of this performance by any means whatsoever are strictly prohibited. Electronic devices should be turned off or set to non-audible mode during the performance. Smoking is not permitted anywhere in the theatre. Photos may be taken before and after the show, and during intermission, but not during the performance. Show your appreciation for the play and scenic designer: #CambodianRockBand @_miyasama_ @se.hyun.oh P2 • South CoaSt RepeRtoRy • Cambodian Rock Band The Sound Before the Silence by Andy Knight ing Vietnam increased, English-lan- country’s far-left communist revolu- guage rock and roll became popular. tionaries—whom he nicknamed the n 1953, after 90 years as a French Throughout the 1960s and early “Khmer Rouge”—he lost the support protectorate, Cambodia won its ’70s, Cambodian musicians recorded of urban Cambodians, who disap- independence and the Southeast Khmer-language covers of foreign proved of his government’s corrup- Asian country became the songs. But as a whole, Cambodia’s tion. Finally, in March 1970, while Sih- Kingdom of Cambodia. In rock was far more than a mere anouk was in France, General Lon Nol I1955, general elections were imitation of the and Prince Sisowath Sirik Matak, both held. Prince Norodom Siha- Western high-ranking government officials, or- nouk, who had abdicated as form. Artists chestrated a coup with the unspoken king in pursuit of a political composed permission of the United States. The career, and his newly es- and recorded Kingdom of Cambodia was now the tablished party, Sangkum original songs Khmer Republic. Reastr Niyum (People’s that addressed During the five years that fol- Socialist Community), tri- national con- lowed, Cambodia was enmeshed in umphed; the Sangkum cerns and chal- a civil war as the U.S.-backed Lon Nol party won every seat in lenged con- government fought the tenacious Parliament and the Khmer Rouge. But in Prince was appointed Phnom Penh, Cambo- prime minister. The Si- dia’s capital, the music hanouk era had begun. persevered. The sounds The Prince en- of rock and roll would visioned postcolonial not be quieted—not by Cambodia as a modern the U.S. bombs dropped nation. He sought to on eastern Cambodia in improve the country’s the name of the Viet- infrastructure and to nam War, nor the ram- foster a strong national pant corruption within identity, which often Lon Nol’s government, meant harsh punish- nor the growing num- ment for far-left dissi- ber of Khmer Rouge dents. To Sihanouk, modernity also temporary attitudes; guerilla fighters. required cultural relevance and the and both covers and Then, on April arts and entertainment boomed in original pieces com- 17, 1975, the Khmer Cambodia during the 1950s and ’60s. bined Western-inspired Rouge breached But the country’s music enjoyed a melodies with a distinct- Phnom Penh, and particular renaissance—for it was dur- ly Cambodian sound. The the music finally ing this era that rock and roll came to music’s unique identity stopped. The war Cambodia. was also embodied in its was over and the Even before the arrival of rock greatest stars. Singers such victors swiftly instituted their and roll, Cambodia’s popular music as Ros Serey Sothea and Sinn vision for a new society. Over the next had incorporated foreign influences. Sisamouth appealed to a wide audi- four years, approximately two million While the country was still a protector- ence with a modern sound that was Cambodians would be exterminated ate, folk musicians integrated Western complemented by traditional looks by the Khmer Rouge, including 90% of instruments into their ensembles and and performance styles. Other artists, the country’s musicians. Latin beats into their songs. By the such as Pen Ran and Liv Tek, epito- But miraculously, many of their 1960s, the youth in urban Cambodia mized the term “rock star” with their recordings survived. were hooked on yé-yé music, French unrestrained, raucous performances. Photo: Baksey Cham Krong, considered by many to be pop named after the common refrain By 1969, Cambodia was on the Cambodia’s first rock and roll band. Albums, top to bot- “yeah, yeah.” Then, as the United brink of a new political era. While Si- tom: the cover of a 45 rmp with Sinn Sisamouth and Ros States’ military presence in neighbor-
Load more

Recommended publications
  • Writers and Singers Assassinated by Their Government—Usually a Dictatorship—Or Killed During a Massacre
    IN THE TIME OF THE ASSASSINS: MARTYRED POETS, WRITERS, AND SINGERS by Henry Rasof The focus of this article is simple: writers and singers assassinated by their government—usually a dictatorship—or killed during a massacre. A small selection of victims, whom I think of as martyrs, will be discussed briefly, followed by basic information about one or two of their creative works and links to a few relevant web sites. I will not be doing any sort of analysis or comparative discussion. Just getting the basic facts is challenging enough. In one of the rooms of my house is a room with several shelves of books, CDs, and memorabilia dedicated to these martyrs. PERSIAN SUFI WRITER: Attar of Nishapur Abū Hamīd bin Abū Bakr Ibrāhīm, better known as Farid ud-Din Attar or Attar of Nishapur, was the Persian author of the Sufi (Islamic mystical) classic The Conference of the Birds (English title), dated 1177. The characters in the book are different types of birds. Attar died in a Mongol massacre in Nishapur in about 1221, when he was in his 70s. Dates and numbers vary with the sources. *Attar, The Conference of the Birds, trans. Sholeh Wolpé. New York and London: W.W. Norton, 2017. *http://www.poetry-chaikhana.com/Poets/A/AttarFaridud/index.html. *https://www.worldliteraturetoday.org/blog/cultural-cross-sections/attar-sufi-poet-and-master-rumi- sholeh-wolpe. PAKISTANI SUFI SINGER: Sage-E-Miran Qari Saeed Mohammed Chishti Qawwal Sage-E-Miran Qari Saeed Mohammed Chishti Qawwal was a well-known Pakistani singer of Sufi songs—qawwali.
    [Show full text]
  • 43E Festival International Du Film De La Rochelle Du 26 Juin Au 5 Juillet 2015 Le Puzzle Des Cinémas Du Monde
    43e Festival International du Film de La Rochelle du 26 juin au 5 juillet 2015 LE PUZZLE DES CINÉMAS DU MONDE Une fois de plus nous revient l’impossible tâche de synthétiser une édition multiforme, tant par le nombre de films présentés que par les contextes dans lesquels ils ont été conçus. Nous ne pouvons nous résoudre à en sélectionner beaucoup moins, ce n’est pas faute d’essayer, et de toutes manières, un contexte économique plutôt inquiétant nous y contraint ; mais qu’une ou plusieurs pièces essentielles viennent à manquer au puzzle mental dont nous tentons, à l’année, de joindre les pièces irrégulières, et le Festival nous paraîtrait bancal. Finalement, ce qui rassemble tous ces films, qu’ils soient encore matériels ou virtuels (50/50), c’est nous, sélectionneuses au long cours. Nous souhaitons proposer aux spectateurs un panorama généreux de la chose filmique, cohérent, harmonieux, digne, sincère, quoique, la sincérité… Ambitieux aussi car nous aimons plus que tout les cinéastes qui prennent des risques et notre devise secrète pourrait bien être : mieux vaut un bon film raté qu’un mauvais film réussi. Et enfin, il nous plaît que les films se parlent, se rencontrent, s’éclairent les uns les autres et entrent en résonance dans l’esprit du festivalier. En 2015, nous avons procédé à un rééquilibrage géographique vers l’Asie, absente depuis plusieurs éditions de la programmation. Tout d’abord, avec le grand Hou Hsiao-hsien qui en est un digne représentant puisqu’il a tourné non seulement à Taïwan, son île natale mais aussi au Japon, à Hongkong et en Chine.
    [Show full text]
  • CAAM Spotlights the Survivors of Cambodia's Fall To
    FOR IMMEDIATE RELEASE Media contact: Larsen Associates at (415) 957-1205 or [email protected]. This is not the public information number. Please do not publish it. CAAM Spotlights the Survivors of Cambodia’s Fall to the Khmer Rouge SAN FRANCISCO, Feb. 12, 2015 — The Center for Asian American Media (CAAM) is mindful of the moments that define Asian and Asian American history and as the 40th anniversary of Cambodia’s fall to the Khmer Rouge approaches, CAAMFest is honored to present a collection of stories from this tragic period. Through the eyes of Dr. Haing S. Ngor, Kuoy Loch and a number of Cambodian musicians, their tales of survival and resiliency resonate throughout this year’s powerful Cambodian selections. Part of the Spotlight feature on acclaimed filmmaker Arthur Dong, CAAMFest presents the world premiere of Dong’s new documentary THE KILLING FIELDS OF DR. HAING S. NGOR. THE KILLING FIELDS OF DR. HAING S. NGOR chronicles the years encapsulating the Khmer Rouge’s tyrannical rule over Cambodia as seen through the eyes of Dr. Haing S. Ngor, who escaped to America and recreated his eXperiences in the film THE KILLING FIELDS, for which he won an Oscar®. Winner of the Golden Gate Award for Best Bay Area Documentary, local San Francisco director Sara Dosa showcases THE LAST SEASON, a poetic film about a Cambodian freedom fighter, Kuoy Loch, and his friendship with an ailing Vietnam veteran and his wife. Sharing their eXperiences of war in Southeast Asia, the three form a new family in their search for the rare matsutake mushroom.
    [Show full text]
  • Samlaut Uprising Might Be Repeated As Peasants Faced Land Confiscations Place
    More Create Blog Sign In Please read more Khmer news and listen to CNRP Radio at National Rescue Party. /Khmer Post Radio. Follow Khmerization on Facebook/ Facebook: https://www.facebook.com/khmerization.khmerican MONDAY, 3 AUGUST 2009 WELCOME MESSAGE Welcome! You have come to the right Samlaut Uprising might be repeated as peasants faced land confiscations place. Khmerization is a home to the Cambodian daily news, which is Samlaut residents showing Radio Free Asia reporter the lands in dispute. updated twice daily. Please take a tour and enjoy yourself. Thank you. Source: Radio Free Asia To contact Khmerization please send an email to: [email protected] Reported in English by Khmerization . Sources from Samlaut on 30th July said that many Samluat peasants in western parts of Battambang province are facing losing thousands of hectares of their lands to a private development company. FOLLOW KHMERIZATION BY EMAIL Sources said a private company, Rath Sambath, is planning to develop on 5,200 hectares of farm lands the peasants Email address... Submit claimed they owned since the Khmer Rouge still control the areas in the 1980s and 1990s. One peasant said: "At that time, Cambodia was still at civil war, we have not achieved peace yet. But after 1993, after the VISITORS ONLINE peace talks (between the government and the Khmer Rouge), we came to clear the lands, some were killed, some have their limbs blown off (by landmines) in these areas." According to the map of the Rath Sambath concessionaires, it was indicated that in 2002 the 5,200 hectares of lands were areas covered with thick forests.
    [Show full text]
  • LION 113 V-A Groove Club 3
    SIDE A 1. Crazy Loving You — Thra Kha Band 2. Chnam Oun 31 (I'm 31) — Pan Ron 3. Gunya Rouh Sroh (Miss Beautiful) — Ros Sereysothea 4. Pros Reang Yeh Yeh — Pan Ron SIDE B 5. Nek Na Min Rom (Who Isn't Dancing?) — Houy Meas & Dara Chom Chan 6. Sra Mouy Keo (Glass of Wine) — Ros Sereysothea 7. Tonsai Mok Pi Na — Pan Ron 8. Prous Teh Oun (Because of You) — Sinn Sisamouth 9. Onguyng Keuy Bey — Sinn Sisamouth & Girls SIDE C 10. Jah Jou Aem (Old Sour and Sweet) — Ros Sereysothea 11. Kchol Kdot Tirk Jonn ((Cool Water Falling) — Sinn Sisamouth 12. Jom Nor Trocheak — Pan Ron 13. Kairch Har Cut Stung (Bowl Flies Across the Creek) — Ros Sereysothea SIDE D 14. Berk Tvea Auy Bong — Im Songserm & Houy Meas 15. Oun Jong Prolung Saravan — Thra Ka Band featuring Keo Sokha 16. Tirk Ho (Water Flow) — Pov Vannary 17. Kom Nirk Oun Euy (Don't Miss Me Baby) — Ros Sereysothea 18. Sora — Yos Alarong Recorded in raw, bare bones conditions, mostly live and with traditional Cambodian instruments finding their place alongside found keyboards or guitars, the music of the Khmer rock musicians transformed the nightlife of the Cambodian capital, Phnom Penh — and many years later seduced countless listeners around the world with their groovy sound. The rise to power of the anti-Western, fanatical Khmer Rouge in 1975 caused drastic and permanent changes for Cambodia. These years saw social upheaval in the form of massive famines, selective executions and a brutal campaign of genocide responsible for the deaths of an estimated two million Cambodians, many in the notorious “killing fields.” Even the most famous and beloved Khmer musicians could not escape.
    [Show full text]
  • T Think I've Forgotten' Director John Pirozzi Talks Cambodian Rock and Roll Film
    'Don't Think I've Forgotten' director John Pirozzi talks Cambodian rock and roll film May 5, 2015 By RAFER GUZMÁN [email protected] John Pirozzi, the filmmaker behind the acclaimed documentary, "Don't Think I've Forgotten," about the lost history of Cambodian rock and roll. Photo Credit: Nick Hahn It wasn't just London that was swinging in the 1960s, according to the new documentary "Don't Think I've Forgotten: Cambodia's Lost Rock and Roll." Directed by John Pirozzi, the film paints a picture of Cambodia's capital, Phnom Penh, as a vibrant city teeming with garage bands and rebellious rockers -- until the Khmer Rouge took over in 1975. In just a few years, the regime wiped out nearly 2 million Cambodians and almost all evidence of the country's once- flourishing music scene. Pirozzi pieced it back together by tracking down old albums, rare footage and surviving musicians; the movie ultimately took him 10 years to make. He'll show it in person Wednesday night at Huntington's Cinema Arts Centre. (It is also playing at Sag Harbor Cinema.) Pirozzi sat last week to discuss his labor of love. How did you discover this music? I'd always been fascinated by modern Cambodian history. I worked as a camera operator on "City of Ghosts," the film Matt Dillon directed about Cambodia, in 2001. I remember shooting a scene with [James] Caan, who was supposed to be singing a Cambodian song, lip-synching. I thought: "What is this weird music?" When I got back here, a friend of mine sent me a compilation, "Cambodian Rocks." When I heard the music, I thought: This is a way to tell the history.
    [Show full text]
  • The Oregon Shakespeare Festival Production Of
    The Artistic Director’s Circle Season Sponsors Gail & Ralph Bryan Una K. Davis Brian & Silvija Devine Joan & Irwin Jacobs Sheri L. Jamieson Frank Marshall & Kathy Kennedy Becky Moores Jordan Ressler Charitable Fund of the The William Hall Tippett and Ruth Rathell Tippett Foundation, Jewish Community Foundation David C. Copley Foundation, Mandell Weiss Charitable Trust, Gary & Marlene Cohen, The Rich Family Foundation The Dow Divas, Foster Family Fund of the Jewish Community Foundation, The Fredman Family, Wendy Gillespie & Karen Tanz, Lynn Gorguze & The Honorable Dr. Seuss Fund at The San Diego Scott Peters, Kay & Bill Gurtin, Debby & Hal Jacobs, Lynelle & William Lynch, Foundation and Molli Wagner Steven Strauss & Lise Wilson THE OREGON SHAKESPEARE FESTIVAL PRODUCTION OF PRODUCTION SPONSORS Una K. Davis Brian & Silvija Devine The Paula Marie Black Endowment for Women’s Voices in the Art of Theatre Dear Friends, LA JOLLA PLAYHOUSE PRESENTS Christopher Ashley Debby Buchholz Like many of you, just the mere The Rich Family Artistic Director of La Jolla Playhouse Managing Director of La Jolla Playhouse snippet of a song can instantly and viscerally transport me back to a THE OREGON SHAKESPEARE FESTIVAL PRODUCTION OF particular moment of my life. I can’t MISSION STATEMENT: hear the opening phrase of Bob Dylan’s “Tangled Up in Blue” without La Jolla Playhouse advances remembering road trips spent in the theatre as an art form and as a vital backseat of my family’s Oldsmobile Vista Cruiser, listening social, moral and political platform to our eight track tape player. Such is the power of music to by providing unfettered creative intertwine with our personal histories.
    [Show full text]
  • Popular Songs, Melodies from the Dead: Moving Beyond Historicism with the Buddhist Ethics and Aesthetics of Pin Peat and Cambodian Hip Hop
    religions Article Popular Songs, Melodies from the Dead: Moving beyond Historicism with the Buddhist Ethics and Aesthetics of Pin Peat and Cambodian Hip Hop Jeffrey Dyer Department of Musicology and Ethnomusicology, Boston University, Boston, MA 02215, USA; [email protected] Received: 1 October 2020; Accepted: 9 November 2020; Published: 22 November 2020 Abstract: This article illustrates how the aesthetics of two types of Cambodian music—pin peat and Cambodian hip hop—enact Cambodian–Buddhist ethics and function as ritual practices through musicians’ recollections of deceased teachers’ musical legacies. Noting how prevalent historicist and secular epistemologies isolate Cambodian and, more broadly, Southeast Asian musical aesthetics from their ethical and ritual functions, I propose that analyses focusing on Buddhist ethics more closely translate the moral, religious, and ontological aspects inherent in playing and listening to Cambodian music. I detail how Cambodian musicians’ widespread practices of quoting deceased teachers’ variations, repurposing old musical styles, and reiterating the melodies and rhythms played by artistic ancestors have the potential to function as Buddhist rituals, whether those aesthetic and stylistic features surface in pin peat songs or in hip hop. Those aesthetic practices entail a modality of being historical that partially connects with but exceeds historicism’s approach to Buddhism, temporality, and history by enacting relations of mutual care that bring the living and dead to be ontologically coeval. Such relational practices bring me to conclude with a brief discussion rethinking what post-genocide remembrance sounds like and feels like. Keywords: popular music; efficacy; musical aesthetics; historicism; Buddhist ethics; ontologies of living–dead relations; post-genocide remembrance 1.
    [Show full text]
  • FDW 7708 EDAN & TOM FITZGERALD Edan's Echo Party
    As if it were possible, Edan adds even further color to his newest release, Echo Party, with Edan’s Echo Party Movie, an energetic visual expression of his music. Produced/directed by Tom Fitzger- ald, Cut Chemist’s go-to video man who works also for Cinefamily in L.A., Edan’s Echo Party Movie is a fast-paced, retro conglomeration of unrelated and interesting video clips from the 60's, 70’s and 80’s that prove to be like a Sour Patch Kid for the eye. Cut in perfect harmony with Edan’s music, the movie is an ideal synch for Echo Party’s multi-elemental vibe where, using Traffic’s extensive back catalogue of old school hip-hop, Edan mixes, reworks, and adds layers of his own instrumentation to create an eclectic blend of psychedlia and beats. The movie cuts in and out of old Indian/Bollywood films, spray painting graffiti artists, children operating computers, vintage ads, risqué cartoons, and everything in between. Set to debut officially at the WFMU Record Fair this October, Edan’s Echo Party Movie is a trip you don’t want to miss. Like the LP, each DVD cover is hand-stamped by the artist himself in one of five unique designs adding further to the artistic flair that could only be Edan's. Offered exclusively from the good folks here at Five Day Weekend, Edan’s Echo Party Movie is a piece of musical artistry that should grace every music lover’s collection. ORDER CUT OFF DATE FOR THIS ITEM: OCT 19th Format: DVD (Region Free) Cat.
    [Show full text]
  • 1 Gendered Modernity in Cambodia: the Rise of Women in the Music
    Gendered Modernity in Cambodia: The Rise of Women in the Music Industry LinDa Saphan, Ph.D Assistant Professor of Sociology College of Mount Saint Vincent, New York, New York Abstract Cambodian popular music from 1950 on is closely linked to the social and political situation of the times. In the second half of the 20th century Cambodia went through many radical political changes in a very short period of time. Those changes are reflected in the changing nature and role of popular music and rock and roll in Cambodia. Modernity in Cambodia was seen as both Western and the prerogative of men (Berman 1988). But in the 1960s women took center stage in Cambodian popular music, displaying a new type of womanhood and creating their own path to modernity. Thus the music of the prewar era sheds light on the Cambodian process of modernization, as well as the changing role for modern Khmer women. This article will highlight two women who were among the most revered and remain popular icons in Cambodia today: Ros Serey Sothea and Pen Ran. In these two women we find two divergent ways of articulating modernity, the first more hegemonic, traditional, and idealized; the second a new conception of womanhood, influenced by notions of modernity adapted from the West. They each in their own way maneuvered their identity as modern women and reinterpreted the prevailing notion of Khmer womanhood. 1 Introduction In the second half of the twentieth century Cambodia went through many political and social changes in a short period of time. The country had been under the French Protectorate, established in 1867 to protect Cambodia from invasion by Thailand (then called Siam), for almost a century.
    [Show full text]
  • Xango Music Distribution Release #13 – 2016 Pagina | 1
    Xango Music local music from all over the world Office: Singelstraat 1, 3513 BL Utrecht, NL www.xmd.nl - [email protected] - +31 6 50 999 123 Warehouse: Berenkoog 53 C, 1822 BN, Alkmaar (NL) e: [email protected] t: +31 (0)72 - 567 3030 NEW RELEASES NR. 13 – 2016 OUT NOW! Afro-Haitian Experimental Orchestra: Afro-Haitian Experimental Orchestra GBCD 35 / 4030433603529 / label: Glitterbeat / format: CD / Africa/Haiti – Voodoo Afro-Haitian Experimental Orchestra: Afro-Haitian Experimental Orchestra GBLP 35 / 4030433603512 / label: Glitterbeat / format: LP / Africa/Haiti – Voodoo Seven-and-a-half thousand kilometers of cold ocean separate West Africa from Haiti. But music can cover that distance in a heartbeat, crossing the Atlantic to reunite the rhythms and religion of people torn from their homes to be sold into slavery on the Caribbean island. And on its self-titled album, the Afro-Haitian Experimental Orchestra honours those ghosts of the past even as it walks steadfastly and hopefully into the future. Featuring: Tony Allen, Erol Josué & Sanba Zao. Listen to ‘Bade Zile’. Pascuala Ilabaca y Fauna: Rey Loj BROWNIE 26 / 8436530129935 / label: Petit Indie / format: CD / Chile – Popular Accordion-wielding Chilean songstress Pascuala Ilabaca is a true hidden gem. A favourite on the new scene of young Chilean singer-songwriters, her music is rooted in traditional sounds but effortlessly integrates shades of jazz, pop and rock, and influences gathered in such distant places as India or Mexico. Accompanied by her formidable band Fauna, her unique stage presence conjures up sweetness and empowerment at the same time, setting her songs alive with both fragility and verve.
    [Show full text]
  • Don't Think I've Forgotten: Cambodia's Lost Rock and Roll
    PRESENTS DON’T THINK I’VE FORGOTTEN: CAMBODIA’S LOST ROCK AND ROLL Directed by John Pirozzi, USA/Cambodia, 2014, 106 minutes, In English, Khmer, and French with English Subtitles Bookings & Press: Jim Browne Argot Pictures 646-732-3725 [email protected] DON’T THINK I’VE FORGOTTEN: CAMBODIA’S LOST ROCK AND ROLL Through the eyes, words and songs of its popular music stars of the 50’s, 60’s, and 70’s, DON’T THINK I’VE FORGOTTEN: CAMBODIA’S LOST ROCK AND ROLL examines and unravels Cambodia’s tragic past. Combining interviews with surviving musicians and never-before-seen archival material and rare songs, the film tracks the winding course of Cambodian music as it morphs into a unique style of rock and roll. A vibrant musical culture that was nearly lost forever under the brutal Khmer Rouge regime is revived and celebrated. ABOUT THE FILM: During the 60’s and early 70’s, as the war in Vietnam threatened its borders, a new music scene emerged in Cambodia that took Western rock and roll and stood it on its head – creating a sound like no other. Cambodian musicians crafted this sound from the various rock music styles sweeping America, England, and France, adding the unique melodies and hypnotic rhythms of their traditional mu- sic. The beautiful singing of their renowned female vocalists became the final touch that made this mix so enticing. But as Cambodian society - young creative musicians in particular - embraced western culture and flourished under its influence, the rest of the country was rapidly moving to war.
    [Show full text]