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Lotus Infuses Downtown Bloomington with Global
FOR MORE INFORMATION: [email protected] || 812-336-6599 || lotusfest.org FOR IMMEDIATE RELEASE: 8/26/2016 LOTUS INFUSES DOWNTOWN BLOOMINGTON WITH GLOBAL MUSIC Over 30 international artists come together in Bloomington, Indiana, for the 23rd annual Lotus World Music & Arts Festival. – COMPLETE EVENT DETAILS – Bloomington, Indiana: The Lotus World Music & Arts Festival returns to Bloomington, Indiana, September 15-18. Over 30 international artists from six continents and 20 countries take the stage in eight downtown venues including boisterous, pavement-quaking, outdoor dance tents, contemplative church venues, and historic theaters. Representing countries from A (Argentina) to Z (Zimbabwe), when Lotus performers come together for the four-day festival, Bloomington’s streets fill with palpable energy and an eclectic blend of global sound and spectacle. Through music, dance, art, and food, Lotus embraces and celebrates cultural diversity. The 2016 Lotus World Music & Arts Festival lineup includes artists from as far away as Finland, Sudan, Ghana, Lithuania, Mongolia, Ireland, Columbia, Sweden, India, and Israel….to as nearby as Virginia, Vermont, and Indiana. Music genres vary from traditional and folk, to electronic dance music, hip- hop-inflected swing, reggae, tamburitza, African retro-pop, and several uniquely branded fusions. Though US music fans may not yet recognize many names from the Lotus lineup, Lotus is known for helping to debut world artists into the US scene. Many 2016 Lotus artists have recently been recognized in both -
Com.Stampa GOGOL BORDELLO @ Meeting Del Mare 2014
COMUNICATO STAMPA Si terrà dal 30 maggio all’1 giugno a Marina di Camerota (SA) la XVIII edizione del Meeting del Mare . Il festival ideato e diretto da don Gianni Citro , nato nel 1997, nel corso di questi anni ha ospitato grandi nomi della musica italiana: Vinicio Capossela, Franco Battiato, Piero Pelù, Subsonica, Caparezza, Afterhours, Elio e le storie tese, Morgan, Baustelle, Roy Paci, solo per citarne alcuni. Adesso, raggiunta la maggiore età, si regala una band internazionale dal grande impatto live, molto amata in Italia. Saranno infatti i GOGOL BORDELLO gli headliner della terza serata, in programma domenica 1 giugno al porto della cittadina cilentana (ingresso gratuito). Il travolgente combo gipsy-punk guidato da Eugene Hutz torna nel nostro paese per tre date – oltre al Meeting del Mare si esibiranno anche a Bologna (Rock in Idro, 31 maggio) e Milano (Carroponte, 4 giugno) – con il loro euforico show a seguito della pubblicazione dell’ultimo lavoro discografico “Pura Vida Conspiracy ”. Pubblicato lo scorso luglio per l’etichetta ATO Records/Casa Gogol Records, l’album è stato registrato in Texas ai Sonic Ranch Studio di El Paso e prodotto da Andrew Scheps . 12 tracce che seguono la scia dei precedenti lavori, su tutti “ Gypsy Punks: Underdog World Strike ” (2005, prodotto da Steve Albini ), “Super Taranta! ” (2007, prodotto da Victor Van Vugt ) e “ Trans- Continental Hustle ” (2010, prodotto da Rick Rubin ). Quello di Marina di Camerota si annuncia come uno concerto dirompente ed energico, tutto da ballare in riva al mare sulle note della patchanka musicale tipica di questa incredibile formazione e del suo carismatico leader. -
Eugene Hutz Interview
4 FEATURE FOLK ON THE EDGE As Gogol Bordello returns to Australia, singer Eugene Hutz warns a musical storm is coming, writes Jane Cornwell fter three decades in the rock busi- ness, Eugene Hutz knows how to make an entrance. I’m waiting in the mezzanine lounge of a west London hotel popular with music- Aians, nodding along to an 1980s chart hit sound- track, when the lanky, long-haired frontman suddenly appears at the top of the stairs, strum- ming a beat-up Cordoba acoustic and looking, as they say in Britain, the dog’s bollocks. He’s wearing a bomber jacket, a looped patterned scarf, a single gold hoop earring and a clutch of long gold necklaces; his tight black trousers have large white termites printed on them. His cheekbones are sharp, his eyes cobalt blue. His handlebar moustache curls at the corners. A man without a moustache is like a woman with one, goes an old Ukrainian saying that Hutz, who is Ukrainian, has confessed to making up. “Hallo,” he says in his thick Slavic-American accent, percussively slapping the body of his guitar, which is plastered in oval-shaped car stickers from Spain, Mexico, Britain, all over. “So it is you who will tell them we are coming.” Gogol Bordello was last in Australia in 2010 storytelling. With all the illegitimate hierarch- try blues, Brazilian carnival music and keening Eugene Hutz but the memories of the band’s frenzied, mosh- ical things going on in society all the time, this folk melodies from eastern Europe. Two female channels his pit-tastic shows linger on in the minds of those feeling of all-inclusiveness is very healing for backing vocalists will whoop and high-kick. -
The Balkans of the Balkans: the Meaning of Autobalkanism in Regional Popular Music
arts Article The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music Marija Dumni´cVilotijevi´c Institute of Musicology, Serbian Academy of Sciences and Arts, 11000 Belgrade, Serbia; [email protected] Received: 1 April 2020; Accepted: 1 June 2020; Published: 16 June 2020 Abstract: In this article, I discuss the use of the term “Balkan” in the regional popular music. In this context, Balkan popular music is contemporary popular folk music produced in the countries of the Balkans and intended for the Balkan markets (specifically, the people in the Western Balkans and diaspora communities). After the global success of “Balkan music” in the world music scene, this term influenced the cultures in the Balkans itself; however, interestingly, in the Balkans themselves “Balkan music” does not only refer to the musical characteristics of this genre—namely, it can also be applied music that derives from the genre of the “newly-composed folk music”, which is well known in the Western Balkans. The most important legacy of “Balkan” world music is the discourse on Balkan stereotypes, hence this article will reveal new aspects of autobalkanism in music. This research starts from several questions: where is “the Balkans” which is mentioned in these songs actually situated; what is the meaning of the term “Balkan” used for the audience from the Balkans; and, what are musical characteristics of the genre called trepfolk? Special focus will be on the post-Yugoslav market in the twenty-first century, with particular examples in Serbian language (as well as Bosnian and Croatian). Keywords: Balkan; popular folk music; trepfolk; autobalkanism 1. -
Simon Changer Oct 2019
SIMON CHANGER www.simonchanger.com | [email protected] | +44 7900 000 008 FILM|TELEVISION DEVS | FX Network Alex Garland| Ben Salisbury Music Editor The Witcher | Netflix Various | Giona Ostinelli | Sonya Belosouva Supr. Music Editor Dumbo | Disney Pictures Tim Burton | Danny Elfman Music Editor Chernobyl | HBO Johan Renck | Hildur Guðnadóttir Temp Music Editor Tomb Raider | MGM Roar Urthaug | Tom Holkenborg Music Editor Wonder Woman | Warner Bros Patty Jenkins | Rupert Gregson Wiliams Music Editor* King Arthur | Warner Bros. Guy Ritchie | Daniel Pemberton Music Editor* The Crown | Netflix Peter Morgan | Hans Zimmer | Rupert Gregson Williams Supr. Music Editor Mission Impossible 5 | Paramount Chris McQuarrie | Joe Kraemer Music Editor* Man From U.N.C.L.E. | Warner Bros. Guy Ritchie | Daniel Pemberton Music Editor Monuments Men | Sony Pictures George Clooney | Alexandre Desplat Music Editor Captain Philips | Sony Pictures Paul Greengrass | Henry Jackmann Music Editor The Dark Knight | Warner Bros. Chris Nolan | Hans Zimmer | Newton Howard Temp Music Editor Batman Begins | Warner Bros Chris Nolan | Hans Zimmer | Newton Howard Music Editor Troy | Warner Bros. Wolfgang Peterson | Gabriel Yared Temp Music Editor Kingdom of Heaven | 20th Century Fox Ridley Scott | Harry Gregson-Williams Music Prog Wallace & Gromit | DreamWorks Nick Park | Hans Zimmer | Julian Nott Music Editor* The Da Vinci Code | Sony Pictures Ron Howard | Hans Zimmer Music Editor Yardie | Studio Canal Idris Elba | Dickon Hinchlliffe Music Editor Patrick Melrose | Sky -
FOR IMMEDIATE RELEASE: August 25, 2016 Skirball Cultural Center
FOR IMMEDIATE RELEASE: August 25, 2016 Media Contacts: Laura B. Cohen, LC Media for the Skirball, (310) 867-3897, [email protected] David Monnich, LC Media for the Skirball, (210) 422-1764, [email protected] Mia Cariño, Skirball Cultural Center, (310) 440-4544, [email protected] Skirball Cultural Center presents Israeli folk electronic trio A-WA Sisters Tair, Liron, and Tagel Haim combine their magical voices and timeless Yemenite folk songs with modern electronic beats for an exhilarating live show “[A-WA] take the Arabic-language songs of their heritage and recast them for the 21st-century dance floor.”—NPR Sunday, September 25, 2016, 8:00 p.m. $25 Premium (mezzanine seating) | $18 General (standing room only) FREE parking Tickets available on site, online at skirball.org, or by phone at (877) SCC-4TIX Photo courtesy of the artist LOS ANGELES, CA—The Skirball Cultural Center presents a live performance by Israeli folk electronic trio A-WA on Sunday, September 25, at 8:00 p.m. A-WA (pronounced Ay-wa) is a band formed by three sisters who grew up in the small desert village of Shaharut in the southern Israeli Arava Valley. With enchanting voices and natural groove, the sisters combine Yemenite folk singing and electronic dance music. This past June, Rolling Stone named A-WA as one of the “10 New Artists You Need to Know.” The grandchildren of Yemenite Jews who immigrated to Israel in the late 1940s, A-WA takes a modern, dance-friendly approach to their ancestral folk music by blending it with hip-hop beats and catchy harmonies. -
Jamiesmithsmabon-20130131-18753
electronica coloured with the hip bass too prominent) but unlike Oi Va Voi, who Kathleen Maclnnes is inspired by the Velvet Underground, iill :f Mario Carib6 and a vintage Casio dropped almost all Lheir klezmer I i I r,lr fii Fr r i *l il q ,d.i i n tr l" i +li +r li while the opener, 'Mariloul owes a debt to :eyboard (borrowed from Teenage repertoire upon being signed to Virgin, Kathleen Maclnnes Recordings (50 mins) 90s garage rock. ranclub's singer Norman Blake) Klezmofobia keep ldezmer up front. *** The inspired cacophony uses distorted .'raditional tunes are given a fresh, lively Nussbaum has a pleasantly affecting voice, It's oll obout the voice vocals in a linguistic amalgam, grungy ,rakeover;'Lord Duneagle' is delivered although she tends to overdo the moans squeezebor, fuzzy guitars and banjo, 'ith a pounding dark funk whilst Asturias when staying silent and letting the echoey drums and disconcerting sound )art Two)'sees some bagpipe tunes from instrumentalists play would better suit a balances. A punk sensibility underlies orthern Spain flirt outrageously with song. But Kolerus plays some superb the delivery; considerable velocity and re mandolin of ex-Shooglenifty man Iain clarinet throughout and Sestii has laudable brevity - they pack 13 tracks into iacl-eod. recorded the ensemble beautifully, less than 36 mins. Musically, then,.the . Whilst the majority of the tracks allowing for plenty ofspace and whilst the album doesnt fully reach the Swiss trio is definitely heading for the city. e reinterpreLed trad tunes, Kennedy atmosphere. 1(arfzslzzlfr is a solid addition heights of her debut - there isnt a track Still, the mud of the Louisiana swamps herself to be a gifted writer and to the ongoing klezmer revival. -
Music Globally Protected Marks List (GPML) Music Brands & Music Artists
Music Globally Protected Marks List (GPML) Music Brands & Music Artists © 2012 - DotMusic Limited (.MUSIC™). All Rights Reserved. DotMusic reserves the right to modify this Document .This Document cannot be distributed, modified or reproduced in whole or in part without the prior expressed permission of DotMusic. 1 Disclaimer: This GPML Document is subject to change. Only artists exceeding 1 million units in sales of global digital and physical units are eligible for inclusion in the GPML. Brands are eligible if they are globally-recognized and have been mentioned in established music trade publications. Please provide DotMusic with evidence that such criteria is met at [email protected] if you would like your artist name of brand name to be included in the DotMusic GPML. GLOBALLY PROTECTED MARKS LIST (GPML) - MUSIC ARTISTS DOTMUSIC (.MUSIC) ? and the Mysterians 10 Years 10,000 Maniacs © 2012 - DotMusic Limited (.MUSIC™). All Rights Reserved. DotMusic reserves the right to modify this Document .This Document 10cc can not be distributed, modified or reproduced in whole or in part 12 Stones without the prior expressed permission of DotMusic. Visit 13th Floor Elevators www.music.us 1910 Fruitgum Co. 2 Unlimited Disclaimer: This GPML Document is subject to change. Only artists exceeding 1 million units in sales of global digital and physical units are eligible for inclusion in the GPML. 3 Doors Down Brands are eligible if they are globally-recognized and have been mentioned in 30 Seconds to Mars established music trade publications. Please -
4.30Pm Benya Krik Classic Silent Film with Live Music Composed by Robin Harris (USSR 1926 Dir
JMI A5 Music Flyer_Layout 1 16/09/2009 16:26 Page 1 Welcome to a World of Jewish Music Southbank Centre’s Purcell Room at Queen Elizabeth Hall Sunday 29 November 2009 This is the 5th year that the Jewish Music Institute has presented concerts featuring as- pects of the vast and diverse universe of Jewish music. Jews have lived in so many parts of the globe over the last two millennia and their music reflects the geography of the Jewish diaspora, the cross-currents of migration and the range and depth of Jewish imagination. This day is kindly sponsored by the Kobler and Shoresh Charitable Trusts The Jewish Music Institute informing, teaching, performing, inspiring The Jewish Music Institute (JMI) is the driving force for Jewish music in Britain and encom- passes the music of the Jewish people wherever they are and wherever they have been. Based at SOAS University of London, this unique organisation provides comprehensive re- sources for study, research, training and performance at all levels from primary school to post-graduate. JMI deals with Jewish music in all its diversity from the home to the syna- gogue and from the wedding canopy to the concert stage. It is a platform for new creativity from an ancient tradition and brings Jewish music into the mainstream British cultural life. JMI has a clear mission to preserve and develop the Jewish musical heritage for the benefit of present and future generations. Chairman Jonathan Metliss Deputy Chairman Jennifer Jankel Joint Presidents Lady Solti, Leopold de Rothschild CBE Vice Presidents -
The 50 Best Albums of 2017 | New York Music Daily
N E W Y O R K M U S I C D A I L Y A VIVID, CONSCIENTIOUS BROOKLYN PHOTOGRAPHER ABOUT ARCHIVES FAQS HOW NOT TO GET PRESS HERE HOW TO GET AROUND THIS SITE INDEX LINKS MOST POPULAR NEW YORK CITY LIVE MUSIC CALENDAR THE NEW YORK MUSIC DAILY PUBLICITY STUNT UPCOMING AT NEW YORK MUSIC DAILY Global Music With a New York Edge The 50 Best Albums of 2017 by delarue Scroll down for links to stream each of the albums here…except for the very newest one, which happens to be #1. The best and most relevant album of 2017 was Fukushima, by the Satoko Fujii Orchestra New York. This haunting, epic five-part suite is not a narrative of the grim events of March 11, 2011, but rather the Tokyo-born pianist/bandleader’s reflection on personal terror and horror in the wake of the worst nuclear disaster in world history. Fujii’s stock in trade is not political music. Her vast catalog – over eighty albums as a leader or co-leader since the 90s – encompasses everything from epic improvisational soundscapes, to dark, acerbic piano compositions, rainy-day Japanese-flavored jazz-folk and collaborations with a global cast of artists. This may be her greatest achievement to date, as lush and sweeping as it is anthemically tuneful. And as a response to greed- fueled attempts to cover up the deadly environmental damage caused by the meltdowns, it’s as savage as Shostakovich’s greatest symphonies or Charles Mingus’ political broadsides. It’s not streaming anywhere at present (end of December 2017), but it’s just out and available from Fujii’s Libra Records. -
Womadelaide 1992 – 2016 Artists Listed by Year/Festival
WOMADELAIDE 1992 – 2016 ARTISTS LISTED BY YEAR/FESTIVAL 2016 47SOUL (Palestine/Syria/Jordan) Ainslie Wills (Australia) Ajak Kwai (Sudan/Australia) All Our Exes Live in Texas (Australia) Alpine (Australia) Alsarah & the Nubatones (Sudan/USA) Angelique Kidjo (Benin) & the Adelaide Symphony Orchestra (Australia) APY Choir (Australia) Asha Bhosle (India) Asian Dub Foundation (UK) Australian Dance Theatre “The Beginning of Nature” (Australia) Calexico (USA) Cedric Burnside Project (USA) DakhaBrakha (Ukraine) Datakae – Electrolounge (Australia) De La Soul (USA) Debashish Bhattacharya (India) Diego el Cigala (Spain) Djuki Mala (Australia) Edmar Castañeda Trio (Colombia/USA) Eska (UK) – one show with Adelaide [big] String Ester Rada (Ethiopia/Israel) Hazmat Modine (USA) Husky (Australia) Ibeyi (Cuba/France) John Grant (USA) Kev Carmody (Australia) Ladysmith Black Mambazo (South Africa) Mahsa & Marjan Vahdat (Iran) Marcellus Pittman - DJ (USA) Marlon Williams & the Yarra Benders (NZ/Australia) Miles Cleret - DJ (UK) Mojo Juju (Australia) Mortisville vs The Chief – Electrolounge (Australia) Mountain Mocha Kilimanjaro (Japan) NO ZU (Australia) Orange Blossom (France/Egypt) Osunlade - DJ (USA) Problems - Electrolounge (Australia) Quarter Street (Australia) Radical Son (Tonga/Australia) Ripley (Australia) Sadar Bahar - DJ (USA) Sampa the Great (Zambia/Australia) Sarah Blasko (Australia) Savina Yannatou & Primavera en Salonico (Greece) Seun Kuti & Egypt 80 (Nigeria) Songhoy Blues (Mali) Spiro (UK) St Germain (France) Surahn (Australia) Tek Tek Ensemble -
PERSEPHONE a Musical Allegory for the Stage by David Hoffman
PERSEPHONE A Musical Allegory for the Stage By David Hoffman In Concert Performance www.PersephoneOnStage.com July 21, 2010 The Great Room The Alliance of Resident Theaters South Oxford Space This particular story was so important to all of those ancient Greek and Roman dumbbells of whom Ms. Wafers was so dismissive, that they made it the centerpiece, the very gospel, of their most important religious ceremonies – the Mysteries of Demeter at Eleusis – which were held outside of Athens for at least 2,000 years. The initiates at these ceremonies, who included every important classical philosopher, artist, and playwright, and every Roman Emperor until the rise of Christianity, were taught this story, and used it to guide them to a secret truth that they thought to be crucial to their successful entry into the afterlife. What, exactly, this secret was has remained secret (a fact that, itself, is remarkable considering the prolific literary output of those 2,000 years of initiates), but there are layers of importance, and of metaphor in the story that we can find without too much digging. One comes when we analyze Persephone’s motivations: why does she eat the damned pomegranate (literally, the pomegranate of the damned) in the first place? All the retellings of this story suggest that it is that conscious decision, not her initial abduction, that ties her forever to the world of the dead. She chooses to be there, for at least part of the year – to be the wife of this awful god who has abducted her. His approach was god-awful, for sure, but he is the second most powerful person in the universe, and he sees her not as a little girl but as his queen.