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Nusrat Fateh Ali Khan: a Sufi Music Master Revived
Nusrat Fateh Ali Khan: A Sufi Music Master Revived : NPR http://www.npr.org/templates/story/story.php?storyId=12201563 Generated by Foxit PDF Creator © Foxit Software http://www.foxitsoftware.com For evaluation only. NPR Home | News | Arts & Life | NPR Programs DONATE | NPR Shop | NPR Social Media | Login | Register SEARCH FIND A STATION Nusrat Fateh Ali Khan: A Sufi Music Master Revived by Anil Mundra Listen on All Things Considered add to playlist | download August 7, 2007 - Resurrecting the dead is nothing new in music. Remember Natalie Cole singing and dancing with her late father, Nat King Cole? The latest luminary to be revived is the Pakistani singer Nusrat Fateh Ali Khan. August 16 marks the tenth anniversary of his death. In his short life, Nusrat was the world's greatest singer of qawwali, a boisterous and passionate music of mystical Photo: Ishida Masataka Islam. He embraced western pop music, teaming up with Pakistani singer Nusrat Fateh Ali Khan Peter Gabriel and Eddie Vedder. Now, Nusrat returns with (1948-1997) was considered the finest qawwali singer of his generation. the help of Italian dub reggae producer Gaudi. Their new CD is called Dub Qawwali. SONGS FROM 'DUB QAWWALI' Gaudi is a veteran producer with 11 solo albums over the past two decades. He specializes in dub reggae, a style that Hear old Nusrat recordings dressed up in dub reggae beats by producer often reworks existing material, mixing booming bass and Gaudi. drums with electronic effects. 'Ena Akhiyan Noo' After dabbling in punk music, Gaudi began experimenting add with synthesizers, and was fully steeped in reggae when he first heard one of Nusrat Fateh Ali Khan's records in the 'Bethe Bethe Kese Kese' mid-1980s. -
The World's 500 Most Influential Muslims, 2021
PERSONS • OF THE YEAR • The Muslim500 THE WORLD’S 500 MOST INFLUENTIAL MUSLIMS • 2021 • B The Muslim500 THE WORLD’S 500 MOST INFLUENTIAL MUSLIMS • 2021 • i The Muslim 500: The World’s 500 Most Influential Chief Editor: Prof S Abdallah Schleifer Muslims, 2021 Editor: Dr Tarek Elgawhary ISBN: print: 978-9957-635-57-2 Managing Editor: Mr Aftab Ahmed e-book: 978-9957-635-56-5 Editorial Board: Dr Minwer Al-Meheid, Mr Moustafa Jordan National Library Elqabbany, and Ms Zeinab Asfour Deposit No: 2020/10/4503 Researchers: Lamya Al-Khraisha, Moustafa Elqabbany, © 2020 The Royal Islamic Strategic Studies Centre Zeinab Asfour, Noora Chahine, and M AbdulJaleal Nasreddin 20 Sa’ed Bino Road, Dabuq PO BOX 950361 Typeset by: Haji M AbdulJaleal Nasreddin Amman 11195, JORDAN www.rissc.jo All rights reserved. No part of this book may be repro- duced or utilised in any form or by any means, electronic or mechanic, including photocopying or recording or by any information storage and retrieval system, without the prior written permission of the publisher. Views expressed in The Muslim 500 do not necessarily reflect those of RISSC or its advisory board. Set in Garamond Premiere Pro Printed in The Hashemite Kingdom of Jordan Calligraphy used throughout the book provided courte- sy of www.FreeIslamicCalligraphy.com Title page Bismilla by Mothana Al-Obaydi MABDA • Contents • INTRODUCTION 1 Persons of the Year - 2021 5 A Selected Surveyof the Muslim World 7 COVID-19 Special Report: Covid-19 Comparing International Policy Effectiveness 25 THE HOUSE OF ISLAM 49 THE -
Introduction to Rock Music
Introduction to Rock Music Rock ‘n’ Roll Explodes! In the beginning… There is absolutely no Some Examples: agreement as to when Bill Haley Rock ‘n’ Roll began. Crazy Man Crazy Why? Explain…! The Dominoes Development over Sixty Minute Man time. Evolutionary process. Li’l Son Jackson Rockin’ and Rollin’ Definition: What do you define as Rock Wynonie Harris ‘n’ Roll. Good Rockin’ Rhythm and Tonight Blues? Musical Genre Sexual metaphor Cultural Diversity The Roots of Rock ‘n’ Roll •• R&B + C&W = R&R •• In addition to race, ethnicity, –– What is wrong with this musical culture, issues of class statement? and gender must be looked at. •• “The clichclichèè is that rock & roll •• Fully erupted into the was a melding of country music mainstream market in 1956. and blues, and if you are talking Had an “integration” type about Chuck Berry & Elvis phenomenon. The rock charts Presley, the description, though were more racially equal than at simplistic, does fit. But the any other time. black innerinner--citycity vocalvocal--groupgroup –– Much of early rock ‘n’ roll was sound…had little to do with based on predominantly either blues or country music in African American forms that their purer forms.” became more mainstream –– What does this mean? The Gender Game Early rock ‘n’ roll had a large effect on the success of women in the music industry? Why do you think that is? Only an average of 2 women in the top 25 records or songs each year. Rock ‘n’ Roll had a definite male sexuality at the beginning. Women did not sing, they were sung about. -
8 Can a Fujiyama Mama Be the Female Elvis?
8 CAN A FUJIYAMA MAMA BE THE FEMALE ELVIS? The wild, wild women of rockabilly David Sanjek I don't want a headstone for my grave. I want a fucking monument! (Jerry Lee Lewis) 1 You see, I was always a well-endowed girl, and the guys used to tell me that they didn't know how to fit a 42 into a 331!3. (Sun Records artist Barbara Pittman ) 2 Female artists just don't really sell. (Capital Records producer Ken Nelson) 3 In the opening scene of the 199 3 film True Romance (directed by Tony Scott from a script by Quentin Tarantino), Clarence Worly (Christian Slater) perches on a stool in an anonymous, rundown bar. Addressing his com ments to no one in particular, he soliloquises about 'the King'. Simply put, he asserts, in Jailhouse Rock (19 5 7), Elvis embodied everything that rocka billy is about. 'I mean', he states, 'he is rockabilly. Mean, surly, nasty, rude. In that movie he couldn't give a fuck about nothin' except rockin' and rollin' and livin' fast and dyin' young and leavin' a good lookin' corpse, you know.' As he continues, Clarence's admiration for Elvis transcends mere identification with the performer's public image. He adds, 'Man, Elvis looked good. Yeah, I ain't no fag, but Elvis, he was prettier than most women, most women.' He now acknowledges the presence on the barstool next to him of a blank-faced, blonde young woman. Unconcerned that his overheard thoughts might have disturbed her, he continues, 'I always said if I had to fuck a guy - had to if my life depended on it - I'd 137 DAVID SANJEK THE WILD,~ WOMEN OF ROCK~BILLY fuck Elvis.' The woman concurs with his desire to copulate with 'the and Roll; rockabilly, he writes, 'suggested a young white man celebrating King', but adds, 'Well, when he was alive, not now.' freedom, ready to do anything, go anywhere, pausing long enough for In the heyday of rockabilly, one imagines more than a few young men apologies and recriminations, but then hustling on towards the new'. -
Uncorrected Proof
18 Almodóvar ’ s Global Musical Marketplace Kathleen M. Vernon On December 11, 2007 Pedro Almodóvar convened a news conference at the Reina Sofía Museum in Madrid to celebrate the release of the double CD B.S.O. Almodóvar (Banda Sonora Original, original film score) during which he also announced the beginning of shooting for his seventeenth feature film, Los abrazos rotos / Broken Embraces (2009). Lest his audience fail to have noted the consistent imbrication of music and cinema, song and story in his body of work, the director called attention to this linkage in his words of introduction: “Las canciones en mis películas son parte esencial del guión . [T]ienen una función drámatica y narrativa, son tan descriptivas como los colores, la luz, los decorados, o los diálogos” (The songs in my films are an essential part of the script. They have a dramatic and narrative function; they are as descriptive as the use of color, lighting, scenery or dialogue) (Almodóvar 2007 ). Rather than attempting to illustrate the accuracy of these comments, the goal of this chapter is to explore the global contours of the texts and contexts of the larger Almodovarian creative universe, focusing less on the films themselves than on what we might call the Almodóvar discography. Thus the Almodóvar I propose to study is not the film director contemporary of a Lars von Trier, Quentin Tarantino or Gus Van Sant but instead the musician-producer- transcultural impresario whose fellow practitioners are Ry Cooder, Paul Simon and David Byrne or even Almodóvar ’ s own collaborator, Caetano Veloso. This model of the cultural entrepreneur also recalls the longstanding comparisons between Almodóvar and Andy Warhol, who in his multiple roles of “painter and sculptor, rock promoter, film producer, advertiser, starmaker and stargazer” is described by Juan A. -
{PDF EPUB} the Voice by Nat Kennedy Ten Songs to Celebrate the 100Th Anniversary of the Birth of Nat King Cole
Read Ebook {PDF EPUB} The Voice by Nat Kennedy Ten Songs to Celebrate the 100th Anniversary of the Birth of Nat King Cole. A century after the birth of Nat King Cole on March 17, 1919 in Montgomery, Alabama, his voice continues to caress some of the most velvety melodies of the post-war period. A crooner friend of Sinatra’s, his roots were deep in gospel, and he was a brilliant pianist before he distanced himself from jazz. A victim of the discrimination of the time, a supporter of John F. Kennedy and of the civil rights movement, his sentimental songs remained distanced from political considerations. Until he passed away at age forty-five, Nat King Cole contributed significantly to the Great American Songbook with an impressive and abundant repertoire, including ten of its most beautiful pages. “Sweet Lorraine” (1940) A standard by Cliff Burwell and Mitchell Parish released in 1928, “Sweet Lorraine” gained popularity in 1940 with the twenty-one-year-old singer’s version. Yet at the end of the 1930’s, Nat King Cole was mainly a pianist. He was touring the clubs with the King Cole Trio, an instrumental group comprised of Oscar Moore on guitar and Wesley Prince on double bass. Responding one evening to a customer’s request to hear his voice, Nat King Cole caused a sensation on “Sweet Lorraine,” to the point that it was decided he should record the song in a Hollywood studio. That was the beginning of his singing career. “Straighten Up & Fly Right” (1943) “Straighten Up & Fly Right” by Nat King Cole and Irving Mills became the King Cole Trio’s greatest success, occupying the top spot on the Harlem Hit Parade for ten – then a list based on the rotation of songs on jukeboxes. -
American Country Music of the Second Half of the Twentieth Century
PALACKÝ UNIVERSITY OLOMOUC FACULTY OF ARTS Department of English and American Studies Martin Hujčák AMERICAN COUNTRY MUSIC OF THE SECOND HALF OF THE TWENTIETH CENTURY Master thesis Supervisor: Mgr. Jiří Flajšar, Ph.D. Olomouc 2015 UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA Katedra anglistiky a amerikanistiky Martin Hujčák AMERICKÁ COUNTRY HUDBA DRUHÉ POLOVINY 20. STOLETÍ Diplomová práca Vedúci práce: Mgr. Jiří Flajšar, Ph.D. Olomouc 2015 Prehlásenie Prehlasujem, ţe som diplomovú prácu na tému: American country music of the second half of the twentieth century vypracoval samostatne pod odborným dohľadom vedúceho diplomovej práce a uviedol som všetky pouţité podklady a literatúru. V Olomouci dňa……. ….……….. Podpis ……………………… Ďakujem vedúcemu mojej diplomovej práce Mgr. Jiřímu Flajšarovi, Ph.D. za uţitočné rady a pripomienky. Ďalej pánu doktorovi ďakujem za podnetné diskusie a trpezlivosť pri odpovedaní mojich otázok. V Olomouci 2.12.2015 Martin Hujčák Contents: Introduction ....................................................................................... 8 1 Country music background ............................................................... 10 1.1 American Folk music ..................................................................... 10 1.2 Society and the birth of Folk music ................................................ 11 1.3 Western music ................................................................................ 13 1.4 The beginning of commercial development ................................... 14 1.5 The -
Women in Rockabilly Music: Lavern Baker and Janis Martin Stephanie P
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations August 2012 Sweet Nothings: Women in Rockabilly Music: LaVern Baker and Janis Martin Stephanie P. Lewin-Lane University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the African American Studies Commons, Music Commons, and the Women's Studies Commons Recommended Citation Lewin-Lane, Stephanie P., "Sweet Nothings: Women in Rockabilly Music: LaVern Baker and Janis Martin" (2012). Theses and Dissertations. 11. https://dc.uwm.edu/etd/11 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. SWEET NOTHINGS: WOMEN IN ROCKABILLY MUSIC LAVERN BAKER AND JANIS MARTIN by Stephanie Lewin-Lane A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music at The University of Wisconsin—Milwaukee August 2012 ABSTRACT SWEET NOTHINGS: WOMEN IN ROCKABILLY MUSIC LAVERN BAKER AND JANIS MARTIN by Stephanie Lewin-Lane The University of Wisconsin-Milwaukee, 2012 Under the Supervision of Dr. Gillian Rodger Rockabilly music is an exciting and vibrant style of early Rock and Roll that originated in the 1950s. With its aggressive beat and anti-establishment connotations, rockabilly is considered a widely male-dominated genre, a point supported by the majority of scholarship and literature on the subject. However, a review of available contemporary recordings, television shows, advertisements and interviews show that women were an integral part of the history of rockabilly music. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Corporealities of Feeling: Mexican Sentimiento and Gender Politics Permalink https://escholarship.org/uc/item/46g544zn Author Alvarado, Lorena Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Corporealities of Feeling: Mexican Sentimiento and Gender Politics A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Lorena Alvarado 2012 © Copyright by Lorena Alvarado 2012 ABSTRACT OF THE DISSERTATION Corporealities of Feeling: Mexican Sentimiento and Gender Politics by Lorena Alvarado Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2011 Professor Alicia Arrizón, co-chair Professor Susan Leigh Foster, co-chair This dissertation examines the cultural and political significance of sentimiento, the emotionally charged delivery of song in ranchera genre musical performance. Briefly stated, sentimiento entails a singer’s fervent portrayal of emotions, including heartache, yearning, and hope, a skillfully achieved depiction that incites extraordinary communication between artist and audience. Adopting a feminist perspective, my work is attentive to the elements of nationalism, gender and sexuality connected to the performance of sentimiento, especially considering the genre’s historic association with patriotism and hypermasculinity. I trace the logic that associates representations of feeling with nation-based pathology and feminine emotional excess and deposits this stigmatized surplus of affect onto the singing body, particularly that of the mexicana female singing body. In this context, sentimiento is represented in film, promotional material, and other mediating devices as a bodily inscription of personal and gendered tragedy, ii as the manifestation of exotic suffering, or as an ancestral and racial condition of melancholy. -
The Music of Donny Hathaway Everything Is Everything Donny Hathaway, 1970
SUMPTUOUS SOUL: THE MUSIC OF DONNY HATHAWAY EVERYTHING IS EVERYTHING DONNY HATHAWAY, 1970 Keisha Hicks A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2014 Committee: Angela Nelson, Advisor Rebecca Mancuso, Graduate Faculty Representative Ellen Berry Radhika Gajjala © 2014 Keisha Hicks All Rights Reserved iii ABSTRACT Angela Nelson, Advisor The song “This Christmas” by Donny Hathaway is played only once a year during the holiday season. His presence is so strong during the holidays for African Americans because he is one of the distinctive cultural markers of the season. The question at hand is why is he relegated to the Christmas season but what about the rest of the year. In 2010, National Public Radio (NPR) created the series 50 Great Voices as a way to expose NPR listeners to artists who were not at the forefront of public consciousness. On June 26, 2010 Donny Hathaway debuted as the “Neglected Heart of Soul” but does “neglected” hold up. I believe “neglected” becomes situational depending on who is doing the remembering. The objective of my dissertation is to locate Donny Hathaway as a central figure in 1970s Soul music, to understand his growing influence over contemporary artists, and his musical legacy. I used Stuart Hall’s “representation” as my overarching theoretical framework. I wanted a theory that would be fluid enough to be relevant in the different phases of Donny Hathaway’s musical career. By using representation I was able to identify and understand the musical influences on Donny Hathaway. -
CARNEGIE HALL ANNOUNCES 2018–2019 SEASON Migrations: The
CARNEGIE HALL ANNOUNCES 2018–2019 SEASON Migrations: The Making of America Citywide Carnegie Hall festival traces the worldwide journeys of people who helped shape and influence our American cultural heritage Debs Composer’s Chair: Chris Thile Composer, vocalist, and mandolin virtuoso leads season-long residency featuring songs written for his public radio show Live From Here , new music commissioned by Carnegie Hall, and performances with longtime collaborators including Nickel Creek and Punch Brothers Perspectives: Michael Tilson Thomas & Yuja Wang Conductor Michael Tilson Thomas curates seven-concert series including performances with the National Youth Orchestra of the USA, San Francisco Symphony, Vienna Philharmonic Orchestra, and New World Symphony Pianist Yuja Wang featured in five-concert series, including performances with Leonidas Kavakos, Gautier Capuçon, Martin Grubinger, Michael Tilson Thomas and the New World Symphony, and an evening of musical comedy with Igudesman & Joo Carnegie Hall’s Opening Night Gala 2018–2019 season kicks off on October 3 with celebratory Opening Night Gala concert with Michael Tilson Thomas and the San Francisco Symphony joined by vocalists Renée Fleming and Audra McDonald (For Immediate Release: January 25, 2018, NEW YORK )—Clive Gillinson, Executive and Artistic Director, today announced Carnegie Hall’s 2018–2019 season featuring approximately 170 performances by many of the world’s leading artists and ensembles in classical, pop, jazz, and world music, plus a broad range of innovative education -
Wanda Jackson Oklahoma’S Own Rackabilly Queen Has Had a Long and Respected Career in the Music Business
Wanda Jackson Oklahoma’s own rackabilly queen has had a long and respected career in the music business. Chapter 1 – 1:07 Introduction Announcer: Wanda Jackson was only halfway through high school when, in 1954, country singer Hank Thompson heard her on an Oklahoma City radio show and asked her to record with his band, the Brazos Valley Boys. By the end of the decade, Jackson had become one of America’s first major female country and rockabilly singers. Jackson was born in Maud, Oklahoma, but her father Tom—himself a country singer who quit because of the Depression—moved the family to California in 1941. He bought Wanda her first guitar two years later, gave her lessons and encouraged her to play piano as well. In addition, he took her to see such acts as Tex Williams, Spade Cooley and Bob Wills. The family moved back to Oklahoma City where, in 1952, Wanda won a local talent contest and was given a daily show on an Oklahoma City radio station which lasted throughout Jackson’s high school years. Wanda recorded several songs with the Brazos Valley Boys and her career was off and running. We thank the sponsors of this oral history website for making it possible for Wanda Jackson to tell her story on VoicesOfOklahoma.com. But before we hear Wanda tell her story, let’s listen to the song that helped launch her career, “Let’s Have a Party,” recorded by Elvis Presley for the movie Loving You. Wanda recorded the song in 1960 and it reached Number 37 on the Billboard Hot 100 in that year.