Aisha Orazbayeva is London-based violinist who originally hails from Kazakhstan. She has become a new favorite master of the instrument who easily balances a mastery of avant-garde contemporary music (think of compositions by Luciano Berio and Morton Feldman) and the sumptuous compositions of Georg Philipp Telemann, whose works were the bridge way from the Baroque Era into the Classical Era.
#johnnycash from #riverofcountry
Casi 15 años después de la muerte del Hombre de Negro, seguimos recibiendo perlas de Johnny Cash gracias al afán recopilatorio de su hijo, John Carter Cash, que esta vez ha contado con la colaboración del productor Steve Berkowitz.
Como continuación del libro de poemas inédito Forever Words: The Unknown Poems, que vio la luz en 2016 en Estados Unidos –y en España con el título Eternas Palabras: Los poemas inéditos (aquí podéis ver la correspondiente entrada)–, llega ahora un álbum que pone música a dichos poemas: Forever Words, de casi una hora de duración, y en el mercado desde el pasado 6 de abril.
Los responsables de poner música al proyecto han sido primeros espadas de la industria musical: Willie Nelson, Kris Kristofferson, Kacey Musgraves, Brad Paisley, Alison Krauss o Jamey Johnson, entre otros. A la iniciativa también se han sumado miembros de su familia…
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“Blue Ridge Mountain Blues”, backed with “Have Thine Own Way, Lord”, was the first single John Fogerty released as The Blue Ridge Rangers. The song was recorded at Fantasy Studios in Berkeley and engineered by Skip Shimmin and Russ Gary. Fogerty plays all the instruments by himself. The 45 rpm single was released in October 1972 and didn’t chart.
In the course of history, the traditional bluegrass song has been recorded by multiple artists. Fogerty’s version was based on J.E. Mainer’s rendition released in 1950, the album having been owned by Fogerty.
In 1973 Fogerty described his reactions to Mainer’s version: “It triggered off all those things – the Blue Ridge harmony when the chorus comes in, the bass drum going “boom, boom, boom” it just set me right up, reminded me a bit of “Waterloo” the Stonewall Jackson thing, where the bass drum came in that way. And so, I think with that song, the whole focus of that area of music finally crystallised in my mind, instead of just being something I liked and something that “someday I’ll take care of it,” you know, that sort of thing, it suddenly came to the fore. I listened to the Mainer record over and over, arranging it in my head, probably without realising it, but just going, as every artist does, “well they ought to have a (click) and they should have done (click) there…” — and so “Blue Ridge Mountain Blues”, became kind of my own personal little national anthem or something. It’s one of my favourite songs of all kinds of music – it’s one that I rate in my own top 10.”
The song opens The Blue Ridge Rangers album because it’s a centre of many things. The original title “Blue Rangers”, referring to the pre-Creedence band Blue Velvets, was replaced by “The Blue Ridge Rangers” after “Blue Ridge Mountain Blues” was added to the song line-up. The concept of the album crystallized in Fogerty’s mind during the tour in Japan and Oceania in February 1972.
The single was released with different cover sleeves in Germany, Netherlands, and Portugal. The US release had no picture sleeve.
The Portuguese pressing had a photo of Doug Clifford on the back of the picture sleeve. (Peter Koers, Green River: An Illustrated Discography, 1999).
The three man Creedence Clearwater Revival, i.e. post Tom Fogerty’s departure, played “Blue Ridge Mountain Blues” live in jam sessions in hotels on the last two tours in Japan and Oceania in winter 1972 and in the USA in April-May 1972. On those occasions, the band performed under the pseudonym, Shit Kicker 3.
John Fogerty delivered the song live in a local dance at Troy Inn in Troy, OR, in November 1987. The large audience heard the live version for the first time in venues of the John Fogerty summer tour in 2004. The debut took place in Saratoga, California, on June 25th.
The bluegrass song made a return to the set list in Santa Barbara, California, on May 4th 2008, and was played regularly in the summer 2008 concerts the fiddle parts being handled by session man Jason Mowery.
“Blue Ridge Mountain Blues” appears on the 2009 live DVD Comin’ Down the Road which John Fogerty recorded at Royal Albert Hall, London, UK, in June 2008. He also performed the song at Austin City Limits in Zilker Park, Austin, Texas, in 2008. The show was later broadcast by PBS TV.
“”Blue Ridge Mountain Blues” is a sort of country standard that John says he took from the J.E. Mainer version, although he added the resounding bass drum work. It’s a perfect theme song for this kind of album, very specific in lyric, but very general in overtones.”
“Compared to metal and mosaic icons, the painted wooden icon is perhaps the longest lived subcategory of the Byzantine artistic medium of portable devotional icons. The earliest collection of wooden painted icons is found at St. Catherine Monastery in Sinai: some twenty-seven pieces dated to the sixth through seventh centuries. They are all painted in encaustic (pigment and wax) and tempera (pigment and egg yolk).
In terms of style, the portable icons follow the Late Antique commemorative portraits and imperial lavrata. Thematically, they employ scenes and figures from the Old and New Testaments. These icons were introduced into church as votive donations and remained in use for extra liturgical or individual devotional purposes.
During the tenth and eleventh centuries, when art was well linked to a more standardized liturgy, the portable icons begin to reflect the new trend by depicting various subjects of liturgical feasts. The liturgical appropriation of…
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We read that “science does all this by rejecting antirealism. In fact, the self does exist,” a Şerife Tekin writes on AEON. First off, the argument is not a philosophic one, but I understand that also those philosophers want to share their own opinion on basically everything. You can find it here: Self-evident .
The title of the writing is pretty hilarious for what aims to be an opinion on such a fundamental matter. She names her article “Self-evident”, contrary to the (NOT) recent opinion on what the self is, not, if it exist, as she writes. To her there is “such a thing as the self, and it is empirically (?) amenable to scientific investigation”, typical liberal prig and moralist way of speech.
Not a study, no culture. To explain her doctrine.
The second point is that what the author writes is dangerous, the mirror of the lack of basic culture, which today invades people, all educated to the single thought. I believe it had never happened before in history. She’s basically annoyed, why quoting Daniel Dennett, or Antonio Damasio, the neuroscientist whose not even mentioned, but the one who first studied, using the scientific method, the fundamental theory that revolutionized the concept of the self? From him (Damasio), the scientific community started countless works. Which are naturally much more complex, and therefore more understandable, when they became books, or simply articles. She mentions David Hume! Wow, she must be a professor! It’s impossible to get why… read for yourself, she thinks she can. Was she bored when writing “Self Evident.” I can only hope that few will read the writing by Şerife Tekin, and that many will want, at least, go deeper.
I pray for the young persons who would like to learn but, instead, are initiated to presumption, the steel chain in which the academic community wants to tight them up. Hypocrisy has brought very serious problems, but I am trustworthy. young minds are better.
60 years ago today (Monday), Bo Diddley held his second recording session at the recently opened Chess Records studio, 2120 S Michigan Ave. in Chicago, IL. (His first at 2120 had been the previous August). Among the tracks recorded were his instrumentals, “Bo’s Guitar” and “The Clock Strikes Twelve”, plus “Hush Your Mouth” and “Dearest Darling”, plus “Say Man”, a novelty street corner conversation on which Bo Diddley and Jerome Green traded good natured insults over an infectious shuffle rhythm. Released as a single in August 1959, “Say Man” climbed to #3 on the R&B chart and to #20 on the Hot 100. (Pic: The Dynamic Duo: Bo Diddley (rocket tail guitar) and Jerome Green (maracas) shaking it up on-stage with the Buddy Johnson Big Band, circa 1958.)