Showing posts with label music. Show all posts
Showing posts with label music. Show all posts

Saturday, January 19, 2008

Happy Birthday Catwoman


Well actually a belated happy birthday to the still sexy ultimate femme fatale of jazz Eartha Kitt, she turned 81 last Wednesday Jan. 17. The smoky sultry Kitt-en of pop jazz got a second career start when she starred as Catwoman in the campy Batman TV series replacing Julie Newmar in the role. Her infamous Kitt-en purr growl and sultry femme fatale role has not been matched, neither by Pfieffer nor Barrie.



And she still struts her stuff, I saw her last fall with the Edmonton Symphony Orchestra,
and it was an awesome show. She is still in great shape for her age, with legs to die for. As befits someone whose career began as a dancer. Once, Orson Welles referred to Kitt as the most exciting woman in the world.

And her infamous smoky growl was used to challenge the White House over the war in Viet Nam. And like the later ridicule faced by the Dixie Chicks over the Iraq war, Eartha faced the outrage of the American Right but unlike the white chicks, the attacks on her were tinged with predictable racism and sexism. So like other great Black American women artists and civil rights activists; Josephine Baker and Nina Simone, she went into exile in Paris.

1968 - Singer Eartha Kitt made headlines, as she got into a now-famous confrontation with Mrs. Lyndon B. Johnson -- wife of the President of the United States -- at a White House luncheon to discuss urban crime. Ms. Kitt told Lady Bird (the First Lady) that American youth were rebelling against the war in Vietnam, linking the crime rate with the war escalation. She had a lot to say and it definitely was not, C’est Si Bon.

In 1968, however, Kitt encountered a substantial professional setback after she made anti-war statements during a White House luncheon. It was falsely reported that she made First Lady Lady Bird Johnson cry uncontrollably when in fact, the First Lady replied very diplomatically. The public reaction to Kitt's statements were much more extreme, both for and against her statements. Professionally exiled from the U.S., she devoted her energies to overseas performances.

Her style of Jazz influenced was influenced by Paris as was that of here contemporary Blossom Dearie.
But unlike Carol Channing with her one hit wonder Diamonds Are A Girls Best Friend, Eartha has an astounding set of sultry sexy hits about being the femme fatale that gets the millionaire,that get played over and over again, on jazz stations as well as contemporary soft pop stations, especially of course the seasonal classic; Santa Baby.


Eartha Kitt "Old Fashioned Girl" & "Santa Baby"




SEE:

West Side Story


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Wednesday, October 31, 2007

Robert Goulet RIP

Robert Goulet, `Camelot' Star, Dapper Singer, Dead at Age 73

He was born in the U.S. but raised here in Edmonton. His official website is down due to the excess attempts to access it.

In spite of his stage fright, Goulet was encouraged by his parents to continue performing. When he was in his early teens, his recently widowed mother moved herself and her son from Girouxville, Alberta, to the provincial capital of Edmonton so that he could take advantage of the performance opportunities offered in the city. There, he attended the famous voice schools founded by Herbert G. Turner and Jean Letourneau, and later became a radio announcer for radio station CKUA. Upon graduating from high school, Goulet received a scholarship to Toronto's Royal Conservatory of Music. There, he studied voice with famed oratorio baritones, George Lambert and Ernesto Vinci.

And here is a wonderful 'cheesy' video of the Three Crooners.

Bobby Darin On Andy Williams Live With Robert Goulet






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Wednesday, October 24, 2007

Carmen



Went to the Edmonton Opera's presentation of Bizet's Modernist Opera; Carmen last night. It's one of my fav's. it's an opera that has all of my favorite themes; the rise of the proletariat who are cigarette factory girls, who smoked on stage, wanted to light one up in solidarity.

Carmen is a scarlet woman, a gypsy and a witch, she is an independent proto-feminist declaring her belief in free love. She is a threat to the patriarchal male and thus she must be destroyed. It was a social statement that still carries much meaning even today.

And it's an Opera that has more hit singles than the average rock n roll album.

The opera was premiered at the Opéra Comique of Paris on March 3, 1875. For a year after its premiere, it was considered a failure, denounced by critics as "immoral" and "superficial".

The story concerns the eponymous Carmen, a beautiful gypsy with a fiery temper. Free with her love, she woos the corporal Don José, an inexperienced soldier. Their relationship leads to his rejection of his former love, mutiny against his superior, turn to a criminal life, and ultimate jealous murder of Carmen. Although he is briefly happy with Carmen, he falls into madness when she turns from him to the bullfighter Escamillo.


Georges Bizet’s opera, Carmen, is one of the most beloved operas of all-time. It is a French opera with a libretto by Henry Meilhac and Ludovic Halévy that is based on the novel by the same name, written by author Prosper Mérimée. Bizet found great opposition to the work, as many at the time found the plot of the opera to be “immoral.” Carmen, first performed in 1875 at the Opéra-Comique in Paris in 1875, broke new dramatic ground for French opera as it moved away from opera buffa, or comic opera, towards a more profound and tragic story. Bizet did not live to see that his work, once highly controversial, was to become one of the most often performed operas in the world.


Fans (Malcolm McLaren album) - Wikipedia, the free encyclopedia

Most people, if they get the chance, have to settle for one great achievement in the cultural arena. Not for Malcolm McLaren. Besides being an imperialistic cultural plunderer (a non-judgmental designation), he is one of rock's true visionaries. His role in the formation and promotion of the Sex Pistols has been construed as everything from inspired instigator to Machiavellian manipulator, and his solo career has been as influential as it has been criticized: he tends to bring out the moral indignation in people. A brilliant carpetbagger whose precise talents — beyond aestheticism and the canny ability to peg influential trends in a wide panorama (fashion, retail, politics, music, art, film, literature) early enough to exploit them as a pioneer rather than a bandwagon-jumper — are difficult to pin down, McLaren has made himself the star of his own entrepreneurial undertakings. Despite the odds stacked against him mounting a successful recording career (that he's not exactly a musician is high on the problems list), McLaren has crafted a bizarrely significant oeuvre of high-concept adventures. It's hard to say just what McLaren does as an artist. He's more an assembler than a creator, piecing together artifacts from various musical cultures in such a way that, at the end of the day, his own input seems invisible. And yet his perspective as hip outsider has continued to provide a link between his Anglo-American audience and Third World forms. If McLaren's a musical tourist, these records are his home movies.

His next venture was exponentially more improbable. Feeding classic opera into a hip-hop blender, McLaren came up with the surprisingly entertaining Fans. McLaren mainly uses opera for its recitative form and story lines (namely Carmen, Madam Butterfly and Turandot) and, damn it, the thing works more often than not.


Opera and Pop Culture

When Luciano Pavarotti recently passed away, opera lost not only a magnificent voice, but also an ambassador. While the average person (myself included) has a limited knowledge of opera, the world knew Pavarotti. Millions of people watched “The Three Tenors”, whether in thrilling live performances or via video and television. But Pavarotti also stepped out of the opera world to enter the realm of pop culture. Take a jog through the internet and you’ll find performances with James Brown, U2 and the Spice Girls. His various television appearances include Saturday Night Live and he even starred in a movie (the critically lambasted film “Yes, Giorgio”). And that got me thinking about an experiment that tried to weld together opera and pop culture.
In 1984, the single “Madame Butterfly” hit the Top Twenty charts in England and with it, the release called “Fans”. The mastermind behind “Fans” was Malcolm McLaren, an artist who had a bit of notoriety in his career. McLaren was the manager of the Sex Pistols and depending on the point of view, was involved with the formation and promotion of the band. Malcolm also handled Adam Ant, raiding his backing band to put together Bow Wow Wow. But when the 1980s rolled around, McLaren decided to become an artist himself.
“Fans” was an interesting hybrid of opera and hip-hop. This was hip-hop circa 1984 and he relied more on the beat than anything. With the hip-hop backdrop, McLaren would mix it together with the story line and arias of famous operas. Simple programmed drum beats along with a synthesized melody and an operatic soprano or tenor floating on top of it.
“Fans” was a fairly short undertaking as the album consisted of only six tracks clocking in at just over 30 minutes. McLaren stayed with familiar operas with five of the tracks based on Puccini operas (two from “Madame Butterfly”) while the remaining track used Bizet’s “Carmen” as a starting point. To further flesh out the album, McLaren adapted the storylines into English, then personally provided narration (he left the actual singing to the professionals) as he takes the role of several characters.

In hindsight, opera and hip-hop seem to be a good match because of the element of tragedy that exists in both. However, the overall experiment turned out to be a partial success, mostly in England. The single “Madame Butterfly” received some praise from the critics and as earlier mentioned, was also a hit. However, critics weren’t as nice about “Fans”, considering it simply padding for the single. That wouldn’t stop McLaren from continuing his musical career as he had a few more hits in the U.K. although he left opera behind.

The concept of the East Village Opera Company is totally fresh, but not unprecedented in pop. In 1985, for example, former punk-rock impresario Malcolm McLaren released Fans, an album of "hip-hopera" that brought funky beats and electronic programming to the works of Puccini and Bizet. But EVOC is a whole new thing: an integrated, eleven-strong working band dedicated to rocking the opera and electrifying the classics, as the ensemble has been doing to spectacular effect ever since its New York stage debut in the spring of 2004.







SEE:


Labour, Opera and Anarchy

Acoustic Ecology

What's Opera Doc

Tax Time and Walpurgisnacht

Daniel Barenboim's Dream

Classical Rock



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Monday, September 03, 2007

Blade Runner



Blade Runner along with Alien were groundbreaking movies by Ridley Scott.

Unfortunately I have to disagree with him about excising the voice over from his 1992 Directors Cut of Blade Runner.

I found it less satisfying than that with the voice over, though I agree with him that the 'happy ending' in the original sucked.

He has reissued it again for release this fall containing 5 DVD's. And the narration is still excised. So I will see if it really captures the Noir genre it comes from which did often use voice overs.


There is no rambling voiceover by Ford, which the film’s distributors, Warner Bros, originally insisted on for the hard-of-thinking. Here Rick Deckard keeps his thoughts to himself and is infinitely more interesting for it.

This simple conceit makes the film a colder and lonelier place. It was always ravishingly dark. Scott’s vision of Los Angeles in 2019 is the ultimate movie dystopia: a fabulous hell of skyscrapers and monolithic Fritz Lang factories. The sky is cluttered with fuming aircraft and floating neon adverts. It never stops raining on the cramped and seedy streets, and everyone, apart from Ford, smokes like a chimney.

What does it mean to be human in such a diseased world? This is the thrust of Scott’s film noir, which has aged quite brilliantly.



http://blogs.amctv.com/scifiscanner/images/2007/06/26/bladerunner010707.jpg

Blade Runner's new cut

Twenty-five years after "Blade Runner" was panned by critics and pulled from theaters, British director Ridley Scott savors revenge with the final cut of the science-fiction film now considered a cult classic.

Presenting the new version of what he considers his most accomplished movie, Scott recalled the difficulties he had when he first pitched the work to Hollywood.

The response at early sample screenings before the official release in June 1982 was so weak that the producers forced Scott to add voice-overs to the film and change the final scene to make it a more "happy ending."

"I thought I'd really nailed it, I really thought I'd nailed it. And the person I used to show it to was my brother (director Tony Scott). And my brother, he loved it so much. Then we preview, and the previews are really, really bad, and my confidence is really dented," said Scott.

The reworking of the film led to "voice overs which started to explain what was about to happen, who the characters were and who was going to do what to who, which is the antithesis of a good movie making process," he said.

Over the years, five versions of the film have been released, including a director's cut in 1992. But Scott said the "Final Cut" -- which will be issued as a collector's DVD edition later in the winter -- was "really as it was intended to be."

http://www.devo.com/bladerunner/sector/i/pics/comics.jpeg

So what did you really want to have in your Final Cut?

Ridley Scott: Well, certainly get rid of the voiceover once and for all. If you get rid of the voiceover, then you do not want the ending. This is a film noir. It's an Elmore Leonard kind of influence or Philip Marlowe. This is a Marlowe-esque kind of story which of course is Mr.Dick and Mr.Fancher. Do Androids [Dream of Electric Sheep] has about 17 stories in the first 25 pages, so there was a big distillation right down to the bottom line of what this is about. That was the agony and the ecstasy of working with Hampton and Michael Deeley way back when. We were trying to get this down to a screenplay that we could make. I was completely for voiceover. There was all this bullsh*t saying I was against voiceover. Absolute horse twaddle. I was there and when Harrison and I would talk about this saying, "You like this?" I said, "Well, I think there's a possibility that if we're confusing the audience who are saying, 'What's cityspeak? What is this? What is that?' We may have to explain a few things. If we can get the right words, then it could work." Because three years earlier, there was a film called Apocalypse Now where you have an incredibly important voiceover which is the entire internalization of Martin Sheen's part, who is a man who seems to be a nihilist where you would not know what he's thinking if he didn't have that voiceover. The voiceover was brilliantly written and brilliantly delivered by Martin Sheen. So I hung my hat on that thinking that it may be a possibility, because also it's Philip Marlowe, because also it's Elmore Leonard and Mr. Dick, Philip Dick. But that's the style. He's a cop. He's a dark cop who's a bit of an alcoholic. He's a nihilist who hates himself and hates his job. Sounds like Elmore Leonard to me. And therefore out of it should come a great voiceover. We couldn't crack it. And Harrison really tried and I really tried and I think the voice was becoming over explanatory. When all you're going to do is sit there and actually see how it evolves, or you work it out, 10 minutes off. A film should always be ahead of the audience, not the audience parallel to the movie.

Crave Online: There is a work print on the DVD which has a better voice over than the theatrical cut.

Ridley Scott: Yeah, it's okay. It felt like it could come in and it could be okay, and Harrison's got a great voice and a very listenable to voice, a very deep voice. But we couldn't get the words quite right so that Harrison felt comfortable, so it really did feel like him inside. Most of it was very tricky.

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Another issue with the original release was the failure to release the awesome groundbreaking electronc sound track by Vangelis.

Android Love Cry

Just as a graphic novel will never be awarded the book of the year honors, Android Love Cry will never be acknowledged as album of the year. Why? Think about science fiction writer Philip K. Dick. Science fiction is your first clue, we don’t suppose great literature can be science fiction, but Dick wrote some fantastic fiction, even a story (forty years before Philip Roth) pondering what if the Nazi’s had won W.W.II and occupied the United States. But you’ll never see his name listed with the greatest writers of his time, although his works have been turned into motion pictures including; Minority Report, Total Recall, Paycheck and Blade Runner.

What does Blade Runner have to do with Android Love Cry from Tigersmilk? The original title of the 1982 Ridley Scott film was Do Androids Dream of Electric Sheep? and certainly the music made by this trio could be the soundtrack for a modern remake of the film.

These thirteen pieces lead you into flights of imagination—story lines appear, old science fiction movies like Silent Running, The Andromeda Strain or The Omega Man rerun in your head. But this music isn’t your “Hearts of Space” smooth ambient sounds. This trio meshes improvisation seamlessly with the science. Bassist Roebke is quite adept at adapting his double-bass to his partners and their effects. Although the highlight of the disc might be the 56-second “Circuit Overload Demise,” where he opens with a monstrous attack of bass energy before playing against drummer and computer plunks, the display of control and power is awe-inspiring.


And Scott has announced the death of Science Fiction Film...

Me thinks he speaks tongue in cheek considering his latest movie is a Western. And in this case he can't complain if it bombs, he didn't direct it. And like Blade Runner it appears it too will be cursed by the critics. Much like Michael Cimino's over budget ill fated 'Heavens Gate'.
'The Assassination of Jesse James by the Coward Robert Ford'
Brad Pitt plays legendary outlaw Jesse James in the Warner Bros. release;
The Assassination of Jesse James By the Coward Robert Ford

Whether it directly resembles them or not, this impeccable new picture is at one with the adventurous spirit that produced such films as "McCabe & Mrs. Miller," "Pat Garrett & Billy the Kid," "Bad Company," "The Great Northfield Minnesota Raid," "Jeremiah Johnson," "The Outlaw Josey Wales," "Days of Heaven," "The Long Riders" and, yes, "Heaven's Gate," rather than with anything being made today.

Shot two years ago and long delayed in editing, pic marks an enormous advance for Dominik beyond his 2000 Aussie prison crimer "Chopper." Elegant, artful and consumed by a fascination with American history and Western lore, his adaptation of Ron Hansen's popular 1983 novel retills the once overworked ground of outlaw legend so thoroughly that it has become fertile once again. Pic's hefty 160-minute running time will no doubt cause carping in some quarters, but this is one film whose length seems absolutely right for what it's doing.


"Assassination of Jesse James" a celluloid crime

Coming from the production companies of the film's star, Brad Pitt, and Ridley and Tony Scott and based on Hansen's well-received novel, the film's pedigree probably means a solid opening week. However, word-of-mouth might kill the movie faster than Robert Ford killed Jesse James.
SEE:

LEM RIP


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Sunday, September 02, 2007

The Ethnic Cleansing of Satanists

In America they only arrest the 'Satanic' Rock stars for immorality, and the evangelical Christian Right burns their records and claims they use back masking for recruitment.

This shows that the Fundamentalist Patriarchal Abrahamic religions share a common ideology when it comes to their war on Rock n Roll and Satanism.

"Iran Arrests 230 Youths Attending 'Satanic' Rock Concert," AP, August 5, 2007
Iran arrested more than 200 music fans at an underground rock concert that one official called a "satanic" gathering and authorities accused the youths of breaking Islamic law.

A witness said Sunday that police raided the concert as it was ending late Wednesday near the town of Karaj, some 30 miles west of the capital.

Calls to authorities were not immediately returned on Sunday. But the public prosecutor in Karaj, Ali Farhadi, said Saturday about 230 people were arrested during the concert.
"Most of them were wealthy young people who were not aware of the satanic nature of the concert," Farhadi told state television. "A female singer, who was performing, and some rock and rap music bands were among the detained."

He said concert organizers had told young people to attend if they were eager to learn how "devil worshippers" perform music.

Local media reported organizers hid cameras to tape the attendants' behavior and later blackmail them. The reports also said police confiscated large amounts of alcohol and drugs.

Boys and girls mingled and danced together during the concert, and some of the women were not wearing the modest clothing and Islamic headscarf required by law, media reports said.

And speaking of Satanists I would be remiss not to note that the Fundamentalists are murdering (ethnic cleansing) the Yezidi in Iraq. You see once you declare someone a Satanist, it is okay to convert them by the force of the sword.

Kawwal Khoudeida Hasan, the leader of a community of about 50 Yezidi families now living in Lincoln, Nebraska, is pleading with the U.S. Congress and with the United Nations to stop the genocide of the Yezidis, a Kurdish people in Iraq with a unique history and religion.

According to Kawwal, Genocide is occurring at this moment in northern Iraq to the Yezidis, a Kurdish people with a unique history and religion. Their persecution is coming at the hands of Islamic militants, who for centuries have slaughtered all Yezidis who have refused to convert to their religion.

On April 22, 2007, the world became shockingly aware of the Yezidi plight when 23 of them were lined up and systematically gunned down by a firing squad of Moslem Kurds. A few days later, 3 more Yezidi men were gunned down by Moslem extremists in the city of Mosul, thus bringing the total of Yezidi murders to 34 during the three month period from March to May, 2007.

Most recently, on August 12, 2007, the drivers of four bomb-laden trucks detonated their loads after driving into two residential areas near the town of Qahataniya, 75 miles west of Mosul, killing at least 250 Yezidis and injuring at least 500 more. This attack occurred in an area principally occupied by Faqirs, members of the Yezidi priest class, thus indicating that the ultimate goal of the culprits was apparently to strike at the jugular of the Yezidi religion by destroying its priests.

'They won't stop until we are all wiped out.' Among the Yezidi

"The attack came as no surprise to us," Prince Tahseen Sayid Ali, the temporal leader of the Yezidis, told the Guardian in his headquarters in Sheikhan, about 40 miles north-east of Mosul. Last April, the community came under the international spotlight when a Yezidi girl married a Muslim boy and was reported to have converted to Islam. She was promptly stoned to death by a mob in her hometown of Bazan. The murder was caught on a mobile phone camera and distributed on the internet. Yezidi leaders condemned the killing, but the damage was done. In response, gunmen pulled 23 Yezidi workers off a bus near Mosul and shot them dead. Hundreds of Yezidi students at Mosul university have since either fled or moved to universities inside the Kurdish autonomous area. For the past month, said Prince Tahseen, Yezidi leaders in Sinjar had been complaining of threats by Islamists. They said the militants, holed up among local Sunni Arab settlements along the Syrian border, had effectively blockaded Yezidi towns, preventing delivery of foodstuffs and fuel.

"The Islamic terrorists had made it very clear that they wanted to see rivers of Yezidi blood," said Prince Tahseen. But no one, least of all the US army, which is nominally in control of the region, was listening. "I'm sure it will happen again unless we take steps to protect ourselves," he said. "We are a peaceful people. We don't have force of arms. The only protection is for all the Yezidis is to be part of the Kurdish self-rule zone. But whether the Arabs allow us to vote on it as the constitution says we should, is another question."


A series of 4 massive car bombs in the Kurdish
area of Iraq, near the Syrian border, killed more than 250 people yesterday. The attacks were aimed at the Yezedi sect, a pre-Islamic religious community that has been persecuted for centuries. Tensions escalated earlier this year however, when a 17-year-old Yezedi girl was stoned to death for falling in love with a Muslim boy and converting to Islam.

This stoning, incidently, led to the massacre of 23 Yezedis by Muslims who believed Du'a was murdered for converting to Islam:
Abdul-Karim Khalaf, a police spokesman for Ninevah province, said the executions were in response to the killing two weeks ago of a Yazidi woman who had recently converted to Islam after she fell in love with a Muslim and ran off with him. Her relatives had disapproved of the match and dragged her back to Bashika, where she was stoned to death, he said.

A grainy video showing gruesome scenes of the woman's killing was distributed on Iraqi Web sites in recent weeks, but its authenticity could not be independently confirmed.

The town of Ain Sifni is being garrisoned by a force of approximately 1000 Peshmerga (Kurdish militia) and police. It is not clear when Kurdish forces will leave but the Yazidis are quite intimidated at this point. The Yazidis have long endured persecution and intimidation from their Arab and Kurdish Muslim neighbors as have the Christian Chaldo-Assyrians of the region. It would be great if a legitimate reporter could get in and take a look at what’s going on but based on how a journalist was treated when we were there yesterday, they may be very restricted in their movement and activities.
The Yezidi are considered a 'satanic' religion, because as a gnostic religion they believe that the god of this world is Lucifer, the Peacock Angel.Their religion is an example of the transition from Goddess worship to that of the Patriarchal Monotheistic God. The polytheism of the the Goddess and God based cultures gave way to a polytheistic pantheon ruled over by One God.

http://photos1.blogger.com/x/blogger/4319/673/1600/236151/taus4.jpg

Yezidism is syncretistic: it combines elements of many faiths. Like Hindus, they believe in reincarnation. Like ancient Mithraists, they sacrifice bulls. They practise baptism, like Christians. When they pray they face the sun, like Zoroastrians. They profess to revile Islam, but there are strong links with Sufism, the mystical branch of Islam.

It's a remarkably confusing picture. And I still haven't got an answer to the main question: do they worship "Satan"?

In the centre of town I am greeted by Halil Savucu, a westernised spokesman for the Yezidi. Also with us is Uta Tolle, a German scholar of Yezidism.

In Halil's Mercedes we drive into the suburbs. On the way, the two of them give me their view of the faith. "Yezidi is oral, not literary," says Uta. "This is why it is sometimes hard to pin down precise beliefs. There are religious texts, like the Black Book, but they are not crucial. The faith is really handed down by kawwas, sort of musical preachers."

And who is Melek Taus? Halil looks slightly uncomfortable: "We believe he is a proud angel, who rebelled and was thrown into Hell by God. He stayed there 40,000 years, until his tears quenched the fires of the underworld. Now he is reconciled to God."

But is he good or evil? "He is both. Like fire. Flames can cook but they can also burn. The world is good and bad."

For a Yezidi to say they worship the Devil is understandably difficult. It is their reputation as infidels - as genuine "devil worshippers" - that has led to their fierce persecution over time, especially by Muslims. Saddam Hussein intensified this suppression.

But some Yezidi do claim that Melek Taus is "the Devil". One hereditary leader of the Yezidi, Mir Hazem, said in 2005: "I cannot say this word [Devil] out loud because it is sacred. It's the chief of angels. We believe in the chief of angels."

There are further indications that Melek Taus is "the Devil". The parallels between the story of the peacock angel's rebellion, and the story of Lucifer, cast into Hell by the Christian God, are surely too close to be coincidence. The very word "Melek" is cognate with "Moloch", the name of a Biblical demon - who demanded human sacrifice.

The avian imagery of Melek Taus also indicates a demonic aspect. The Yezidi come from Kurdistan, the ancient lands of Sumeria and Assyria. Sumerian gods were often cruel, and equipped with beaks and wings. Birdlike. Three thousand years ago the Assyrians worshipped flying demons, spirits of the desert wind. One was the scaly-winged demon featured in The Exorcist: Pazuzu.

The Yezidi reverence for birds - and snakes - might also be extremely old. Excavations at ancient Catalhoyuk, in Turkey, show that the people there revered bird-gods as long ago as 7000BC. Even older is Gobekli Tepe, a megalithic site near Sanliurfa, in Kurdish Turkey (Sanliurfa was once a stronghold of Yezidism). The extraordinary temple of Gobekli boasts carvings of winged birdmen, and images of buzzards and serpents.


The Yezidi are both an ethnic and religious minority in Iraq, Turkey, Iran,Georgia and in Armenia.



500 - 1,000 CE
Mohammed founds Islam (dies 632). Celtic Church outlawed by
Council of Whitby (664). Foundation of first Sufi secret
societies (c. 700). First written translation of Emerald Tablet
of Hermes Trismegistus. Charlemagne founds alleged first
Rosicrucian Lodge in Toulouse (898). Foundation of the Cathars,
Druzes and Yezedi (900). Heretical Catholic monks found first
Rosicrucian college (1,000).

And like all patriarchal dualist religions in the region they believe they are the chosen people. Coming from Persia they may have originated as a Zoroastrian fire religion of the Magi.

Roberts was inspired by a passage found in the Travels of Marco Polo. Upon Polo's visits to Persia (the land now officially known as Iran) he was given an unusual history of the Nativity which combined unique elements of Christianity and Zoroastrianism. The Zoroastrian religion was once the most embraced and popular monothiestic/dualist organized religion in the world prior to the advent of Christianity and Judaism during the reign of the Persian Empire. The world Zoroastrian population still exists, but the adherents to that once-most-popular faith have now dwindled to only about 100,000 people.

And unlike their Semitic neighbours they are Caucasian/Indo-Europeans which also sets them apart, and as a visible minority makes them more vulnerable to ethnic as well as relgious cleansing.



Two Kids: One Bright Future

I had been hearing about the Yezidi people who live in villages near Dohuk. Followers of an ancient religion, whose proponents claim it is the oldest in the world, there are thought to be about a half million Yezidis, living mostly in the area of Mosul, with smaller bands in forgotten villages scattered across northern Iraq, Syria, Turkey and other lands. Saddam had labeled the Yezidis “Devil Worshippers,” a claim I’d heard other Iraqis make, but no source offered substantiation. I wanted to know more.

Nearly everything I heard pronounced as fact about Yezidis was certain in only one narrow sense: before long, someone equally confident of their information would provide a different set of facts. The only way to find the truth would be to talk with Yezidis in situ, so I asked an interpreter in Dohuk to take me to a Yezidi village.

An older Yezidi man with whom I speak on occasion says there are seven angels: Izrafael, Jibrael, Michael, Nordael, Dardael, Shamnael, and Azazael. All were gathered at a heavenly meeting when God told them they should bow to none other than Him. This arrangement worked for a span of forty thousand years, until God created Adam by mixing the “elements”: earth, air, water and fire. When God told the seven angels to bow before Adam, six complied. A seventh angel, citing God’s order that the angels bow only to God, refused. Although this angel was God’s favorite, his disobedience cast him from grace.

There is some dispute among Yezidis about the identity of the seventh angel; some believe it was Jibrael, while others believe it was Izrafael. Much seems lost to time. But whatever his former name, when this seventh Angel, most beloved of God, fell from grace, he was the most powerful angel in Heaven and on Earth. He rose as the Archangel Malak Ta’us. (Although this, too, is the subject of some debate; some Yezidis call him Ta’us Malak.) His herald is the peacock, for it is “by far the most beautiful bird in the world,” and the name, Malak Ta’us, literally means “King of Peacocks.”

Most Yezidis equate Malak Ta’us with Satan, a mainstay in many religions but otherwise not mentioned in Yezidism. Some Yezidis claim that Malak Ta’us is like a god himself, at least in terms of his power-particularly over the fortunes of the descendents of Adam. In this religion, God created Adam, but no Eve, and therefore all men came from Adam alone. The Yezidis were first born among all men, and consider themselves to be “the chosen people.”

The Worst since 9/11

It has been a long time since mass murder in Mesopotamia has been news. Few still cry for Iraq. Hardly anyone has heard of Yezidis, the victims.

Wednesday, August 08, 2007

Their Satanic Majesties Request

The real psychedelic album of the summer of love.



Their Satanic Majesties Request is a psychedelic rock album by The Rolling Stones recorded and released in 1967. Its title is a play on the "Her Britannic Majesty requests and requires..." text that appears inside a British passport. Although, initially dismissed as a poor attempt to match The Beatles' Sgt. Pepper's Lonely Hearts Club Band, the album is now considered one of psychedelic rock's greatest albums.

Which is overlooked still after forty years of glorification of the Beatles, and the
dissing of the Rolling Stones as the bad boys of Rock N Roll. Because they had Sympathy For The Devil.

Though I doubt Cheap Trick will be doing a Fortieth Anniversary cover of it.

It is a great album. Starting off with the psychedelic sci-fi anthem; 2000 Light Years From Home.



The song "
Sing This All Together" was used in the TV show Faerie Tale Theatre. It also contains a hidden track which may have given rise to later paranoia about back masking.

Why don't we sing this song all together?
Open our minds let the pictures come
And if we close all our eyes together
Then we will see where we all come from

Pictures of us spin the circling sun
Pictures of us show that we're all one




Funny things happen when you invoke Lucifer.


SEE:

Every Cop is a Criminal

More Sunday Satanic News


Classic Rock

Sunday In Hell

Marxism and Religion


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Sunday, July 29, 2007

Summer of Love


It is the fortieth anniversary of the Summer of Love, which led to a social revolution around the world. One that we are still experiencing and which the Right Wing loves to blame for all of modern societies ills.

Summer love-in summer -in

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Events nationwide mark the 40th anniversary of 'Summer of Love'

Events are being held around the country this summer to mark the 40th anniversary of the Summer of Love, when thousands of young people descended on San Francisco to experience the hippie counterculture in 1967. Here are some highlights.

Ongoing: ''Summer of Love: Art of the Psychedelic Era'' at the Whitney Museum of American Art in New York through Sept. 16. Through light shows, album covers, posters and music, the show explores the era's cultural impact. http://www.whitney.org .

Ongoing: Rock and Roll Hall of Fame and Museum exhibit dedicated to the 40th anniversary of the Monterey International Pop Festival. Highlights include telegrams from Jemi Hendrix, the Grateful Dead and The Who regarding their attendance at the festival; Paul Simon's guitar; the dress worn by Michelle Phillips of the Mamas and the Papas,and many pohotographs. The museum is in Cleveland, Ohio. http://www.rockhall.com .

Various dates: Jefferson Starship, Quicksilver Messenger Service, Big Brother and the Holding Company and other bands reunite for a Summer of Love 40th anniversary tour, including the Monterey Pop 40th anniversary festival at Monterey Fairgrounds, Monterey, Calif. http://www.genxentertainment.us .

Concludes today: Monterey Summer of Love Festival, featuring dozens of bands performing from the same exact stage as the 1967 Monterey Pop Festival. On stage: Riders on the Storm, Robbie Krieger's & Ray Manzarek's latest version of The Doors; Electric Flag; tributes to The Mamas and the Papas, and The Who. http://www.summer67.com .

American soldiers are fighting an unpopular war halfway around the world; peace groups protest and Congress is embroiled in a bitter, divisive debate.

At home, radios play the Doors, the Beatles, the Who and the Moody Blues. People flock to open-air concerts to see Eric Burdon and the Animals, Jefferson Airplane and Big Brother and the Holding Company. Concern grows for the environment and people feel good when they can buy organic food directly from growers.

It’s cool to get in touch with your feelings. Fashionable women wear flower power minidresses and empire-waisted tops. Jeans, of course, are everywhere. Is it 1967 or 2007? It’s both.

Forty years after the Summer of Love that signaled a seismic shift in our culture, many of the concerns and issues – even the looks – are back again.

And as for the areas where we’re not re-experiencing 1967 – the sexual revolution, the drug culture, the civil rights movement, the civil unrest – that’s because the subculture has now become the culture, says Robert J. Thompson, founding director of the Bleier Center for Television and Popular Culture at Syracuse University.

“Our entire lifestyle in the early 21st century significantly carries the genetic code of the revolutions and cultural and social changes in the late 1960s. And we don’t consider them at all revolutionary,” says Thompson.


Nineteen sixty-seven was when the journey began, but where, and when, did it end? Or has it? What really happened during those portentous few months of the Summer of Love that caused many of us to mutate physically, emotionally and spiritually? Did it really cause a seismic shift in the values, sensibilities and moralities of our culture, as many suggest? And are we still living in the afterglow of it intense culture-transforming heat?

Critics on the right would also like to deep-six the buzz about a better, happier time. A psychedelic Shangri-La. As the Chicago Tribune recently noted:

"In the nation's culture wars, the 1960s are a rallying cry for conservatives who view the decade as the source of social trends they oppose, such as a high divorce rate, legalized abortion and, more recently, the drive for same-sex marriage." (Strange, you make that sound like it's a bad thing.) For Jason Fine, deputy managing editor of Rolling Stone, "A lot of what happened in the summer of '67 wasn't about politics, or even antiwar, it was much more personal. And those kinds of developments have certainly stuck around. Our attitudes about sex, drugs and spirituality are all rooted in that time. That wasn't a blip."

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SEE:


A Little Eros For Valentine's Day


CIA Conspiracies Are Real


Psychedelic Saskatchewan


RAW RIP


420


Marx on Bigamy


Passover Song


Year of the Pig


Black and Redmonton


Celebrating Capitalism


Soul of a City


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Saturday, July 28, 2007

Acoustic Ecology

I was listening to CBC 2 radio this week and they played Canadian acoustic ecologist performance artist and composer R. Murray Schafer.

Who in the 1980's blew me away with his eight hour invocation of RA at the Ontario Science Centre. While I was not there, I got to hear it on CBC. Which of course I would not hear on private for profit radio.

Schafer shows that musick is magick and vis versa, that it is one of the key elements to ritual, and thus all music is sacred, even when it is profane.

If you like the minimalist and avante garde music of Edgar
Varèse ,Phillip Glass, Terry Riley, or Steven Reich, you will love Schafer.

R. Murray Schafer has achieved an international reputation as a composer, an educator, environmentalist, scholar and visual artist. Born in Sarnia, Ontario, in 1933, he was raised in Toronto.

Schafer entered the Royal Conservatory of Music and the University of Toronto in 1952 to study with John Weinzweig. His casual contact with Marshall McLuhan on campus in that period could arguably be singled out as the most lasting influence on his development.
He went to Vienna in 1956. After two years he went to England, studying informally with composer Peter Racine Fricker. While in Britain Schafer supported himself by writing (resulting in a book, British Composers in Interview) and by the preparation of a performing edition of Ezra Pound's opera Le Testament (1920-1) broadcast by the BBC in 1961.

As the 'father of acoustic ecology' Schafer has been concerned about the damaging effects of noise on people, especially dwellers of the 'sonic sewers' of the city. His booklets The Book of Noise and The Voices of Tyranny are pleas for anti-noise legislation and urban soundscape improvements through reduction of potentially destructive sounds. Of the various publications Schafer released after his work with the World Soundscape Project, the most important is The Tuning of the World (1977) where he summarizes his soundscape research, philosophies, and theories. The concept, central to Schafer's thinking, has influenced his composing. The background rhythmic structure for String Quartet No. 2 ('Waves') is based on the intervals at which ocean waves crest; the graphic notation of No Longer Than Ten (10) Minutes was influenced by charts made of Vancouver traffic noise.

While Schafer's focus in the 1970s was his soundscape work, in the 1980s it was Patria, a 12-part cycle of musical/theatrical works begun in 1966. Schafer's dramatic works employ music and theatre in a manner which he calls the 'theatre of confluence' (a kind of Gesamtkunstwerk reflecting his urge to explore the relationships between the arts). Schafer has used ritual as a way of revitalizing contemporary theatre, several works transforming the theatre audience into participants. Patria 6: RA is a dusk-to-dawn ritual enacting the descent to the underworld and resurrection of the Egyptian sun god. For its Ontario Science Centre premiere in Toronto, the audience was led through 29 different performance sites during the 11-hour ritual.


And again this August he will be performing in the wilderness.


Princess of the Stars

R. Murray Schafer, Banff Festival of the Arts, 1985. Performed in Two Jack Lake, near Banff, August 8-10, at dawn for the Banff Festival of the Arts (photo by Scott Rowed).

Suppressing a youthful urge to become a painter, Schafer entered the Royal Conservatory of Music and the University of Toronto in 1952 to study with Alberto Guerrero (piano), Greta Kraus (harpsichord), John Weinzweig (composition), and Arnold Walter (musicology). In view of Schafer's later proclivities, however, his casual contact with Marshall McLuhan at the university might be singled out as the strongest and most lasting influence on his intellectual development. Disillusioned by what he came to view as the confining atmosphere of the university, Schafer terminated his formal studies in 1955 and embarked upon an intensive autodidactic routine with an emphasis on languages, literature, and philosophy. The LRSM remains his only formal diploma.



The CBC recorded Schafer's Wolf music which he has performed for 15 years, in a forest for a select audience, but mostly for the ambiance of playing in the forest. So if a trumpet sounds in the forest do we hear music? The wolves do.

Wolf Music is not only a composition: it is an annual ritual music-drama involving sixty to seventy people over eight days, taking place on a lake in the Haliburton Forest and Wildlife Reserve. The composer and six professional musicians each lead small groups of people whose very presence are part of the performance. So, too, are the flora and fauna, the lake,the wind and even a passing jet. This description of the work could be very unappealing to those who are not attracted to ecologically-based spirituality, or those that feel this style of composition is passé. However, apart from Schafer's narrative (which, frankly, I could have done without) the listener is easily able to bypass the philosophy to get at the music, which is beautiful and imaginative.

R. Murray Schafer's environmental music drama, And Wolf Shall Inherit the Moon (1988- ), stands at the nexus between the lived experience of performance in the Canadian wilderness and Schafer's romantic idea of the North. A collaborative project involving 75 volunteer participants, the work takes place over an entire week each August in the Haliburton Forest and Wild Life Reserve near Ontario's Algonquin Park. It forms the epilogue to the composer's massive Patria series (1966- ). Simultaneously performers, creators and audience, the participants camp together as they enact Schafer's participatory and ritualistic theatre - a theatre specifically designed for performance in the Canadian wilderness.

When they camp and work together each summer, members of the Wolf Project participate in Schafer's idea of the North, his vision of a Canada reconciled to, and integrated with, its wilderness environment. They return from this liminal realm to their urban lives distinctly changed, no longer the uneasy inhabitants of a humanly undigestible wilderness.


My articles on music:

What's Opera Doc

Summer Solstice Give Or Take A Day

Thick as a Brick

Dion Sucked

Shaft

Trumpetlingus

Christy Moore Viva La Quince Brigada

Brown, Ford, Castro

The N Word

Hip Hop Gun Culture

John Lennon Working Class Hero

Revolutionary Music Flashback

Happy Birthday Mozart

Soul of a City

Before MTV

Nazanin

Happy Birthday Bob

Daniel Barenboim's Dream

Rich Man's War

Classical Rock

Ennio Morricone A Fistful of Composer

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What's Opera Doc

A tribute to the Bugs Bunny Cartoon 'Whats Opera Doc' from the Toronto Star. Which makes the same point I did here in tribute to Chuck Jones. And see my post at the Carnival of Anarchy on Bugs the anarchist drag queen.


Elmer Fudd, left, and Bugs Bunny in a scene from Warner Bros.' What's Opera, Doc?

At any other time, the film would not have been made. Imagine the pitch: "Let's steal time and funding from our other projects so we can go way over budget making a cartoon with no jokes, and no real gags. The score will be a German opera. Kids won't get it. Most adults won't get it, but I don't care because I think it's funny."

Fortunately, the time was 1956, the director was Chuck Jones, and the place was the Warners Bros. backlot animation studio dubbed "Termite Terrace." The result – released 50 years ago this week – was "What's Opera, Doc?," voted by animators in the 1994 book The 50 Greatest Cartoons: As Selected by 1,000 Animation Professionals to be the greatest cartoon of all time.

It is the antithesis of the routine cartoon. In place of snappy one-liners we see Elmer Fudd and Bugs Bunny singing their parts with complete sincerity and commitment. The backgrounds are beautifully textured paintings. The score is powerful and moving. Bugs cuts a striking figure in a metallic brassiere before Madonna was even born. It's audacious and decadent and beautiful and bold and everything the vast majority of cartoons would never dare to be.




Thanks to Bugs and folks like Chuck Jones we got a classical education on TV. Classical as in music, and opera. Masses of folks from the Forties through the Seventies, experienced these cartoons on the big screen and then on the little screen and were introduced to Wagner, Rossini, Verdi, Mozart etc.

The fact that all these composers were the popular music of their day gets forgotten by those who would make classical music some form of 'long haired' intellectual haute culture. Thanks to Bugs and his creators we came to see and hear the music in a pop culture format.

Which is just a sneaky way to promote the fact that this week we are discussing libertarian education on the Carnival of Anarchy.






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