Christmas Lyrics!
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Christmas Music CDs
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Radio City Christmas Spectacular
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The Ultimate Christmas Site - Music Index
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Victorian Christmas
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Christmas Music Wrap-Up 2007 | Christian Music Today
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Christmas Music from Rolltop Music
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The Christmas Archives
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Christmas Sheet Music and Carols
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Fun and Funny Christmas Songs
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Friday, August 29, 2008
Christmas Music
Miss Peru And Miss Universe 1957: 50th Anniversary
On July 19, 1957, Miss Peru, Gladys Zender Urbina, was elected Miss Universe 1957. Site: Long Beach, California (USA).She was the first Latin American woman to win the Miss Universe. Gladys Zender studied art and languages, and at one point she wanted to be an aviator. During her early teenage years, her beauty and personality drew positive comments especially when she won the Reinado de Primavera (Spring Pageant) in her Santa Ursula school, and years later, the Reinado de los Carnavales (Carnival Pageant) of Miraflores. Before being crowned Miss Peru 1957, the representative of Max Factor company, Roman Toporow, while visiting Lima, was impressed by the style and the very Latin features of the young Gladys and affirmed that she was a perfect beauty. In the beginning, her family was opposed to her joining the national pageant, but later they supported her by traveling with her to Long Beach.
During the sixth edition of the Miss Universe pageant, there were all sorts surprises. It was rumoured that the pageant preferred candidates from countries that were experiencing political crisis.However,Miss Greece, Lygia Karavias, did not qualified for the semi-finals. Experts predicted that two favourites Misses Germany and England- would win and keep the crown in Western Europe. Miss Germany, Gerti Daud, was crowned Miss Photogenic Universe.
Some observers believed that the delegates from Brazil (Teresinha Goncalves Morango), Argentina(Monica Lamas), Peru(Gladys Zender), Canada (Gloria Noakes), Italy (Valeria Fabrizzi) and Martinica (Ginette Cidalise-Montaise) would enter the finals. Many of the girls from Latin America thought that they had been invited for the sake of formality only.
There was some sort of uneasiness in the region since two Latin beauties had failed to win in two consecutive finals. In 1954, the Brazilian Maria Martha Marilu Hacker Rocha was adjudged as very beautiful, but her hips were two inches wider than the ideal measurement and thus lost to the American Miriam Stevenson.
In 1955, the huge favourite Miss El Salvador who resembled Marilyn Monroe- lost by two points to Hillevi Rombin of Sweden.
Gladys Zender's victory in Miss Universe pageant had taken the Peruvian and the rest of Latin America by surprise.According to the American press, the traits that made Gladys deserve the title were these: her captivating personality and her aristocratic bearing and that she had been educated in the traditional system of Latin American women In the end, it was her whistlebait figure that won her the crown and beat the beauties from Brazil, England, Cuba and Germany.
During her homecoming on August 10, 1957, a million of her compatriots lined up along the streets to welcome her.When Gladys appeared, the crowd never tired of shouting, Viva Gladys!. I cried with joy. I never imagined this welcome, remarked the beauty queen during an interview.
In 1982 when the Miss Universe pageant was held in Lima, the Miss Universe Organization presented Gladys with a special trophy to honor her 25th coronation anniversary.
Today, Gladys Zender de Meir is a Latin beauty iconan example of Miss Universe.
Alejandro Guevara Onofre: He is a freelance writer.Alejandro is of Italian, African and Peruvian ancestry.He'e studied political science and journalism. He has published more than seventy-five research paper in English, and more than twenty in Spanish, concerning the world issues, Olympic sports, countries, and tourism. His next essay is called "The Dictator and Alicia Alonso".He is an expert on foreign affairs. Futhermore, Alejandro is the first author who has published a world-book encyclopedia in Latina America.
He admires Frida Kahlo (Mexican painter), Hillary Clinton (ex-First Lady of the USA), and Jimmy Carter (former President of the USA). His favorite film is "Gorillas in the Mist".Some of his favorite books are The Return of Eva Peron and the Killings in Trinidad (by V.S.Naipaul), "Las Mujeres de los Dictadores" (by Juan Gasparini) and Murder of a Gentle Land (by John Barron and Anthony Paul).His personal motto is "The future is for those people who believe in the beauty of their dreams" by Eleanor Roosevelt.
90's dance musicChinese New Year Spectacular Showcases the Fashion of Ancient China
The NTDTV Chinese New Year Spectacular has entered its fourth season. Its theme of Myths and Legends weaves a tale of the proverbial battle between good and evil through theatre, music and dance.
The Spectacular has drawn a lot of attention in recent years for its theatrical costumes and themes revolving around ancient times; inspiring and impressing audiences of all ages with its natural style and bright presentation. Each characters appearance is vividly portrayed and expressed through their costume.
Modern design has a theory for every detail, including color balancing and dynamics. Ancient people did not have such theories. Beauty and virtue were the general principles of their designs. As long as it looks comfortable and harmonious then it is acceptable. The design group for the NTDTV Spectacular applied modern esthetics to recover and recreate the history. They further emphasized the balancing of harmony and contrast based on beauty.
These costumes were designed strictly according to the records in ancient books and paintings to re-display the Chinese traditional clothing and culture as accurately as possible to the audience. One reference was The History of Chinese Clothing. The book was compiled from the research of archaeological findings by a group of senior scholars of Shanghai Universities and Colleges.
A more direct source of blueprints was the frescoes in the Dunhuang cave, a treasure house of Chinese culture. All the way from the Southern and Northern Dynasties to the Tang Dynasty, paintings were added in each historical period and much of the clothing found on the characters was representative of the typical clothing in each time period. Besides Dunhuang, the designs were also referenced from sculptures, the jade carvings and household utensils from ancient times.
In the period just before the Tang Dynasty, peoples lives were very turbulent, most notably due to the wars during the Southern and Northern Dynasties. This is expressed through the flowers on the clothing, which looked relatively rough.
During the Tang Dynasty, the economy was good and society was stable. The flowers on the clothing were full, magnificent, and serene; the decorative patterns exuded elegance. Garments with big sleeves were most common during the Tang Dynasty. The outer garments were transparent, and the inner garments carried a low neckline. The hairstyles were varied; a womans hair could drag along the ground if not combed. The Tang Dynastys poetry and literature were full of imagination and the Chinese people were also very broadminded. Their clothing reflected this by being very open and broad. The clothing also absorbed elements from other cultures through frequent contact with the regions in the west, India and other Asian countries; Persian designs were also very popular.
Ancient clothing was not limited to only a few styles for each period. The big sleeves, for example, changed both in detail and color from the golden age of the Tang to the late Tang. The design must take into account the specific point in history. The size of the sleeve is also designed according to the era, with base colors designed from the most original findings.
The linings of the costumes were mostly from China in order to make things authentic, as one could tell with a glance that it was a foreign product if linings from other countries were used. The designers for the Spectacular are presenting the beauty of the Chinese traditional culture found within the Chinese traditional clothing.
The costume designers follow a principle: to make something responsible for and representative of society while respecting legitimate culture instead of something to stimulate the senses. Therefore, the designs must be in accordance with what is recorded from history. Everything from the hairstyles to the hats were all designed based on historical data throughout the entire artistic process.
Shi Wei is a Chinese History student living in the US. For more info about the NTDTV Chinese New Year Spectacular in your city/area, please visit: http://shows.ntdtv.com http://www.ntdtv.com
best salsa musicMusician's Guide To Band Agreements
Band agreements.
If you write songs within a band, you need to plan for the day when you will be earning royalties from your songs, and be clear what will happen if a member of the band leaves or if the band splits up.
The best way to deal with this is to all agree what is fair, and then put this in writing as a formal agreement which you all sign. This way there is little chance of any comeback if the band splits for less than amicable reasons.
Here are a few specific points you should consider:
- If a member of the band leaves, do they forfeit all rights to the songs, and the songs remain the sole property of the band?
- Are the songs written by one person, or a few principal writers, who wish to retain all rights?
- If a band member leaves would both he and the band both retain a claim to the song, (this is probably the most likely option).
- How do you determine each persons share?
Do you base it on a song by song basis ranking each members input, or use the same formula for every song.
Do you simply divide everything up equally, (i.e. 5 members each own 20% of all the songs and therefore receives 20% of the proceeds/royalties), or do you rank each individuals input? - If a member leaves, can he/she perform or profit from the music outside of the band.
Sample band contracts can be viewed and downloaded from the following sites:
http://undercurrents.com/agreements/agreement-bandmember.html,
http://www.blues101.org/articles/promotion1.htm and
http://www.musicianassist.com/archive/contract/files/member.htm
The advice from the UK Copyright Service on this subject is:
Where music is written as a group effort, we recommend that you draw up an agreement to clarify issues, such as which rights belong to which member, and how royalties would be distributed in the event that members of your group leave.
For successful commercial bands, incorporation is also an option. As with a normal incorporated company, the band members would own shares in the band/company. In this situation, a band member would typically sell his shares to the other members if he decided to leave.
Resources
Band member agreements
Music Copyright Factsheet
It's Jewish Music, But Is The Music Jewish?
A while back I was driving along the Jerusalem highway scanning the radio stations. On one frequency, a very intense dance beat was exploding out of the speakers. I was about to move the dial some more in search of a Jewish tune when the vocalist started in. Shock of shocks, he was a heavily Hassidic singer, complete with eastern European pronunciation. And what was he singing? "Kumee oy'ree ki va oy-reich.." from 16th century Rabbi Shlomo Alkavetz' classic Sabbath poem, L'cha Dodi. Before he had began his rendition I had been expecting something like "Oh baby, the way you move with me ..."!
I had to ask the old question, "Is this good for the Jews?" And I had to give the old answer, "Does hair grow on the palm of your hand?"
Of course it's not good for the Jews, I felt. Poor, unfortunate L'cha Dodi, dragged from the fields of Tsfat on the Sabbath eve and infected with Saturday Night Fever! Lovingly done by a Hassid, no less!
Speaking of Tsfat, I recall meandering about their Klezmer festival once and hearing a contemporary setting of Psalm 126. It was to a funk rhythm, and the words did not fit. The singer had to split words in two, which rendered them more or less meaningless. Good for the Jews? Nah.
What bothered me about this so-called Jewish music? To put it briefly, besides the words, it just wasn't. It was dance, trance, shmantz. It was hip, driving, suggestive. If this music was asked where it wanted to play, the synagogue or the sin-skin club, the answer was clear. If Jewish music is to be defined as such, it must have authentic Jewish roots. And so much contemporary music simply does not. Where was the source of this tradition? Nowhere. That's what bothered me.
But, as Tevye reminds us, there's another hand. After all, go listen to classic Hassidic nigunim (melodies). Then go listen to Russian folk songs. Eerie, no? Weren't those folk songs the "dance" of their day?
Even stronger, go watch the religious kids. They love contemporary popular music and all its villains. What these new Jewish groups do is take what's hip and put Jewish content into it. Isn't that what the original Hassidic nigunim were all about? If we don't want to lose our young people in the culture war, we have to compete. Didn't Rabbi Samson Raphael Hirsch bring the choral works of Lewandowsky and Japhet in to the synagogue service, even though they were completely in the style of the German composers of the age, such as Schubert and Mendelssohn (he needs an asterisk because he was halakhically Jewish)? So maybe I should not only calm down, I should applaud this phenomenon.
Hold on. We're both right, I believe. Here's how I reconcile the difference, and my earnest appeal to all who create Jewish music. The most important thing is to ask, "To be or not to be?" That is the question.
Every song has a purpose, a message. It can be joy, faith, pensiveness, determination, anything. The message is in the melody and rhythm, which create the atmosphere. It's in the text, which gives articulation to the message. And it's in the performance, which makes the message personal between the performer and the listener. If the message is congruent, if the music and the lyrics are a perfect union that inspires the performer, then you have a great piece of music. If the message is mixed, if there's a battle going on between the rhythm and the words, then we are troubled. That was why that "kumee oy'ree" was so absolutely awful. It was a mixed message of licentious music with holy texts.
We love to set verses from the liturgy to music, and that's wonderful. Composers have a special responsibility to make sure that the music conveys the message and colors the words with deeper meanings. Do that, and I'm fascinated, I'm inspired, even if it's a contemporary style.
But be very, very careful with verses. We tend to ask, "Do you think Adon Olam goes to this?", when we would do better to ask, "What is this melody saying?". If it says Adon Olam, good. If it does not, then WRITE YOUR OWN WORDS. To keep with the idea of message, if you have a great tune that can say something worthwhile (something human and real, not negative or immodest), say it your way. That satisfies.
The foundation of Jewish music has always been expressing what's in our hearts as a prayer to God. That expression must be congruent, pure, sincere. There is room in the Jewish music world for great innovation, if it comes from our hearts, not from the charts.
Seth Yisra'el Lutnick is a singer and composer who has performed on stage and screen. His CD is called Gesharim, and he is also a trained cantor. Visit his website, http://www.greatjewishmusic.com for music and more.
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