#Freedom Jazz Festival

[donospl]

JAZZOWE ZAPOWIEDZI: Freedom Jazz Festival 2023

Łódź, 12-14.10.2023 Trzy dni potrwa tegoroczna odsłona Freedom Jazz Festival. Organizatorzy zapraszają na sześć koncertów, w czasie których widzowie spotkać się będą mogli z czołowymi postaciami  krajowej sceny jazzowej oraz będą mogli wysłuchać kilku premierowych projektów. Na inaugurację Stanisław Soyka z towarzyszeniem Grott Orkiestry zaprezentuje program złożony z własnych kompozycji w…

[serious2020]

23rd Annual Malcolm X Jazz Arts Festival - May 20, 2023!

www.facebook.com/1206858478/posts/10231748126745281/

[kuro4thegays]

- What does freedom look like without you? - What I cannon take.

[Word count: 2k - 1/9] [Aventurine x male!reader] [Content: suggestive, sexual themes, angst, implied sexual abuse(off screen), jealousy(reader), misunderstanding, alcohol, set during the Penacony story]

Penacony, the land of festivities, was truly something to behold. The warm city lights, painting what otherwise might have been cold streets, and the smooth jazz setting the mood were enough to take the hearts of most tourists. Unfortunately, you weren’t here for recreational reasons.

“Aventurine…” You opened the door of your unnecessarily luxurious hotel room only to be greeted by the sight of your work partner weakly leaning against the door frame. If it wasn’t for the way he looked like he could barely stand you might have straight up closed the door on him right then and there, but you still had some bits of sympathy left. “What are you doing here-” Aventurine didn’t give you the grace to finish the sentence, falling into your arms like an unsteady chair missing one of its legs. From this distance you could feel the alcohol oozing out of the other male, making the reason for such an uncharacteristically clumsy fall rather evident. “You reek of alcohol.” You couldn’t hide your thoughts on the matter. “And you smell so nice.” Aventurine on the other hand took the chance to make his appreciation known. He hid his face in the crook of your neck, inhaling the strangely comforting smell as you tried to come up with an appropriate response. You considered pushing him away, yet somehow you could already see him walking up to your door like a lost puppy again.

“Tch” The sound that left your lips wasn’t very reassuring, but regardless you pulled the very drunk Aventurine inside. “Sit down, you need something to drink.” You said, but Aventurine stayed practically attached to you like a koala bear. “Aventurine, are you even listening?” Curse your chest for being so warm because now there was no way of getting out of the other male’s grip. “Aventurine, you’re going to feel very sick in the morning if you don’t drink something right now.” Eventually you managed to push the drunkhead’s face out of your chest, holding his cheek a bit too tenderly as you looked into those intoxicating eyes. 

“Why do I even bother?” You sighed, but frankly, not even common sense was stopping you now. You helped Aventurine sit down on the nearby sofa, gently pushing his wobbly body down onto the steady surface. “Stay here, I’ll be right back.” You ran to get some water, yet as soon as you did so you could hear his wasted whines. “You can’t be leaving me alone in this state! I might die, you know!” You should have seen this coming. You came back as quickly as you went, but it seems like not even that was enough for Aventurine. “I didn’t know -hic- that you were the type to leave your drunk partner all alone.” He slurred, but you have already learnt that such childish teasing should only be met with a dose of cold ignoring. “Drink up.” Your voice left no room for negotiation as you brought the cool glass up to Aventurine’s loose lips.

Aventurine, of course, opened his mouth, readying himself for another complaint, but your hands were clearly faster. You pushed the glass into the drunk male’s mouth and watched cautiously so that he doesn’t choke on anything. “You’ll feel awful in the morning if you don’t.” Still, your voice held that tinge of gentleness. “And I honestly don’t want to have to deal with that.” But you quickly covered its last traces. 

Thank God, Aventurine found it in himself to shut up for at least this fleeting moment, otherwise you might have had to slap the back of his head one time too many. He gulped down everything you gave him, such desperation certainly not expected by someone who was pushing it away just a moment ago. “Wow [name], you -hic- truly are the sweetest.” Aventurine chuckled while you just gave him the usual look of annoyance. “You really are no fun, hmm?” It didn’t take long for him to return to complaining. Meanwhile, you returned the glass onto the counter. “What even brings you here?” You questioned. For God’s sake you were staying in the same hotel. Was it really that hard for him to climb the extra pair of stairs? 

Aventurne’s eyes lingered on your form for a minute more than they should have, but he eventually spoke. “How about we make a game out of it?” Somehow he could predict the expression that would grace your face even just at the suggestion. “Even at this ungodly hour of the night you’re still thinking about gambling? Such a vast character you must have.” But Aventurine only chuckled in response to your harsh words. You eyed the hickeys painting the skin of his neck and shoulders. Something about them makes you mad, unreasonably so. You knew not to pry, but God dammit Aventurine was your exception in many ways. Why were you feeling this way so suddenly? Somewhere inside that head of yours you were aware of Aventurine’s abilities, his unbreakable chain of luck, but the primal, jealous side screamed louder. Ah, yes, jealousy was the name of the curse that had befallen you. “And what’s in it for you?”

“If I win you let me stay the night.” He said it a bit too quickly, almost like he has been waiting for you to ask the question. In his drunken state it seemed almost like he lost all his negotiating skills, cute. “A coin toss?” Before you could even answer he was already preparing the coin, just like the first time you met, though this time you should have known better. “I’ll be heads, if you agree, of course.” You were nodding even before he got to finish his sentence, your eyes fully focused on the coin. “My, I couldn’t predict that you would be so eager -hic- to gamble.” Aventurine’s intoxicated hand was struggling to hold the coin straight. “Ready?” But the coin was already in the air. The gambler waited silently while your eyes were practically glued to the piece of gold, yet a shame that it didn’t change the result of the gamble. Heads. This should have been expected, but you couldn’t help but furrow your eyebrows in frustration. Is this what gambling was all about? “Damn it.” You cursed under your breath. “Oh, was someone getting invested?” Naturally, his teasing would only be getting more prominent after such an easy victory. At this exact moment you would have swore that your face was as neural as it could be, but Aventurine had a keen eye, he could see that small smile decorating your features. “No, I was just…” Words failed you yet again. It was hard arguing with such a pretty face. “I think you were~” You decided to stay quiet this time, hiding your expression under your hand. “No matter.” Aventurine concluded. “Just hope that there is enough space in your bed tonight.” You swore that drunk laughing was getting on your nerves, but maybe it wouldn’t hurt to hear it one more time. “Whatever.”

You both fell silent for a moment, unspoken words still floating somewhere within your minds, yet their exit was blocked off by something called ego. You were the one who gave in first. Your curiosity prevailed. “Where were you?” Your eyes traveled down the drunk man’s neck, those red marks still causing something inside you to burn. “At a bar, duh.” Aventurine dismissed the question. Your heart craved more, but after such an embarrassing loss, reason returned to you. You knew where the line was, or at least you would like to think so. Oh, but Aventurine noticed the hunger that seeped from your eyes. “You’re eying me like a piece of meat, you know?” His speech was still somewhat slurred, but his words were nothing but serious. “If that’s how you feel you should have said so.” Aventurine chuckled, yet this time there was something different about it. His laugh, dark and deep, echoed inside your head, hindering all attempts at forming a coherent thought useless. Before you could even process it Aventurine was already sitting closer to you. Closer and closer, the only thing separating you being the thin layer of hot air flowing between the two of you. “What?” You wanted to move even closer, but that quiet voice of reason at the back of your head was begging you not to. “What is the meaning of th-” But Aventurine shushed you, his intoxicating, almost predatory gaze locked on yours. You were losing control of the situation.

“Is it not clear to you, dear?” His voice would be enough to make anyone weak. “Let me show you.” “Wait! Aven-” You were quickly shut up with a heated wet kiss. You could feel the leftover alcohol on his tongue, just kissing him could make one feel tipsy, but you had to resist. You should have been the responsible one. “What the fuck, Aventurine?!” You pushed him away, for his own safety. “Hmm?” Aventurine still seemed a little lost, licking his lips as his eyes struggled to focus. “You can’t just go around doing… what you just did. Someone could… Someone could do something to you!” Just the thought disgust you, yet you had to stay firm.

“What? Didn’t you like that?” He retorted. “You know, they tell me that I am a great kisser.” His chuckles melted with his words, the alcohol’s effects taking over his sense of rationality. “No, that’s not it!” “So you like it?” “No!” The jealousy plaguing your heart morphed into concern. Who were ‘they’? Were ‘they’ the ones whose kisses covered Aventurine’s body? Were ‘they’ multiple people? You felt paralyzed by all the questions. But this wasn’t the time. “Aventurine, you’re drunk. You don’t know what you want.”

This sentence of yours hit Aventurine harder than it was meant to. Alcohol had its way of altering what people heard and understood. “Do you not trust me?” Aventurine stepped back. “Do you think I’m trying to deceive you?” He averted his gaze, not that it mattered much when his whole world was turning blurry. “That's not it, I just…” “But I’m yours, [name]!” Your words couldn't reach him. “No, you’re not!” You spat the words out quicker than intended, yet again, their meaning lost in intoxication’s hold over Aventurin’s cognitions. Perhaps those words caused something in him to break, or at least one would assume that by the way he wobbled backwards, seemingly lost. “But… I could make you feel so good if you just let me… Why?” He said, his steps getting unsteady. 

You quickly stood up, catching Aventurine before he could fall over. “You’re too drunk for this.” You shushed him, trying the best you could to drag him to the hotel bed. “But… what I feel is real… I promise.” He mumbled, yet his lips succumbed to the alcohol’s effect. His words were barely recognizable at this point as you laid him down on the bed.

“Do you hate m…” But his lips stopped moving before he could finish. You were still leaning over him, trying to figure out what had just happened. Have you failed? What was your partner talking about? Did it even matter at this point? You were the sober one, the responsible one. Yet, you couldn’t stop things from escalating, you couldn’t protect Aventurine. At this point you too could feel the sleepless nights creeping up on you. Though…

You are going to need a cold shower after this.

[Writer’s note: So good to see you again, no I have not been promising this since... um, February. Haha, it's here guys and in multiple parts. When I originally made that post I just had in mind this first chapter, but then I realized oh damn this could be a whole fucking story. Guess what? I made it into a whole story. I hope that I'll be able to cook up the next chapter next month, but for now the only thing I know is that my next work is going to be something for Kaveh's birthday because I love him. That's about it. Hope that you all thoroughly enjoy this. Bye bye.]

[in-kaeya-we-thrust]

Hi just saw ur wtds!ik mafia au and want to ask

Do you have any idea on how the other misfits gonna be introduced or if possible be included??

Like a little head cannon or prospected in ways they might introduce? Like a guessed or ways you want them to come introduce themselves!

Hi! I think of the misfits are all going to be part of Babel at some point of the manga, or some are already part of the mafia. Here are some of my headcanons hehe. These are based on their bloodline magic, skills, and their training on the harvest festival.

People who already belong in Babel:

Sabro could be introduced as someone who makes their weapons

Purson as the mafia's long forgotten member, he has been there since the beginning and no one noticed him (ol sounds familiar); or the best spy in the Mafia World since he never got caught. But as he was spying on Babel to gather info, Iruma saw him.

Since this is a Mafia AU, gambling and auctions would be involved. These characters are possible to appear in this kind of arc:

It's the first time Iruma visited a casino and he saw Lied playing and winning every game. He watched him, befriended him, and asked Lied to teach him play. Eventually, he recruited the boy into Babel.

Jazz and Allocer using underhanded tricks at gambling; or Jazz stealing something from Iruma during a simple walk and Allocer owning the best information guild.

Kuromu, once a famous idol, being sold at auctions; or famous idol who performs for a different mafia that only uses her for entertainment.

IX Elizabetta using her beauty to distract opponents while gambling; or she could be found at a cabaret. Iruma found out that she wasn't happy and bought her freedom.

Other Mafia/Organizations:

Agares owning some of the famous five star hotels where mafia activities are being held.

Gaap as a famous samurai; could also be Agares' assistant.

Kamui being the best salesman and could talk his clients to getting what he wants.

Anyway, that's all I could think of, I don't have any well-thought headcanons or theories about the misfits, so this is the best I could do😭

Would like to hear your thoughts, though!

[opinion247]

FELA, THE UNBEARABLE REIGNING PROPHET– BY EGUNGWU C. BENJAMIN

Due to this year's Felabration music festival themed 'Question Jam Answer,' which started on 9th and will be ending on Sunday, 15th October, 2023. I decided to pen down this commemorative piece for the musical icon.

In this piece we will discuss about how the musical festival started and the brain behind it, we will also have brief background of the music icon and information about his career and achievements.

In 1998 Felabration was conceptualized by the late Afrobeat music legend's daughter, Yeni Anikulapo-Kuti just to remember his father's legacy. How he used music as a tool to speak about bad governance , exposing the hidden skeletons in the cupboard of corrupt politicians and religious institution leaders.

The music festival is hosted once every year for seven days and people comes from different states in the country, some from different countries to celebrate the Music icon at Afrika Shrine, Ikeja, Lagos State.

Brief Background of the Music Icon

 Olufela Olusegun Oludotun Ransome-Kuti Popularly called 'Fela Anikulapo-Kuti' was born on 15th October, 1938, in Abeokuta, Ogun state, into an upper middle class family.

The Late, Chief. Funmilayo Ransome-Kuti was the mother of Fela. She a very popular feminist activist during the anti-colonial movement and first woman to drive a car in Nigeria back in 1951, while his father, Reverend, Israel Oludotun Ransome-Kuti, was a school principal and first president of the Nigeria Union of Teacher.

Later Fela Kuti removed 'Ransome' from his name and changed it to 'Anikulapo' meaning "He who carries death in his pouch or hands".

This will bring us to one of his hit track, that I love so much titled 'Colo-mentality'. In the song he talked about how the British sold their culture and language to us. we took everything and abandoned ours which makes us original.

In the song he said;

" If you say you be colonial man. You don be slave man before. Them don release you now. But you never release yourself. in another stanza he said;

"Dem go proud of dem name. And put dem slave name for head. No be so?… "

This can be linked to his decision to change his English name ' Ransome' to a Yoruba name 'Anikulapo'.

Fela Kuti is a cousin to the Popular writer and laureate Wole Soyinka (a Nobel Prize for Literature winner).

Brief Music Journey

Base on my research , I found out that the Music Icon was actually sent to London to study medicine just like his brothers; are all medical doctors.

He got to UK enrolled at Trinity College London where he studied classical music and became exposed to different musical sounds by playing piano in jazz and rock bands.

However, in I960s he returned to Nigeria and formed a band ' Koola Lobitos' just as he played when he was in London and Afrobeat sound started from that group through experiment and practices.

That is why he is refered to as the King of Afrobeat which is Jazz, Funk, Ghanaian/Nigerian High-life and psychedelic rock infusion.

Most of the top Afrobeat stars in the world like; Burna-Boy who claimed that his style of music is Afro-fusion. This is inspired by Fela Kuti and he affirmed to it.

During his life time while doing Music in Nigeria, he used it as an instrument to talk c on themes like; freedom, injustice, corruption and any other social vices within the country.

Due to his doggedness and ability to withstand pressure from the Military government in power, they were looking for reasons to find him guilty and jail him.

He declared himself the head of his communal compound, which he named the independent 'Kalakuta Republic'. The place got many attention due to use of drugs, indulgence in sex, polygamy support ( he married 27 women ).

It was said that 1000 soildiers raided his house,' Kalakuta Republic' in Lagos. Thy destroyed his properties and beat up everyone in there.

During the raid Fela, 's mother, Funmilayo Ransome-Kuti, was thrown out from the window. She sustained serious injuries and died at the General Hospital in Lagos on April 13, 1978 and most National Dailies reported the incident with the headline; “Fela’s Mum is Dead" or " Fela's House Burnt ".

This didn't make him stop his musical career or compromise his stand. He dropped more hit tracks like; “Zombie,” “Beasts of No Nation,” “Upside Down" and “Monkey Banana,”.

In his hit track " Zombie" he said; "Zombie no go walk unless you tell am to walk", Which Ironically, he was referring to the military or soldiers who doesn't do things they wish to do but they act base on order or instructions from top ranking officers.

This still remind me my days in Enugu, while still a kid, any time my mother is singing this song, just know you are suppose to do something and you haven't done it. (Smiles African parents still the best).

I referred to him as a prophet in this piece because his music his ever green. Everything he said when he was alive is still happening and even getting worse.

His music stirs ones mind to reflect on life unlike the the artist today that centers their music on sex and flamboyancy. Fela also sang about sex and having good time.

I am not against this kind of music everyone has there style of music and decision to choose what to sing about but once in a while they should use music as a tool to stir-up consciousness.

I dance and sing to the new style of songs, the artists are putting Africa in global map, Everyone is trying to identify themselves as an African but they should also remember that music is an art and should be used to convey message to educate and inform. It shouldn't be for entertainment purpose only.

I do appreciate Singers like; Falz, Tekno, Idris Abdul Kareem, Daddy Showkey, Late Sound Sultan, et-al .

[dudewhoabides]

Matthew Whitaker Quartet 'Freedom Jazz Dance' | Jarasum Jazz Festival 2019

[therecordchanger62279]

18 NEW PLAYLISTS

     I’ve been building more playlists for my iTunes file so that I can get more use out of my collection. It enables me to listen on the computer when I’m working, or at the exercise room when I’m working out. And it’s a great opportunity to mix and match artists, albums or styles so that all the music sounds fresh, and new. Context matters. And most music fits together far better than any radio programmer or Spotify algorithm would lead you to believe.

     Here’s the latest. The number of tracks is in parentheses.

1971 (283) 1972 (317) 1973 (377) An overview of each entire year in popular music. Most of it is Rock, Pop, and Soul but there's a sprinkling of Jazz, and Country as well.

Beg, Scream & Shout (144) The complete box set of the same name – a Rhino set of 144 great Soul singles of the 1960s.

Bill Evans (31) Sourced from The Complete Riverside Recordings box set, and The Best of Bill Evans on Verve. Three of Evans’ classic albums for Riverside along with an overview of his recordings for Verve.

Dexter Gordon (27) A collection of 70s recordings sourced from The Complete Prestige Recordings box (four of his best albums on the label), and closes with his Manhattan Symphonie album for Columbia.

James “Blood” Ulmer (50) A mix of 40 years of his recordings as a solo artist, and including the Music Revelation Ensemble, The Odyssey Band, and The Thing band recordings. His first album, Revealing, from 1977 kicks it off.

Jefferson Airplane (79) The first five albums complete, a selection of tracks from Bark, Early Flight, and the live Thirty Seconds Over Winterland, too. It closes with the 1989 self-titled reunion album.

John Wetton (80) Sourced from the excellent The Studio Recordings Anthology Vol. 1, along with his work with King Crimson, Uriah Heep, U.K., Asia, and the Steve Hackett Genesis Revisited project.

Laswell Mixes (18) Collects all three Bill Laswell remix albums of the works of Miles Davis, Panthalassa, and Panthalassa: The Remixes, and Carlos Santana, Divine Light - Reconstruction & Mix Translation.

Miles (Circle in The Round) (10) Straight recreation of the Miles Davis anthology Circle in The Round – a brilliant overview of Miles’ career with Columbia from 1955-1975.

Miles (Directions) (12) Another recreation of another Miles anthology from Columbia spanning his first 20 years with the label. This is not available on CD, nor is it available to stream, but all the tracks have been issued elsewhere since its 1981 release. I just brought them all together to recreate the album.

Miles Live (41) One of my better ideas, I think. This collects five editions of live recordings from The Miles Davis Quintet spanning the years 1960-1965. What makes it unique is that each of the quintets features a different saxophonist – none of whom is John Coltrane. Stockholm 1960 features Sonny Stitt, In Person Friday Night at The Blackhawk (1961) features Hank Mobley, Live at the 1963 Monterey Jazz Festival has George Coleman, Miles in Tokyo (1964) showcases Sam Rivers, and Highlights from The Plugged Nickel (1965) is with Wayne Shorter. Great opportunity to hear how the quintet evolved through the years, and how each of the saxophonists changed Miles’ sound.

Monk on Riverside (75) 12 Monk studio and live classic albums sourced from the massive 15 CD The Complete Riverside Recordings Box.

Northern Soul (124) Sourced from the Northern Soul box set, and The Decca Scene: Northern Soul CD. The best music from that uniquely British club scene.

Sonny Rollins (14) A trio of Rollins albums beginning with The Freedom Suite from 1958, The Bridge from 1962, and the Live in Graz, Austria November 12, 1966 trio set. Rollins in three different settings playing at his best.

Tacocat (25) Until a couple of weeks ago, I’d never heard this band. I picked up their first two CDs after hearing about them on a music podcast. Three girls and a guy with a girl group/pop/punk/alternative bent. Lots of hooks, and lots of fun. Reminded me of the 1980s indie scene before everything turned serious, and dark. NVM, and Lost Time are available direct from Sub Pop at very reasonable prices.

Virtuosos (132) Joe Satriani, Steve Vai, Vangelis, John Paul Jones, Brand X, Steve Howe, Phil Manzanera, and Anthony Phillips – all great players collected in one place in a music clinic free for all. I wanted something different, so I brought great players together who really didn’t fit elsewhere.

I also split The Bangles playlist into a group list (89), and a side projects list (137). My two PJ Harvey lists are now three – the original albums (86), the demo albums (68), and a live only playlist (55). The 1969 (300) and 1970 (370) playlists were expanded by nearly double. The 1969-1973 playlists now total more than 1600 songs. Large playlists are best for genres, or year in music lists, and best heard on shuffle. Shorter playlists work better for artists, I find. The larger lists are films, the shorter ones work as snapshots.

[rabbitcruiser]

International Jazz Day 

Join your community in appreciating and recognizing the rich culture and heritage of jazz. Visit a local jazz club, or revisit some of the greatest musicians in history.

International Jazz Day is a beautiful time to celebrate the gift of music and to come together as a community. It’s a chance to listen to a variety of musicians and hear their talents live all around the world.

Learning more about the day will help any musical enthusiast to appreciate all the benefits of listening to jazz. Music lovers from around the world will gather to attend jazz festivals, parties, and events to help celebrate the day and this specific type of music. Now is the perfect opportunity to take up a musical instrument such as the trumpet, saxophone, piano or clarinet and start to make music so one can understand what all the hype is about.

International Jazz Day highlights the ability for jazz to unite people from all walks of life and draw together folks from around the globe. No one is left out, as this day brings together artists, schools, communities, historians, academics, and jazz aficionados to raise awareness around this type of music and educate the public about the roots, impact, and future of jazz. There’s a deep-rooted message attached to this day of celebration, such as reinforcing international cooperation and communication.

It brings to light the need for intercultural dialogue and mutual understanding through one of the best ways possible, music. The power of the music will be apparent when participants view people of all backgrounds, forgetting about their differences and joining together to celebrate jazz. Any adverse circumstances from the past or present are suddenly forgotten or pushed aside, and people begin to focus on friendship, freedom, hope, and dignity instead.

The day itself is intended to promote peace, diversity, respect among different cultures, and highlight the need for human rights and dignity. The music itself addresses the desire for eliminating discrimination and promoting the freedom of expression. Youth are also encouraged to participate by enacting change and helping to foster gender equality. One will have the chance to experience how much life and love emerges when the day kicks off, and musicians from all over begin to jam and play their music.

History of International Jazz Day

It all began in 2011 when the United Nations Educational, Scientific, and Cultural Organization declared International Jazz Day as an opportunity to give recognition to jazz music and state its role to unite people all around the globe. It’s been going strong ever since and people look forward to this day each year when music lovers from around the world can share in the experience of listening to and making jazz music.

The idea itself emerged from jazz pianist and UNESCO Goodwill Ambassador Herbie Hancock. Together, the UNESCO Director-General and Hancock chair the event and ensure people from all over come out to participate in the celebration each year. Cities such as Paris, New Orleans, and New York were some of the first to begin to educate the public on the event and draw excitement to Jazz Day.

The Host City goes as far as to organize an All-Star Global Concert which brings together over two-dozen jazz musicians from all parts of the world in or around a historical landmark. It’s interesting to know that the popularity of the day has grown immensely over the years. Now, nearly 200 countries participate in International Jazz Day.

You can visit just about any location and hear and experience jazz music at its finest. You’ll witness artists and onlookers expressing themselves in their own unique and individual way. Cape Town, South Africa is the Host City for 2020, so one should make a note of this if he or she wants to travel and see some of the best musicians perform their music live. Not only will there be music present at the event, but organizers are also planning an extensive educational and community outreach program for people to participate in and as a way for them to expand their knowledge.

How to Celebrate International Jazz Day

There are many ways for how people around the world can celebrate International Jazz Day. There is no right or wrong way to go about it, and all communities may have their unique take and twist on the day. For example, there may be live concerts and events to attend, and people might want to host their own parties.

Not only are there concerts and events taking place internationally, but many will also hold jam sessions and educational workshops and conferences, as well as organize community outreach programs. Anyone can locate and access jazz educational materials from the International Jazz Day website to help them run their event. The public shouldn’t be afraid to insert themselves in the conversation and start an event or discussion around the topic to help create awareness around the day.

The common denominator is that there will be a lot of jazz music to be heard and played. It’s an opportunity for those unfamiliar with this type of music to get more acquainted with it and learn about its roots and history. One can witness people of all ages and backgrounds moving to the music and enjoying themselves while the performers work hard to put on a show that anyone can appreciate.

International Jazz Day is undoubtedly a celebration to be aware of and take part in if a person is looking to expand their horizons and musical knowledge. There’s so much to see and take in around the globe when this day rolls around. There will be no choice but to participate in some sort of event that’s happening in the area. It’s a time to appreciate the musicians and their talents and bring people together to experience this particular type of music without any judgment.

Go ahead and give one of these events or jam sessions a try and see for oneself how engaging jazz music is and witness its ability to bring together people from across the globe and find common ground. Let this year be the year that people let their guards down and allow themselves to experience the day by listening, conversing, and moving their bodies to the wonderful sounds of jazz.

Source

[burlveneer-music]

Angel Bat Dawid - Requiem for Jazz - the audio document of her sweeping performance piece inspired by, and expounding on, the 1959 film The Cry of Jazz by Edward O. Bland (embedded below)

Composer, clarinetist, singer and educator Angel Bat Dawid announces the release of a new work, Requiem For Jazz. A 12-movement suite composed, arranged, and inspired in part by dialogue from Edward O. Bland’s 1959 film The Cry of Jazz, the album is a wide-ranging treatise on the African American story from one of its most astute narrators. Itself an incisive critique of racial politics in the USA, The Cry of Jazz draws formal comparisons between the structure of jazz music and the African American experience - as one of freedom and restraint, of joy and suffering - that manifests in the triumph of spirit over the crushing prejudice of daily life. Cutting together archive reels from Black neighborhoods in Chicago with live performance footage from Sun Ra and his Arkestra among others, the film remains a radical and prescient evocation of Black pride and its roots in the history of jazz, from spirituals to blues and beyond. As South African writer Nombuso Mathibela captures in the album’s liner notes: [Music is our weapon of struggle] that radiantly holds our positive aspiration, group pride and determination as Black people. Sonics! our beautiful fire that gave light to the world. And a world that gave us blues. The blues that gave us Black in jazz Drawing a through line to today’s vibrant avant-garde, Angel Bat Dawid’s Requiem For Jazz picks up the liberation work laid out by Bland’s film, taking the message of joy and suffering within the Black classical tradition into a contemporary setting. Music from the project was originally premiered at the Hyde Park Jazz Festival in Chicago in 2019, where Angel conducted a multigenerational fifteen-piece instrumental ensemble of Black musicians from across Chicago’s creative community, alongside a four-person choir (featuring singers from Black Monument Ensemble) as well as dancers and visual artists. Recordings from the performance were then mixed and post-produced by Angel, who added interludes, vocals and additional sounds. As well as transcribing a piece from the film, Requiem For Jazz also alludes to The Cry of Jazz through contributions from the Sun Ra Arkestra’s Marshall Allen and Knoel Scott on the album’s final movement, which were recorded remotely at the historic Arkestral Institute of Sun Ra in Philadelphia in late 2020. “I want us to have this very wonderful conversation that Ed Bland started over 50 years ago and I want to continue the conversation; because this is a loving conversation that we need to have with each other” - Angel Bat Dawid, Feb 2023 creditsreleased March 24, 2023 Requiem for Jazz Composed, Arranged, Conducted & Mixed by Angel Bat Dawid except “My Rhapsody,” from the 1959 Ed Bland film “The Cry of Jazz,” composed by Paul Severson & Norman Leist (Glenayre Publishing Co. BMI), arranged by Angel Bat Dawid. Lyrics include extracts from “The Cry of Jazz” and the Roman Catholic Liturgical Requiem Missal. Requiem for Jazz Intros/Interludes Composed, Produced, Mixed & Performed by Angel Bat Dawid Requiem for Jazz premiered Sept, 30th 2019 at the Reva & David Logan Center for the Arts in Chicago, IL. Commissioned for the 2019 Annual Hyde Park Jazz Festival.

[scotianostra]

John Mackenzie the filmmaker and director was born on May 22nd 1928 in Edinburgh.

McKenzie attended Holy Cross Academy then studied history at the University of Edinburgh. He went on to study drama and joined Edinburgh's Gateway Theatre Company.. He worked as a teacher and moved to London in 1960 where he worked for the BBC, his talents were spotted by the distinguished director Ken Loach, who made him his assistant, working on such socially significant teleplays as Up the Junction and the famously controversial Cathy Come Home. The experience of working with Loach proved invaluable and Mackenzie gained a wide experience of movie making and, not least, working within a tight budget.

Mackenzie did get some solo directing jobs on such programmes as ITV's Saturday Night Theatre but his first television drama was There is Also Tomorrow in 1969 and two feature length films including Made, which was shown at the Edinburgh Film Festival last year.

In the late 1960s Mackenzie started working with the Glasgow-born screenwriter Peter McDougall. Their first major success, Just Another Saturday, detailed the harsh working conditions of the Glasgow shipyards. The two collaborated on three other commanding films - all with Scottish backgrounds. The Elephant's Graveyard and Just a Boy's Game explored life and social conditions in Scotland.

But in 1979 the two made their most accomplished and dramatic film for STV - A Sense of Freedom, which starred David Hayman, Hector Nicol and Fulton Mackay. Based on the violent life of Jimmy Boyle, the film magnificently captured the very essence of evil that Boyle represented - from the opening sequences in Glasgow back streets filmed in semi-focus with a searing jazz rhythm being played in the background. Mackenzie then cut to a smoky bar and Boyle enters in smart suit and menacingly says to the landlord: "I hear you have had a bit of bother recently. I might be able to get rid of them for you."

The film made uneasy viewing. The Scottish Prison Service would not allow Mackenzie to film in its prisons, so he had to use Dublin's Kilmainham Prison. But the film won much praise and the rigour and unflinching direction from Mackenzie was widely admired.

One critic wrote: "Like it or loathe it, A Sense of Freedom should be watched by any budding film makers. Certainly it is one of Scotland's finest film exports ever."

There then followed The Long Good Friday, which was set against the development of Canary Wharf in London and follows the fraught efforts of the Hoskins character to mastermind a dubious property deal with the Americans.

Mackenzie kept a tight grip on the direction and in scenes such as when Hoskins is turned down by the Americans he allows Hoskins to let rip with a powerfully invective speech only for him to get into his car and be confronted by a gunman (played by Pierce Brosnan in his debut film role).

Post production was beset by problems - not least Hoskins threatening to sue the American distributors if they dubbed his Cockney accent. The original television producers wanted the IRA content softened but Mackenzie and his colleagues resold the rights to George Harrison's Handmade Films so that it could be seen in cinemas. In one interview Mackenzie said of the storyline: "A mysterious syndicate is trying to muscle in on his action, and Harold wants to know who they are. He finds out soon enough, and bloody mayhem ensues."

It was that keen sense of drama, balanced by irreverent humour and directorial zest that has made The Long Good Friday a cinema classic.

Mackenzie returned to Scotland in 1998 to film Looking After Jo Jo for BBC Scotland. The drama starred Robert Carlyle. Again the story is sordid and uncompromising. It centres on a petty Edinburgh thief and drug dealer (Carlyle) who menaces the Sighthill housing estates. Mackenzie's sense of pace and his ability to draw a subtly threatening performance from Carlyle brought the film warm praise.

Other films that McKenzie directed include The Fourth Protocol with Michael Caine, Blue Heat, with the late great Bian Denehey and Ruby, with Danny Aiello

Mackenzie died following a stroke on 8th June 2011, some three weeks after his 83rd birthday

[carmenvicinanza]

Sonia Sanchez

https://www.unadonnalgiorno.it/sonia-sanchez/

Sonia Sanchez poeta, scrittrice e accademica femminista pluripremiata, è un’importante protagonista del Black Arts Movement, nato per il rinnovamento della volontà, dell’intuizione, dell’energia e della consapevolezza delle persone nere.

Ha scritto molti libri di poesie, testi teatrali e libri per l’infanzia e pubblicato saggi in storiche riviste come The Liberator, Negro Digest e Black Dialogue.

È conosciuta per la sua innovativa fusione di generi musicali, come il blues e il jazz, con forme poetiche tradizionali come haiku e tanka che utilizzano lo slang della comunità nera e una punteggiatura e ortografia sperimentale.

Attivista militante sin dagli anni sessanta, ha scritto di identità, razza, femminismo, amore, degrado, AIDS, dolore, emancipazione, orgoglio, cambiamento e senso comunitario.

Nata a Birmingham, Alabama, il 9 settembre 1934 col nome di Wilsonia Benita Driver, perse sua quando aveva solo un anno. Era stata, per questo, mandata a vivere con la nonna paterna, morta, anch’ella, quando aveva sei anni. Il trauma le fece sviluppare una balbuzie che la rendeva molto introversa, portandola a leggere molto e prestare molta attenzione al linguaggio e ai suoi suoni.

Nel 1943 si è trasferita ad Harlem per vivere con il padre, la sorella e la terza moglie del padre.

Col tempo ha imparato a gestire la balbuzie e trovare la sua voce poetica, nei corsi di scrittura creativa mentre frequentava l’Hunter College, dove si è laureata, nel 1955, in Scienze Politiche.  

Ha completato il percorso post-laurea alla New York University e studiato poesia con Louise Bogan. In quel periodo ha formato un laboratorio di scrittori e scrittrici nel Greenwich Village chiamato Broadside Quartet.

Quando faceva parte del CORE (Congress of Racial Equality), ha incontrato Malcolm X.

Tra le pioniere del femminismo nero, ha iniziato a scrivere drammaturgie teatrali negli anni ’60. Le forti protagoniste delle sue opere sfidavano lo spirito patriarcale del movimento.

Per un periodo, all’inizio degli anni settanta, ha fatto parte della Nation of Islam, che ha poi lasciato per la conflittuale visione sui diritti delle donne.

Ha tenuto il cognome Sanchez dal suo primo matrimonio, anche se poi ha sposato il poeta Etheridge Knight. L’esperienza della maternità, ha una figlia e due figli, ha influenzato la sua poesia negli anni settanta.

Ha scritto molte opere teatrali e libri che raccontano le lotte e le vite dell’America nera e curato le due antologie We Be Word Sorcerers: 25 Stories by Black Americans e 360° of Blackness Coming at You.

Sonia Sanchez ha insegnato in otto università e tenuto lezioni in oltre 500 campus in tutti gli Stati Uniti, tra cui la Howard University. Ha sostenuto l’introduzione di un corso di studi sulla comunità e sull’arte nera in California.

È stata la prima, in tutti gli Stati Uniti, a tenere un corso universitario di letteratura femminile afroamericana e a ricoprire la carica di Presidential Fellow alla Temple University, dove ha iniziato a lavorare nel 1977 e terminato nel 1999, quando è andata in pensione. Attualmente è poeta residente dell’ateneo.

Ha utilizzato i Black Studies come una nuova piattaforma per lo studio della razza e una sfida ai pregiudizi istituzionali delle università americane, prevalentemente frequentate da persone bianche.

Ha fatto parte di importanti organizzazioni femministe per i diritti umani.

Nel 2012 è stata la prima poeta laureata di Filadelfia.

Nel 2015 è uscito, BaddDDD Sonia Sanchez, documentario sul suo lavoro e sull’influenza che ha avuto nella storia della cultura, che è stato proiettato in molti festival internazionali.

È tra le venti donne afroamericane che fanno parte di Freedom’s Sisters, mostra itinerante voluta dal Cincinnati Museum Center e dalla Smithsonian Institution.

[greensparty]

2022: The Year in Green’s Party

This has been another great year on this blog of me sharing a thought or two about pop culture! This was a year I needed pop culture, entertainment and escapism more than ever. I got to do so many awesome things and I can’t believe that in early 2023 this blog turns 10! Here are some of the highlights of 2022:

Retweets and Social Media: There were numerous retweets and shares of my posts this year on social media including 2022 Collectibles Extravaganza sharing my coverage, Dana Carvey liked my tweet about Wayne’s World at Nice a Fest, David Spade liked my tweet about my interview with Siobhan Fallon Hogan, and Sean Baker liked my tweet about Red Rocket being my Best 2021 Movie I Saw in 2022.

Interviews: I got to interview numerous people including Jon “Bermuda” Schwartz of Weird Al Yankovic’s band (plus a bonus portion of the interview), Nice a Fest founder Alex Pickert, musician Colleen Green, actor / director James Morosini, director Marq Evans, director April Wright, director Ryan White, musician Kay Hanley, and actors Brian O’Halloran and Jeff Anderson.

Movie Reviews: I got to review A Hero, Sundown, I Want You Back, Studio 666, Jazz Fest: A New Orleans Story, Jurassic World Dominion,  The Beatles and India, George Michael Freedom Uncut, Hallelujah: Leonard Cohen, A Journey, A Song, Thor: Love and Thunder, Clerks III, Sidney, Nothing Compares, Halloween Ends, Let There Be Drums!, Rebel Dread, Weird: The Al Yankovic Story, A Christmas Story Christmas, She Said, Avatar: The Way of Water, and Bablyon.

Album Reviews: I got to review Eddie Vedder’s Earthling and the vinyl reissue of Ukelele Songs, John Carpenter, Cody Carpenter and Daniel Davies’ Firestarter soundtrack and Halloween Ends soundtrack, Florence + The Machine’s Dance Fever, The Rolling Stones’ Live at El Mocambo, The Clash’s Combat Rock / The People’s Hall special edition, Wilco’s Cruel Country, Beabadoobee’s Beatopia, Neil Young and Crazy Horse’s Toast, Neil Young and Promise of the Real’s Noise & Flowers, R.E.M.’s Chronic Town 40th anniversary EP, Oasis’s Be Here Now 25th anniversary edition, Ringo Starr’s EP3, Djo’s Decide, Billy Idol’s The Cage, The Smithereens’ The Lost Album, The Pixies’ Doggerel, L7′s Bricks Are Heavy 30th anniversary reissue, Yeah Yeah Yeahs’ Cool It Down, Alvvays’ Blue Rev, Red Hot Chili Peppers’ Return of the Dream Canteen, Joe Strummer and The Mescaleros’ Joe Strummer 002: The Mescalero Years box set, The Beatles’ Revolver Special Super Deluxe Edition, Foo Fighters’ The Essential Foo Fighters, the compilation album ‘Life Moves Pretty Fast’ The John Hughes Mixtapes, Guns N’ Roses Use Your Illusion I and II box set, Bruce Springsteen’s Only the Strong Survive, Jimi Hendrix Experience’s Los Angeles Forum: April 26, 1969, and Tom Petty and the Heartbreakers’ Live at the Fillmore, 1997.

Concert Reviews: The year began with a livestream concert review of Mike Garson’s A Bowie Celebration. In person concert reviews came back with reviews of Sheer Mag, Ringo Starr and His All-Starr Band, Paul McCartney, Death Cab for Cutie, Alvvays, and not an official review but I did a semi-review of Cheap Trick at Boston Calling.

DVD and Blu-ray Reviews: I got to review some DVD and blu-rays including The Beatles: Get Back, Neil Young and Promise of the Real: Noise & Flowers, and You Can’t Do That on Film.

Book Reviews: I got to cover numerous books released in 2022 including Olivia Harrison’s Came the Lightening: Twenty Poems for George, Pattie Boyd’s My Life in Pictures, and Jerry Seinfeld’s Comedians In Cars Getting Coffee Book.

Theater Reviews: This year I got to do my first official theater review, for On Beckett.

Music Festivals: I got to cover the 2022 Nice, a Fest festival.

Film Festivals and Film Events: I got to review a virtual film at Sundance Film Festival, my annual guide to the 2022 Oscar Nominated Short Films, my coverage of the 2022 Independent Film Festival Boston, covered the 2022 Collectibles Extravaganza, and the 2022 IFFBoston Fall Focus.

...And the biggest postings and news of the year:

- 1/2/2022: Green’s Party turned 9!

- 1/28/2022: I wrote my tribute to Mighty Mighty Bosstones, who I have been lucky enough to cover since 2017.

- March 2022: I took a breather from the blog for a few weeks due to a death in the family. 

- 3/26/22: I posted my remembrance of Taylor Hawkins. 32 notes, my biggest post of 2022!

- 3/29/22: I posted my This Month In History column for March. 19 notes.

- 4/14/22: I wrote about returning to my first live concert in over 2 years to see LCD Soundsystem.

- 5/26/22: I posted my remembrance of Ray Liotta. 11 notes.

- 6/19/22: I re-shared my 2021 post about Sesame Street’s Juneteenth Song. 28 notes.

- 7/31/22: I posted my remembrance of Bill Russell and Nichelle Nichols. 18 notes.

- 8/7/22: I shared my return to Kim’s Video at NYC’s Alamo Drafthouse. 

- 9/21/22: I shared the big news that my documentary Life on the V: The Story of V66 has been added to the Permanent Collection of the Rock and Roll Hall of Fame!

- 10/12/22: I re-shared my 2018 post about This Day in 2018. 15 notes.

- 12/8/22: Tumblr provided their data of Green’s Party Year in Review up until December 8.

- 12/17/22: I re-shared my 2020 Top 5 Seinfeld Episodes During the Holiday Season list. 11 notes.

[acousticboxoffice]

Live events Nashville

The Magic Of Music Festivals: A Celebration Of Sound, Culture, And Connection

Music festivals Nashville are far more than just a collection of performances—they are immersive cultural celebrations where music, art, and community come together in harmony.

Whether they span a single day or an entire weekend, music festivals offer a unique space for people to escape the routine of daily life and dive into a world where music fuels the atmosphere and shared experiences create lasting memories.

A Fusion Of Genres And Styles

One of the greatest appeals of musical events is their ability to bring together a wide range of genres and styles, often in one location.

From indie rock and pop to electronic beats, jazz, and folk, festivals are designed to cater to diverse musical tastes.

This fusion creates an eclectic and dynamic environment, allowing festival-goers to discover new artists and genres while enjoying their favorite performances.

The Power Of Live Performance

Live events Nashville is at the heart of every festival; there is something magical about hearing your favorite artist perform in front of a live audience.

The crowd's energy, the anticipation before a set, and the raw emotion of live vocals and instrumentation create an electrifying atmosphere that can’t be replicated in any other setting.

For both the performers and the audience, a sense of connection forms during a live show, making the experience personal and memorable.

A Unique Cultural Experience

Music festivals are not just about the music; they often reflect their time's culture, values, and trends.

Some festivals even align with larger social causes, promoting sustainability, environmental awareness, or cultural diversity.

Community And Connection

A key feature of music festivals is the sense of community they foster. Strangers become friends over shared love for a band or an unforgettable set, and the crowd's collective energy amplifies the entire experience.

Music festivals create a sense of belonging where people from different walks of life come together, united by their passion for music.

Camping festivals, in particular, heighten this sense of community. Attendees spend multiple days together, often creating small, temporary villages of like-minded music lovers.

This shared experience strengthens the bonds between festival-goers, and many leave not only with great memories but new friendships that last long after the event ends.

Unforgettable Memories

For many people, attending a music festival becomes a highlight of their year. Whether it’s the excitement of hearing a long-awaited set, the joy of discovering a new artist, or the simple thrill of being part of a massive crowd singing along to a favorite song, the memories created at music festivals are unique and unforgettable.

It’s not just about the music; it’s about the atmosphere, the people, the sense of freedom, and the shared experiences that make festivals a cherished cultural phenomenon.

Conclusion:

Music festivals offer an unparalleled opportunity to experience live music in its purest form while celebrating the culture, creativity, and community that surrounds it.

Whether you’re attending for the music, the social experience, or the adventure, festivals create lasting memories that stay with you long after the final encore.

If you are looking for musical Event Planning Nashville, contact us at Acoustic Box Office.

[newmusicweekly]

Kyra Gordon Honors Woodstock’s Legacy with Soulful New Single Ahead of 55th Anniversary

Americana singer-songwriter Kyra Gordon releases her latest single ‘Woodstock,’ the fifth track from her highly anticipated second album, ‘Traveler’ via Starita Records. Following the success of her debut album, ‘Soul Of A Showgirl,’ which blended theatrical jazz with Americana, country, and blues, Gordon's new work showcases her evolution as an artist, offering introspective storytelling with a soulful edge. ‘Woodstock’ is a blues-infused rock ballad that pays homage to the legendary festival on its 55th anniversary. The song, inspired by Gordon’s visit to the original Woodstock site, explores themes of freedom, longing, and the disillusionment that followed the festival's promise. With its raw energy and rich narrative, ‘Woodstock’ captures the essence of the era while blending the grit of blues and the edge of rock. Recorded at East Bay Recorders in Oakland, CA, and produced by Gordon alongside Brian Rodvien and James DePrato, the track features fuzzed-out Wurlitzer keys, dynamic vocals, and subtle nods to Woodstock legends like Richie Havens, Janis Joplin, and Jimi Hendrix. The song's intricate production includes a powerful guitar solo and vibrant percussion, culminating in a sound that feels both nostalgic and fresh. Gordon's upcoming album, ‘Traveler,’ reflects her journey as a musician, combining country, folk, and rock influences to create a collection of introspective and heartfelt songs inspired by her experiences on the road. Read the full article

[mayacakexo]

Groovy: A Vibe That Never Fades

"Groovy" is a word that takes you back in time, yet still feels very much alive today. It’s not just about the past—it’s a feeling, a vibe, a way of being that transcends decades. Originating in the 1960s and 70s, the word "groovy" captured the essence of a whole cultural movement, embodying the free-spirited, laid-back, and creative energy of an era marked by colorful clothes, experimental music, and a passion for peace and love. But groovy never really disappeared. It continues to describe those moments in life when everything just feels right—smooth, easygoing, and full of rhythm.

To be groovy is to move with the flow, to let life’s rhythm guide you effortlessly. Imagine walking down the street on a sunny day, your favorite music playing through your headphones. You feel light, confident, and completely in tune with the world around you. That’s groovy. It’s about being in sync with the moment, allowing yourself to enjoy life’s simple pleasures with a smile on your face.

The groovy era was more than just bell-bottoms and flower crowns—it was a cultural revolution. Music was at the heart of it all. Bands like The Beatles, The Rolling Stones, and The Grateful Dead created sounds that were experimental, soulful, and completely new. They blended rock, blues, jazz, and psychedelic elements to create music that felt as if it was pulling people together. Concerts became communal experiences, places where the groove of the music united everyone in a shared vibe. Even today, when you hear a groovy tune, it’s hard not to tap your foot or sway with the beat.

Groovy is also about style—vibrant colors, funky patterns, and bold expressions of individuality. In the 1960s, people weren’t afraid to stand out. Tie-dye shirts, bell-bottom jeans, peace signs, and headbands became symbols of freedom and nonconformity. The groovy look was playful and bold, a way for people to say, "I am who I am, and I’m proud of it." Today, this sense of bold self-expression is still alive, seen in fashion trends that embrace creativity and confidence.

But groovy isn’t just about looking cool or listening to great music. It’s a mindset. Being groovy means being open to new experiences, embracing positivity, and finding joy in the present moment. It’s about letting go of stress, not sweating the small stuff, and focusing on what makes you happy. In a world that can sometimes feel fast-paced and overwhelming, adopting a groovy mindset can help you slow down, take a deep breath, and enjoy the ride.

Imagine spending an afternoon with friends at the beach. The sun is shining, there’s laughter in the air, and the waves are crashing gently on the shore. No one’s in a rush; everyone’s just soaking in the good vibes. That’s groovy. It’s those carefree moments that make life feel effortless and full of light. Whether you’re dancing barefoot at a festival, chilling with friends around a campfire, or simply enjoying a peaceful morning with your coffee, you can tap into that groovy feeling.

In the digital age, groovy might seem like a throwback, but it’s more relevant than ever. Modern life is full of pressures—work deadlines, social media updates, constant notifications. Groovy reminds us to slow down and reconnect with the things that truly matter. Instead of getting caught up in the hustle, being groovy encourages us to find our rhythm and move at our own pace. It’s a reminder that life is more enjoyable when we’re present, playful, and in tune with our own groove.

Interestingly, the concept of "groovy" has even evolved in music and culture today. While the original groovy sounds of the 60s and 70s still inspire musicians, new artists across genres incorporate groovy elements into their work. Lo-fi beats, smooth jazz, and chillhop all carry that same laid-back, rhythmic feel that helps people unwind. Groovy isn’t stuck in the past—it’s adapted and found its place in modern culture, still representing that same sense of effortless cool.

Did you know that the word "groovy" originated from jazz? In the 1930s, musicians described music with a perfect rhythm and flow as "in the groove." This musical slang evolved over time, and by the 1960s, "groovy" became a popular term to describe not just music, but anything that was cool, exciting, or enjoyable. The word might have changed slightly over the years, but its essence remains the same—a feeling of ease, flow, and joy.

In conclusion, groovy is more than just a word from the past—it’s a way of life. It’s about finding your rhythm, being present, and embracing the beauty of the moment. Whether it’s through music, fashion, or your state of mind, groovy is a reminder to live life with a sense of freedom, creativity, and fun. So next time you’re feeling stressed or stuck, remember to find your groove and let life flow.