#indian best drummer

[astrophysicist-guitar-god]

'Freddie Mercury felt like a god. Then he started behaving like one,' by the man who signed Queen

By NORMAN J SHEFFIELD, Founder of Trident Studios where Queen first recorded // PUBLISHED: 17:00 EDT, 20 July 2013 | UPDATED: 17:16 EDT, 20 July 2013 (x)

NORMAN J SHEFFIELD on the amazing story of how one of Britain's best loved rock bands made it big

Freddie Mercury used to say there was no question in his mind that Queen would be a success

I was sitting in my office one day in 1971 when I got a call from my brother Barry down in the studio.

‘Norman, come down and have a listen to something,’ he said.

John Anthony, Trident’s A&R man, had discovered a band called Smile.

At the start, the lead guitarist was an astrophysics student from Imperial College called Brian May, the bassist and singer was an art student called Tim Staffell, and the drummer was a biology student called Roger Taylor.

It turned out that they’d now reshaped the band.

Staffell had been replaced by this little Indian-looking guy with a big, operatic voice and they had a new bass player.

John had asked for their demo. It was raw but there was definitely something there. I’d opened Trident Studios in 1968 in Soho.

Its cutting-edge facilities and happening vibe were attracting the greatest talents of the era, from The Beatles and Elton John to David Bowie and Marc Bolan.

The four guys who came into my office a couple of weeks later were an intriguing mix of characters.

Roger Taylor was a really good-looking kid, with long blond hair and charm. Brian May was tall with a mane of curls and a little introverted but clearly very intelligent. The bass player, John Deacon, was also quiet. I could tell right away that the fourth member was going to be high maintenance.

His real name was Farokh Bulsara. He was born in Zanzibar and educated in India. The family had immigrated to England when he was a teenager. He’d gone to Ealing Art College to study art and graphic design. He was also a gifted singer and pianist.

When he joined the band, he immediately gave himself a more rock ’n’ roll name: Freddie Mercury.

He was charming, acted a bit shy and reserved at times and spoke in quite a posh, mannered voice. When he relaxed he had a very sharp sense of humour and spoke at a hundred miles an hour.

Queen turned out to be every bit as good - and demanding - as we'd anticipated. Things had to be one hundred per cent right, otherwise they wouldn't be happy

They’d rightly decided to ditch Smile as their name. I nearly choked on my coffee when I heard their new one: Queen. The world wasn’t as enlightened then as it is today.

We were worried that it would be a real turn-off, especially given the band’s look. Freddie apparently had a girlfriend but we were pretty certain he was gay.

But the name wasn’t up for negotiation. I agreed to offer the Queenies, as we christened them, a loose kind of arrangement. There were times when the studio was ‘dark’, usually at 2am. So we said: ‘We’ll give you this downtime in the studio to see what you can do.’

They turned out to be every bit as good – and demanding – as we’d anticipated. Things had to be one hundred per cent right, otherwise they wouldn’t be happy. They’d spend days and nights working on the harmonies.

Arguments would start about the tiniest little detail. They’d start screaming, shouting and chucking things. Sometimes it would blow over in a few minutes, but at other times they would stew on it, not talking to each other for a day or two. They’d always sort it out, however. It wasn’t personal, it was about the work.

The more adulation Freddie received on stage, the harder he became to work with offstage

Freddie used to say there was no question in his mind that Queen would be a success.

‘There was never a doubt, darling, never,’ he’d say with an imperious wave of his hand.

The title of their first album was simply Queen.

Another suggestion had been Dearie Me, Freddie’s catchphrase, which was quite funny but the band were a hard enough sell as it was.

They spent ages arguing about the album sleeve. The front cover was a single image of Freddie on stage, with two spotlights in the background.

For the back cover the boys put together a collage of snaps of themselves.

Freddie had driven everyone to distraction fretting over whether he looked ‘gorgeous enough’ in them.

By the end of the year they were on the road with Mott the Hoople, but Queen were getting more encores and bigger cheers than the headliners.

They were due to go to Australia for a gig when Brian suddenly developed a really high fever. His arm had swollen up to the size of a football and doctors diagnosed gangrene.

At one point it was touch and go whether he would lose it. Luckily the crisis eased and he was allowed to fly.

However, the gig was a disaster. The local DJ introducing them had clearly taken against them because he introduced them as ‘stuck-up Pommies’. When they got on stage, the crowd turned against them, too.

The boys were mightily relieved when they got on a plane back to London. For some bizarre reason, the British press had been tipped off that Her Majesty the Queen was arriving at Heathrow. So when they saw four knackered musicians emerging through Customs, they weren’t too happy.

On their first tour of America, Brian’s health was deteriorating. Our worst fears were confirmed when doctors announced he had hepatitis.

The rest of the tour had to be cancelled. It was a disaster, professionally and personally. Then, when they came back to London in August, he had to have an emergency operation for an ulcer.

The opening track on A Night At The Opera attacked their management

But on October 11, 1974, EMI put out Killer Queen, from their third album, Sheer Heart Attack.

Within weeks it had given the boys the thing they’d most wanted – a No. 1 single.

As Queen hit the road again, this time as a headline act in their own right, it was clear they were on the verge of major success.

But the more adulation Freddie received on stage, the harder he became to work with offstage.

The tour came to an end at the famous Rainbow Theatre in London. The day before the gig, Freddie was being even more pedantic than usual.

‘Oh, stop being such a tart, Freddie,’ Brian said.

Freddie was outraged. He tossed back his head, waved his arms and stormed off in a strop.

When it was time for the soundcheck, Brian turned the mic on.

‘Freddiepoos, where are you?’ he shouted.

Freddie appeared immediately with a face like thunder. He flounced on stage, gave Brian a vicious look and then just got on with it. That’s what they always did.

In 1975 they went to Japan and found 3,000 fans waiting for them, all chanting the band’s name. It was like Beatlemania. Freddie had finally found the acclaim he’d craved all his life. He felt like a god. Unfortunately, he soon started behaving like one, too.

The more successful they became, the more agitated Queen had grown about money. One of the most heated rows came when John got married. In the run-up to the wedding he announced he wanted me to spring £10,000 (about £90,000 in 2013 values) for him to buy a house. I didn’t react too well.

Then Freddie demanded a grand piano. When I turned him down, he  banged his fist on my desk. ‘I have to get a grand piano,’ he said.

Norman J Sheffield: By the time I realised things were badly wrong it was too late

I wasn’t being mean. We knew there was a huge amount of money due to come flooding our way from Queen’s success. I explained that some of it was already coming in but the vast majority of it hadn’t arrived yet.

‘But we’re stars. We’re selling millions of records,’ Freddie said.

‘And I’m still living in the same flat I’ve been in for the past three years.’

The amount of money we’d invested in the band was huge.

We’d advanced them equipment and salaries right at the beginning and had continued to pour money into them for four years.

The fact the band owed Trident close to £200,000 (£1.75 million today) didn’t seem to register with Freddie.

I can remember the conversation.

‘The money will come in December,’ I said. ‘So wait.’

Then came a phrase he would make famous around the world in years to come, although no one would have known where it was born.

Freddie stamped his feet and raised his voice: ‘No, I am not prepared to wait any longer. I want it all. I want it now.’

By late 1975 I was hearing that they were making all sorts of derogatory comments about Trident.

Then I heard a track from A Night At The Opera called Death On Two Legs. The opening two lines summed up what was to come.

‘You suck my blood like a leech/you break the law and you breach’, then, ‘Do you feel like suicide?’ it went on, ‘I think that you should’. It was some kind of nasty hate mail from Freddie to me.

Soon Bohemian Rhapsody roared to the top of the UK charts and stayed there for nine weeks. A bittersweet moment, it came as news was beginning to leak that we had split from Queen.

We should have talked more. And I should have been more attentive to their feelings. By the time I realised things were badly wrong, it was too late.

In March 1977 the company settled with the band for the sale of all of its future rights, the rights to the old albums and the settlement of the management debt.

Freddie’s dream finally came true and he became a very wealthy man. When he died, no one was sadder than me. He may have been a monster to deal with, but he was also a genius.

I did see him once, in the years following our fallout, in 1986, when I took the family to their Knebworth concert. He was friendly, as if the rows of the past were forgotten. It turned out to be their last live concert, which meant I was at their first and last.

Years later, after his death, I went to the Freddie Mercury Memorial Concert at Wembley, where I saw the three remaining members being photographed.

John Deacon pointed at me and said: ‘And if it hadn’t been for that man we wouldn’t be here.’

Brian and Roger looked at me and nodded. That gesture went a long way towards exorcising the ghosts of the past. 

(Extracted from ‘Life On Two Legs: Set The Record Straight’ by Norman J Sheffield, out now and online from Amazon and in bookshops priced £14.95 for paperback, £7.49 for Kindle.

A limited-edition hardback is also available at £24.95. For more images, visit facebook.com/lifeontwolegs)

[kulturegroupie]

October 16, 1972: Page, Plant and the Indian jam lost to history

It was a slow Monday in October 1972, and the Slip Disc nightclub in Mumbai could hardly be described as “jumping”.

Around 10 people were in the venue, which was the hangout for the city’s nascent rock scene. Slip Disc measured just 30 by 18 feet, with a third of its floor-space taken up by a stage and DJ booth.

That night, three strangers walked in. They were long-haired Westerners who’d just been refused entry into Blow Up, a far more staid nightclub underneath the grand waterfront Taj Mahal Hotel where they were staying.

Madhukar Dhas, aka Madoo, the singer in Indian psychedelic rock band Atomic Forest, was in Slip Disc that evening. “We didn’t recognise them as they walked in,” Dhas, now 72, tells me. “I thought, ‘Who are these guys?’”. But a second glance changed all that. “I thought, ‘Oh shoot. It’s Led Zeppelin.’”

Robert Plant and Jimmy Page were the singer and guitarist in arguably the world’s biggest band. The Zeppelin members were en route home from a tour of Japan, which itself was part of a vast global tour to promote Led Zeppelin IV, their career-high album.

That year, the band had already played to hundreds of thousands of delirious fans from Tucson to Tokyo, and here were Page and Plant – along with tour manager Richard Cole – in a broom-cupboard dive-bar in downtown Mumbai. Not only that, but Atomic Forest and a handful of other Indian rock bands had made a career out of playing covers of Zeppelin, Stones and Jethro Tull tracks. These men were living legends. And they were now in their midst.

What happened next must rank as one of the more extraordinary “I was there” moments in rock history. It also yielded one of music’s most tantalising lost bootlegs. The evening had a broader cultural significance too. In the retelling and the myth-making that accompanied that night, the events at Slip Disc played a role in establishing Western rock ’n’ roll music in India.

As soon as Page, Plant and Cole arrived at the venue and sat down, it was clear to everyone who they were. Slip Disc’s owner, a man called Ramzan, sent over bottles of local beer: it had no head and glistened with what Dhas said looked like soap bubbles. The trio drank. “They were getting tipsy,” Dhas remembers, “but there was no entertainment. A band was there but it wasn’t their time to play. So this guy Ramzan comes to me and says, ‘Come on, sing!’”

Then just 22 years old, Dhas froze with nerves, telling the owner that his band wasn’t contracted to sing at Slip Disc. “I said, ‘It’s Robert Plant, I can’t sing in front of him.’ [Ramzan] dug his nails into my ribs and said, ‘Go sing, you bastard.’ He was desperate. So I thought, ‘What the hell.’”

Dhas took to the stage with a band comprising a musician called Willie on guitar and a drummer called Jamal (possibly from the band Velvett Fogg). Some reports suggest that the bassist with local band Human Bondage, a man called Xerxes Gobhai, also played. They’d never rehearsed together. After a brief conflab, the group launched into Honky Tonk Woman by the Stones, Dhas doing his best to channel Mick Jagger’s manic energy as one of the world’s greatest rock vocalists sat within spitting distance.

“Plant was about six feet away,” he says. “Jimmy Page was probably 10 feet away. They were enjoying themselves.” He dared to catch Plant’s eye. “Robert Plant gave me the thumbs-up. I thought, ‘Oh my God.’ It was the highlight of my musical career.”

As Madooo sang, word seeped onto the street about the VIPs in Slip Disc. The venue started to fill up. By the time the Stones cover was over, the crowd had swollen to around 50 people – or full capacity. The audience turned their attention to the Zeppelin men swigging beer. A chant of “Jam, jam, jam!” slowly filled the venue.

To everyone’s surprise, Page and Plant stood and walked to the stage. A frantic few minutes followed, as Cole tried to get the best possible sound from the amps and Page found that one of the guitars had been strung with piano strings. “You could only get what was available,” Dhas says. Ironically, Page and Plant had an aircraft full of the most expensive and cutting-edge musical equipment at the airport, but customs officials were refusing to release it. They tuned up and played.

Precise recollections of the impromptu set-list vary. It was recorded by Slip Disc’s resident DJ, Arul Harris, but the whereabouts of the only tape remain unknown. According to Dhas, Page and Plant started with a bluesy ad-lib about turning up at Blow Up, the club under the Taj, and not being allowed in. They had apparently gone to the club in traditional dress – kurta tops and Kolhapuri chappal shoes – and the doorman had dismissed them as hippies. By the time they arrived at Slip Disc, they had changed into Western clothes.

Plant sang in his distinctive high voice, with his trademark vocal stammer: ‘I was walking down / And the man wouldn’t let me in / The m-m-mmmmaaan…’ Meanwhile, Dhas remembers, the “dumbfounded” rhythm section tried their best to join in. After about ten minutes of the Blow Up jam, the band segued into Whole Lotta Love from 1969’s Led Zeppelin II. The crowd went predictably wild, although Dhas found himself with a job to do.

The microphone that Plant was using was called an Ahuja mic. It was the only type available in India at the time, and it was screwed onto its stand, unlike the handheld ones that Plant was used to yanking away. As the singer tried to untwist the microphone, its connection with the cable loosened, and his voice cut in and out. Dhas dashed forward to hold the cable close to the mic so it made a connection. He recalls: “I was literally six inches from [Plant’s] face when he was screaming ‘Loooooove’. I was deaf for about two hours after that. That high-pitched voice right into my right ear – oh boy.”

Others who were present have recalled the band starting with Rock and Roll and ending with Black Dog, with the Blow Up jam happening in the middle. Either way, Page and Plant played for just under half an hour. As the cheers faded, Plant promised the pair would return the following evening. “We listen to you, you listen to us, we’re all one in this music,” he is reported to have said.

They returned the next day as promised, only to find the world and his wife at Slip Disc, many with cameras. Page and Plant hated it, staying for around 10 minutes only. Dhas says it was a “fiasco”: “When the crowd turned up they became these rock stars again.”

Plant has acknowledged the role that the night played in spawning rock in India:

“Jimmy and I played in a club in Bombay in 1972,” the singer said in 2012. “Somehow or other we ended up in there with loads and loads of illicit substances. Some guy is writing a book about rock in India – and apparently it was born in this club, with Page and I wired out of our faces.” (He also recalled playing the drums, something other accounts don’t mention.)

In 1981, Plant appeared as a guest on New York’s WNEW 102.7FM rock radio station. Dhas was having a martini with his wife when they heard the show, and he decided to ring in. “I kept calling, and my wife said, ‘Forget about it, you’re not going to get through.’ I said, ‘No. Where there’s a will there’s a way’, and I kept on trying.” He eventually got through, telling the receptionist: “I’d like to say a word to Robert Plant. I am a guy from India, and we jammed.’”

The disbelieving receptionist hung up. But Dhas rang back on a different number and suggested they run his story by Plant. They did, and eventually the Led Zeppelin singer came on the line. “He remembered the night with fondness,” Dhas says.

The sheer joy of the Slip Disc jam is still present in Dhas’s retelling. Plant’s voice may have stopped ringing in his ear – but the memory of that Monday night in October on the Mumbai waterfront lives on.

[talesfrommedinastation]

Author's Note: The Indigenous Future

 I would be remiss if I did not mention the indigenous elephant in the room within ‘Far Past the Ring’.

As you might have gathered, much of the background of both Medina Station and the three original characters are deep within First Nations/American Indian backgrounds*. 

(left to right: Dr. Sjael Drummer, Camina Drummer, and Dr. Tanke Drummer)

I have written both Sjael and Tanke Drummer as being of mixed Ojibwe descent through the Drummer side of their family, as is their cousin, canon Expanse character, Camina Drummer (Cara Gee, her actress, is Ojibwe First Nations, though whether or not Camina is in the show is not confirmed). Additionally, Timon Chapelle, Tanke’s husband, is of mixed-Metis descent as well. More about the land practices of Medina Station and the indigenous heritage it is drawn on can be read in my previous piece on the matter. 

While researching for this work, I dug into the local history of the land I live on, which, coincidentally, is the unceded land of the Anishinaabe people. I am a settler, but I take deep pride in the place that I reside. I find it a responsibility as a citizen of my country to do so. 

(The region of the various Anishinaabe peoples, taken from Wikipedia. The author is not going to directly tell you where they are personally located)

As you might have guessed, the Kind Man (a form that the Protomolecule has taken in order to communicate with both Omega and James Holden) uses the form of Tanke and Sjael’s deceased father, Dr. Aki Drummer. 

(Image: Dr. Aki Drummer, drawn by the author in a quick sketch)

Aki is a Belter man of Ojibwe descent, who, while his story is not fully explored in this piece, does recall and use his heritage to better understand the nature of the humans that he serves as a physician, and later on, the Protomolecule uses to better understand the humans creating contact with each other from across the stars. 

The Kind Man also tells Omega the story of the Legend of the Bluebonnet, which comes from the Comanche tribe of Texas, another American tribe who made the prairies of the United States their home for time immeasurable. The Kind Man mentions that, although he is not Comanche, he understands the story. The tale is a legend of a young girl’s sacrifice to save her prairie home and her people ... .the story that Omega will find herself repeating at the end of ‘Far Past the Ring’. 

(Image from 'The Legend of the Bluebonnet', by Tomie DiPaola. copyright Puffin Books)

The Kind Man also repeatedly uses a word in Ojibwe, one that, when I heard its meaning from James Vukelich (Ojibwe-Turtle Mountain) made me stop, write it down, and listen to his podcast episode again. I immediately knew this word would become a part of the story.  

(If you can, please give his work a listen. He is a wonderful speaker.) 

That word is Gidinawendimin, one word that means, ‘we are all related’. Vukelich goes into detail about how it is not only the people, but the animals, earth, water, all of life around us. And I could not help but think–”Holy hell, this is the thesis of the story.” 

So, why am I rambling on about all of this? 

Because indigeneity has its role in our future, and I tried my best to not only reflect that in this story, but because I staunchly believe in it as well. 

The Belters are the people who helped build the solar system in ‘The Expanse’. They worked and lived in space to the point where many of their bodies can not survive normal gravity. Throughout the series, they face issues regarding access to water, air, and so many things that we often take for granted. They are seen as less than human in their own native environment of the Belt, and are often discriminated against by citizens of planets like Earth and Mars. 

Additionally, in the Star Wars universe, the clones are copies of a man from Mandalore, portrayed by an indigenous actor, and whether or not their indigeneity is canon in the show, I prefer to see it as such.

I want to be under the impression that, like in the real world, the dehumanization of indigenous peoples has irreparable damage to culture and heritage, to say nothing of the social bonds between people. 

This is known as intergenerational trauma, and is explained beautifully here in a video from Australia. 

Fiction can be a powerful metaphor. In this case, this trauma rings through the clones within the Star Wars universe, and if they survive into greater society, will be a burden that their people will carry. Their descendants. The clones were people bred to serve one purpose, that of violence and war, and expected to be expendable machines, not as humans. They were stripped of culture, family, and heritage, and find themselves broken and lost when their use to the government is no longer sustainable.

It also isn’t lost on me that another character played by an indigenous actress–the incomparable Bobbie Draper, played by Samoan-Kiwi actress Frankie Adams–suffers a similar fate in The Expanse. She’s used by her government and tossed aside. But Draper rallies, finds camaraderie in others, and is able to be part of a team that saves the universe.

She, like some survivors of systematic abuse, is able to help others navigate through the challenges of finding oneself again thanks to her own experiences. This is especially seen in her friendship with Hunter in Far Past the Ring, whose own trauma comes out in painful paranoia, anxiety, and rage that almost destroys everything he loves. 

When common grounds are found, and alliances are made, a powerful voice of continuity and fortitude can be forged. With that, challenges, enemies can be fought, battled, and won. With friendship and the strength of rebuilding and reconnecting with culture–and respecting those of indigenous people–we can move forward. 

We are all related. 

I wrote all of this on the eve of September 30th, the National Day for Truth and Reconciliation in Canada, the country that brought us The Expanse.

(Taken from National Day for Truth and Reconciliation and Orange Shirt Day - Waterloo Region District School Board (Waterloo Region District School Board)

This day is to commemorate the thousands of children of indigenous heritage who were taken from their homes, stripped of their culture and heritage. Many of them never came back to their families and homes. Thousands died.

It is only in recent history that this is acknowledged. 

Similar instances also occurred in the United States, Australia, and countless other nations where indigenous people and their cultures were seen as an alien threat. They were not seen as fellow men, but as a part of the land that needed to be eradicated, controlled, and wiped out.

But survival happened. Still happens.

I hope that is reflected here, in a fictional story about the future…where the descendants of indigenous people use their skills and culture to push their people forward in our solar system.

Who forge friendships and alliances, who work to heal their trauma with the strength of their fellow man.

Who work together to stop a terrible empire from destroying their home. 

I am a settler in the United States on the shores of Michigami, but I am a firm believer that the future of humanity lies within indigeneity. We will not reach the stars without it. 

I have humbly done my best to reflect that in this story.

Miigwich. 

More information can be found here:

National Day of Truth and Reconciliation: https://www.canada.ca/en/canadian-heritage/campaigns/national-day-truth-reconciliation.html

James Vukelich’s website: https://www.jamesvukelich.com/ 

Ojibwe Rosetta Stone: https://www.culture.aanji.org/language/ojibwe-rosetta-stone/ 

*=I use both terms here, as the Ojibwe/Anishinaabe people, as well as the Metis, are located in both the United States and Canada. Cara Gee herself is Canadian.

[seanhowe]

THE THREE FACES OF CHICO (Warner Brothers, WS 1344) 1959

Chico Hamilton (d), Eric Dolphy (alto sax, bass clarinet, fl), Nate Gershman (cello), Dennis Budimir (g), Wyatt Ruther (b), plus Paul Horn (as), Buddy Collette (ts), Bill Green (bar) & String section.

Los Angeles, February-August, 1959.

Notes by Chico Hamilton

We've called this new album "The Three Faces of Chico" because I play three roles in it. I guess this set may surprise some people. and it even may annoy others. But I hope there's something of real interest in it for every jazz fan.

First of all, I guess I'm best known as a drummer. And that is one of the roles I play here. There are three tracks that are unaccompanied drum solos—Trinkets, Happy Little Dance, and No Speak No English, Man. On each of these I haven't tried to prove anything. but have tried to inject a little humor into some listeners' thoughts.

In regard to these drums tracks. I can only say that it's diffient for a drummer to play anything different than any other average drummer; although each drummer does have his own individual styling. I used the standard equipment I have with me whenever the Quintet takes the stand: two cymbals, sock cymbal, snare drum, tom toms, and bass drum. I didn't use tympani because I'm not a tympanist ... and I just don't carry them around. Instead, I work with sticks. mallets, and brushes to obtain different sound textures.

On Trinkets. for example. I worked eyclusively with brushes. It's a welcome change of sound. For Happy Little Dance, I used mallets throughout. And this one could be danced to, if you dig folk dancing. For No Speak No English, Man. which is a sort of wild thing, I worked with sticks, and played a lot on the rims. I wanted to get a sound like Indian drummers talking to each other.

We did these solos in one take each. I didn' work from a score but laid the sequences out in my mind before we started the tape rolling.

The second face I wear on this set is that of a singer. Now, this is a new thing for me on records, although I've done some singing on the floor with my group, mostly Foggy Day, because that was the one song I knew all the way through.

But having worked with such singers as Lena Horne, Billie Holiday, and Billy Eckstine, I felt I could do it. Actually, what I'm really interested in is phrasing. That's the most effective thing for a singer. That, and good material. I figured that if I was going to sing something, I'd better sing something everyone knows, so they could recognize the tune, if not the melody.

I used a reed section because I wanted to bring back the old Jimmie Lunceford sound with reeds. It's not often you hear a reed section playing ensemble choruses. Gerry Wiggins arranged The Best Things in Life Are Free, and John Anderson scored the other vocal sides: She's Funny That Way, Where or When and I Don't Know Why.

There's not much more to say about my singing, except that I hope you like it.

The third face I wear is that of the leader of the Quintet. My group consists of Wyatt Ruther on bass. Eric Dolphy on flute and reeds. Dennis Budimer on guitar, and Nathan Gershman on cello. Quite frankly, of all the Quintets I've had in the past, I think this one is the swingingest.

On these tracks, you hear a little different Quintet than what you've been used to. The Quintet is four years old and we've been constantly trying to broaden its range. Some may resent the hard swing we're going after, but one thing for sure: in the future we're going to try to please everyone's musical appetite with regard to the Quintet. Music and sounds don't stand still; you have to progress with the people. We play some hard swingers, but in our own intimate way. They're different than the average because of our instrumentation. Our old audiences, we feel, are still satisfied because we play numbers out of our o!d book. Then there are a lot of new people who are following us, and these hard swingers seem to be what they get excited about.

The only way to really broaden the range of the Quintet is by hiring new writers to write for it. In this set, we're introducing three. More Than You Know was arranged by Herb Pilhoffer, a pianist originally from Germany and now located in Minneapolis I think he captures the mood of the song and the Quintet very well Miss Movement is Eric Dolphy's first attempt at writing for the Quintet. Being an exciting player, he'd write an exciting kind of jazz tune. Kenny Dorham is a wonderful trumpet player and he's also a wonderful writer. Newport News is his first chart for our book. It's typical of the inventive, fine arrangements that I'm always grateful to have come my way. Without these, Chico would have no face at all, let alone three!

[soft-for-them]

Just a notion - Lemon x reader

Summary: Playing Abba songs in a pub you reminisce and wait for you love to come home. Gender neutral reader.

Based off Just a Notion by Abba.

Comments and reblogs are much appreciated and help more people read my works.

A/N: I love this request, like I'm now listening to Abba non stop, but it is a bit short. Idk, I hope everyone likes.

You frown as your play a chipper song on the baby grand piano, a singer ageing but still filled with the small happiness she once had when she was famous in the seventies sings with a little jig in her step, the drummer slowly hitting the symbols and snares whilst singing backing vocals. The smooth keys vintage that are made from ivory clink, the musical instrument older than anyone in the small pub in which you’ve been paid to play in.

The old blonde sings her last note, the bop of her permed hair bouncing as she blows kisses at the audience of mostly the elderly and people who live close by the small pub that sits in between business buildings and outlet shops both new and bland in design.

Normally you love performing at this pub, it’s an easy gig in between auditioning for orchestras and recording radio jiggles in cramped recording studios for this month's rent.

However, tonight you’re just not feeling it.

The blonde, Sandra she’s called, you’ve played for her before that and she used to babysit your best friends when they were little thus babysitting you for you were always over at theirs watching Thomas the tank engine or the football depending on the time of day.

Sandra turns around to you and the drummer and politely asks for the next song.

The drummer, an owner of the local Indian take away who has a knack for playing the drums and a love for classic rock, enthusiastically nods his head. All you do is raise a thumb up whilst turning the ghost white printer paper music sheet over to the next song with the other hand.

“Now! This is a new song by my favourite group!” Sandra says in the mic.

She does not introduce the song instead she waits for you to begin a happy little tune. The first piano notes, jolly and upbeat, are played, the brass instruments that would normally play are instead played by you on the piano, the instrument’s notes woven in the fabric of the piano melody.

“Just a notion, that's all, just a funny feeling deep inside, that you're out there waiting-“

You breathe in a deep breath. Trying to stop yourself from sighing or huffing out in annoyance is very hard at the moment, the words of the song somehow mirroring the situation you’re in. You see you’ve been waiting for you love to come back home and for most of the time he’s been gone you’ve been moping around like a depressed teenager grounded and banned from seeing their girlfriend.

“-You're not sure I'm alone and you wonder if I'm occupied-“ she carries on singing.

You blindly play as your eyes wonder from the sheet music up to the framed West Ham united shirt hanging on the wall, the frame gathering dust (for it’s hard to lean over a piano to clean it).

“Maybe I can try and clean it on my break?” you think as the chorus starts, the fluffy gathering of dust bugging you to no end.

Maybe you’ll get a drink as well, Bob the pub owner always lets you have free drinks when you perform though in moderation for he doesn’t want a repeat of that time you and the twins drank so much that by the end of the night you were performing ‘Come on Eileen’ with the other drunks whilst Tangerine was topless chanting football chants celebrating West Ham’s win. That night years ago you were giving your free drinks to the twins, which amounted to over a dozen pint glasses and a few shots, all three of you were kicked out with the older patrons laughing at you and reminiscing about their teenage-hoods.

(Though the twins have had many code names over the years you’ve never called them it, you’re one of the friends in the small group of people who know their proper names, that and you don’t really call them the twins like everyone else does, though they basically are twins.)

That night you walked arm in arm with the two men; Tangerine like your brother with his footie scarf wrapped around your neck and his voice still belting out gaggled songs of old. Lemon on the other hand, just a bit tipsy on fruity punch, intertwined his hands with yours, his demine jacket wrapped around your shoulders like a cape. You and Lemon must have been at least nineteen back then, Tangerine a bit older. Back then Lemon didn’t have bleached hair, it was a lot longer and pitch black, his body round but not yet strong for technically he was still a teenager and not an adult contract killer yet.

You finally sigh, but not a sigh of disappointment but one of puppy love.

Even after all the years of being with Lemon you still warm up at the old memories of your teenage years, the times before work got in the way, when you could stay up till the morning drunk or high off your ass, when you were safe or maybe just obvious to the dangers around.

As the next verse begins, your fingers not yet tired from all the playing, you gaze up and away from the framed shirt and towards the swarms of tipsy folk swinging to the cheery songs of Abba.

“Just a notion but somehow I know I'm not wrong, there's somethin' happening that I just can't explain-“

You look past curls of permed white hair freshly blow dried by the older ladies who go to the same hairdressers every week and by the classic marron and navy West Ham shirts of all the blokes drinking beers who pretend not to like Abba despite singing to all the songs.

Looking towards the back you see more curls, though not of the greying Elnett kind, no it’s a head of very familiar brunette curls.

Leaning back a bit you look harder, if you weren’t playing then you’d shout out his name or just shout ‘porn stach’ at the top your lungs.

Then it happens.

You fingers falter for just a second, your pointer finger accidentality hitting two keys at once as you see him.

The love of your life.

Balancing a tray of drinks, three drinks to be exact (two pints of larger and a tall glass of apple juice to be pin point precise), the exact order that you three have now your adults not teenagers getting pissed up on apple sours and WKD.

“-There is no mistaking-“ Sandra sings like she’s reading your mind, “- Just a notion that you’ll be walkin’ up to me in while and you’ll smile and say hello-“

Finally Lemon sits down, his eyes wide filled with love look straight up to you.

Almost again you falter but you play it off as a jazzy little flare to the song rather than a mistake, not that anyone cares.

With eyes dark and soft focused on you Lemon smiles so big that it’s all you see. He waves you a little 'hello' too, Tangerine also lifting his glass up in a cheers as he smirks at you and his brother.

“-and we’ll be dancin’ through the night knowin’ everything from there on must be right-“

You give out the biggest smile back, you even blow a kiss, your heart aflutter knowing your love is back and safe.

[burlveneer-music]

Buddy Rich & Alla Rakha - Rich à la Rakha - Sundazed has just reissued this 1968 album on vinyl & CD

Jazz snare & ride cymbal meet classical Indian tabla & pakhawaj! What happens when one of the best jazz drummers of all time combines efforts with one of India’s most renowned tabla players? Voilà! Rich À La Rakha. Calypso-flavored compositions, spontaneous jams, and a genuine instrumental dialogue between the two greats truly makes this a one-of-a-kind listen. Cut all analog and pressed on colored vinyl! In 1968, as young America’s interest in Indian classical music was surging to its peak, Alla Rakha made a landmark record with the big band jazz drummer Buddy Rich. Rich, like Alla Rakha, is an icon, often ranked very near the top of any list of ‘greatest drummers’ regardless of genre. Rich was an exuberant, hot tempered man who frequently alienated friends and peers but, at the same time, “was one of the most technically gifted drummers to ever walk our planet. He had incredible speed and control, power and touch.” Ravi Shankar composed several compositions for both men to play together and brought in smooth jazz flautist Paul Horn (who studied meditation in Rishikesh at the same time as The Beatles in 1968) as well as sitarist Shamim Ahmed to create a musical space within which the two geniuses could experiment. The album Rich à la Rakha, which we share today, is a milestone in the ‘jazz meets Indian classical music’ story. – Nate Rabe (Harmonium: Musical Culture from South Asia and the Diaspora) Includes: Khanda Kafi (Ravi Shankar) • Duet In Dadra • Rangeela (Ravi Shankar) • Nagma E Raksh (Alla Rakha) • Tal Sawari

[a-silent-symphony]

Nightwish's Floor Jansen: "Life is short. Time is not endless"

Floor Jansen opens up on her battle with breast cancer, going solo and what we can expect from the next Nightwish album

It’s Friday April 22, 2022 at Nokia Arena in Tampere, Finland. Fifteen thousand Nightwish fans await a much-delayed live taste of their heroes’ ninth album, Human. :II: Nature., released as the world shut down in 2020. Anticipation is high. The stage will soon be engulfed in enough fire to obliterate a small village. Aside from a handful of dates in Finland in 2021, this is Nightwish’s first full-scale show in more than three years.

Backstage, Floor Jansen feels like death. In her stage armour she looks fearsome – a tattooed Boudica for the modern age. Such a gig wouldn’t normally faze her. Floor, 41,has been fronting metal bands since she was 16. But just now she’s come down with a virulent stomach flu at the worst possible time, and she’s wondering how the hell she’ll get through the next two hours onstage.

“It was unlike anything I’ve ever done,” she says of the stomach flu that almost derailed that post-Covid comeback. “I mean, you get sick now and then, but this was brutal. I don’t know what kind of virus I picked up, but it was a very violent one. I was up all night, and then I still had to travel from Berlin to Tampere. It was horrible.” She shrugs. “But yeah, what can you do?”

It’s not hard to see why Floor gets called a ‘powerhouse’. Part opera singer, several parts rock star – with the dynamism of both – she exudes indestructibility. If Bruce Dickinson had a daughter with Xena: Warrior Princess, it would have been Floor. But there are other sides to her: different personas that reveal a more complex, interesting picture of a ‘powerhouse’ lead singer.

There’s the animal-loving homebody. The thrillseeker. The proud vegetarian. The whiskey drinker. The metal icon with a solo pop album on the way. The Highly Sensitive Person, whose hyper-stimulated sense of the world shines through her performances. The person who, just three weeks before headlining Wembley Arena with Nightwish, underwent surgery for breast cancer.

“I’m always myself,” she summarises, simply. “So whether I run around in jeans fixing a fence, or ride my horse, or go onstage in warrior outfits… it’s all the same. It’s just a different side, as you can see.”

We meet Floor over Zoom in December, as she wrestles with dodgy wi-fi backstage in Milan. “Is it noisy for you, in the background?” she asks in perturbed Dutch tones. “It’s basically one big open box here…” Dark-eyed and slightly frazzled in a grey hoodie, Floor has a business-like streak that softens as talk turns to things like her solo music, her bandmates and the cigars she enjoys with her husband, Sabaton drummer Hannes Van Dahl.

On another day she might have come in from feeding the horses at her rural property on Sweden’s west coast. You wouldn’t fuck with her, but you’d gladly go for a drink with her. Out on the road with Nightwish, there’s a decent amount of the latter. The band “wobble” around Christmas markets drinking glühwein. They rate vegetarian food in Indian restaurants as part of a longstanding curry club. The shows themselves have been jubilant affairs.

“Last night we were surprised with some bottles of champagne,” she grins, “which we then drank, and became very happy…”

It’s all so far removed from lingering notions of Nightwish as some sort of dictatorship or soap opera, with singers driven away by its founder’s maniacal demands. They seem like friends – as in, actual friends.

“It’s absolute genuine fun,” she nods. “We’ve always had that. And there are always ups and downs; it’s like a big marriage. But we’ve been longing for this tour a lot. Especially after the pandemic, we don’t take it for granted at all.”

For Floor, the isolation of lockdown reinforced her ties to the band, but it also kickstarted her solo work. She’d begun to think of it in 2019, following an appearance on Dutch TV show Beste Zangers (‘Best Singers’), but she was still very much a band person, with a new Nightwish album cycle around the corner. Come March 2020, for the first time in her career, she found herself separated from that group mentality.

She spent time with her husband and daughter, now five. She grew vegetables and looked after her horses, cats and enormous Irish wolfhound. She worked on her online profile, communicating with her fans on a regular, down-to-earth level. At the same time, she began working with collaborators on solo material. An alternative, poppier sound started to brew.

In spring 2022 she appeared on Germany’s Beste Zangers equivalent, Sing Meinen Song, for which she sang in German (one of the four languages she speaks in addition to Dutch, English and Swedish). Gradually, a standalone Floor Jansen was evolving.

“My desire from the get-go was to find a sound that fits with me, not something created around me. But how do you do that? So I used up a large part of the pandemic in a trial-and-error search for this sound.”

It wasn’t easy. Ten years of bringing Tuomas Holopainen’s visions to life had left her with phenomenal vocal skills, but limited songwriting practice. Her first ideas, she says, “weren’t that great”.

“I’ve done it [songwriting], but I haven’t been doing much in the last 10 years,” she admits. “Plus I’m in a band with someone like Tuomas. It makes me feel very small, like, ‘What do I have to add to a world full of music?’ So from that insecurity I had to find my way and accept that I am more limited, and that I have different ideas.”

Teaming up with Dutch producer Gordon Groothedde (Snoop Dogg; Katie Melua; Floor’s previous band, After Forever) was a turning point. The first song they wrote together was Fire. A darkly atmospheric, orchestral swirl of intelligent modern pop, with the grandeur of Florence & The Machine’s cover of 1986 dance hit You’ve Got The Love, it ignited Floor’s confidence as a creator in her own right.

“I have a really hard time with love songs,” she says. “I know the majority of pop music is about love songs, and that’s also why I find it boring to listen to. So I wanted to create something that still has a message.”

Accordingly, her solo album, Paragon, shuns frothy clichés in favour of meatier subjects. Fire is about returning to life after lockdown. One song, Invincible, was written for the injured war veterans at Prince Harry’s Invictus Games – originally planned to take place in 2020 in the Hague until the pandemic got in the way.

“It’s inspired by the idea of being physically or mentally wounded, after you’ve just given everything you have,” she explains, “and something that’s left of you has to pick up life, and recover from something that you never really wanted to recover from. I want to raise awareness of the fact that this happens so incredibly often, but also to empower them. Like, ‘You already went through Hell, now you’re on your way back, you are invincible.’”

It’s hard to hear this story now without thinking of Floor’s recent health issues. Diagnosed in October 2022 at a routine mammogram screening, her breast cancer came as a total shock – two weeks before Nightwish were due to fly to South America.

“They [the doctors] said, ‘We want you to come back.’ And the thing I thought, in my naïve brain, was, ‘Oh, they fucked up something with the pictures.’ Never, ‘Oh, they found something.’” She shakes her head. “Not a single moment. Until I was there.”

Surgery was planned for the day after they came home. Until then, she says, the intense business of touring Brazil, Argentina, Chile and Mexico proved a good distraction. The pace of it all was brutal but helpful, and reading similar stories from her fans made her feel less alone – “But at the same time, it’s an overwhelming awareness of how many people actually got this fucking disease."

“I put my emotions into the music,” she reasons, “and also had really wonderful conversations within the band, crew, management, everyone has really been there for me. It’s very tough to do it all that fast, but at the same time it helped because I didn’t have to walk around with thoughts of it too long. Because as soon as you know you have a tumour in your body, the only thing you can think of is ‘get it out’. The whole mental aspect of a cancer diagnosis is shit.”

Back at home, she had three weeks after her operation before heading out in Europe and the UK. Scarred, bruised and exhausted, she was grateful for the support of her family.

“Jesus, how I underestimated it,” she half-laughs, of the recovery process. “I was jet-lagged, I barely slept for nights after the surgery because my system was completely upside-down, you get morphine… So everyone’s been really having my back in this.”

Just a couple of days before the Wembley gig, she learned that the operation was successful. It was both a relief and a wake-up call. In Sweden, mammogram screenings start for women at the age of 40. In the Netherlands, her birthplace –and in the UK – it’s 50. Now looked up to by many, as a public figure as well as a musician, she’s determined to persuade more women to go for their scans.

“On a purely personal level it’s a bit weird, because I’m just me,” she says, of her role-model status. “But from this position, I have the power to make a difference every now and then. I wanted to make sure it has this function by saying, ‘Go and get your mammogram done.’ If I had stayed in the Netherlands, this entire thing would have gone undetected. It was so small when they took it out, but it was growing, you know? I’m very lucky.”

Cancer casts a pervasive shadow, even when it’s caught quickly. For Floor, who (when we speak to her) still has three weeks of radiation therapy to complete, it’s realigned her priorities. “It’s not like I think ‘I’m gonna die’ all the time,” she explains, “but I realise how life is short. Time is not endless. We have it now.”

To that end, Floor is making the most of 2023. After her radiotherapy is finally over, she’ll join Nightwish for 70000Tons Of Metal in the Bahamas. Festival shows will follow. In the summer the band will head to the Röskö campsite in Kitee, Finland, to record the next Nightwish album (which will be released at some point in 2024).

Part three of a trilogy that began with Endless Forms Most Beautiful and continued through Human. :II: Nature., the new album will return to themes concerning our planet and our mortality. Sonically, Floor suggests, we can expect aheavy palette.

“I would say it’s a pretty heavy album,” she muses, “but once again, it’s the multicolour diversity that is Nightwish. It’s all there. It’s going to once again take you by the hand through beautiful stories – whether they are stories from this Earth or stories about this Earth. They’re beautiful.”

Creatively, Nightwish is still Tuomas’s brainchild, though there’s a sense of collaboration around this record. Armed with his demos, the band have been working up different parts and exchanging ideas on tour – in hotel rooms and dressing rooms across the world. For Floor, this has been a happy arrangement.

“I think Tuomas has a unique view on the world and has a unique way of putting that into words,” she says, “and I think he’s outdone himself on that end once again. And also visually, the ideas that are bubbling are going to be of a next level. So yeah, there’s lots to look forward to.”

Meanwhile, along with the release of Paragon, she has solo gigs planned in Europe. “And of course it would be wonderful to go to the UK,” she adds, “we are working on that as well.”

If all goes to plan, Floor Jansen could be a name that reaches well beyond metal circles – paving the way for a new kind of pop star with a darker heart. Once again the ‘powerhouse’ label feels apt, with all the truths and misconceptions that come with it.

“Power is often connected to, especially women…” she searches for the words, “…it’s like, ‘powerful women are bitches’, you know? Maybe that’s the misconception of the century. But a powerful woman is also a woman who is intouch withher emotions, and one who can have absolute soft sides and embrace them. The idea that high sensitivity would be a weakness? That is actually the absolute misperception.

“And that goes for men, too: for men to be in touch with their feelings and to be able to communicate them… that is a bigger strength than [makes growling, macho noise]. That’s going to bring us a whole lot further.”

Between travels, Floor will recharge at home in the Swedish countryside. On cold evenings, she and Hannes sometimes retreat to their grillhouse, light the fire and relax over single malts and a cigar – things that bonded them when they first met on tour with Iced Earth. Small connections between worlds.

“I can say that my happiest place is home, but that’s not true because after half a year I’ll claw up the walls,” she laughs. “I can say it’s on tour, but after a month I really want to go home. I can say it’s onstage, but then putting my daughter to bed is equally amazing at times. The ultimate thing is to have the luxury of both.”

[historicminiaturesnorthernva]

Loudoun County Militia as they would’ve appeared in the 1781 Yorktown Campaign. Virginia militia laws enacted by Governor Thomas Jefferson largely mimicked the previous British system in place in the colony since the first settlement at Jamestown.

The law required every free white (non-catholic) man to have a firearm, powder, and shot in case of emergencies declared by either the county or colonial government. This precluded black people from participating in the armed militia and from firearm ownership, though they were often in service in non-armed roles such as drummer, which I have shown in my miniatures.

In peacetime, militias held regular musters at times determined by the county. Some took place monthly, others maybe once or twice in a year. They would be called up largely to control the enslaved population and march west during Indian attacks, but mostly militias served as a “who’s who” for local politics and culture.

In wartime, their quality was negligible at best, and disastrous at worst. In battle they were often quick to break and retreat when used the wrong way, and the Loudoun County militia ended up serving mostly in a logistical role. Ferrying prisoners and supplies through the “Continental Breadbasket” of Loudoun’s hills and roads, these men made it possible for the army to survive and thrive against a powerful enemy.

[crosseddestiny]

@sleuthwitch liked for a manfred singing starter!

He wasn’t sure how long Penelope would be staying in town, or if she was just passing through. Regardless, he’d offered her a bed to crash on while she was here, and he’d taken up the couch in the front room. The only troublesome part of the whole sleep arrangement was that he often forgot to close the front blinds. That would never happen on a full moon, but on a regular phase of it, he’d not bother.

Morning sun had streamed through the large cracks, and he’d rolled off the couch with a moan, grabbed his button shirt off the floor and slipped one arm through. Bare feet padding towards the front window, he stretched, slipped his other arm into his shirt, and pushed open the blinds, blinking and squinting against the bright light.

“Cause she was blinded by the light!” he sang a little loudly, half chuckling at the irony as the song popped into his head. Doing a quick one eighty turn, he grinned as he continued with the song, “Revved up like a deuce, another runner in the night!” He pumped a hand at an air guitar, fingers wiggling against invisible strings while his other hand pretended to hold the neck of it.

“Blinded by the liiiiiight! Madman, drummers, bummers, Indians in the summer with a teenage diplomat!” he screeched in a playful sing-song voice and jammed his way into the kitchen. “In the dumps with the mumps as the adolescent pumps his way into his hat! With a boulder on my shoulder, feelinnn’ kinda older, I - ” His performance came to a screeching halt when he noticed the young woman sitting at his kitchen table, and he quickly composed himself as best he could. “Oh god, I’m sorry you had to see that. How long have you been up?"

[thetalentedmrkashyap]

B-8 : Sixty Years of The Beatles - The Memories of A Fan

As I write this article, I've started watching the Disney+ Series called The Beatles: Get Back. It was about the recording of Let It Be, their final album. It talked about the tension and differences among the Fab Four (John Lennon, Paul McCartney, George Harrison, and Ringo Starr) and the end of an era of music. 

What you're going to read is not a theoretical research paper about the history of the four Liverpool lads. It's not about their early stint as The Quarrymen, their original lineup with bassist Stuart Sutcliffe & drummer Pete Best, or their early gigs in Hamburg (Germany). It's not even about how manager Brian Epstein discovered the young talent, or for that matter - how Ringo replaced Pete Best as the drummer. It's about how a fan feels about it and its place in the fan's heart - as the band celebrated sixty years of its first album, Please Please Me (1963) - in March this year.

Talking a bit about myself, I first heard about the Beatles in a childhood story of John Lennon (1940-1980) that got published in Scharda Dubey's book The Best Days of Our Lives. I read it in September 2012. More than three years later (December 9, 2015), I came across a news story about the Beatles Ashram reopening at Rishikesh, Uttarakhand. I know the exact date because the previous day was the 35th death anniversary of Lennon. After reading it, I searched for them on YouTube - and that's when I heard the first ever song of The Beatles - We Can Work It Out. I kept to it for days before exploring the other musical gems. I was fourteen - and in ninth grade back then.

Every teenager faces adolescence-related problems (physical & emotional changes, insecurities, mental health, peer pressure, etcetera). For rescue comes a solution that proves to be life-changing. In my case, it was the music of the four lads from the unknown coastal city of Liverpool (not to mention that it became famous because of the band). Many of their contemporaries came along the way.

My personal Beatles souvenir Collection (Which I have maintained since 2016)

Coming back to The Beatles, my favorite Beatle was Lennon. Seeing them in live performances and music videos, I began practicing their songs on my keyboard - and eventually bought a guitar to match them. Like an ordinary obsessed fan, I bought souvenirs - guitar pics, music CDs, T-shirts, books, phone covers, etcetera online. I don't think any Indian fan could get such stuff in here that easily - even during the band's popularity years. They would get in the USA and UK - where such things would sell like hotcakes. I even made a poster at 15 about the band - which I pasted in my room.

Thanks to the band, I had quite a reputation as a music performer in school, college, and my locality. I would perform their covers at parties and musical events. Although, I couldn't play their songs in school. But thanks to them, I could look beneath myself to find the skills I possess. Hence, I decided to pursue entertainment journalism/writing. I often write similar songs - and try looking for a music producer to record them. When people suggest music software for completing the songs, I politely respond, "They won't have the same fun as the Beatles - and I want to keep that element in my songs."

As their first single, Love Me Do (1962), celebrated its diamond jubilee on October 5 last year - and their debut album on March 22, I can only say that the boys with the mop-tops are immortal and irreplaceable. Even today, I listen to the entire album the way I did seven years ago. I'm sure there are similar fans like me in different parts of the world - who admire the boys and express their admiration and obsession through various methods. With this, I put my pen down.

[brookstonalmanac]

Birthdays 11.24

Beer Birthdays

Elias Daniel Barnitz (1677)

Frederick Miller (1824)

Five Favorite Birthdays

Billy Connolly; Scottish comedian, actor (1942)

Donald "Duck" Dunn; rock bassist (1941)

Scott Joplin; Ragtime composer (1868)

Stephen Merchant; British comedian (1974)

Henri-Toulouse Lautrec; French artist (1864)

Famous Birthdays

Pete Best; rock drummer & postman (1941)

William F. Buckley; writer, right-wing intellectual (1925)

Ted Bundy; serial killer (1946)

Dale Carnegie; writer (1888)

Johnny Carver; pop singer (1940)

Al Cohn; jazz saxophonist (1925)

Denise Crosby; actor (1957)

Candy Darling; actor (1944)

Howard Duff; actor (1913)

William Webb Ellis; Rugby creator (1801)

Rene Enriquez; actor (1933)

Geraldine Fitzgerald; actor (1913)

Cass Gilbert; architect (1859)

Katherine Heigl; actor (1978)

Bat Masterson; gambler, saloon keeper, lawman (1853)

Charles Theodore Pachelbel; German composer (1690)

Arundhati Roy; Indian writer (1961)

Dwight Schultz; actor (1947)

Junipero Serra; missionary (1713)

Benedict "Baruch" Spinoza; Dutch philosopher (1632)

Laurence Sterne; Irish/English writer (1713)

Zachary Taylor; 12th U.S. President (1784)

Teddy Wilson; jazz pianist (1912)

[musicverse11]

Thaman S's Top Musical Hits: Tracks that Shaped a Generation

When we talk about influential figures in the South Indian music industry, Thaman S stands out as one of the most transformative forces in recent years. Known for his powerful, catchy compositions and his ability to set the perfect tone for any scene, Thaman has redefined what it means to be a film composer in India. His soundtracks not only enhance the storytelling of the films but also leave a lasting impact on the listeners. With his unique style, he has crafted a soundtrack revolution that has reshaped the musical landscape in Telugu, Tamil, and other South Indian cinemas.

Early Life and Journey into Music

Thaman was born into a family deeply rooted in music. He hails from a lineage of Carnatic musicians, and music has always been an integral part of his life. However, his journey into film music composition was not straightforward. Thaman began his career as a drummer and percussionist, performing with several well-known composers like Ilaiyaraaja and A. R. Rahman. His talent was undeniable, and he quickly made a name for himself as a skilled instrumentalist. But Thaman had a vision that went beyond playing instruments; he wanted to create his own music.

In 2009, Thaman got his big break as a composer with the Telugu film Kick. The soundtrack’s success was instant, and audiences were captivated by his ability to merge traditional Indian sounds with contemporary elements, creating a fresh and unique auditory experience. Kick was just the beginning, and Thaman went on to score several hit films, each time pushing the boundaries of what film music could achieve.

Signature Style and Musical Innovations

Thaman’s music stands out not only because of its catchiness but also due to his distinctive style. He has an innate ability to understand the pulse of the audience and creates music that resonates with listeners on a deep level. His compositions are a blend of electronic beats, strong rhythms, and melodic arrangements that bring a modern touch to traditional South Indian sounds. This mix of genres has given Thaman a signature sound, one that’s immediately recognizable.

What sets Thaman apart from many other composers is his willingness to experiment. He incorporates a variety of instruments, both Western and Indian, and is known for his innovative use of percussion and bass. This approach gives his music a strong, impactful feel. Moreover, Thaman is constantly adapting and evolving with new trends. In a time where music and production techniques are rapidly changing, Thaman’s work remains relevant and fresh. His music not only enhances the cinematic experience but also reaches audiences far beyond the theater, making his songs popular across platforms and languages.

Iconic Soundtracks and Career Highlights

Over the years, Thaman has worked on numerous projects that have left an indelible mark on South Indian cinema. Movies like Ala Vaikunthapurramuloo, Dookudu, Race Gurram, and Sarrainodu showcase some of his best work. His soundtrack for Ala Vaikunthapurramuloo, particularly the hit song “Butta Bomma,” became a cultural phenomenon, with millions of views on YouTube and fans worldwide recreating the song in their own ways. The melody and energy of the track, combined with Thaman’s rich production style, perfectly encapsulated the mood of the film and resonated with fans across all age groups.

Each project brings new opportunities for Thaman to experiment and grow as an artist. He takes immense care to tailor his compositions to fit the narrative and mood of the film, working closely with directors to ensure that the music complements the story. His music doesn’t merely play in the background; it elevates the storytelling, often becoming one of the most memorable aspects of the movie.

Thaman’s Impact on South Indian Music Culture

Thaman S has inspired a new generation of music composers, encouraging them to think outside the box and explore beyond conventional boundaries. His music has a youthful, energetic vibe that appeals to a broad audience, bridging generational and cultural gaps. Through his innovative work, he has not only gained a massive fan following but has also set a new standard in the industry.

Thaman’s impact is evident in the way his soundtracks are celebrated and revered. His music transcends language barriers and cultural divides, capturing hearts from Chennai to Hyderabad and beyond. His popularity has also paved the way for South Indian music to reach a global audience, bringing more recognition to the region’s film and music industries on the international stage.

Conclusion

Thaman S is more than just a composer; he is a visionary who has fundamentally reshaped the soundscape of South Indian cinema. Through his unique style and ability to blend tradition with modernity, Thaman has created a revolutionary shift in how audiences experience film music. His dedication, innovation, and passion for music have cemented his place as one of the most influential figures in the industry.

What’s your favorite Thaman S soundtrack? Is there a song that resonates with you personally? Share your thoughts in the comments, and let’s celebrate the genius of Thaman together.

To stay updated on Thaman S’s latest projects and releases, follow him on your preferred music streaming platform. Share this article with fellow music lovers and discover together the genius behind the music that’s captivating millions.

[masterband443]

Band Baja Trends for Indian Weddings in 2024

Indian weddings are known for their grandeur, extravagance, and vibrant traditions. One of the most essential elements of these celebrations is the Indian Wedding Band Baja, a timeless feature that adds rhythm, energy, and emotion to the wedding procession, or baraat. As we enter 2024, the trends in Indian Wedding Band Baja have evolved, blending traditional elements with contemporary innovations, making weddings even more memorable. Established in 1955, Master Band has been at the forefront of these changing trends, offering a range of services that not only capture the essence of Indian weddings but also reflect the latest trends in music, decoration, and performance.

In this guide, we’ll explore the top trends in Indian Wedding Band Baja for 2024, including emerging musical styles, performance elements, and event decor ideas, along with insights into how Master Band remains the Top Band in Delhi and the Best Band for Wedding in India.

1. Fusion of Traditional and Modern Music

2024 marks a year where the fusion of traditional and modern music continues to dominate the Indian wedding scene. While classics like the dhol, shehnai, and traditional brass instruments remain central to wedding music, there is a growing demand for adding modern beats and genres such as EDM (Electronic Dance Music) or Bollywood remixes. The use of live DJs, alongside the traditional Indian Wedding Band Baja, allows couples to cater to the musical tastes of all generations in the family.

Master Band, with its team of expert musicians and access to the latest instruments, offers couples the perfect blend of traditional and modern music. Whether it’s the soulful tunes of shehnai combined with upbeat pop tracks or the rhythmic dhol alongside bass-heavy modern beats, couples can enjoy a unique musical experience.

2. Curated Baraat Playlists

Gone are the days when baraat music was left to chance. In 2024, couples are increasingly curating their baraat playlists to ensure every moment is perfectly timed and meaningful. Popular choices include songs that hold sentimental value, mixed with high-energy beats for an electrifying baraat. Songs like "Gallan Goodiyan" and "London Thumakda" are still trending, but newer Bollywood hits and even international chart-toppers are making their way into the baraat soundtracks.

With Master Band’s expertise, couples can work closely with the band to create a seamless, customized playlist that reflects their personalities and ensures every family member joins in the celebration. As the Top Band in Delhi, they provide a diverse range of options, from Bollywood tunes to regional folk music, ensuring a mix of styles that will appeal to all guests.

3. Themed Baraat and Processions

In 2024, themed baraats are more popular than ever. Many couples are opting for themed processions, whether it’s a royal wedding theme with elaborate costumes and traditional decorations or a more contemporary, fusion theme with modern dance performances and chic decor. The Indian Wedding Band Baja plays a crucial role in setting the tone for these themes.

Master Band offers a wide range of services that support themed baraats. For example, their creatively decorated wedding buggis (carriages), folk dance performers, and tasha party (drummers) create a cohesive and immersive experience that ties the theme together. Whether it’s a royal procession with traditional Indian music or a fusion of cultural elements from around the world, the team ensures that every detail aligns with the wedding's overall vision.

4. Royal Groom Entrance with Ghori and Baggi

The groom’s entrance remains a highlight of every Indian wedding. In 2024, grooms are continuing the trend of making grand, royal-style entrances. The use of a wedding ghori (horse) or wedding baggi (chariot) remains popular, but there is a growing trend towards customizing these vehicles for a more personalized touch. From adding floral decorations that match the wedding theme to using LED lighting for a modern look, couples are looking for unique ways to make the groom’s entrance stand out.

Master Band offers a wide range of ghoris and buggis, each beautifully decorated to give the groom a regal appearance. With their focus on customization, Master Band allows couples to design their own royal carriage, enhancing the baraat's visual appeal while keeping it cost-effective.

5. Interactive Performances with Folk Dances and Dhol

Indian weddings in 2024 are moving towards more interactive performances, with guests being encouraged to actively participate in the music and dance. Master Band offers a variety of folk dance performances such as bhangra, ghoomar, and garba that are not only entertaining but also encourage guest interaction. The vibrant energy of these dances, accompanied by the powerful beats of the dhol, ensures that everyone gets involved in the celebration.

The Indian Wedding Band Baja now often includes these folk performances, blending seamlessly with the music to create a lively atmosphere. Master Band’s team of expert folk dancers ensures that every performance is engaging, making it an unforgettable experience for the couple and their guests.

6. Spectacular Fireworks Displays

As weddings become more experiential, the use of fireworks is taking center stage during baraats. The idea of a grand fireworks display to signal the start or end of the baraat is trending for 2024, adding a touch of sparkle to the celebration. Couples are opting for fireworks that are synchronized with the music for a more immersive experience.

Master Band, with its team of licensed experts, offers legally certified fireworks displays that are carefully choreographed to match the wedding music. Whether it’s a dazzling display during the groom’s entrance or a grand finale at the end of the baraat, Master Band ensures that the fireworks add a spectacular touch to the celebration.

7. Eco-friendly Band Baja Options

With sustainability becoming a global concern, Indian weddings in 2024 are seeing a rise in eco-friendly alternatives. Couples are more conscious of their environmental impact and are looking for ways to reduce waste, even in their celebrations. This trend extends to the Indian Wedding Band Baja, where couples are opting for eco-friendly instruments, biodegradable decor, and sustainable fireworks options.

Master Band is committed to adapting to these sustainable trends by offering eco-friendly alternatives in their services. From the use of sustainable materials in decorations to fireworks with reduced environmental impact, they ensure that couples can celebrate in style while being mindful of the planet.

Conclusion

As we move into 2024, Indian Wedding Band Baja trends are all about blending tradition with innovation. From the fusion of musical styles to themed baraats and eco-friendly celebrations, Indian weddings continue to evolve in exciting ways. Master Band, established in 1955, remains at the forefront of these trends, offering a wide range of services that cater to every couple’s vision. With their expert musicians, dancers, and event planners, Master Band continues to lead the industry, making them the Best Band for Wedding in India and the Top Band in Delhi.

[worldofimpossible]

The Top Tourist Attractions in Sri Lanka

Unveiling the Island’s Hidden Gems

Sri Lanka, often referred to as the “Pearl of the Indian Ocean,” is a tropical paradise blessed with diverse landscapes, rich history, and a vibrant culture. From ancient ruins and sacred temples to pristine beaches and lush rainforests, this island nation offers a treasure trove of experiences for travelers. Whether you're a history buff, a nature lover, or an adrenaline junkie, Sri Lanka has something for everyone. In this article, we’ll journey through the top tourist attractions in Sri Lanka that should be on every traveler’s itinerary. And if you’re looking to book an unforgettable experience in Sri Lanka, we highly recommend using Trip.com for seamless bookings and hassle-free travel arrangements.

1. Sigiriya Rock Fortress

Standing majestically in the central plains of Sri Lanka, Sigiriya Rock Fortress is one of the country’s most iconic landmarks. This UNESCO World Heritage Site, also known as the "Lion Rock," rises nearly 200 meters above the surrounding landscape and offers breathtaking views of the jungle and villages below.

The fortress was built in the 5th century by King Kasyapa and is renowned for its intricate frescoes, ancient graffiti, and beautifully landscaped gardens. Visitors can climb the series

of staircases leading to the summit, where the ruins of the royal palace and water gardens await.

For an unforgettable tour of this historical marvel, book your visit with Trip.com and explore the ancient wonders of Sigiriya with expert guides.

2. Temple of the Sacred Tooth Relic, Kandy

Nestled in the heart of Kandy, Sri Lanka’s cultural capital, the Temple of the Sacred Tooth Relic is one of the most sacred Buddhist sites in the world. This golden-roofed temple houses a tooth relic believed to belong to Lord Buddha, making it a pilgrimage site for Buddhists worldwide.

Visitors can witness the daily rituals performed by monks and explore the temple’s beautiful architecture and ornate interiors. The temple also hosts the annual Esala Perahera festival, a vibrant procession featuring elephants, dancers, and drummers.

To ensure you don’t miss out on the spiritual significance and beauty of this temple, book your Kandy tour via Trip.com and immerse yourself in Sri Lanka’s cultural heritage.

3. Yala National Park

For wildlife enthusiasts, Yala National Park is a must-visit destination. Located in the southeastern region of Sri Lanka, Yala is the country’s most famous wildlife reserve and is home to a wide variety of animals, including leopards, elephants, sloth bears, and exotic bird species.

Yala offers visitors the opportunity to embark on thrilling jeep safaris through dense jungles and open grasslands. The park’s leopards are the main attraction, as Yala boasts one of the highest densities of leopards in the world.

For an exciting wildlife adventure, book a safari through Trip.com and get up close and personal with Sri Lanka’s incredible fauna.

4. Galle Fort

Located on Sri Lanka’s southwestern coast, Galle Fort is a historic fortress built by the Portuguese in the 16th century and later fortified by the Dutch. This UNESCO World Heritage Site is a living museum, with cobblestone streets, colonial-era buildings, boutique shops, and cafes that transport you back in time.

Visitors can wander along the fort’s ramparts, visit the Dutch Reformed Church, and explore the Maritime Museum, which tells the story of Galle’s rich maritime history. Galle Fort is also known for its stunning sunset views over the Indian Ocean.

Experience the charm of Galle Fort with a guided walking tour, easily bookable through

Trip.com.

5. Dambulla Cave Temple

The Dambulla Cave Temple, also known as the Golden Temple of Dambulla, is one of the largest and best-preserved cave temples in Sri Lanka. This UNESCO World Heritage Site consists of five caves filled with over 150 statues of Buddha, as well as intricate murals that cover the cave walls and ceilings.

The temple complex dates back over 2,000 years and offers visitors a glimpse into the island’s deep-rooted Buddhist traditions. The views from the temple, perched on a hilltop, are equally breathtaking.

For a spiritual and historical journey, book your visit to Dambulla Cave Temple with Trip.com.

6. Ella to Kandy Train Ride

Considered one of the most scenic train journeys in the world, the Ella to Kandy train ride takes you through rolling hills, lush tea plantations, and misty mountain landscapes. This iconic ride offers travelers a chance to experience the beauty of Sri Lanka’s hill country while passing through picturesque towns like Nuwara Eliya and Haputale.

The slow-paced train ride allows you to take in the stunning views, making it a photographer’s dream. Whether you’re sitting in a second-class carriage with open windows or hanging out of the doorway like the locals, this journey is an unforgettable experience.

Book your tickets for the Ella to Kandy train ride on Trip.com and embark on a journey through Sri Lanka’s scenic landscapes.

7. Mirissa Whale Watching

Mirissa, a laid-back coastal town in southern Sri Lanka, is a prime spot for whale watching. Between November and April, the waters off Mirissa become home to migrating blue whales, sperm whales, and dolphins. Visitors can

embark on a boat tour to see these https://trip.tp.st/x6AoWGyL

8. Horton Plains and World’s End

Horton Plains National Park is a stunning highland plateau in Sri Lanka’s central province, known for its diverse flora and fauna. The highlight of a visit to Horton Plains is the trek to World’s End, a sheer cliff that offers jaw-dropping views of the surrounding valleys and tea plantations. On clear days, you can see all the way to the southern coast of Sri Lanka.

The park is also home to Baker’s Falls, a beautiful waterfall that adds to the allure of this natural wonderland. Visitors can embark on hikes through the park’s mist-covered grasslands and forests, where they may encounter sambar deer and a variety of bird species.

To explore Horton Plains and hike to World’s End, book a guided tour with Trip.com.

9. Nuwara Eliya Tea Plantations

Nuwara Eliya, often referred to as "Little England" due to its colonial architecture and cool climate, is the heart of Sri Lanka’s tea country. The region is home to vast tea plantations that produce some of the world’s finest tea. Visitors can tour the tea estates, learn about the tea-making process, and sample fresh Ceylon tea straight from the source.

The emerald-green hills of Nuwara Eliya are a sight to behold, and a visit to a tea plantation is a must-do for any traveler interested in Sri Lanka’s rich tea heritage.

Book a tea plantation tour in Nuwara Eliya with Trip.com and immerse yourself in the world of Ceylon tea.

10. Arugam Bay

Arugam Bay, located on Sri Lanka’s east coast, is a paradise for surfers. This laid-back beach town is famous for its world-class waves and attracts surfers from around the globe. Whether you’re a seasoned pro or a beginner, Arugam Bay offers the perfect conditions for riding the waves.

Beyond surfing, Arugam Bay also boasts a relaxed atmosphere, with beachfront cafes, yoga retreats, and opportunities to explore nearby wildlife reserves like Kumana National Park.

For an unforgettable surfing experience, book your stay in Arugam Bay

through Trip.com and ride the best waves Sri Lanka has to offer.

Conclusion

Sri Lanka is a land of unparalleled beauty and rich history, offering travelers a wide array of experiences that cater to every interest. From the ancient wonders of Sigiriya and Anuradhapura to the serene beaches of Mirissa and Arugam Bay, this island nation has something for everyone. Whether you're looking for adventure, relaxation, or cultural exploration, Sri Lanka delivers it all.

To make your trip planning easier and more efficient, we highly recommend booking your experiences and accommodations through Trip.com. With its user-friendly interface, competitive prices, and access to a wide range of tours, hotels, and activities, Trip.com ensures that your Sri Lankan adventure is nothing short of extraordinary.

So, what are you waiting for? Start planning your trip to Sri Lanka today with Trip.com and embark on a journey that will leave you with memories to last a lifetime!

[howardhawkshollywoodannex]

Bruce Greenwood as Pike in Star Trek Into Darkness (2013). Bruce was born in Noranda, Quebec, and has 151 acting credits from two episodes of a 1977-78 Canadian tv series, to 2024. His entries among my best 1001 are The Sweet Hereafter and Flight.

His other notable credits include Rambo: First Blood, 45 episodes of St Elsewhere, a tv movie of Summer Dreams: The Story of The Beach Boys (as drummer Dennis Wilson), Knot's Landing (22 episodes), Exotica, Thirteen Days (as John F Kennedy), a tv movie of The Magnificent Ambersons, I Robot, Being Julia, Capote, The Worlds Fastest Indian, Deja Vu, I'm Not There, National Treasure: Book of Secrets, Star Trek, Barneys Version, Meek's Cutoff, Super 8, The Place Beyond the Pines, Mad Men (4), American Crime Story (10), Gold, Kingman: The Golden Circle, The Post, and The Resident (107).

[ghoriwalasohanlal]

How to Choose the Best Dhol Wala in Delhi for Your Wedding?

Weddings in India are vibrant, festive, and full of cultural significance. Among the many elements that contribute to the grand celebration, the presence of a skilled Dhol Wala adds an unmatched energy to the festivities. The powerful beats of the dhol resonate through the air, setting the perfect mood for every celebration, from the baraat to the sangeet. If you're planning a wedding in Delhi, choosing the right Dhol Wala is essential to ensure your event is truly unforgettable.

Understanding the Role of a Dhol Wala in Indian Weddings

The dhol, a double-sided drum played with sticks, is integral to Punjabi and North Indian wedding traditions. The beats of the dhol are not just music; they symbolize joy, celebration, and the beginning of a new journey for the bride and groom. Whether it's announcing the groom's arrival during the baraat, adding rhythm to the dance floor, or accompanying traditional wedding songs, a skilled Dhol Wala can elevate the entire event.

Why Hiring the Right Dhol Wala Matters

Setting the Right Atmosphere: The dhol beats are infectious, encouraging even the most reserved guests to hit the dance floor. A talented Dhol Wala in Delhi can read the crowd, adjusting the tempo and intensity of the music to match the mood, ensuring that everyone stays engaged and entertained.

Cultural Authenticity: In an era where weddings often blend modern and traditional elements, the dhol brings a touch of authenticity. It connects the event to the cultural roots, making the ceremony more meaningful for both the couple and their families.

Seamless Coordination: The Dhol Wala works closely with other vendors like the band, DJ, and event planners to ensure that the music flows seamlessly throughout the wedding. A well-coordinated performance adds a professional touch to the event, making it a smooth and enjoyable experience for everyone.

Factors to Consider When Choosing a Dhol Wala in Delhi

With countless options available, selecting the right Dhol Wala can be challenging. Here are some key factors to consider:

Experience and Reputation: Experience is crucial when it comes to playing the dhol at weddings. Look for a Dhol Wala with a solid track record and positive reviews from past clients. An experienced professional will know how to handle various wedding situations, ensuring that the music enhances each moment.

Versatility in Music Styles: While traditional Punjabi beats are a must, the best Dhol Walas can also adapt to different music styles. Whether it's blending with a DJ's electronic beats or syncing with a live band, versatility is key to keeping the entertainment dynamic and engaging.

Personalization: Every wedding is unique, and so are the musical preferences of the couple and their families. Choose a Dhol Wala who is willing to customize their performance to match your specific needs. Whether it's learning a particular song or adjusting the tempo for different parts of the ceremony, personalization can make a big difference.

Professionalism and Punctuality: Weddings are meticulously planned events where timing is everything. Ensure that the Dhol Wala you hire is professional, punctual, and reliable. They should be able to coordinate with your event schedule and be flexible enough to handle any last-minute changes.

Team Size and Coordination: Some Dhol Walas work as solo performers, while others come with a team of drummers. Depending on the scale of your wedding, you may want to opt for a larger group to create a more impactful performance. A well-coordinated team can deliver a more powerful and synchronized experience.

Equipment Quality: The quality of the dhol and other instruments used by the Dhol Wala can significantly affect the sound and overall experience. Make sure they use well-maintained, high-quality instruments to ensure the best performance.

Budget Considerations: While it's essential to find a Dhol Wala who meets all your criteria, it's also important to stay within your budget. Compare prices from different vendors, but remember that the cheapest option may not always be the best. Look for a balance between cost and quality to get the best value for your money.

Sohan Lal & Sons Ghoriwala: A Legacy of Excellence

Founded in 1955, Sohan Lal & Sons Ghoriwala has been a pioneer in providing exclusive wedding services in Delhi. With decades of experience in making weddings and other joyous occasions memorable, our team has earned a reputation for delivering premium services that cater to the diverse needs of our clients.

Why Choose Us for Your Wedding Dhol Wala Needs?

Heritage of Excellence: With over six decades of experience, Sohan Lal & Sons Ghoriwala has been a part of countless weddings, each with its unique charm and requirements. Our legacy of excellence is built on the trust and satisfaction of our clients, who have relied on us to make their special day extraordinary.

Skilled Dhol Walas: Our team of Dhol Walas is not just skilled but passionate about their craft. They bring energy, enthusiasm, and expertise to every performance, ensuring that your wedding is filled with joyous beats that resonate with the celebration.

Comprehensive Wedding Services: Beyond providing exceptional Dhol Wala services, we offer a wide range of wedding-related services, including Band Troupe, Fireworks, Musical Services, Event Decoration, Flower Chattar, Fancy Lighting, Ghori, and Baggi. Our holistic approach ensures that all aspects of your wedding are seamlessly integrated for a cohesive and unforgettable experience.

Customization to Suit Your Needs: At Sohan Lal & Sons Ghoriwala, we understand that every wedding is unique. Our Dhol Wala services are fully customizable to match your specific preferences, ensuring that the music reflects your personality and the vibe of your celebration.

Commitment to Quality: Quality is at the core of everything we do. From the instruments we use to the professionalism of our team, we ensure that every detail is taken care of to provide you with the best possible service.

Tips for a Memorable Dhol Performance at Your Wedding

Plan Ahead: Discuss your wedding itinerary with the Dhol Wala well in advance. Whether it's coordinating with the baraat, timing the entry of the bride, or syncing with other performances, planning ensures that everything goes smoothly.

Incorporate Special Moments: If you have special moments planned during your wedding, like a choreographed dance or a surprise entry, inform your Dhol Wala. They can help enhance these moments with the right beats and rhythms.

Engage the Crowd: A good Dhol Wala knows how to engage the crowd and get everyone involved in the celebration. Encourage your Dhol Wala to interact with your guests, making the experience more lively and inclusive.

Blend Traditional and Modern: While the dhol is rooted in tradition, don't hesitate to mix it with modern elements. Whether it's playing along with a DJ or blending with a live band, this fusion can add a unique twist to your wedding music.

Capture the Moments: Ensure that your photographer and videographer are ready to capture the energy and excitement that the dhol brings to your wedding. These moments will make for some of the most memorable and dynamic photos and videos from your big day.

Conclusion

Choosing the right Dhol Wala in Delhi for your wedding is more than just hiring a musician; it's about selecting someone who will add rhythm, energy, and emotion to your celebration. With a rich heritage and commitment to excellence, Sohan Lal & Sons Ghoriwala is dedicated to making your wedding day truly special with our premium Dhol Wala services. By considering the factors outlined above and partnering with a trusted provider, you can ensure that your wedding beats with the heart of tradition and the pulse of celebration.