#liberation music orchestra

[de-salva]

CHARLIE HADEN & LIBERATION MUSIC ORCHESTRA - Song For Chè (part 5/5)

[joshhaden]

Charlie Haden Liberation Music Orchestra's LP Ballad Of The Fallen (1983, ECM) includes their version of my father's tune "La Pasionaria", written in tribute to the Spanish Civil War heroine.

[jazzdailyblog]

Charlie Haden: The Melodic Backbone of Jazz

Introduction: Charlie Haden, a name synonymous with the depth, soul, and beauty of jazz bass playing, stands out as one of the most influential musicians in the genre’s history. His career, spanning over five decades, not only showcased his virtuosity as a bassist but also his profound musicality and unwavering commitment to social justice. This blog post delves into the life, career, and legacy…

[jazzy-beats]

“Big Appetite”

Why can’t we be happy with what’s happening

Instead of always running for the door

When ambition is starting to sting

It keeps us always wanting more

Well hey, hey alright, we got a big appetite

Oh oh my love, when is enough enough

And when it hits you, happens so fast

Sometimes it’s hard, hard to keep track

I could tell you what you already know

But I can’t tell you what it is to let go

Hey, hey alright, we got a big appetite

Oh oh my love, when is enough enough

Cause it’s never been easy to let what will be just be

And when we’re looking at the love all around us

Does it blind us or is that what this whole thing is for?

Our love might be boundless but we always need more

Hey, hey alright, we got a big appetite

Oh oh my love, when is enough enough

Hey, hey alright, we got a big appetite

Oh oh my love, sometimes it’s never enough

Cause it’s never been easy to let what will be just be

—Animal Liberation Orchestra

[trekbait]

Cardassia’s Gay Venues - Ranked

Cardassia’s strict gender roles and focus on family have meant for much of the past few hundred years the queer community there, while tolerated, has lived in the shadows. Post-war, it’s all change on Cardassia and we’re proud to report on some of the hottest queer venues (or "tailor shops" in the local slang) on the planet!

#1 The Blue Spoon

Officially a 300-year-old private members club for women excelling in science and engineering (Cardassia’s traditionally female-dominated careers), this club has been a haven for Cardassia’s sapphics away from prying eyes. Those in the know of course might recognise the name; “blue spooning” being a slang term on Cardassia for a lesbian relationship. But they’ve maintained an air of deniability and exclusive privacy.

Reluctantly opening their doors to a new generation, we joined one of their latest parties with these finely dressed women, often with very masculine cuts, dancing to an all-female orchestra. From our conversations with patrons, it seems those women who do serve in the military are in exceptional demand now they’re allowed in, particularly among the younger patrons. One older Gul was seen carrying two young women around on her shoulders before vanishing towards the powder room.

#2 The Hot Rock

With their preference for the heat and dark, relative to many humanoids, it’s no surprise how popular saunas are on Cardassia. That holds true for gay Cardassians too. The Hot Rock is the biggest gay sauna in the capital and a meeting place for much of its community. Over 4 floors deep under Lakarian Way there is no end of dark corners to arrange a semi-private rendezvous in temperatures passing 90 degrees Celsius in places. 

The upper floors are dotted with dancers, bars and various entertainment. Not being able to handle the heat downstairs, we talked to a few of the patrons. One ex-tailor we spoke to told us of how prior to the war it was very much a “don’t ask, don’t tell” situation on Cardassia. The primacy of the family always had the understanding of affairs on the side, but on the understanding they were kept discreet.

These days, it seems, the old ways are out along with the old leadership. We asked the patron if there were any prominent gay Cardassians in this new society. He replied, “my dear, they’re all gay.” When asked if that included the government, he added “Especially the government.” The patron himself says that he is just visiting for the sauna and was not gay at all, but his friend Elim used to date a human doctor for a few years who was “ravishing.” He grinned as he went back to watching the dancers. Let’s hope this ‘Elim’ finds new love on this new Cardassia.

#3 Dom In Me Cabaret

What was previously an underground satirist group of drag performers during the war is now an ongoing headline show with a full musical comedy based around the Dominion leadership. The king playing the Vorta 'Why-Ooo' steals the show with his sycophantic solos dedicated to his unrequited love for the abusive Changeling.

We lost count of the number of times different characters killed Why-Oooo but the audience cheered mercilessly without fail. The group is currently working on a new act around Tain and the Obsidian Order, something unthinkable a few years ago!

#4 The Ending Sacrifice Bookshop

For a quieter atmosphere, turn to The Ending Sacrifice which now openly sells literature deemed inflammatory to the Cardassian sense of “Family Is All.” Stories of powerful people forsaking arranged marriages to elope with their true love stock the shelves in defiance of the prevailing ideology. The owner, Manek, explains how they how to challenge the monoculture on Cardassia imposed by Central Command over the past 100 years.

“Historically,” they say, “the early Hebitian civilizations were far more liberal and pluralistic. We valued our differences and our culture above military conquest. We want to return to that openness. So much of our society has been suppressed. Did you know that, like most reptilian-like humanoids, Cardassians have the capacity to change sex in certain circumstances? Under the Central Command, this is an unspoken medical disorder to be fixed rather than a natural function of our biology.”

The bookshop hosts literary and academic talks on a number of topics which are free to attend. Drop in and speak to Manek for more.

#5 Obsidian Eyes

Tucked away on the outskirts of Lakat is a BDSM club that only recently opened. For some, the end of the Obsidian order and their eternal monitoring of the whole of Cardassian society (especially it’s queer members) must be something to be missed. Because here, patrons can meet in cold metal interrogation rooms and be watched through “secret” one-way mirrors by “agents of the Obsidian Order”. At a certain point during their liaison, the agents will barge into the room and place the lovers on trial. 

We asked staff if the “agents” were real, or more accurately former, members of the Obsidian Order or just actors. Each person we asked gave an entirely conflicting account of the whole operation and one just quoted lines from Enigma Tales at us. So we’re not sure what to say at this point other than this is an exhibition and humiliation kink we didn’t think we’d see on our trip.

[secular-jew]

In 1920, Syria Palestina was a Roman-named colony or region, not a country, (aka Palestine), stretching from Iraq to southern Syria, and of course, there was no country called Jordan. The word Palestine was 100% derived from the Hebrew name for the Philistines. There is no evidence of a written language left by the philistines and the only name that they were known by was the name given to them by the Hebrews at the time. The evolution of the word went something like this:

פלש—פלישתים—ארץ פלשת—סוריה פלסטינה/פלשתינה—פלסטין/פלשתין

PaLaSh—plishtim—the land of paleset—Syria Palestina (the name given to the land of Israel and Judea as a punishment by the Roman)—- Palestine

PaLaSh is the Hebrew root word for invade meaning we called the sea fairing invaders by their actual name, invaders

Important to know that the Arabs absolutely DENIED ANY RELEVANCE and would not ascribe and meaning re: "Palestine" for themselves.

Arab nationalists in the post-WWI period ADAMANTLY rejected the designation. Arab spokesmen continued to insist that the land was, like Lebanon, merely a fragment of Syria. On the grounds that it dismembered an ideal unitary Arab state, they fought before the Anglo-American Committee of Inquiry and at the United Nations. The Arab historian Philip K. Hitti informed the Anglo-American Committee of Inquiry that “there is no such thing as Palestine in history.”

In 1937, Awni Bey Abdul-Hadi, founder of the first Palestinian Arab political party, testified to the Peel Commission, "There is no such country as Palestine. 'Palestine' is a term the Zionists invented. There is no Palestine in the Bible. Palestine is alien to us."

In May 1956, Ahmed Shukairy, who became the first head of the Palestine Liberation Organization (at a time when Jordan had annexed the "West Bank" and Egypt controlled Gaza), declared to the United Nations Security Council, “It is common knowledge that Palestine is nothing but southern Syria.”

In February 1970, Prince El Hassan bin Tala of Jordan, stated to the Jordanian National Assembly that "Palestine is Jordan and Jordan is Palestine; there is one people and one land, with one history and one and the same fate." Seven months later, the PLO attempted to take over Jordan, lost, and were unceremoniously, kicked out.

In 1977, PLO Executive Committee member Zahir Muhsein stated, "The Palestinian people do not exist. The creation of a Palestinian state is only a means for our continuing struggle against the state of Israel for our Arab unity. … In reality there is no difference between Jordanians, Palestinians, Syrians, and Lebanese."

One might argue that this particular group of Arabs established, sometime in the mid 1960s, a political identity as "Palestinians," when Arafat returned from strategic partnership meetings with the Soviets communists who were attempting to gain a larger foothold in the region, and advised him how to use "Palestine" identity as a cudgel against Israel.

What they are NOT is "ancient" inhabitants of the region which, under Ottoman rule, was also dubbed "Syria-Palestine." What they are NOT is any sort of distinct ETHNIC group—like the Judeans (Judea/Samaria/Israel), the Phoenicians (Lebanon), the Kurds, the Druze, or the Circassians. They are Arabs, sharing the language, culture, religion, cuisine, ethnic group, etc. of the people of Syria, Lebanon, Jordan, Egypt, and Saudi Arabia. Prior to the 1960s, before the PLO was created, there were ZERO Arabs self-identifying as Palestinians. During the 19 years that Jordan controlled the so-called "West Bank" (Judea and Samaria, which had been cleansed of Jews by the Jordanians) and when Egypt controlled Gaza, there was no movement to create a "Palestinian" state.

Attached is a photo of the Palestine Symphony Orchestra in 1936, which consisted of 73 jewish musicians, and conducted by none other than Arturo Toscanini (born in Parma, father was a tailor). Toscanini was the music director at La Scala, before spending spent 7 years conducting the New York Metropolitan Opera (1908-1915) and the New York Philharmonic (1926-1936). He lived out his latter years in NYC, about a 1/2 mile from where I lived for a decade from 2005-2015 in Riverdale (Bronx), which is now called Wave Hill, a non-profit cultural institution and botanical garden, located on 26 acres adjacent to the Hudson River.

[hypokeimena]

i know i could google it but i love to question american mutus, what's it really like in a frat ?

well like it's extremely variable. one of the primary things that makes frats scary and nonfunctional is the fact that at MOST schools, the frat is technically "off campus" housing which means that the university - while dependent on greek life to provide housing to students - has no or extremely limited legal control over behavior which happens in frat houses bc... it is "off campus". which is what leads to the kind of bad shit you hear about bc there's very little like... accountability. HOWEVER greek life at my school was 1. housed in dorms 2. at a school with a more liberal milieu, and also not an enormous part of campus culture - it was there if you wanted it but it wasn't the ONLY place to socialize, or the only kind of group housing etc, the way it is in some other more rural schools where that's sort of the only thing there is to do yk. also 3. it was a group that very much self-selected for people who cared about Living In Community who wanted a space that was not as traditionally "fratty".

i tend to feel it has much more in common with the way i've seen people describe coop housing than with other frat houses; we were a greek letter org with a national - but we are co-ed and legally distinct, though we still share songs and a history with the all-male org.

so for me "what was being in a frat like" well it was like living with a bunch of people who all agreed that we wanted to live together, drink responsibly together, and learn all the same drinking songs. together. which i think is not typically the experience for many people!

checked in with a college friend to see if this description held true to her perception also and she said "well housing coops don't ritualistically blindfold members" which i feel like is a big thing for her to claim. they might. i don't know that. anyway it was good and fun and we did not do Hazing except in to a degree that was entirely opt-in.

have these descriptions also: "[frat was] like kind of a traditional frat, kind of a religious community a little bit (in the way that frats are that) and kind of like coop housing for people who like movie nights. also kind of like attending city council meetings. a homeowners association for self destructive people. socialization daycare for computer science students. sleepaway summer camp but the kids and chaperones are the same age. and also the same people. [frat] is like the post-musical rager for high school students who played in the orchestra pit" (h/t @oddliestcatch)

[agentnico]

Conclave (2024) review

This Pope is dope!

Plot: Cardinal Lawrence is tasked with one of the world's most secretive and ancient events - leading the selection of a new pope. Surrounded by powerful religious leaders in the halls of the Vatican, he soon uncovers a trail of deep secrets that could shake the very foundation of the Roman Catholic Church.

Since his stellar 2022 adaptation of All Quiet on the Western Front that bagged him a Best International Feature Academy Award, Edward Berger showcased himself as a director to keep an eye out for. I did not expect him to be back so quickly, yet here we are with Conclave, and goodness we he may have yet another awards contender on his hands. This movie is all about lies, deception, manipulation and strategy, all encapsulated in this global scale game of chess. From the offset one may question how interesting a movie about a bunch of cardinals picking the next Pope could be. Like it’s just a bunch of men in red caps sitting and talking. But believe me this is far from a boring tale, as Berger manages to turn this intimate and supposedly-holy ritual into a thrilling and tense experience that echoes the scheming, backstabbing nature and intrigue of something like Game of Thrones whilst also feeling strikingly relevant. I’m not saying this thing is full of sex and blood, but truly this movie about priests gossiping is extremely entertaining and engaging. Whenever the ballot result was being announced after every vote, I’m not going to lie, and I hate using this term, I was at the edge of my seat, wondering who the next front runner was.

Part of me wishes this took a Death of Stalin approach with all these cardinals trying to one up each other to get to the top, as there is so much comedy potential in that. However this movie plays it mostly straight, yet it does still manage to find some humour in the interactions, with especially one of the most diabolical vape hits of all time, and I don’t just mean in cinema history. Truly though this is a really well made piece of drama, and also fantastically shot, as Berger and his crew manage to turn the Vatican into a highly cinematic location, with even a small behind-the-scene auditorium darkened in a way that only the red of the cardinals clothing and the turquoise blue seats are highlighted, which I must say was a phenomenal minimalistic approach. Also a bird’s eye sequence of the cardinals holding white umbrellas and walking past a fountain - chef’s kiss! Huge shout out to Volker Bertelmann’s music score, as even though I think his work on All Quiet on the Western Front was overrated and dull, here his style works much better, with his score dominating a specific sound made by a string chamber orchestra, that mirrored the movie’s constant theme of being “stuck”.

With this cast you already expected high class performances, but truly they are great. Elegant, crafty, poised, but never shy of getting emotional when needed, Ralph Fiennes abilities of balance continue to impress me with how he invests in making a good character. It’s a reserved yet powerful performance. Stanley Tucci goes a bit more theatrical, his character the voice of the "liberal" side as his aggressions and passions are artfully delivered in a manner fit for the stage to offset Fiennes' calmer tones. John Lithgow is almost a mix of the two extremes, holding his usual support role that keeps so many of the leading sides held and providing perhaps most of the engaging mystery element in the search for the truth. Isabella Rossellini is unfortunately a tad under-used, though she does get one scene to deliver that powerful note that the Oscars would love to reference should she be nominated. Lucian Msamati, Sergio Castellitto and Carlos Diehz also make notable turns as the other contenders for the Pope role, all of whom get their moments to shine.

In my eyes Conclave is a stunning piece of work. It manages to take what one would assume as such a simple premise, yet manages to entangle it with so many threads of twists and turns, as such turning a political and religious drama into a true mystery thriller, with Fiennes character acting more so as a detective rather than a leader of the conclave. Partner that with the great acting, sublime cinematography and a slow but engaging pace with a script filled with wit and realism, and we have ourselves one hell of a motion picture!

Overall score: 8/10

[cosmosbeelover]

The History of Korean Male Soloists from the 20th Century: Episode 3/?

The third episode of 'The History of Korean Male Soloists from the 20th Century' highlights prominent Korean musicians who achieved fame in the early 20th century, during the period of Japanese occupation.

The historical documentation related to these artists is frequently unreliable, largely due to the fact that their contributions occurred almost a century ago, before the Korean War, leading to the loss or unavailability of essential records.

Kim Saeng Ryeo (김생려; 金生麗)

Kim Saeng-ryeo is linked to the Yonhui Professional Orchestra (연희전문사중창단), founded in 1929, as discussed in Part 3. The Yonhui College Orchestra/Quartet, led by Hyun Je-myeong (현제명), held biannual concerts from 1930 for nearly a decade, showcasing emerging talent and reflecting the changing musical tastes of the colonial era. This orchestra was instrumental in the development of musicians such as Kim Seong-tae (김성태), Lee In-beom (��인범), Kim Saeng-ryeo (김생려), and Lim Dong-hyeok (임동혁).

Numerous types of orchestras exist, and I discovered a resource that provides a comprehensive overview of each, including philharmonic, symphony, chamber, opera, string, and wind orchestras, among others. This resource will cover a variety of orchestral forms.

Life and Career

Born on November 25th, 1912, in Yongbyon, North Pyongan Province, and passing away in Las Vegas on December 14th, 1995, at the age of 83, he was the only son among five siblings and married to dancer Kwon Ryeo-seong (권려성).  His father, a devout Christian and elder, introduced him to the church at an early age, fostering a particular fascination with the organ. Shortly after his birth, his father established a church in Bukcheong, where Kim Saeng-ryeo spent his formative years.

He played a crucial role in the establishment of the Seoul Philharmonic Orchestra and was instrumental in founding the Seoul Symphony Orchestra after Korea's liberation, thereby leaving a significant mark on the country's symphonic music scene. His early life unfolded in Anju, South Pyongan Province, and Bukcheong, South Hamgyong Province. Like other key figures in the early development of Western music in Korea, such as Hyeon Je-yeong (현제명),  Lee Heung- ryeol (이흥렬), and Gye Jeong-sik (계정식), Kim was raised in a Protestant household, which provided him with early access to Western musical traditions.

From a young age, he demonstrated exceptional skill in playing both the organ and harmonica. His journey with the violin began in elementary school, where he had already shown a unique aptitude for the organ and harmonica, often playing during his free time. His passion for music persisted even after starting school, as he would occasionally leave class to visit a church and immerse himself in musical experiences.

In the second grade, his fascination with music deepened when he encountered an amateur violinist, which inspired him to take up the violin. This pivotal moment marked a significant shift in his musical journey. After completing elementary school, he moved to Seoul to pursue further education, enrolling in the second high school, now known as Gyeongbok High School (경복고등학교; 景福高等學校), where he distinguished himself as a disciplined and diligent student.

While attending Gyeongseong Jeigo High School, he received violin lessons from Boots, the wife of a foreign doctor at Severance Hospital (세브란스병원). His serious commitment to violin studies intensified after meeting Gye Kye-sik, a returnee from Germany. He continued to practice diligently at Yonhui College (연희전문학교; 延禧專門學校) and, upon graduation, took on roles as an accompanist and conductor for the Gyeongseong Broadcasting Station Orchestra (조선방송협회(朝鮮放送協會). However, during the Gwangju Student Incident https://en.wikipedia.org/wiki/Gwangju_Student_Independence_Movement (광주 학생 독립 운동; 光州學生獨立運動), he actively participated in protests, which led to his pursuit by the Japanese police and subsequent suspension from school. He was only reinstated after submitting a written account of his actions, but he continued to face challenges, particularly from his Japanese teachers, ultimately graduating under difficult circumstances.

Throughout his academic evolution, his commitment to music remained steadfast. After finishing elementary school, he moved to Seoul to further his education, enrolling in Jeigobo (제이고보), now recognized as Gyeongbuk High School. His association with Kim Hyung-jun (김형준; 金亨俊), a violinist and conductor, facilitated his involvement with the Gyeongseong Central Orchestra (경성중앙관현악단; 京城中央管絃樂團) as a violinist. Upon graduating from Gyeongbuk High School, he encountered Gye Jeong-sik (계정식; 桂貞植), a returnee from Germany, who helped him strengthen his foundational skills in violin, leading to his participation as a second violinist in a string quartet directed by Gye Jeong -sik.

Despite familial opposition to his musical aspirations, he persevered and, after graduating from Gyeongbuk High School, gained admission to Yonhee College through the recommendation of Hyun Je-myeong (현 종양). There, he continued to engage in musical activities and was appointed as the second violinist in a string quartet under Gye Jeong-sik's (계정식; 桂貞植) leadership. Although he attempted to follow his father's wishes by applying to Severance Medical School, he was unsuccessful and instead enrolled in the liberal arts department at Yonhee College, where he benefited from diverse musical experiences and eventually became the head of the school band.

Under the mentorship of Hyun Je-myeong, who began his role in 1929, he collaborated with notable musicians such as Kwak Jeong- seon (곽정선), Kwak Jeong-sun (곽정선), and Kim Gwan (김관). In the early 1930s, he worked with Kim Seong-tae (김성태) (violin), Lee Yu-seon (이유선) (vocal), and Hwang Jae-gyeong (황재경) (flute) within the music department at Yonhee College, further advancing his musical skills. However, following a victorious sports match against Gyeongseong Medical School, which included Japanese students, he celebrated with the band members, leading to an incident that resulted in his indefinite suspension after being held accountable for the situation.

His time in Japan represented a transitional phase, but upon his return to Korea two years later, he re-enrolled at Yonhui College. There, he secured a position with the Gyeongseong Central Broadcasting Station Orchestra and supplemented his income by working as a violin accompanist for the prestigious Victor Records orchestra. Although he graduated in 1937, two years later than his classmates due to his studies abroad, he remained actively engaged in music, including performing violin solos during chapel services at the college.

Kim Saeng-ryeo's experience at Yeonjeon coincided with the return of Hyun Je-myeong from the United States, marking a high point for the Yeonjeon Music Club. During this vibrant period, he collaborated with notable musicians such as Kim Seong-tae, Jeong Hee-seok, Lee In-beom (이익), and Hwang Jae-gyeong. After completing his studies at Yeonjeon, he continued his career as an accompanist for both the Gyeongseong Broadcasting Station Orchestra and Victor Records.

Following the return of Hong Nan-pa (홍난파; 洪蘭坡) (April 10, 1898 – August 30, 1941) from the United States, who expanded the Gyeongseong Broadcasting Orchestra, Kim Saeng-ryeo assumed the role of conductor, fostering a strong musical partnership with Hong. During this time, he also developed a close relationship with Kim Seong-tae, visiting him to study harmony and composition. When Hong Nan-pa fell ill, Kim dedicated himself to supporting him, managing the broadcasting station's responsibilities in his absence and providing care until Hong's passing.

Hong Nan-pa's counsel became a guiding principle for him: “If you aspire to be a flower, abandon music. If you wish to be a seed that flourishes for future generations, persist in music.” This philosophy provided him with resilience and served as an enduring compass during challenging times.

In the 1940s, he adopted the name Kaneyama as part of a broader national integration initiative. Following the death of Hong Nan-pa, Kim Saeng-ryeo assumed leadership of the orchestra and invited Gye Jeong -sik.to conduct. However, when the broadcasting station attempted to replace Gye-sik with a Japanese conductor, the Korean members, led by Kim Saeng-ryeo, vehemently resisted. Ultimately, when their efforts were thwarted, he chose to resign and establish a private orchestra.

He demonstrated his violin prowess at the inaugural concert of the Joseon Symphony Orchestra and at an event organized by the Joseon Music Association in 1941. That same year, he performed a solo at the "Peninsula Entire Enlistment Song Recital," which marked the introduction of the conscription system. He also participated in the "Music Patriot Weekly Music Festival" at Bumin Hall (부민관; 府民館) alongside prominent musicians. In 1942, he became the conductor of the Kyungsung/Gyeongseong Welfare Chamber Orchestra (경성후생실내악단; 京城厚生室內樂團) and joined the National Mobilization Federation of Korea/ Music Popularization Corps (國民音樂普及挺身隊) in 1943, performing at various patriotic events, including the "Battleship Donation and Patriotic Chamber Symphony Night." As the first violinist of the Kim Saeng-ryeo String Quartet and later a representative of the Hwaseong Chamber Orchestra, he continued to perform at events that celebrated the conscription system and supported pro-Japanese organizations.

Bumin Hall (부민관; 府民館) in the early 1940s

In 1942-1943, he established the Husung Chamber Orchestra following his resignation from the broadcasting station, which subsequently toured across the nation. Notably, soprano Kim Cheon-ae, a founding member of the orchestra, performed "Bongseonhwa" (봉선화) during the tour, providing solace to audiences mourning their country's plight, which led to her being monitored by the Japanese authorities.

In 1944, the Husung Chamber Orchestra relocated to Xingjing, Manchuria, where its members integrated into the Xingjing Symphony Orchestra. As liberation approached in 1945, he returned to Korea at the behest of Hyun Je-myeong to reestablish the Husung Orchestra, coinciding with the country's liberation. He took on the role of conductor for the newly formed Goryeo Symphony Orchestra in 1945, having previously been an active violinist during the Japanese colonial era. Following liberation, at Hyun Je-myeong's request, Kim Saeng-ryeo mobilized efforts to assemble around 50 musicians in the fall of 1945, successfully founding the Goryeo Symphony Orchestra under conductor Gye Jeong -sik., marking the inception of Korea's first orchestra post-liberation.

‘Bongsunga’ (봉선화) sheet music by Kim Hyung-jun, composed by Hong Nan-pa (100 Years of Our Western Music)

He subsequently departed from the Goryeo Symphony Orchestra. In 1946, he co-established the Seoul Music Club (서울음악동호회), recognized as the first chamber orchestra formed post-liberation of Korea, alongside Lee Jae-ok (이재옥), Jeong Hoon-mo (정훈모), Lee In-hyeong (이인형), Ahn Seong-gyo (안성교), Oh Byeong-do (오병도), and Jeon Bong-cho (전봉초). This initiative served as a foundation for the eventual formation of the Seoul Symphony Orchestra, where he assumed the role of conductor and later founded the Kim Saeng-ryeo Quartet in 1947, collaborating with Lee Yong-cheol (이용철), Choi Gyu-yeong (최규영), and Kim Jun-deok (김준덕). He was also a member of the Seoul Orchestra, alongside Jo Bong-deok (조봉덕), Lee Gyu-su, and Kim Soon-deok (김순덕). In 1947, he took the initiative to establish and manage the Seoul Symphony Orchestra, which was the precursor to the Seoul City Symphony Orchestra (서울시립교향악단; Seoul Philharmonic orchestra ,─市立交響樂團) founded in 1948, drawing from the Korea Symphony Orchestra (고려교향악단; 高麗交響樂團) and the Seoul Orchestra, and made his conducting debut at the inaugural concert held in February of the following year.

1950s picture of the Seoul Symphony Orchestra

Kim Saeng-ryeo embarked on his professional journey as a conductor through a prestigious invitation extended by the U.S. State Department. This opportunity allowed him to immerse himself in the world of classical music, where he had the privilege of studying under some of the most esteemed maestros of the time, including the legendary Leonard Bernstein and the renowned Eugene Ormandy. These formative experiences not only honed his skills but also enriched his understanding of orchestral dynamics and interpretation. As his conducting career progressed, Kim Saeng-ryeo showcased his exceptional talent by leading prominent orchestras, such as the Boston Symphony Orchestra and the Philadelphia Philharmonic. His performances on international stages garnered acclaim and recognition, establishing him as a significant figure in the global classical music scene.

Upon returning to Korea, Kim Saeng-ryeo was instrumental in founding the Seoul City Symphony Orchestra in November 1958. His vision and commitment were key in defining the orchestra's character, and he assumed the roles of permanent conductor and representative. Initially, he played as the first violinist when the orchestra commenced its activities in January of that year. The inaugural concert was conducted by Kim Seong-tae, and soon after, the orchestra began regular performances under the direction of German conductor Rolph Jacobi, who served as an advisor to the Central Broadcasting Station. However, following Jacobi's unexpected departure to Germany, Kim Saeng-ryeo took over as conductor for a concert in Daegu, marking the beginning of his conducting career.

In October 1995, Kim received a distinguished invitation to conduct at the Korean Symphony Orchestra's 50th anniversary concert, he performed from a wheelchair and received enthusiastic response from the audience.

Under Kim's direction, the orchestra not only expanded its repertoire but also undertook extensive tours throughout Southeast Asia, performing in nations such as Vietnam, Hong Kong, and Taiwan. These tours highlighted the orchestra's talent and promoted cultural exchange, enhancing the appreciation of classical music in the region. Kim played a crucial role in negotiating the orchestra's establishment with the Seoul Metropolitan Government, ensuring a strong foundation for its operations and performances. His dedication to the orchestra's development established it as a significant entity in Korea's cultural scene, quickly gaining popularity among audiences, who often displayed overwhelming enthusiasm during performances. Notable works conducted by him included Kim Seong-tae's "Capriccio," Schubert's "Unfinished Symphony," and Ravel's "Bolero Dance" at various concerts.

Throughout his tenure, Kim Saeng-ryeo conducted a series of notable performances that left a lasting impact on the Korean music scene. Among these were Puccini's "Tosca," which he conducted in October 1958, and the double bill of Leoncavallo's "Pagliacci" and Mascagni's "Cavalleria Rusticana" in June 1959. These productions were significant not only for their artistic merit but also for their role in introducing Western operatic traditions to Korean audiences. In November of the same year, he conducted Bizet's "Carmen" at the National Theatre of Korea, further solidifying his reputation as a conductor capable of delivering powerful and emotive performances.

Photo 1 -> Kim Saeng-ryeo 1972 Photo 2 -> Newspaper clipping published in June 25th 1972

Despite successfully navigating numerous challenges to develop the orchestra, the onset of the Korean War compelled him to abandon his ambitions for the ensemble, leading to a three-month period of hiding under communist rule until Seoul was recaptured on September 28. Ultimately, the Seoul Symphony Orchestra was disbanded after its 23rd regular concert due to the war. At its formation, the orchestra included a wide array of musicians, featuring first and second violinists, violists, cellists, and various woodwind and brass players. Among the distinguished members were Kim Saeng-ryeo and Jo Bong-deok on first violin, alongside a diverse group of instrumentalists such as flutists, oboists, clarinettists, and trumpeters. The ensemble also incorporated percussionists and a pianist, creating a rich auditory experience that defined the orchestra's performances during its short yet significant existence.

Full List of the members at the time of its founding of Seoul Symphony Orchestra were as follows: . 1st Violin (제1 바이올린): Kim Saeng-ryeo (김생려), Jo Bong-deok (조봉덕; 趙鳳德), Lee Gyu-su (이규수; 李奎秀), Kim Soon-deok (김순덕; 金順德), Lee Gye-seong (이계성; 李桂成), Baek Hae-je (백해제; 白海帝), Lee In-hwan (이인환; 李仁煥), Heo Sang (허상; 許湘), Lee Sung-tae (이숭태; 李崇泰), Shin Sang-cheol (신상철; 申相徹), Kim Hae-ryong (김해룡; 金海龍). . 2nd Violins (제2 바이올린): Lee Jae-ok (이재옥; 李在玉), Nam Chang-hyun (남창현; 南昌鉉), Jo Gyu-won (조규원; 趙奎元), Choi Ho-won (최호원; 崔豪源), Moon In-yeon (문인연; 文麟連), Lee Dong-hee (이동희; 李東熙), Kim Seon-hwa (김선화; 金善化), Jeon Chang-jae (전창재; 全昌宰), Jeon Oh-bok (전오복; 全五福), Park Jun-hwang (박준황; 朴俊晃). . Violas (비올라): Ahn Seong-gyo (안성교; 安聖敎), Lim Chun-ok (임춘옥; 林春沃), Lee Yeong-don (이영돈; 李泳敦), Lee Jae-man (이재만; 李裁晩). . Cello (첼로): Jeon Bong-cho (전봉초; 全鳳楚), Woo Dal-hyeong (우달형; 禹達亨), Lee In-gyu (이인규; 李寅圭), Park Guk-rok (박국록; 朴國錄), Kim Jong-myeong (김종명; 金鍾明), Lee Jeong-eon (이정언; 李禎彦), Yoo Jeong-yong (유정용; 劉廷鏞). . Flute (플루트): Oh Byeong-do (오병도; 吳炳道), Lee Gi-yoon (이기윤; 李基潤), Hong Su-man (홍수만; 洪壽萬). . Oboe (오보에): Lee Byeong-woo (이병우; 李炳祐). . Clarinet (클라리넷): Hong Gwang-eun (홍광은; 洪光銀), Kim Seong-hun (김성훈; 金成勳). . Bass (파곳): Kim Yeong-gyu (김영규; 金英圭), Na Moon (나문; 羅文). . Horn (혼): Jeong Hoe-gap (정회갑; 鄭回甲), Kim Jong-sun (김종순; 金宗純), Kim Yun-seong (김윤성; 金潤成), and Hyeon Su-so (현수소; 玄壽瀟). . Trumpets (트럼펫): Kim Jong-dae (김종대; 金鍾大), Park Ju-doo (박주두; 朴柱斗), and Kim Man-bok (김만복; 金萬福). . Timpani (팀파니): Han In-hang (한인항; 韓麟恒). . Battery/ Baeteoli (배터리): Kwon Yong-jin (권용진; 權龍鎭), Han Seong-jin (한성진; ��聖振). . Piano (피아노): Lee In-hye (이인형; 李仁亨). . Conductor/Arrangement (지휘·편곡): Jacobi (쟈코비), Kim Seong-tae (김성태; 金聖泰). . Vocalists (성악): Kim Cheon-ae (김천애; 金天愛), Kim Hye-ran (김혜란; 金惠蘭), Lee In-beom (이인범; 李仁範), Kim Hyeong-no (김형노; 金炯魯).

The Symphony Orchestra of Seoul City gave a concert in Hong Kong on April 20, 1947. (Photo by: Universal History Archive/Universal Images Group via Getty Images)

Following the recapture of Seoul during the Second Battle of Seoul in 1950, the establishment of the Seoul Symphony Orchestra was initiated alongside the formation of the Naval Military Training Band, which served as the precursor to the Seoul Metropolitan Symphony Orchestra. This endeavour marked a significant cultural development in a time of conflict.

In his role as conductor, he assembled musicians and sought support from the Navy to create the Navy Military Band. Despite the ongoing war, this ensemble was unique in its provision of employment for musicians and opportunities for music enthusiasts to enjoy performances. He maintained his leadership of the band throughout the duration of the war, ensuring its continued presence in the musical landscape.

As a founding member of the Korean Musicians Association established on November 8, 1949, he played a pivotal role in the organization of the Naval Military Music Band in October 1950, where he served as captain. Following the appointment of all 120 members of the Naval Cultural Promotion Corps as civilian naval officers, the band held its inaugural concert in November 1950 at Sigong Hall, celebrating both the Navy's fifth anniversary and the recapture of Seoul. The band, which returned to Seoul in 1953, became influential in the performance scene, showcasing significant works and ultimately evolving into the Seoul Symphony Orchestra, which was later restructured into the Seoul Metropolitan Symphony Orchestra in 1960.

The main characters Patty Kim (김혜자; 金惠子) (left) and Kwak Gyu-seok (곽규석) (Right) at the premiere of the musical 'Saljjagi Obseye' (살짜기 옵세아이) by the Yegreen Orchestra in 1966. [Joongang Photo]

Kim was appointed as the first conductor of the Seoul City Symphony Orchestra, a role he maintained until 1961. Initially optimistic about fostering a vibrant symphony orchestra movement, his ambitions were thwarted by the political turmoil surrounding the April 19 Student Revolution in 1960 and the May 16 Military Coup in 1961. These events culminated in his resignation, prompted by legal disputes involving current and former orchestra members. Nevertheless, during his tenure, Kim Saeng-ryeo actively guided the orchestra, undertaking performances both domestically and internationally, including tours throughout Southeast Asia, thereby establishing a significant foundation for the orchestral movement in Korea.

In January 1962, Kim assumed the role of director for the Yegreen Orchestra, which was founded with the guiding principle of "Remembering the Past and Yesterday for Tomorrow." By September of that year, the orchestra had successfully staged five performances of the "Chuseok Play," showcasing a variety of musical selections. After the orchestra's dissolution, the exact timing of which is uncertain, Kim established the Arirang Folk Arts Troupe, which toured extensively across the United States, Canada, Europe, and other regions, playing a vital role in the dissemination of South Korean culture.

In the same year, Kim also held several significant positions, including head of the music department at Kyunghee University, representative of the Yegreen Orchestra, and artistic member and commander of the Naval Military Music Band. His diverse engagements in these organizations, along with his role in representing the Seoul Metropolitan Symphony Orchestra, highlighted his prominent influence in the South Korean music landscape during this era.

1967 Yegreen Orchestra ‘Kkotnim, Kkotnim, Kkotnim’ (꽃님, 꽃님, 꽃님). The middle of the second row is Na Yeong-su (나영수), and next to him on the left is Hwang Ik-pyeong (황익평), Moon Hye-ran (문혜란), Lim Yeong-ung (임영웅), Park Yong-gu (박용구), Choi Chang-kwon (최창권), and Kwak Gyu-seok (곽규석) (Fry Boy). The man sitting in the middle of the front row is Hwang Un-heon (황운헌) (Chief of the Literature Department).

In 1962, he travelled to the United States to pursue studies in conducting, and by 1971, he had taken on a professorship in the Department of Music at Hanyang University. He returned to the United States in 1976, where he held the position of permanent conductor for the Southern California Philharmonic Orchestra until 1992.

In October 1995, he received a distinguished invitation to conduct at the Korean Symphony Orchestra's 50th anniversary concert, performing from a wheelchair and receiving an enthusiastic response from the audience. His impact on the Korean symphonic scene was significant; he established the Seoul Symphony Orchestra Association and the Seoul Symphony Orchestra, while also enhancing Korean music through his leadership of the Yegreen Orchestra, his role with the Arts Council, and his teaching at Kyunghee University. His achievements were acknowledged with numerous awards, including the Swedish Red Cross Medal and the Seoul City Cultural Award. Kim passed away due to diabetes-related complications at Sunrise Hospital in Las Vegas, USA, on December 14, 1995, at the age of 83.

Activities and Achievements

Kim Saeng-ryeo's career in music began in 1939 when he served as the conductor for the Seoul Central Broadcasting Station Orchestra. He played a pivotal role in establishing several orchestras, including the Seoul Welfare Chamber Orchestra in 1942, where he was a violinist, and the Goryeo Symphony Orchestra in 1945, for which he was the founding conductor. His influence continued with the founding of the Seoul City Symphony Orchestra in 1948, where he also held the position of conductor. By 1950, he became the Permanent Conductor of the Philadelphia Symphony Orchestra in the United States, while also commanding the Naval Music Band (해군정훈음악대; 海軍政訓音樂隊).

The 14th Program of the Korea Symphony Orchestra (1947)

Throughout his career, Kim received numerous accolades for his contributions to music. Notable awards include the Prime Minister's Cultural Medal in 1948, the Merit Award from the Swedish Red Cross in 1951, and the Seoul City Cultural Award in 1955. His international recognition was further solidified with the Greek Theatre Arts Medal in 1964 and the Republic of Korea National Academy of Arts Award in 1974, among others. These honours reflect his significant impact on the cultural landscape both in Korea and abroad.

In addition to his conducting roles, Kim was actively involved in various artistic initiatives. He conducted the Danwood Symphony Orchestra during the Bergsha Music Festival in 1953 and led the Arirang Folk Art Troupe on tours in the United States and worldwide in 1964. His collaboration with prominent orchestras, such as the Ormandy and Boston Symphony Orchestra in 1968, showcased his versatility. Notably, he celebrated the 500th regular concert of the Seoul City Symphony Orchestra in 1994, marking a significant milestone in his enduring legacy within the music community.

Seoul City Orchestra "Kim Saeng- ryeo's Reminiscence" Concert

Seoul City Orchestra "Kim Saeng-ryeo Reminiscence" Concert 11th Sejong Centre for the Performing Arts - Reporter Ryu Yun-jong

The "Emperor" of 44 years ago has been revived as today's "Emperor." The Seoul City Orchestra's regular concert, held at 7:30 PM on the 11th in the Sejong Center for the Performing Arts Main Hall, will be a meaningful stage with the subtitle "Kim Saeng-ryeo Reminiscence." It is a place to commemorate the first anniversary of the death of the late Kim Saeng-ryeo, the founder of the Seoul City Orchestra, and to honor his achievements and will. In this concert, Kim Won-mo (professor at Dankook University) will be the guest conductor and Baek Nak-ho (chairman of the Korea Music Association) will perform Beethoven's Piano Concerto No. 5 "Emperor."

서울시립교향악단 제 545회 정기연주회 "김생려 회상" [1996] Seoul City Symphony Orchestra 545th Regular Concert "Kim Saeng-ryeo Reminiscence" [1996]

Although it is a collaboration stage between a veteran pianist and a mid-career conductor that anyone would know by name, their meeting that day holds special meaning. In the midst of the smoke of the 1952 war, Baek Nak-ho (백낙호) performed "Emperor" with the Naval Music Band, the predecessor of the Seoul Philharmonic Orchestra, under the direction of Kim Saeng-ryeo in Busan, where he was a refugee. Professor Kim Won-mo (김원모) is Kim Saeng-ryeo's second son. He arranged Tchaikovsky's Symphony No. 6 "Pathetique," which his father enjoyed conducting, as the second half of the concert.

Baek Nak-ho (백낙호) recalled, "During the three years of my refuge in Busan, I spent my time with Kim Saeng-ryeo in the Naval Music Band, and we built a friendship as seniors and juniors."

At the concert, Lim Won-sik (임원식; 林元植) (Professor Emeritus of Chugye University for the Arts), who played a leading role in the founding of the National Symphony Orchestra (now the KBS Symphony Orchestra) in 1957 and competed with the Seoul Philharmonic Orchestra in good faith, will share his memories of the deceased in the form of reminiscences.

-------------------------------------------------------

Part 2 will be coming out soon!

[jazzdailyblog]

Carla Bley: A Visionary in Jazz Composition

Introduction: In the kaleidoscope of jazz, there are figures who emerge not only as talented musicians but also as visionary composers who redefine the boundaries of the genre. Carla Bley, a pianist, composer, and bandleader, stands as a luminary in this realm. This blog post unravels the fascinating journey of Carla Bley, shedding light on her distinctive compositional style, eclectic…

[victorysp]

Queen Máxima and King Willem-Alexander attended the national start of the celebration of 80 years of freedom in Mesch, Eijsden-Margraten. September 12, 2024.

They visited a pop-up museum about the liberation of Mesch and primary schools in Eijsden-Margraten, including music by the Reunion Orchestra Limburgse Jagers.

📷 vorsten

[fuctacles]

0 | - | 2 | 3 | 4 | 5

Maxine was nearing the rebellious teenage years Steve was so scared of. She was already a feisty kid when he met her all these years ago, slingshotting cans off tree branches and fighting with her brother, and she made no sign of stopping. She was a savage on a skateboard, crashed other kids in arcade games and looked up to strong female role models, like Wonder Woman. Steve was happy to call her his daughter. Even if she hated it.

She liked to spend time actively, so he wasn’t surprised when she got into sports. It was a thing they could bond over. Recently, though, all she could talk about was music. She was pestering him about getting her a guitar, and he was slowly warming up to the idea. Robin, of course, was encouraging it.

He already took her to a music store, grabbing a couple of cassettes that made him dread the worst. She picked some rock bands and while Steve didn’t want to play on these stereotypes, he wasn’t thrilled to think she may become one of these brooding alternative kids dressed in black. She was feisty, but she was a radiating sun that he would rather keep burning than get shrouded by dark clouds.

And so when he heard the door slam loudly, he sighed softly, recognising an end of an era when he heard it.

Max stomped into the kitchen, fuming.

“They are cutting down the art department funds,” she said without prompting, her bag dropped unceremoniously on the floor.

That was not what he was expecting.

“What?” he frowned, watching her open the fridge and grab a box of chocolate milk. She angrily stabbed it with the straw.

“Exactly! They are transforming the practice room into a gym, and Mr Eddie had to move all the instruments into his class and the drama club.”

And there it was. The famous Mr Eddie. He was the reason Max took a sudden interest in music, and apparently, now the reason she was so furious about school funding injustice. Steve sighed.

“Unfortunately, the school thinks liberal arts aren’t as important as sports.”

Max’s eyes narrowed as she studied him. Her gaze slid down to his ancient swimming team hoodie.

“But you don’t think so?” Right?” Her eyes narrowed threateningly. Steve scoffed.

“I might have been a jock in high school, but my best friend plays in an orchestra. I think the funds should be divided equally.”

“Good,” Max drew out like she was content for now, but he wasn’t completely off the hook yet. She sat down in front of him, sipping from the milk box and studying him. “All the after-school practice has to be done at the drama club, which makes the schedule really tight. You know Mr Eddie used to give guitar lessons there? Now he’ll have to do house calls.”

“Mhm,” Steve nodded, eyeing her wearily. He flipped the page of the magazine he wasn’t reading. 

“Mr Eddie used to practice there with his band too.”

“Mhm.”

“Now he has nowhere to do so.”

“Poor guy.”

“He said he’s looking for a place to practice. Told us to ask our parents.”

“Max…”

“We have a big garage.” 

“Max.”

“Steve.”

He sighed.

“I’ll think about it. If he doesn’t find a better place, he can give me a call.”

Max let out a victorious whoop, but he held out his hand to stop her.

“Max, I’m serious. Only as a last option.”

“Fine,” she rolled her eyes.

And so, about a week later, Steve was picking up his phone to an unfamiliar voice.

“Mr Harrington? I’m Eddie Munson, Max’s music teacher. She told me you have some garage space I could borrow?”

Steve looked at the ceiling, leaning against the wall.

“Did she say it was only a last resort thing?”

The man on the other side chuckled.

“Oh, believe me, I wouldn’t be bothering one of my student’s parents if I had other options.”

“Okay. What do you need then?”

“I’ll take whatever you can give me, honestly. I’m kind of desperate,” the man sighed, and Steve felt a bit bad. The guy just wanted someplace to practice his craft.

“Okay, okay. So… I have a two-car garage space, but it’s only my car and I can park at the curb, you could have the whole space to yourself. I’m home most afternoons, so as long as you’re not too loud and give me a heads-up, any day works.”

“Hello?” he frowned when only silence answered him, but soon the man on the other side was laughing.

“Wow, you’re just as nice as Mad Max claimed.”

“She did? I thought I was, and I quote, ‘a raisin in her cereal’.”

The other man burst out laughing and Steve smiled.

“Ah, I’m not going to reveal her soft spots any further then.”

“Maybe I should show you the place before you commit? It might not be big enough for your needs.”

The man on the other side hummed in thought.

“Yeah, good thinking. Is today fine? I’m finishing in a couple of hours.”

“Sure. Do you have something to write, I’ll give you the address.”

Three hours later, the doorbell rang and Steve wiped his hands on the towel to open the door.

Eddie Munson was nothing that he expected from a music teacher, but after a second thought was what he should have expected from a music teacher who Max said was cool.

“Eddie Munson,” the man introduced himself, extending his hand full of chunky metal rings.

“Steve Harrington,” Steve shook it, the fingers unexpectedly rough against his skin.

The guy was of a smaller build than him, on par with his profession. His long hair was tied back, revealing a row of silver earrings. He was wearing a band tee and a leather jacket. He didn’t look like a teacher at all.

Steve motioned him inside.

“Come on, I’ll show you the garage.”

“It’s not in the basement, right? Should I be worried?”

Steve gave him a puzzled look.

“You know, leading a stranger to your basement to never be heard of again?” Munson explained.

Steve raised an eyebrow.

“Yeah, maybe not with the hawks I have for neighbours. Probably half the street knows I have a guest by now. So I better let you out at some point.”

“Some of these suburban moms should really get a job, huh?”

“They should, yeah.” Steve nodded, leading him through the kitchen to a plain side door. he opened it and flipped a switch. “Soo, that’s it. Would that work for you?”

The teacher stepped in, passing by Steve to look around. The garage was big, made for two cars, with only Steve’s Beamer taking up half the space. Besides some spare tires and boxes of Christmas decorations, there was nothing else inside. 

The man spread his arms, spinning around. Steve let out a surprised snort. The guy was probably his age and a teacher on top of that.

“That would be great, Mr Harrington! Are you sure about that? Like, sure-sure?” He stood in front of him, and Steve’s mind has already been set, even without the hope glistening in the man’s eyes.

“I’m a man of my word,” he nodded.

Munson swayed on his heels.

“We play metal, though? Might not be your thing.” He smiled weakly, like he was expecting a rejection. Steve frowned at him.

“If they let you do it in school, I think my garage will be fine. I have headphones, too.”

Munson beamed at him, dimples at all. And it was like a punch in the gut, a feeling he hadn’t felt since Max’s brother.

“Thank you.”

“No problem,” he nodded stiffly, blinded by the soft metalhead in front of him. What did Max get him into?

Speak of the devil, there was a distant slam of the front door from the inside of the house. Steve winced.

“Want me to let you out this way,” he pointed to the garage door. “She won’t let you go that easy.”

Mr Munson only laughed. 

“It’s not a problem. Mad Max is one of my favourite students.”

“I thought teachers aren’t supposed to play favourites?”

“I’m not the teacherest out there, truth be told.”

Steve eyed his ripped jeans.

“I can see that.”

He led them back to the kitchen, where Max was hidden head-first in the fridge. She leaned back when she heard the steps, and her eyes widened at the sight of two men.

“Mr Eddie!” She slammed the fridge close, and Steve winced as he heard the bottles inside rattle against one another. “You’ll be using our garage?”

“Seems so, kiddo.”

Max made a victorious fist pump.

“Mike’s gonna be so jealous!”

Munson let out a startled laugh, while Steve scrunched his nose. 

“Don’t tell that’s all this is about. I thought we were doing something nice for Mr Munson.”

“We are, we are!” she placated him quickly, waving her hands. “Pissing off Mike is just a bonus. A very nice bonus.” She grinned sweetly.

“You’re, um…” Steve looked to the side to see the man scratching his cheek awkwardly. “The only parent who agreed. Most of them don’t trust me because I play metal.”

“Steve isn’t like that!” Max reassured quickly. “He’s not a judgmental bigot!”

Steve gawked at her choice of words while Munson laughed.

“A judgmental bigot wouldn’t raise such a great kid.”

“Duh.” Max beamed and Steve warmed all over. 

Being a single father was frowned upon even without their backstory. And Max’s attitude usually fuelled negative comments about his parenting. So it was nice to hear something good for a change. Maybe Steve could even make a new friend in this shitty town.

The teacher stayed for a coffee and insisted on being called Eddie. Steve found out he and his band had a show in a few weeks and were planning a small tour across the state over the upcoming break. But most of the visit was just him listening to Max and her teacher talking about bands he had no idea about. 

“I’ll tell the boys, and we could come over on Thursday? If that’s okay,” Eddie cocked his head as they led him to the door. 

“Sure. Works for me.”

“Sweet,” Eddie smiled, and again it did something pleasant to Steve’s heart. “See you tomorrow then, Red.” He fist-bumped the girl. “And you, Steve,” he raised his fist towards him. It took Steve a second to react and knock it with his own, but Eddie didn’t seem to mind. He waved at them, and soon Steve was watching a ratty black van speed away from his curb.

“I told you he was cool!”

“Uh-huh.” Steve closed the door. “You did.”

[thatswhywelovegermany]

October 29, 1923: The first radio broadcast in Germany goes on air

Radio had a rough start in Germany. At the end of World War I, where the German army was among the pioneers in radio communication, during the November Revolution, revolutionary workers occupied the headquarters of the German press and news service, falsely claiming the victory of the communist and socialist revolutionary forces. This made the social democratic government to impose harsh restrictions on radio broadcast, which severely hampered the development of the new medium in Germany:

Only the state had the sovereign right of to set up and operate transmitting and receiving systems

Private individuals were prohibited to receive any radio broadcast

Receivers were limited in their technical characteristics, supported by a requirement for state approval for any new model

This led to the state-controlled postal service becoming a monopolist serving a small number of (mostly public) institutions. Nonetheless, the first entertainment broadcast was distributed at Christmas 1920, when postal employees brought instruments to the broadcast center in Königs Wusterhausen (south of Berlin), played music and recited poems.

After heavy lobbying by radio pioneers such as Hans Bredow, complaints and public discontent and increasing numbers of illegal self-made private receivers, which frequently caused interferences, the harsh restrictions were finally lifted in 1923. Each owner of a state-approved receiver had to register as a "radio participant" and pay a license fee. In autumn of 1923, at the height of the inflation, a license cost 780 billion Mark per year, a sum that only very few were able and willing to afford. Thst's why the first broadcast by Funk-Stunde Berlin from a studio in the Vox House on October 29, 1923 has no (paying) listeners. The first registered participant was Berlin tobacco retailer Wilhelm Kollhoff, who received his license and his radio on October 31.

Rapidly, a number of radio stations opened throughout Germany, which were consolidated under the umbrella organization "Reichs-Rundfunk-Gesellschaft".

Infamously, radio became the main propaganda instrument of the Nazis, who quickly forced all radio stations into line, sending the liberal radio pioneers to the first concentration camps. The development and widespread distribution of a cheap radio receiver, the "Volksempfänger" ("people's receiver"), made radio a medium for the masses. Nonetheless, only 46.9 % of the German households had a radio in 1937, compared with the USA or the UK, which had already a density of 78.3 % and 66.1 %, respectively.

After World War II, radio developed differently in East and West Germany. Radio in East Germany remained state-controlled, sending communist propaganda now. In the West, organizations under public law were founded in the federal states, funded by fees of radio users and controlled by bodies in which the relevant societal groups are equally represented. In the 1980s, private radio stations were allowed.

Because Germany received only very few AM frequencies as part of the sactions after World War II, development of FM radio was accelerated, leading to new standards in the quality of transmission and HiFi stereo radio. Radio established itself as a promoter of culture in the area of literature and music. The stations set up symphonic and dance orchestras, big bands, choirs, and elaborate audioplay studios. They were also pioneering promoters of electronic music. In the recent years, however, the importance of radio as promoters of high culture has diminished more and more. With the exceptions of a few stations, radio is regarded as background entertainment for people who cannot stand silence.

In the future, it is expected that the split between music and entertainment, high culture, and information will will deepen. Radio as a promotor of culture will probably not play a role any more. Taking over podcast productions may revive the role of radio as an opinion-forming medium. Radio is still unrivalled as the fastest medium, being able to provide the latest news virtually in real-time.

[devieuls]

ˋ The Siren Song .࿐

Lo'ak Sully x Metkayina Reader ( ONE SHOT )

Synopsis : The sea, a place of mystery and endless charm, hides secrets that only a few can understand. In a coastal village of the Metkayina clan, amidst glittering waves and imposing cliffs, there was a story as fascinating as unlikely. A young Na'vi just arrived, with strong shoulders and eyes full of curiosity, found himself trapped in the enveloping song of a mysterious young Metkayina woman. Her seductive melodies echoed in the salty air, penetrating into the hearts of everyone who heard them. Lo'ak was fascinated by that divine sound and ventured into the beach, hiding for several nights, to discover the origin of that song, remaining enchanted by the woman who sang and danced in harmony under the light of the stars… Until one night he gets caught.

Warning : None. FLUFF

Lenght : 3.5k

NA'VI WORDS : YAWNTUTSYIP: Darling, Little loved one

LO'AK: 20 y.o / Y/N: 18 y.o

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As the warm and silent night enveloped the beach of Awa'atlu, your lonely figure stood on the damp and silvery sand, as if it were pulverized with a layer of stardust, a soft lighting that danced around you. The waves crashing on the shore emitted a sweet sound of liberation, like a reassuring whisper singing a sweet melody to your ear. Their constant movement, a perpetual beat of the heart of the ocean, melted with your voice, creating a magical harmony that floated in the night air of the beach. The stars twinkled like diamonds in the night sky, while the moonbeams illuminated your makeshift stage on the beach. The ashy light danced through the waves, creating glowing reflections that seemed to applaud your talent, urging you to continue to sing for the Great Mother. Deep in the night, sea animals joined the natural beach orchestra. Seagulls croaked in the distance, like angelic choirs that responded to your notes. The waves carried with them the melodious song of the newly returned Tulkuns, a deep and powerful symphony that vibrated in the soul of Lo'ak who listened in silence from afar, hypnotized.

Lie si oe tìvawmur – I experience the darkness Atanti ngal molunge, Ma Eywa – You brought light, oh Eywa lawnol a mì te'lan – Great joy in my heart Srrìri tìreyä – For the days of life Ngaru irayo seiyi ayoe, Ma Eywa – We thank you, oh Eywa Tonìri tìreyä – For the nights of life

You sang with bare feet in the sand, dancing freely, emanating a magnetic aura. Your voice, intense and penetrating, hovered in the air accompanying, telling pieces of your Songcord, the dark days and happy days blessed by Eywa and her love. Your notes intertwined with the sound of the sea and the singing of marine animals, creating a unique melody that seemed to merge with infinity, and that left Lo'ak breathless and mesmerized. And so, once again on the beach, you became part of the enchanted landscape. Your music traveled along the brackish breeze, bringing with it the magic of the night and its sounds, enchanting the young Na'vi who still did not know your face. This was the seventh night that Lo'ak hid behind some rocks to listen to your voice, remaining in silence not to disturb that magic that only the darkness of the night and the ocean could reveal, admiring you from afar, finding peace in your music. Every note, every nuance of your song was like a fragment of a deep emotion, a song that told of passions, dreams and hopes.

"Are you going to hide for more nights?" You asked in the wind, while on your knees, tired from dancing for about an hour, you wet your hair on the shore of the sea. You already noticed a few nights before you had a silent spectator, but you had preferred to shut up because you didn’t know if he was waiting for the right moment to approach you, or if maybe he was just too shy to do it. So you decided to give him a chance to reveal himself to you without waiting any longer. A whirlwind of emotions takes over in Lo'ak, feeling exposed. His mind filled with excitement, fear and hope as his heart pounded in his chest. Every detail of the moment seems to amplify, making his presence even more incisive, albeit hidden. "I don’t bite, you can approach me" you continued, laughing slightly, turning your back as you waited for him to approach. Lo'ak’s eyes explored your body from behind: Your long wavy raven hair, the watery green skin that shone because of the tiny bioluminescent freckles that created constellations on your body, the loincloth folded to the side to let you sit comfortably and the threads of the top that covered your front breast. During the seven nights he watched and listened to yourself singing and dancing freely alone on the beach, you fed his dreams and fantasies about you, daydreaming of the day he would show up, studying it in his mind. He would never have imagined that your meeting could happen so directly on your part.

Lo'ak came out of his cunning hiding place and approached you. His legs trembled slightly, as his heart began to hammer so hard that he became deaf. His mind was filled with a mix of curiosity, hope and fear of disappointing you in some way, as you had captured his attention in such a powerful and innocent way. You turned your face to the side, noticing the Na'vi behind you, smiling gently and then turning around completely and being inexplicably fascinated by that mysterious guy so different from the Metkayina boys you were used to. His tight waist, his slender yet toned body, his tail thinner than yours and her hand presenting what looked like an extra finger. Your eyes then met his, remaining enchanted by those golden pools that reminded you of dawn, deep and magnetic, left you mesmerized for a while. His gaze lingered on yours, finding you enchanting, perhaps even better than he had imagined your face. "I finally see you…" You whispered with a thread of voice as your heart sped inexplicably into your chest, sending strange signals even to your stomach that began to writhe on itself. Your voice out of the song was pure hypnotic melody, as if you invited him to be amazed and run out of words in his throat, making him just breathe like a fish out of water. "I see you too… I’ve seen you before, but never… I mean, you know. Your eyes… and…" He began, going into confusion right away, thanking the little light that could hide the slight redness on his cheeks. < Idiot. > He thought to himself, while scratching his neck swallowing heavily. You laughed slightly, amused by his clumsiness around you; though you might notice that he was a belted warrior wrapping his abdomen, hardly believing that a warrior could be so careless and almost shy with a woman.

"No need to be embarrassed, sweetie, I noticed you a few nights ago. I don’t seem to have been rude enough to embarrass you, do I?" You asked while you started to wet the long braid that covered the neuronal tail, trying to put the boy at ease, looking away from him. You smiled shyly, as the boy’s strong natural scent struck your delicate sense of smell, finding it strangely delicious and pleasant, unlike that of other boys. "No, not at all… I thought I would pass more unnerved, that’s it" he admitted, looking at you from above, taking long, deep breaths, not knowing how to carry on the conversation. "You’re not from here, are you? Your skin and texture would not go unnoticed, not even your perfume." You admitted, as you implied that he was sitting next to you. Lo'ak sat down beside you, leaving some space between you two. "No, I just arrived with my family. I come from the Omatikaya clan" he said without taking his eyes off your face covered with some wavy strands of hair. "The Omatikaya clan? You come from far away. What is your name?" You turned your face towards him, looking at him in the honey puddle in his eyes, breathing in his scent. "Lo'ak… Your name instead is?" His voice made his interest and curiosity in knowing you, feeling already so close to you not only physically. "Y/n, you may not believe it but I am the singer of the Metkayina clan" Your voice was sarcastic, as you watched as a smile began to paint itself on his face, showing beautiful pearly teeth and long canines. You smiled back, happy to have managed to make the boy smile beside you, feeling that he was now less tense than before.

"Unbelievable, who would have expected it. Such a beautiful and melodious voice that acts as the main voice for the clan? Unimaginable" Lo'ak said, continuing the little game you had started. You bit your lip slightly as you carried a few curls behind your ear, looking down at his hands, which they laid on the ground. You immediately noticed that Lo'ak did not look like a real Na'vi, the presence of eyebrows, a fifth finger or the almost non-existence of the typical Na'vi cross on his abdomen, but these details only made you curious about him. "So flattering, you only heard me sing for a few nights. But thank you, compliments are always appreciated" you replied, creating a path with your eyes from his hands to his eyes. "You’re right, but that doesn’t mean your voice isn’t charming… May I ask why you always sing the same song? It’s very beautiful, but I don’t understand why you always go around the same" He bit his lip slightly as he looked at you. Even though you were sitting, you seemed so tiny near him, almost fragile, because of the height difference. "It’s my songcord. I usually sing to the Great Mother, waiting to add more important events… I like to remember my life every night, it’s a celebration of myself, to wish me the best for the future. You never sang your songcord?" Your eyes fell on his loincloth for a second, looking briefly at his songcord that was tied to his side, and then blushing when your eyes inevitably moved more to the center, noticing something you shouldn’t even notice. "No, I extend it but I don’t sing it. Sometimes I look at it and I think I’ve only had a few important events in my life, I don’t think the Great Mother would listen to me if I asked her something similar" Lo'ak’s voice had that strange aftertaste of bitterness, as if something had marked him perpetually throughout his life.

Your hand laid gently on his warm cheek, while the tip ofyour little finger brushed against the boy’s angular jaw. "The Great Mother always listens to us, no matter how little hope we have. She is here" you laid a hand on his chest, shyly. "Just… just try to live every day as if it were your last, thank her for your days and live with the knowledge that you have someone watching over you continuously. You will see that your Songcord will stretch and you will find more experiences to keep you dear to you" You answered and then get up. " You listened to my voice for seven nights in silence. I am sure you will have the same patience to listen to your voice too, the Great Mother will do the same… or she has already done it" You turned around as you began to walk. Lo'ak looked at you silently as you walked away from him. "H-hey, y/n where are you going?" He said as he rose, dusting away the sand from his cerulean skin. "It’s late, I have to get back to my marui. I reduced myself to the last minute to talk to you like this in case it was too embarrassing or worse, I could have left without you weighing it" Your voice was sincere. You turned and then smiled gently at him, with a slight and impetuous blush on the cheeks "Fortunately it went well". Lo'ak remained to admire you as you walked away, heading where all the Marui were, and smiled, turning back on the sand. His hand immediately found an object on the sand, a small blue pearl, with white reflections due to the moonlight. He squeezed it between his fingers and then carried it over his head, inspecting it against light, deciding that that pearl would end up on his songcord, sure that the encounter with you was not random, and that you would bring light on that eternal night that had enveloped him all these years.

More nights passed since then, and every night Lo'ak listened to you sing your songcord, watching as your hands caressed the beads and your smile softened every time you came to the end. Lo'ak admired you in silence, indeed, he worshipped you, feeling alive at every note that left your mouth, creating a hypnotic melody in his mind that could only make him accelerate his heart, while his hand touched his own songcord, in particular the bead that represented you. Every night he would listen to you and then you would sing him some songs from the Metkayina clan, always asking him if he had added new pearls to his songcord, and talking about all sorts of things. You liked to meet him and listen to his outbursts, creating almost a safe place around you, where he could feel safe and calm, and you too. You could say that you were completely in tune, understanding you with little, even if the meetings were limited only to the night because of the commitments of both. You never complained about this, enjoying those moments of tranquility and security. One of those nights you noticed his songcord, with a pearl that had to be of the Metkayina clan due to the shape and nuances.

"Ma Lo'ak, isn’t that a pearl of the sea on your songcord?" you asked intrigued, pointing to the songcord tied to his loincloth. "Hmm?" He looked down at the spot where you were pointing and blushed suddenly. "Y-yes… it’s a pearl of the sea, I found it the night we first spoke, I saw it and I caught it…" He said slightly embarrassed, as he looked away from you and hid his songcord, at least the end where the bead was. You laughed and then leaned your fingertips on his biceps, resting your face on his shoulder as you breathed in his perfume, making him blush from the sudden proximity. "And you decided to put it on your songcord? Is it for me?" you shamelessly asked, noticing how a shiver passed through his body and the slight redness on his cheeks. "What? Is it really for me? Aw, that’s so cute." Your voice was kind of funny, even sweet and sincere, as you teased him and pinched his arm to make him talk. "No! I mean, yes… Well, it’s- ah! y/n, stop," he said, turning his face to the side so you wouldn’t see him blushing, even though it was too late. "How cute! You’re embarrassed for so little? Oh, c'mon Lo'ak, that’s nice. I’m happy to be in your songcord as a reminder to keep in mind" You put your hand under his chin and turned him in your direction and then unbalanced yourself forward, touching your noses. "I also want you in my songcord, can I have one of your beads, please?" You asked him while your faces were separated by very little space. His eyes fell on your lips and then returned to your eyes, swallowing slightly before sighing.

"What would you like?" He answered as he moved a strand of hair behind your ear, noticing how he seemed enchanted and almost mesmerized by your eyes. "This here… can I have it?" Your eyes did not come off her, as you used your peripheral vision to wrap two fingers around a yellow bead that was on one of her braids. "I like this one. It reminds me of the suns of Pandora, the coral reef of the ocean and…" you laid a hand on his cheek, gently "your eyes." Lo'ak blushed more, making you smile. You noticed how he took off all the beads to give you the yellow one you had decided, and then rearranged them on the braid. You looked at him and silently thanked him for putting the bead in your hair, keeping it there until you get home and can add it to the songord. "I don’t understand why you get so shy when I’m so close to you" you huffed and then went backwards, laying your hands on the moist, compact sand, which offered a pleasant feeling of freshness. The waves of the ocean reflected on it, creating a shimmering and magical effect, while the stars above you reflected on your raven hair, forming almost moonlight-like spots, as if the cosmos were pouring down on you. Lo'ak looked at you with his big golden eyes, more and more mesmerized by your beauty and your being so outspoken, feeling his heart accelerate when the sea breeze brought your perfume directly into his lungs. "I’m not shy, I’m just not used to talking to girls like you" he admitted. You raised an eyebrow, not understanding the meaning of what he was saying. "You are direct, too direct y/n" you stop him. "is that bad?" He looked at you, sighing as he felt like an idiot. "No, I love this aspect of you" he admitted, looking down slightly, and then opened his eyes when you answered. "Do you love it?" you replied, smiling, as you approached him again, observing how the blush persisted on his cheeks. "Well, I love you. I mean, love it, I LIKE IT! I like your character, but I like you too. I like you as a friend, that is, I like like you, I lo-" Lo'ak panicked and you laughed and then pressed your lips on him, feeling like he froze on the spot.

The atmosphere permeates with electrifying energy as your hearts beat in unison. In the air there is a combination of excitement and shyness, your hands landed on Lo'ak’s cheeks, caressing them gently as you tried to calm him, noticing how his eyes tapered as the kiss became a little more intimate and tangible, colliding your warm tongues. His hands wrapped around your waist, caressing it with a little fear at first, then smiling when he realized you didn’t mind. You both get lost in the moment, forgetting everything else. The sea breeze caressed your faces, while the waves broke on the shore like a melody in the background, amplifying the magic of the moment. As you gently parted, he bit your lip slightly. Your looks met again, filled with joy, gratitude and a silent promise of something. Your thumbs on his cheeks rubbed slightly against his skin before you started talking. "I like you too, and not just as a friend." You whispered on his lips, blushing slightly. "I mean that I really like you, like I love you. if I didn’t understand it" You laughed softly and then slightly detached yourself from him, dropping the grip you had on his face, glad tat you finally told him. "From the first night when I discovered you and talked to you. I liked you. You looked like a helpless, shy baby Tulkun who preferred to stay hidden. You were very cute and you still are, to be honest." Lo'ak listened to you in silence, incredulous at how you were declaring yourself so naturally, as if you were talking about the most basic thing. "And I like that you’re so different from me, that you look like a bad guy from the outside, even when I run into you in the village. Swollen chest and high head, like I want to prove something to someone, even though I feel like the real you is the shy, sensitive one I’ve come to know. I thought I should tell you" Your eyes fell on Lo'ak’s, before being taken from his face and brought back in a sweet kiss. "I…" Lo'ak whispered as he pulled away from your lips, finding it already an addiction. "Me too… I like, love you y/n. Your voice, your hair, your laugh… Ma Eywa, you’re so amazing and so spontaneous. You make me feel less alone and at home, even though I remain silent listening to you sing or talk" He said with confidence as he looked you in the eyes. "And it’s so fucking liberating to think that I’m not the only one who feels that way. I think you somehow bewitched me with your voice" He smiled and then let you rest on his chest, lying on the sand.

"Even bewitched you? Anyway, you’re right, I’m amazing, which is why you should ask me to be your partner." You admitted while you were watching the stars. He coughed and thanked himself for putting you on his chest so you wouldn’t see the embarrassment on his face. "it’s true. Don’t you know that the best is taken immediately? is a piece of advice. You could ask me now, in case it’s a yes, just to let you know." Lo'ak laughed spontaneously and then held you close to him, wrapping his arms around your body, sniffing the sweet scent of salt in your hair. "Y/n, will you be my girlfriend?" From his voice it could be seen that he was trying to stay serious without laughing at the absurdity of the situation, and from the way you had practically fed him the words. "Yes, of course I do." You smiled, satisfied, and then played with the armband that faded, brushing the feather and relaxing on him. "It wasn’t that hard, was it?" "You are really… I have no words to describe you, ma yawntutsyìp." You interrupted him, raising your face to look at him. "Mhhh, maybe…Yours? Extraordinary? An excellent singer? Yes, they are all already confirmed things" Lo'ak laughed and gently stroked your side and then left a kiss on your head.

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