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jules-has-notes · 1 year

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2013 Napa Valley A Cappella Extravaganza — VoicePlay live performances

In January 2013, VoicePlay were the professional headliners to a roster of collegiate and high school a cappella groups at the 8th annual Napa Valley A Cappella Extravaganza. The event is a yearly fundraiser for Napa High School's choral program, hosted by their Vocal Music Workshop a cappella ensemble. These audience-view videos give a taste of the live concert experience.

As indicated by the "Hello!" screen, this song is often their opening number for live shows. It's a great, energetic introduction to their playful sound, but doesn't get too far into the shenanigans that might startle the uninitiated.

Details:

title: Don't Stop Me Now

original performers: Queen

written by: Freddie Mercury

arranged by: VoicePlay

My favorite bits:

the slow build that gently eases you into things

Their choreography's not elaborate, but they do it well, and it allows for a bit of individuality to shine through.

the breakdown section culminating with ♫ "Any tiiii-IIIIME" ♫

the driving triplets in the ♫ "No one can stop me" ♫ section

Earl's soaring riffs

That big finish!

Trivia:

This song was the closing section of VoicePlay's Queen in 5 Minutes medley almost six years later.

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As much as mainstream pop culture might turn up its collective noses at boy bands when they're at their height of popularity among tween girls, there's no denying that a lot of beloved oldies have their origins there. And no wonder. Pop music is darn catchy and fun by design. VoicePlay makes these selections even moreso with their antics.

Details:

title: boy band medley

original songs / performers: "ABC" by The Jackson 5; [0:50] "I Wanna Hold Your Hand" by The Beatles; [1:30] "My Girl" by The Temptations; [2:18] "Sherry" by The Four Seasons; [3:16] "YMCA" by The Village People; [3:50] "You Got It (The Right Stuff)" by New Kids on the Block; [4:12] "I Want It That Way" by Backstreet Boys; [4:52] "Bye Bye Bye" by *NSYNC; [5:23] "What Makes You Beautiful" by One Direction

written by: "ABC" by Berry Gordy, Freddie Perren, Alphonzo Mizell, & Deke Richards; "I Wanna Hold Your Hand" by John Lennon & Paul McCartney; "My Girl" by Smokey Robinson & Ronald White; "Sherry" by Bob Gaudio; "YMCA" by Jacques Morali & Victor Willis; "You Got It (The Right Stuff)" by Maurice Starr; "I Want It That Way" by Andreas Carlsson & Max Martin; "Bye Bye Bye" by Kristian Lundin, Jake Schulze, & Andreas Carlsson; "What Makes You Beautiful" by Savan Kotecha, Rami Yacoub, & Carl Falk

arranged by: VoicePlay

My favorite bits:

thirty-something Earl being able to recreate the sound of preteen Michael Jackson, holy heck

the way the choreography gets more complex as they move through the eras of music

making hand gestures to signify members of the Village People during YMCA

"I hate you guys." :(

the ♫ "wah-wah-wah-wah" ♫ harmonies transitioning from NKOTB to BSB

hamming up their roles in the "Boy Band 101" section

🎉 Party poppers!!! 🎉 (Which they got in trouble for a year later.)

Trivia:

Having this medley in their repertoire may have given them an advantage when "Bye Bye Bye" was chosen as the battle song for their first episode of The Sing-Off.

Tony was, in fact, the first one from this configuration of VoicePlay to leave. Not to go solo, though. He wanted to be home with his family and focus on growing PattyCake.

The guys updated this medley and filmed a full music video for it as the result of a Patreon poll in 2019.

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What happens when you take a country music classic, kick up the tempo a bit, and infuse your performance with an air of competition between bandmates? You get this, a favorite among VoicePlay fans.

Details:

title: Elvira

original performers: The Oak Ridge Boys

written by: Dallas Frazier

arranged by: Geoff Castellucci

My favorite bits:

the opening harmonies from the trio

Eli nudging Earl to take the lead, resulting in Geoff going to pout next to Layne

Layne pointedly staying out of whatever's happening, but still keeping an eye on things

everyone's feigned surprise for the "Earl can sing low, too" gag, especially Geoff giving his best dramatic chipmunk

Earl's breath control on that long note and the ensuing huff to refill his lungs

Geoff's wide stance and shoulder wiggle to prepare for his high notes

those lush ending chords

Trivia:

Home Free liked this version of the song so much that they asked Geoff to help create an arrangement for them to record with The Oak Ridge Boys.

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You'd think a cappella fans might be sick of this song, given how frequently it was used on Glee. But, as usual, VoicePlay bring their own talented twists to this classic rock song and make it something fresh. This recording is missing the first verse, but it still has most of the best parts.

Details:

title: Don't Stop Believing

original songs / performers: "Don't Stop Believin'"; [0:54] "Open Arms"; and [1:02] "Any Way You Want It" by Journey; [0:46] "Oh Sherrie" by Steve Perry

written by: all songs written by Steve Perry in collaboration – "Don't Stop Believin'" with Jonathan Cain & Neal Schon; "Oh Sherrie" with Randy Goodrum, Craig Krampf, & Bill Cuomo; "Open Arms" with Jonathan Cain; "Any Way You Want It" with Neal Schon

arranged by: Layne Stein & Geoff Castellucci

My favorite bits:

the gradual layering in the polyphony section, using other Journey / Steve Perry songs to fit inside the rhythmic gaps…

…culminating in that huge chord (Are we sure there are only five of them?)

their use of silence during the unison section

the camera panning around to take in the well-deserved standing ovation

Trivia:

VoicePlay filmed a full video for "Don't Stop Believin'" a few years later when they were the featured guests at Camp A Cappella 2016.

They later did a full version of "Any Way You Want It" as part of the second round of their Partwork series.

For a couple years, Eli also sang with a Journey cover band called Raised On Radio in between VoicePlay gigs.

#VoicePlay #a cappella #live performance #Napa Valley A Cappella Festival #concerts #music #video #long post

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hlupdate · 4 years

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Variety’s Grammy-nominated Hitmaker of the Year goes deep on the music industry, the great pause and finding his own muses.

“We’ll dance again,” Harry Styles coos, the Los Angeles sunshine peeking through his pandemic-shaggy hair just so. The singer, songwriter and actor — beloved and critically acclaimed thanks to his life-affirming year-old album, “Fine Line” — is lamenting that his Variety Hitmaker of the Year cover conversation has to be conducted over Zoom rather than in person. Even via videoconference, the Brit is effortlessly charming, as anyone who’s come within earshot of him would attest, but it quickly becomes clear that beneath that genial smile is a well-honed media strategy.

To wit: In an interview that appears a few days later announcing his investment in a new arena in his native Manchester (more on that in a bit), he repeats the refrain — “There will be a time we dance again”— referencing a much-needed return to live music and the promise of some 4,000 jobs for residents.

None of which is to suggest that Styles, 26, phones it in for interviews. Quite the opposite: He does very few, conceivably to give more of himself and not cheapen what is out there and also to use the publicity opportunity to indulge his other interests, like fashion. (Last month Styles became the first male to grace the cover of Vogue solo.) Still, it stings a little that a waltz with the former One Direction member may not come to pass on this album cycle — curse you, coronavirus.

Styles’ isolation has coincided with his maturation as an artist, a thespian and a person. With “Fine Line,” he’s proved himself a skilled lyricist with a tremendous ear for harmony and melody. In preparing for his role in Olivia Wilde’s period thriller “Don’t Worry Darling,” which is shooting outside Palm Springs, he found an outlet for expression in interpreting words on a page. And for the first time, he’s using his megaphone to speak out about social justice — inspired by the outpouring of support for Black people around the world following the death of George Floyd at the hands of Minneapolis police in May.

Styles has spent much of the past nine months at home in London, where life has slowed considerably. The time has allowed him to ponder such heady issues as his purpose on the earth. “It’s been a pause that I don’t know if I would have otherwise taken,” says Styles. “I think it’s been pretty good for me to have a kind of stop, to look and think about what it actually means to be an artist, what it means to do what we do and why we do it. I lean into moments like this — moments of uncertainty.”

In truth, while Styles has largely been keeping a low profile — his Love On Tour, due to kick off on April 15, was postponed in late March and is now scheduled to launch in February 2021 (whether it actually will remains to be seen) — his music has not. This is especially true in the U.S., where he’s notched two hit singles, “Adore You,” the second-most-played song at radio in 2020, and “Watermelon Sugar” (No. 22 on Variety’s year-end Hitmakers chart), with a third, “Golden,” already cresting the top 20 on the pop format. The massive cross-platform success of these songs means Styles has finally and decisively broken into the American market, maneuvering its web of gatekeepers to accumulate 6.2 million consumption units and rising.

Why do these particular songs resonate in 2020? Styles doesn’t have the faintest idea. While he acknowledges a “nursery rhyme” feel to “Watermelon Sugar” with its earwormy loop of a chorus, that’s about as much insight as he can offer. His longtime collaborator and friend Tom Hull, also known as the producer Kid Harpoon, offers this take: “There’s a lot of amazing things about that song, but what really stands out is the lyric. It’s not trying to hide or be clever. The simplicity of watermelon … there’s such a joy in it, [which] is a massive part of that song’s success.” Also, his kids love it. “I’ve never had a song connect with children in this way,” says Hull, whose credits include tunes by Shawn Mendes, Florence and the Machine and Calvin Harris. “I get sent videos all the time from friends of their kids singing. I have a 3-year-old and an 8-year-old, and they listen to it.”

Styles is quick to note that he doesn’t chase pop appeal when crafting songs. In fact, the times when he pondered or approved a purposeful tweak, like on his self-titled 2017 debut, still gnaw at him. “I love that album so much because it represents such a time in my life, but when I listen to it — sonically and lyrically, especially — I can hear places where I was playing it safe,” he says. “I was scared to get it wrong.”

Contemporary effects and on-trend beats hardly factor into Styles’ decision-making. He likes to focus on feelings — his own and his followers’ — and see himself on the other side of the velvet rope, an important distinction in his view. “People within [the industry] feel like they operate on a higher level of listening, and I like to make music from the point of being a fan of music,” Styles says. “Fans are the best A&R.”

This from someone who’s had free rein to pursue every musical whim, and hand in the album of his dreams in the form of “Fine Line.” Chart success makes it all the sweeter, but Styles insists that writing “for the right reasons” supersedes any commercial considerations. “There’s no part that feels, eh, icky — like it was made in the lab,” he says.

Styles has experience in this realm. As a graduate of the U.K. competition series “The X Factor,” where he and four other auditionees — Niall Horan, Zayn Malik, Liam Payne and Louis Tomlinson — were singled out by show creator and star judge Simon Cowell to conjoin as One Direction, he’s seen how the prefab pop machine works up close. The One Direction oeuvre, which counts some 42 million albums sold worldwide, includes songs written with such established hitmakers as Ryan Tedder, Savan Kotecha and Teddy Geiger. Being a studious, insatiable observer, Styles took it all in.

“I learned so much,” he says of the experience. “When we were in the band, I used to try and write with as many different people as I could. I wanted to practice — and I wrote a lot of bad shit.”

His bandmates also benefited from the pop star boot camp. The proof is in the relatively seamless solo transitions of at least three of its members — Payne, Malik and Horan in addition to Styles — each of whom has landed hit singles on charts in the U.K., the U.S. and beyond.

This departs from the typical trajectories of boy bands including New Kids on the Block and ’N Sync, which have all pro ered a star frontman. The thinking for decades was that a record company would be lucky to have one breakout solo career among the bunch.

Styles has plainly thought about this.

“When you look at the history of people coming out of bands and starting solo careers, they feel this need to apologize for being in the band. ‘Don’t worry, everyone, that wasn’t me! Now I get to do what I really want to do.’ But we loved being in the band,” he says. “I think there’s a wont to pit people against each other. And I think it’s never been about that for us. It’s about a next step in evolution. The fact that we’ve all achieved different things outside of the band says a lot about how hard we worked in it.”

Indeed, during the five-ish years that One Direction existed, Styles’ schedule involved the sort of nonstop international jet-setting that few get to see in a lifetime, never mind their teenage years. Between 2011 and 2015, One Direction’s tours pulled in north of $631 million in gross ticket sales, according to concert trade Pollstar, and the band was selling out stadiums worldwide by the time it entered its extended hiatus. Styles, too, had built up to playing arenas as a solo artist, engaging audiences with his colorful stage wear and banter and left-of-center choices for opening acts (a pre-Grammy-haul Kacey Musgraves in 2018; indie darlings King Princess and Jenny Lewis for his rescheduled 2021 run).

Stages of all sizes feel like home to Styles. He grew up in a suburb of Manchester, ground zero for some of the biggest British acts of the 1980s and ’90s, including Joy Division, New Order, the Smiths and Oasis, the latter of which broke the same year Styles was born. His parents were also music lovers. Styles’ father fed him a balanced diet of the Beatles, Fleetwood Mac, the Rolling Stones and Queen, while Mum was a fan of Shania Twain, Norah Jones and Savage Garden. “They’re all great melody writers,” says Styles of the acts’ musical throughline.

Stevie Nicks, who in the past has described “Fine Line” as Styles’ “Rumours,” referencing the Fleetwood Mac 1977 classic, sees him as a kindred spirit. “Harry writes and sings his songs about real experiences that seemingly happened yesterday,” she tells Variety. “He taps into real life. He doesn’t make up stories. He tells the truth, and that is what I do. ‘Fine Line’ has been my favorite record since it came out. It is his ‘Rumours.’ I told him that in a note on December 13, 2019 before he went on stage to play the ‘Fine Line’ album at the Forum. We cried. He sang those songs like he had sung them a thousand times. That’s a great songwriter and a great performer.”

“Harry’s playing and writing is instinctual,” adds Jonathan Wilson, a friend and peer who’s advised Styles on backing and session musicians. “He understands history and where to take the torch. You can see the thread of great British performers — from Bolan to Bowie — in his music.”

Also shaping his musical DNA was Manchester itself, the site of a 23,500-seat arena, dubbed Co-op Live, for which Styles is an investor and adviser. Oak View Group, a company specializing in live entertainment and global sports that was founded by Tim Leiweke and Irving Azoff in 2015 (Jeffrey Azoff, Irving’s son, represents Styles at Full Stop Management), is leading the effort to construct the venue. The project gained planning approval in September and is set to open in 2023, with its arrival representing a £350 million ($455 million) investment in the city. (Worth noting: Manchester is already home to an arena — the site of a 2017 bombing outside an Ariana Grande concert — and a football stadium, where One Love Manchester, an all-star benefit show to raise money for victims of the terrorist attack, took place.)

“I went to my first shows in Manchester,” Styles says of concerts paid for with money earned delivering newspapers for a supermarket called the Co-op. “My friends and I would go in on weekends. There’s so many amazing small venues, and music is such a massive part of the city. I think Manchester deserves it. It feels like a full-circle, coming-home thing to be doing this and to be able to give any kind of input. I’m incredibly proud. Hopefully they’ll let me play there at some point.”

Though Styles has owned properties in Los Angeles, his base for the foreseeable future is London. “I feel like my relationship with L.A. has changed a lot,” he explains. “I’ve kind of accepted that I don’t have to live here anymore; for a while I felt like I was supposed to. Like it meant things were going well. This happened, then you move to L.A.! But I don’t really want to.”

Is it any wonder? Between COVID and the turmoil in the U.S. spurred by the presidential election, Styles, like some 79 million American voters, is recovering from sticker shock over the bill of goods sold to them by the concept of democracy. “In general, as people, there’s a lack of empathy,” he observes. “We found this place that’s so divisive. We just don’t listen to each other anymore. And that’s quite scary.”

That belief prompted Styles to speak out publicly in the wake of George Floyd’s death. As protests in support of Black Lives Matter took to streets all over the world, for Styles, it triggered a period of introspection, as marked by an Instagram message (liked by 2.7 million users and counting) in which he declared: “I do things every day without fear, because I am privileged, and I am privileged every day because I am white. … Being not racist is not enough, we must be anti racist. Social change is enacted when a society mobilizes. I stand in solidarity with all of those protesting. I’m donating to help post bail for arrested organizers. Look inwards, educate yourself and others. LISTEN, READ, SHARE, DONATE and VOTE. ENOUGH IS ENOUGH. BLACK LIVES MATTER.”

“Talking about race can be really uncomfortable for everyone,” Styles elaborates. “I had a realization that my own comfort in the conversation has nothing to do with the problem — like that’s not enough of a reason to not have a conversation. Looking back, I don’t think I’ve been outspoken enough in the past. Using that feeling has pushed me forward to being open and ready to learn. … How can I ensure from my side that in 20 years, the right things are still being done and the right people are getting the right opportunities? That it’s not a passing thing?”

His own record company — and corporate parent Sony Music Group, whose chairman, Rob Stringer, signed Styles in 2016 — has been grappling with these same questions as the industry has faced its own reckoning with race. At issue: inequality among the upper ranks (an oft-cited statistic: popular music is 80% Black, but the music business is 80% white); contracts rooted in a decades-old system that many say is set up to take advantage of artists, Black artists more unfairly than white; and the call for a return of master rights, an ownership model that is at the core of the business.

Styles acknowledges the fundamental imbalance in how a major label deal is structured — the record company takes on the financial risk while the artist is made to recoup money spent on the project before the act is considered profitable and earning royalties (typically at a 15% to 18% rate for the artist, while the label keeps and disburses the rest). “Historically, I can’t think of any industry that’s benefited more off of Black culture than music,” he says. “There are discussions that need to happen about this long history of not being paid fairly. It’s a time for listening, and hopefully, people will come out humbled, educated and willing to learn and change.”

By all accounts, Styles is a voracious reader, a movie lover and an aesthete. He stays in shape by adhering to a strict daily exercise routine. “I tried to keep up but didn’t last more than two weeks,” says Hull, Styles’ producer, with a laugh. “The discipline is terrifying.”

Of course, with the fashion world beckoning — Styles recently appeared in a film series for Gucci’s new collection that was co-directed by the fashion house’s creative director, Alessandro Michele, and Oscar winner Gus Van Sant — and a movie that’s set in the 1950s, maintaining that physique is part of the job. And he’s no stranger to visual continuity after appearing in Christopher Nolan’s epic “Dunkirk” and having to return to set for reshoots; his hair, which needed to be cut back to its circa 1940 form, is a constant topic of conversation among fans. This time, it’s the ink that poses a challenge. By Styles’ tally, he’s up to 60 tattoos, which require an hour in the makeup chair to cover up. “It’s the only time I really regret getting tattooed,” he says.

He shows no regret, however, when it comes to stylistic choices overall, and takes pride in his gender-agnostic portfolio, which includes wearing a Gucci dress on that Vogue cover— an image that incited conservative pundit Candace Owens to plead publicly to “bring back manly men.” In Styles’ view: “To not wear [something] because it’s females’ clothing, you shut out a whole world of great clothes. And I think what’s exciting about right now is you can wear what you like. It doesn’t have to be X or Y. Those lines are becoming more and more blurred.”

But acclaim, if you can believe it, is not top of mind for Styles. As far as the Grammys are concerned, Styles shrugs, “It’s never why I do anything.” His team and longtime label, however, had their hearts set on a showing at the Jan. 31 ceremony. Their investment in Styles has been substantial — not just monetarily but in carefully crafting his career in the wake of such icons as David Bowie, who released his final albums with the label. Hope at the company and in many fans’ hearts that Styles would receive an album of the year nomination did not come to pass. However, he was recognized in three categories, including best pop vocal album.

“It’s always nice to know that people like what you’re doing, but ultimately — and especially working in a subjective field — I don’t put too much weight on that stuff,” Styles says. “I think it’s important when making any kind of art to remove the ego from it.” Citing the painter Matisse, he adds: “It’s about the work that you do when you’re not expecting any applause.”

#harry styles #variety #021220

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hldailyupdate · 4 years

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This Charming Man: Why We’re Wild About Harry Styles

Variety’s Grammy-nominated Hitmaker of the Year goes deep on the music industry, the great pause and finding his own muses.

Styles has plainly thought about this.

Harry for Variety. (2 December 2020)

#harry styles #harry update #article #variety #hldaily #December 2020

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sendmyresignation · 3 years

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sorry i've disappeared lately. this week has just been. well. it's been A Lot. so here's some music i've been listening to:

rainbow's assorted discography. do you like fantasy? wizards? sprawling epics? then you'll like this band and also everything ronnie james dio has ever done tbh

ad infinitum's chapter 1: monarchy. im not a huge fan of symphonic metal but this shit is catchy and melissa bonny has an amazing voice

gouge away- female-fronted hardcore band i've been dipping my toes into, perfectly heavy and really well performed

lots of thin lizzy. man they're good.

finally, finally got to SOAD. of course i really liked it.

ali farka touré's savane. just an incredibly relaxing album i've been using for doing my readings... some stunning guitarwork

husbandry’s a port in the storm. i can’t say enough good things about this band... they come from the mars volta school of proggy post-hardcore weirdness but there’s a lot of weigh and heaviness here that totally sets them apart highly highly recommend they deserve soo much more

queensryche's operation mindcrime which is one of my favorite albums.. prog metal my beloved

and then the like 25 other metal bands that all blurred together into noise soup while i was putting together a playlist <3

#haven't done one of these in Forever. felt overdue #my posts #music recs

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purple-nautilus · 4 years

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every once in a while some random guy would show up in the tags and be like"I don't like salde x savan it's so incest", dude thats fine but come on you could just block it I'm literally one of the only two(2) person who ships them here!

plus this ship is literally a dead end with no possibility of happy ending, and 90% horrible depression thanks to dogma's tragic story tune, you should be glad that you hate them.

but still, I have to clear this for poor Savan, he is never as stupid as you assumed, he never confuses Salde with his dead father. he knows more than anybody that his father is dead.

in one particular scene of the novel "the beginning" Savan said something like he felt like he was guided onward to his journey's end by Salde standing by his side, he told salde that it was because Salde looked like his father and thus reminded him who he wanned to be: his father. someone wise, kind, noble, strong just like his father. he told Salde that he makes him stronger and asked Salde to always fight by his side. (princess Elise even half joked "looks like my love rival is a pawn from other world" )

the novel shows that Savan is a pure cinnamon roll, he would freak out first before you guys did if they actually ended up together(which is never(?)).

and the biggest complain of mine: why is Ashe automatically allowed to fall in love with his mother/mentor(he calls Grette 'my beloved') and **** a pawn just like her, but not Savan???? are u homophobic

#谢谢你啊水野良.jpg #savan #salde x savan #dragons dogma

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alyuhauuhatheesteembreath · 4 years

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The WEDDING of Savan and Veronica Ruth 3:9 Who are you?" he Boaz he Sevan asked. "I am your servant Ruth," Veronica she said. I’m your handmaiden Ruth said Veronica said Spread the corner of your garment over me booaz cover me protect me Se’Van Ezekyal 16:8 I ALYUHAUUHA passed by and saw you, and you were indeed old enough for love. So I spread MY cloak over you and covered your nakedness. I pledged MYSELF to you, entered into a covenant with you, and you became MINE declares ALYUHAUUHA Genesis 2:24 A man will leave his father and mother and be united to his wife, and they will become one flesh. B-R'ASHYTH/Genesis 24:47 "I Issac Se van asked her, 'Whose daughter are you?' "She Rebecca Veronica said, 'daughter of Johnny The daughter of Bethual son of Nahor, whom Milkah bore to him.' "Then I put the ring in her nose and the bracelets on her arms, EZEKYAL 16:11"I ALYUHAUUHA Adorned you with Ornaments, put Bracelets on your Hands and a Necklace Around your Neck. 12"I also put a ring in your Nostril, Earrings in your ears and a beautiful crown on your head. 13"Thus you were Adorned with gold and silver, and your dress was of fine linen,cloth. You ate fine flour, MOLASSES and anointing oil; so you were exceedingly beautiful and advanced to royalty Proverbs 18:22 He who finds a wife finds righteousness and obtains favor khana from ALYUHAUUHA Ruth 3:9 Who are you?" he Boaz he savan asked. "I am your servant Ruth," Veronica she said. I’m your handmaiden Ruth said Veronica said Spread the corner of your garment over me booaz cover me protect me Se’Van YushaYuhauu ISAIAH 54:5=For your MAKER s your USH/ASH=husband; ALYUHAUUHA of hosts is HIS NAME ; and your Redeemer the ESTEEMED ONE of YuHauusaal Khazun:Revelation 21:2 I saw the ESTEEMED City, the New Yurumshalum:Jerusalem, coming down out of SHAMAYRM/heaven from ALYUHAUUHA prepared as a Bride Beautifully Dressed for her Husband. The ALTUSYUN ESTEEMED BELOVED ONE of the whole earth shall HE Be Called. YURUMYUHAUU Jeremiah 3:14 "Return, people of un trust ," declares ALYUHAUUHA for I AM your USH/ASH/husband. I ALYUHAUUHA will choose you--one from a town and two from a clan--and bring you to ZY https://www.instagram.com/p/CGkaP7wn6Ep/?igshid=1jgi1lyzpecv5

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jamesbeanblog · 5 years

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“Saawan* is the Month of Love, of Longing for the Beloved

Following is the complete translation of this Shabd of Virah (a song sung when the lover suffers from the agony of separation from his sweetest Beloved) by the Tulsi Saheb Hathraswale. Translation into English by Shweta Sharma.

“Saawan* is the month of love, of longing for the Beloved and as the drops of rain touch the earth, the soul thirsts more and more for union with the Beloved, the Guru.

“Tulsi weeps “Saawan without my piya (the Beloved, the husband) is nothing, the pangs of separation rise like waves in the ocean do, in the inmost core of my heart. Uttering and hearing words do not entertain me or suit my mood, my body and mind are convulsing with immeasurable pain.

“The sorrow caused by the absence of my Beloved husband is so intense that it makes me wander like a mad woman. My heart seethes with anguish, this separation torments me like a thorn that pricks the skin. In this severance from the Beloved Guru, all the money and wealth of this world has become to me like the dust of this earth.

“Dark clouds laden with moisture have now become my enemies as they roar and whirl. I feel the twinge of the aching cry of the peacock and with this, the rumbling and twirling of the clouds fills my inner being and I become one with the turbulence of the skies. My soul begins to whirl and swing between the chakras (the doorsteps of these stations within) and I lose all awareness of the world outside.

“If my Beloved comes along with me, I would undertake this journey within the realms of my inner being day and night. Surat (the soul that is a drop from the Ocean of the Supreme Being) is the current that moves up when it engrosses itself in the Divine Shabd and Nirat (the current that detaches the Surat from the Shabd so that the journey of soul does not get hampered by getting stuck at one region of higher bliss).

“Tulsi makes a string of Surat and Nirat and ties this string with a pole that he makes of his mann (mind) and intellect. He merges with the rhythmic waves of the Divine Word that he encounters higher up and the surat rises swinging with these waves.

“This rainy season, Tulsi says, get active in pursuit of true satsang (‘sat’ — truth and ‘sang’ — company: company of the true Guru, the Beloved, the husband). Only those who cross the third til climb up and down this thread of Surat and Nirat and realize the path of Truth.”

* Month of Saawan: Summer, Mid July to Mid August, Rainy Season;

Piya bin saavan kuch nahin, hiye bich uthat hilor Bol bachan bhavein nahin, tan man tadpe atol. Piye bin virhin baavari, jiya jas kaskat hool Sool uthe pati peer ki, dhan sampat sukh dhool It bairi badra bhaye Garaje ghumri ghanghor Ghumari ghumari ghar dwar mein, kooke dadur mor Beej kadak kas kas karun, sudhi budhi rahat na hath Sath mile piya panth ko, marag chalun din raat Surat nirat dori karunn, mann mat khamb gadai Lai ki leher upar mili, jhuli surat chadai Yeh savan tulsi kehen, khojo satsang mahi Gaai gavan sajjan karein, bhooje sat mat pai

#tulsi sahib #sant mat #bhakti #poetry #mysticism #yearning #love #prem #india #hathras #spirituality #God #meditation #spiritual love

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discovercreate · 6 years

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San Diego’s Scripps Seaside Forum Wedding with Love & Puppies!

There are a few photographers that we can always count on to take the Style Me Pretty vibe...and run with it in a way that elevates our own brand to a place where wedding dreams are made. And Savan Photography is one of those talents. A quick search for their weddings on SMP will instantly prove to you that they are eyes behind some of our most beloved weddings. And this one - where the gorgeous bride is an amazing calligrapher with mad skills of her own - is one of my new favorites. A seaside celebration where the love bounces off every single image and the perfect details only take a backseat to the pure adoration that this pair has for one another. Read on for all of the pretty! Continue reading on Style Me Pretty from Style Me Pretty https://ift.tt/2vJGA8p

#weddings #stylemepretty

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armeniaitn · 4 years

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What Broadway Fans Need to Know About the Eurovision Song Contest and the Netflix Movie ...

New Post has been published on https://armenia.in-the.news/politics/what-broadway-fans-need-to-know-about-the-eurovision-song-contest-and-the-netflix-movie-24955-26-06-2020/

What Broadway Fans Need to Know About the Eurovision Song Contest and the Netflix Movie ...

With audiences continuing to enjoy theatre from the comfort of their couches; Netflix’s new offering to home-bound movie-musical lovers tackles a side of musical theatrics with which few Americans are familiar: the Eurovision Song Contest.

Now entering it’s 66th year of competition, Eurovision has been described as the “European Idol” of music festivals, garnering over 300 million viewers a year. In Eurovision Song Contest: The Story of Fire Saga (out June 26), a spoof on the actual international music competition, Will Ferrell and Rachel McAdams play a pair of down-on-their luck Icelandic singers desperate to represent their country in the contest with their song “Volcano Man.”

For anyone who follows Eurovision (of which there is a small, but growing, and deeply obsessive fandom), people know that this is more than just a song contest. In the past two decades, the show has also been a platform for airing regional political conflicts. The long-standing tension between the nations of Armenia and Azerbaijan take the stage each year as both countries refuse to award the other points. In 2009, Azerbaijan even went so far as to arrest and question 43 of its citizens who (it discovered) text-voted for the Armenian song. Similarly in wake of the annexation of Crimea, Ukraine banned the 2017 Russian artist from performing, when the show was hosted in Kiev. (Let’s not even get started on the political and social backlash given the fact the singer was also a woman in a wheelchair).

Dan Stevens in Eurovision Song Contest: The Story of Fire Saga Courtesy of Netflix

Alongside the deep political intrigue, the contest is memorable for a type of theatricality one can only imagine arises from the fever dreams of its producers. From octogenarian Russian grandmothers baking bread on stage while singing “Party for Everybody,” to a backup dancer running in a life-sized hamster wheel, and even a number featuring hyper-sexualized Polish milk-maids; the contest has been a factory for a niche type of music and stage performance beloved by Europe. In the preview for The Story of Fire Saga, fans can see the filmmakers have done their research; there is a clip of Will Ferrell running around on a hamster wheel.

For theatre-lovers, Eurovision has seen its fair-share of golden Broadway moments: Riverdance, before coming to Broadway, premiered as a Eurovision interval act at the 1994 competition. ABBA won the 1974 contest with their hit “Waterloo”, and even Sir Andrew Lloyd Weber himself composed the U.K.’s song in 2009.

Playbill spoke with Savan Kotecha, the Grammy-nominated executive music producer of the new Netflix film, to find out more about bringing the specific brand of Eurovision music to an American movie musical.

Savan, before signing onto the project, what was your exposure to Eurovision? How did you learn about it? Savan Kotecha: I lived in Sweden for 15 years and my wife is Swedish so I was exposed to Eurovision while I was living there. I remember the first year I was there people kept inviting me to their “Eurovision Parties,” and I was like, what in the world is that? Someone described it to me as the “Musical Super Bowl.” I was like, what in the world is this? It took a few years to really get into it, but it’s a really beautiful event that celebrates the diversity of Europe. I love that all the countries vote but can’t vote for themselves, and some years politics come into play, as well, depending on various world events.

Americans as a whole are pretty unfamiliar with Eurovision. When thinking about the score of the film, what did you want audiences to take away or understand about the music of Eurovision? It’s all about big numbers that also represent the countries involved. It’s a celebration of pop music and national pride for the countries who participate.

Rachel McAdams and Will Ferrell in Eurovision Song Contest: The Story of Fire Saga Courtesy of Netflix

Is there anything you’ve learned from watching other musical films that you brought into the scoring of this film? How do you see this movie differing from those? This one was pretty different than some of any other musical films…. so I didn’t really have a reference other than the contest itself. We really wanted to make these songs feel that they could actually compete in the contest separate from the film.

What was the process like of creating music to match the personalities and personas of the characters in the film who are all also competing in Eurovision? How do they help further the narrative of the film? The characters were so rich with various layers, and—after reading the script and speaking to David [Dobkin- the Director], Will [Ferrell] and Andrew [Steele] [the writers]—I was able to get a good grasp on finding their “musical voice.” So I approached the songs like I would for any big pop artist. Trying to write from their perspective and create a sound for each act that not only represented their personalities but also represented the countries they came from. I think especially a song like “Husavik” helped push forward the love story in the film. It was written from Sigrid’s [McAdam’s character] perspective. She loves music but she also loves her life, she just wanted Lars [Ferrell’s character] and nothing more. I think the song helped her character express that in a way that finally made Lars understand.

“Volcano Man,” the first song released from the film, has received a lot of positive reactions on social media, and within the Eurovision fan community. How did you balance the pastiche associated with Eurovision music, and create something that would also have widespread appeal? The credit for the creation of “Volcano man” should go to Gustav Holter and Christian Persson. I called them up and told them we needed an opening number, to imagine it starting with Will’s voice doing a pulsing “huh huh huh” thing and build around that. I also gave them the reference of the episode of Friends where Ross sees himself as a serious musician! They ran with that and really nailed it! With all the songs I wrote or put together for this film, I made sure the melodies felt really strong. Because to me, melody is the universal language and if you have a great melody you’ll appeal to more people no matter how you “dress” the song with lyrics and production.

Eurovision Song Contest: The Story of Fire Saga premieres on Netflix June 26.

Read original article here.

#Armenia #Politics

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