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rollerskatinglizard · 1 month

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hey!! I've read a few of your Motorcity fics and I love them, but I have no idea if I'd be interested in the source material! would you be kind enough to give an overview of the things you like (and dislike, maybe!) about the show, so I can give it a try? :O

Ahaha ohhhh boy XD

This is a very reasonable and canny request! In response I will do my best to be... measured and rational... about this show, instead of ranting about all my pet peeves.

tldr: it's a fun show with some excellent highlights, so long as you don't expect too much.

Motorcity has a ton of really fun characters that you can get your teeth into, the hero and villains are EXCELLENT, and the implied worldbuilding is very cool (from the flying buildings in Deluxe to the spore/mushroom-based weapons of the Terras). It's got a great art style, very dynamic and colorful with gorgeous backgrounds. The shots of the darkness of Motorcity with the little blue stars scattered across the ceiling, holes in the Deluxe dome, are atmospheric and stunning. The music is good and so is the humor - most episodes have several moments that make me snicker aloud.

As far as the show's problems, well... the racism and ableism is (or at least was in 2012), I think, fairly standard kid's cartoon stuff. It's also mainly contained in the Terras, who are American Indian ripoffs with (spoilers) facial mutations (which get revealed at the exact point where they stop hiding their villainy. REAL classy, writers). The part I have most trouble with is the writing, which is spotty in quality. Some episodes are great! But others have bad pacing, or a disjunction between the setup and the payoff of an episode, the problem and the solution, which I find grating.

But! Watch any episode with the Duke of Detroit and tell me he's not the most delightful villain, oh my god. He's voiced by the lead singer of Twisted Sister, I believe, and flamboyant, dramatic, and hilarious to watch. Mike's backstory is extremely tasty, Julie's double life and relationship with (and similarities to) Kane is juicy, and there are way more excellent female characters than I would've expected in a show intended for boys! Claire has a lot more to her than initially shows, and her relationship with Julie actually gets an episode of its own! And Tennie is great, I adore her.

If you want to test the show out, consider watching the first episode and the last two, (if that won't keep you from watching the rest of the show, that is!) because the finale is quite good!

And if for some reason you want more detailed opinions from me on various episodes, check my tag "episode rewatch"! XD

Thanks for the ask! I enjoyed attempting to answer it, haha.

#motorcity #asks #mackerelgray #my take on the show

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pearlgisa · 11 months

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qala and the style over substance argument

so, i watched qala (dir. by anvita dutt) immediately when it came out - a story that exposed the music industry and the position of women in it, especially focusing on the toxic nature of indian classical music? it was like they made the film for me (someone who's spent a good chunk of their life trained in hindustani classical music). however, i was sorely disappointed.

in essence, qala, along with other films that did commercially well that came out in bollywood last year, solidified my understanding that the audience of today's generation of movie-watchers genuinely puts style over substance and in fact, uses it as a way to defend their favourite movies from criticism. the recent resurgence of praise for om shanti om of all films, only strengthened this opinion.

my criticisms for qala are in plenty, yet i will choose to expand on the ones that strike out the most to me, all of which range from the lightest to the harshest criticism:

the choice of music

the acting

the direction + writing

the handling of the serious issues that are the main theme of the film

before you read ahead, please know that there are spoilers.

in indian classical music, there are two distinct forms: hindustani (or, north indian) and carnatic (or south indian) music. each have their differences and similarities and even someone who hasn't trained can tell them apart upon listening. within hindustani music - which is the genre of music that qala learns from her mother - you have many different styles of singing, ranging from shastriya sangeet (classical form of singing) to laghu sangeet (semi-classical and sometimes, light music). of course, this categorization also has its roots in religion and caste. shastriya sangeet has forms of singing like dhrupad (the oldest form and a strictly devotional medium), khyal (the most common one, telling tales or speaking of human emotions), bhajan (also a devotional medium), etc.

laghu sangeet has forms of classical music like the thumri, a form of singing popularized and invented by courtesans. the lyrics were sensual, romantic and more explicit. of course, owing to these, they were looked down upon. even the british had a huge role in diminishing the status of indian women performers. the "other woman" concept was specifically one that they propagated and the rise of the "perfect housewife" phenomena began since the seventeenth century. the extreme effect of that? the courtesans lost out on their patrons and were forced into prostitution.

hence, that was the primary history behind qala's mother, urmila, shaming her into never being a performer, i.e, in a more derogatory term, a "singing girl". a courtesan, essentially. which is accurate, considering the film is set in the 1940s. if a girl was too "out there in the world", i.e, her achievements being publicised in newspapers or her getting recognition for her academics, her future marital prospects were ruined. and the "shame" that befell the family if she was learning music or dance was worse. a significant number of the prominent female musicians that emerged from this era of pre-independence to post-independence were unmarried. or they had many patrons and salacious rumours regarding their love life were in plenty. the film pakeezah (1972) explores such themes quite well. and the many renditions and retellings of devdas also serve as a good example of the stature of performing women.

however, it's the music itself where it goes wrong for me. the choice of songs as well as qala's singing (of course, all of qala's songs are sung by the amazing sireesha bhagavatula), is in a style all too similar to laghu singing. the years of egregious training, no matter how much her mother dismissed her, would've developed a voice which would've sounded a lot more like what a lot of classical singers would sound like, unless they were singing a lighter form of singing. and it isn't a matter of pitch or using falsetto. qala's mom is referred to as a master of qawallis, which is a sufi form of devotional singing (and comes well under hindustani music too). even the lyrics of qala's songs, while full of very obvious foreshadowing, do not match the overall orthodox classical upbringing that the film portrays.

while bhagavatula has an amazing voice well versed in classical music (especially since she sings bhajans so often), considering the time that qala was set in, you would've expected a sound similar to something along the lines of noor jehan or even roshan ara begum. instead, it sounds a lot like a mix of semi-classical instrumental with a more pop-based voice. which is easier for our generation to digest and consume, however, it comes at the cost of a sound which is very typical of the 50s-70s era of bollywood.

one that qala does right are the costumes. they do their job well. not the sets as much, which i will get into later. at some points, they are well in line with the rest of the era of the film, other times it just sticks out like a sore thumb. here's where the "symbolism" comes in.

one of the most jarring examples is the song qala sings at the first performance, a very light classical song just by the sound of the vocals. even the song jagan sings is very contemporary at its core. despite the characters having an allegedly strict, traditional schooling of music (jagan's voice is devoid of the typical heavy accent or dialects that those who are from underprivileged backgrounds tends to have), the songs at hand present a very modern take on qawallis, despite bollywood being a flourishing ground for many iconic qawallis. therefore, the compositions sometimes falter at some points specifically because of the vocal choices. choosing to do away with alaaps, especially in qala's part, less aakar and more bariki, are all signficant details that feel jarring to someone who's lived in the world of classical music as long as qala. otherwise, there are some signature sounds retained from the era that the film is set in.

and while still on the topic of singing, a very important issue that i find least addressed is the acting of it. despite there being little vocal variations in the compositions, the actors don't show that they are singing. and in the film specifically revolving around music, that's an extremely important detail that i find amiss. hardly opening the mouth, the movement of the lips, the posture as well as the hand gestures (yes, a very important detail!), are all obvious flaws. a recent film that does that does those details well is the disciple (2020). the first scene of urmila teaching qala singing displays urmila wearing an elaborate piece of nose jewellery that covers half of her mouth, and that's when they're doing rehyaas (practice), not a performance. it's huge details like these that don't sell the film to me.

the acting is quite underwhelming and here is where disagreements with my opinions might enter. i find trupti dimri's rendition of qala extremely, for lack of politer words, exasperating. she tends to show the same expressions for all of her problems, i.e., there is no great difference between her feeling anger or feeling despair or feeling depressed or feeling cheated or just plain exhaustion. qala's character is a complex one and difficult to act, which is a concession i will give, however, the hype around her is a little unnerving when the audience is given such an unremarkable delivery of dialogues and emotion. it comes off as school-play acting at times. swastika mukherjee, who plays urmila, is quite two-note with her acting, which sometimes suits her character and sometimes just feels very low-effort. babil khan has his moments, yet there is such less versatility. you'd think the babil of qala's hallucinations and the one who existed in real life would have some distinct characteristics (which they do), but they never come off as that. it feels so half-hearted at times.

the whole point of symbolism is that it's subtle at heart and not on the face. qala has on-the-face symbolism, which is an irony in itself. the black swan scene, the frosty room in the beginning, the ghostly jagan, etc. almost made me bump my nose into a wall. it comes off as pretentious at best, as if the viewer is stupid. it is also very off-putting in some scenes. for example, the black swan scene - there is very little buildup and it feels very predictable in the sense that "it all goes downhill from here". however, there is one scene which i like, which is the gargoyle one (a very traumatic scene, for those who recall, it is the one right before ghodey pe sawaar gets recorded for the final time). i think that is the most effective filmmaking in the entire film. the best thing about symbolism is always the subtlety. it makes the viewer keep coming back to pick up on something they might have missed in the first watch, it helps them pick up the pieces along the way instead of being able to tell the twists thirty minutes before they are revealed.

and one of the most egregious crimes of the entire film is the direction. here is where we get a little more technical (but just briefly, do not worry). the way it cuts from one scene to the next is like watching a poorly edited reel put out by the team of an out-of-touch marketing firm. the editing could have been better at many places. the writing falls flat specifically when it comes to the characters. i'm pretty sure on paper, the script must've been a delight to read. the story has so much potential - considering that it's based on two books, where there might've been even more depth given to the characters - it isn't new in any way but it offers a different, feminist perspective of the indian music industry. yet, the characters are paper thin on screen - in their ambitions, psychology and sociology. hence, urmila suddenly turning a new leaf in the last ten minutes of the film is something that feels wrong, because all along, she has been portrayed as a heartless mother. qala's actions make sense because her character has nearly always been rooted in self pity and rage. jagan is nothing without music. there is very little dimension to them apart from me summarizing their characters in one sentence with less than thirty words each.

that is why, the film feels even more half-hearted when it speaks of the issues that it centers around. all of these elements add up and make for a tiring watch. i gave qala a second chance, to be fair and omitted some of my pettier criticisms, yet the more serious ones remain. to a certain extent, it does aestheticize depression, which i have a huge issue with. however, baby steps as always with bollywood. it's no dear zindagi considering it is set in a different period with a different ending. however, the writing of the characters could've been so much better. a little more exploration of urmila's intentions would've given her so much depth. a few more interactions between qala and jagan might've given qala the chance to befriend him and not just see him a rival, thus intensifying the decision she took. the characters do not feel human, they are strictly white or black and qala being the anti-hero feels very off since it requires better writing and a stronger plot. and of course, much better acting.

however, qala re-opened up discussion of a nearly-always forgotten discourse - that of the position of women in music. and for achieving that bare minimum, i give it full credit. however, when there have been films with much better writing, characterization and cinematography in bollywood itself, with a similar theme, qala needs to be seen for what it contains than what it displays. just because it glitters, doesn't mean it's gold.

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shamandrummer · 6 months

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Music as a Political Act

Cree singer Sandy Scofield sees her music as a pathway for raising awareness and celebrating culture.

Sandy Scofield is a multi-award winning composer, musician, musical director, singer, songwriter and performer. She has studied classical, jazz, African, Indonesian gamelan and electro-acoustic music. Leader of the all female Cree band of singers, Iskwew, Sandy started making music before she can even remember and has played and sung in many bands over the years. From Cajun to rock, classical and folk, the foundation she had before coming into Cree Aboriginal music incorporated a wide variety of sounds and instruments. She plays piano and guitar in addition to being a singer.

Scofield came to Aboriginal music later in life, embracing her heritage through song. She says, "I went to the Banff Centre for the Arts in 1995 and did a ten-week intensive with Sadie Buck from Six Nations in Canada -- she had this residency for urban women who grew up without oral tradition and she brought in women elders from all around Turtle Island (North America) to teach them their traditions, songs, and song traditions."

When asked whether she feels that what Iskwew does is political, Sandy said, "We have many educated people holding their PhDs and working as doctors and this and that who are changing how society views First Nations people, but largely people still think of them as the drunks down on Skid Road, and that's all part of… So, in answer to your question -- Yeah."

What we're doing is politically showing people the pride in our culture. The fact that we come out and wear regalia, just to show very basic cultural teachings, we're trying to present through the songs. I have a floating group of women based on who's available that comes with me, but some of the other women who've gigged with me are just as vocal as I am onstage. It isn't like I'm leading every song and I'm talking all the time. Some of the other women get in there and talk and talk about teachings and talk about what we're wearing and talk about our role as women in our culture and how we're esteemed.

So that's what we do, and when we get to go play international festivals it's really important because, you know, one of the girls that sings with me, she went to Italy and some guy said to her, 'Where are you from?' and she said, 'Well, I'm Cree Indian from Canada,' and he was just aghast, he was saying, 'No. They were all extinct. They don't exist,' and she's going 'You're crazy!' You know?

But there's crazy ideas out there, so especially if we're on the international stage, we're trying to show the very best of who we are. And in Canada, half of our work is in what we call Indian Country, which is all of the country except dominant society doesn't see us. So we perform for other native people or we perform for dominant society, and so when we perform for dominant society, it's the same thing again. We're trying to show the really fantastic things about our cultures, our collective culture which really concerns community, egalitarianism to a certain extent, just pride, culture, the interconnectedness of all life and that we’re interconnected with one another -- things like that."

#aboriginal music #native american artists #native music #indigenous cultures #cree nation #indian country

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fromthedust · 1 year

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Hergé (Belgian, May 22, 1907 - March 3, 1983)

Belgian author and artist, 1907-1983. Translated into over thirty languages, Hergé’s adventure stories about the brave and resourceful young reporter Tintin are popular with both children and adults throughout the world In twenty-four book-length comic strips, Tintin and his faithful fox terrier, Snowy, embark on a series of thrilling global adventures set in remarkably detailed, meticulously researched landscapes.

Hergé. whose real name is Georges Remi (he devised his pen name by inverting his initials to R.G.), published the first Tintin adventure in Le Petit Vingtième, the children’s supplement to Le Vingtieme Siecle, in 1929. Published in book form in 1930 as Tintin in the Land of the Soviets, this primitive work is the only one of the series that was not later translated into color, with the exception of Tintin and the Alpha-Art, a work unfinished when Herge died and left in sketch form at his request.

The second adventure, Tintin in the Congo (1931), reflects a contemporary European view of Africa based on ignorance and portrays the African people as gullible and naive. Neither Congo nor the fanatically anti-Communist Soviets has yet been published in the United States.

In Tintin in America (1932), Tintin takes on Chicago mobster Al Capone, and Hergé’s sociopolitical satire becomes more sophisticated as he depicts the National Guard driving the Blackfoot Indians away from their ancestral lands. But it is probably The Blue Lotus (1936) that marks Hergé’s refinement of detail and concern for accuracy.

After befriending a young Chinese student who urged him to avoid common stereotypes, Hergé began to delve further into research of the physical and cultural landscape. The story is a clear protest of Japanese expansionism on the Chinese mainland and of the treatment of the Chinese people by many Westerners. Hergé’s friend appears as young Chang in The Blue Lotus and later in Tintin in Tibet (i960), a story of true friendship Hergé claims as his favorite.

Ostensibly a journalist, Tintin is seen reporting to his editor only once in the series and follows his sense of adventure and justice rather than any particular assignment. In the course of his adventures he encounters a colorful cast of characters who become his cohorts: The bumbling, ineffectual detectives Thompson and Thomson, the rough old sea dog Captain Haddock with his legendary penchant for drinking whiskey and hurling passionate but innocent insults, and the absent-minded but ingenious Professor Cuthbert Calculus provide both help and hindrance throughout Tintin’s travels.

All of these characters find their way aboard the first manned rocket bound, for the moon in Destination Moon (1953) and Explorers on the Moon (1954), in which Tintin, Snowy Captain Haddock, and Thompson and Thomson set foot on the moon fifteen years before Neil Armstrong landed in Apollo 11.

Hergé constructed a detailed scale model of a German U2 rocket to create the drawings, and his extensive scientific research gives the books remarkable accuracy and foresight. While most of the Tintin stories are noticeably devoid of women, opera singer Bianca Castafiore takes center stage as a strong female character in The Castafiore Emerald (1963).

Charles de Gaulle once remarked, “My only international rival is Tintin.”

source: Children’s Books and their Creators by Anita Silvey.

Hergé’s Tintin books in chronological order:

Tintin in the Land of the Soviets – (Tintin au pays des Soviets) (1929–1930)

Tintin in the Congo – (Tintin au Congo) (1930–1931)

Tintin in America – (Tintin en Amérique) (1931–1932)

Cigars of the Pharaoh – (Les Cigares du Pharaon) (1932–1934)

The Blue Lotus – (Le Lotus bleu) (1934–1935)

The Broken Ear – (L’Oreille cassée) (1935–1937)

The Black Island – (L’Ile noire) (1937–1938)

King Ottokar’s Sceptre – (Le Sceptre d’Ottokar) (1938–1939)

The Crab with the Golden Claws – (Le Crabe aux pinces d’or) (1940–1941)

The Shooting Star – (L’Etoile mystérieuse) (1941–1942)

The Secret of the Unicorn – (Le Secret de la Licorne) (1942–1943)

Red Rackham’s Treasure – (Le Trésor de Rackam le Rouge) (1943)

The Seven Crystal Balls – (Les Sept boules de cristal) (1943–1946)

Prisoners of the Sun – (Le Temple du soleil) (1946–1948)

Land of Black Gold – (Tintin au pays de l’or noir) (1948–1950)

Destination Moon – (Objectif Lune) (1950–1953)

Explorers on the Moon – (On a marché sur la Lune) (1950–1953)

The Calculus Affair – (L’Affaire Tournesol) (1954–1956)

The Red Sea Sharks – (Coke en stock) (1956–1958)

Tintin in Tibet – (Tintin au Tibet) (1958–1959)

The Castafiore Emerald – (Les Bijoux de la Castafiore) (1961–1962)

Flight 714 to Sydney – (Vol 714 pour Sydney) (1966–1967)

Tintin and the Picaros – (Tintin et les Picaros) (1975–1976)

#art by others #other's artwork #Tintin #Hergé

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yourdailyqueer · 2 years

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Madame Gandhi (Kiran Gandhi)

Gender: Female

Sexuality: Queer

DOB: 21 February 1989

Ethnicity: Indian, Irish

Nationality: American

Occupation: Music producer, musician, artist, activist. singer, songwriter

#Madame Gandhi #Kiran Gandhi #qpoc #queerness #lgbt #female #queer #1989 #indian #asian #poc #biracial #music producer #musician #singer #songwriter #artist #activist

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xx-craftycreep-xx · 25 days

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About me

Nationality: Indian

Age: Minor

Sex: Cisgender female

Sexuality: Pansexual

Favourite singers/bands: Arctic Monkeys• The

neighbourhood• Lana Del

Rey• Mr. kitty • Artemas•

Taylor Swift • Weeknd•

Many more.

Fandoms I like: Creepypasta • FNAF• TNMN •

THG• SW• Resident Evil

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keralatour10 · 10 months

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The Faces Who Made Kerala Proud

Kerala boasts the highest literacy rate in India and as per the latest census it has a projection of 94%. With the sobriquets ‘God’s Own Country’, ‘Land of Coconut’ and ‘Spice Garden of India’, Kerala has always been in the limelight from the perspective of tourism. Thanks to its incredible geographical features. Although being a small state, occupying around 1% of India’s total area, Kerala is always presented as an honorary example for its rich culture, education, ayurveda and other development. Kerala has also given rise to several personalities who have made Kerala and India tremendously proud.

P T Usha - Frequently called ‘Queen of Indian Track and Field’, P. T. Usha was born in Kozhikode, Kerala on 27th June, 1964. Nicknamed the Golden Girl, P T Usha has been associated with Indian Athletes since 1979. She had an illustrious career in athletics and won 33 international medals. In 1984 she was honoured with the Arjuna Award and the Padma Shree Award. The Indian Olympic Association has crowned her with the name ‘Sportsperson of the Century’.

Raja Ravi Varma - Raja Ravi Varma was born on April 29, 1948, in Kilimanoor Palace, Kerala, and is the most celebrated artist in the history of Indian Arts. His artistic talent was exposed at a young age by his uncle who provided him the elementary guidance. He got exposure to various art forms and himself mastered portraits, portrait-based compositions and myths and legends-based theatrical compositions. Ravi Varma received the first prize at the Madras Painting Exhibition in 1873. Shakuntala Composing a Love Letter to King Dushyanta, Damayanti Talking to a Swan and many more are among the famed paintings of Ravi Varma.

Dr. K J Yesudas - A notable Indian classical musician and playback singer, Yesudad was born in Fort Kochi, on January 10, 1940. His musical voice has recorded more than 40,000 songs in Malayalam, Kannada, Tamil, Hindi, Bengali, Telugu, Gujarati, Marathi, Odiya, Arabic, English, Russian, Latin and many more. Initially, Yesudas was groomed by his own father Augustine Joseph, who was a classical musician and a stage actor, and later he joined the Music Academy. His career started with playback singing in Malayalam and Kollywood movies in the 1960s and in the mid-1970s, he set his foot in the Bollywood industry. Yesudas garnered 7 National Film Awards for the best singer in Indian Cinema.

Arundhati Roy - A renowned novelist and political activist, Arundhati Roy was borned on 24th November, 1961. Although she took birth in Shillong, she shifted to Kerala, to her mother’s maternal house at the age of 2, and completed her schooling there. She has won several awards both for her writing talent and social work. Arundhati Roy began her career by writing the screenplay ‘In Which Annie Gives It Those Ones’ in 1989, which was directed by her husband Pradip Krishen. Her semi-autobiographical novel ‘The God of Small Things’ in 1996 brought her worldwide fame and received the Booker Prize in 1997.

Vidya Balan - The popular Indian actress was born on 1st January, 1978, in Palakkad, Kerala. She has played the role of a strong female protagonist in several movies. In 2005 she acted in the movie Parineeta and received the Filmfare Award for best female debut. Paa is yet another notable movie of Vidya Balan which brought her the Filmfare best actress award. Vidya Balan was honoured with the Padma Shri award in 2014 for her meticulous contributions to Indian Cinema.

Almost every travel enthusiast’s bucket list in India contains a trip to Kerala. Your Kerala Tour Booking will provide a detailed overview of the unique landscapes of Kerala, but familiarising with these personalities and their achievements is worth cherishing the talents of India. There are many more individuals who inscribed their identity in Indian history for their distinguished attributes.

#kerala tour package booking #keralaonlinepackagebooking #keralatourismbooking #kerala weekend tour package #kerala online weekend tour booking

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boricuacherry-blog · 8 months

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Fun fact: female r&b singer Tracie Spencer's father was a singer with his own group, The Cavaliers, who opened for Jackie Wilson. Her father is French Canadian and Panamanian and her mother is Creole and Indian.

#fact #tracie spencer #the cavaliers #jackie wilson

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joshuaawe · 2 years

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Bol Do Zara cover by Vishwas

[Independent label] is excited to announce the release track [Bol Do Zara] from the ever-awesome lyrical diva [Vishwas Chaudhary]. It is available on all music platforms fall!

Vishwas Chaudhary, a renowned singer, and music composer in the country, he/ him is known for singing with a female voice, he sings with his native dialect to uphold the honor of his nation, these and many more make his songs uniquely different from others out there.

He had earlier been given a popular number through the likes of Main Duniya Bhula Doonga. He announces the release or launch of this cover, Bol Do Zara. The song is a fun, feel-good number; it talks about taking every opportunity and enjoying life to the fullest. The date for the music video release with be communicated soon, stay expectant!

This cover was produced and directed by Vishwas. He is a verified Spotify artist and his songs are available on Spotify and his website. Bol Do Zara was initially composed for a Bollywood movie titled Azhar, which was released in 2016. The use of amazing beats and sounds in addition to his captivating voice as led to the production of this cover. This cover was produced after Vishwas has known and mastered the heart (the emotional and psychological state) of the composer, the song is of an Indian genre just as stated above, and that is a lover of his nationality.

[Quotes from Independent label representative].

With his versatility and diversity, Vishwas Chaudhary has always demonstrated strong musical character and balance. He has made a name for himself as a lyrical artist as well as an optimal performer over the years, making him one of the top music artists ready to explode into the music scene. DON'T MISS THIS MASTERPIECE.

“One of my mantras is, ‘Embrace what makes you unique, even if it makes others uncomfortable.’ I keep that with me in my back pocket. Shoot, I keep it in my front pocket! I keep it in my hair.” ~Janelle Monae, singer, songwriter, actor, and record producer

For further information, contact:

Website: https://imvishwas.space

Spotify: https://open.spotify.com/artist/6XCrSs4OoRHZCB9D8Ec7p4

IG: https://instagram.com/myselfvishwas

Facebook: https://www.facebook.com/vishwasspotify/

#indian #bollywood #bollywood music #lgbtq #gay #music #indian music

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scotianostra · 2 years

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youtube

On 12th August 1990 Roy Williamson, the Scottish folk musician and songwriter, died, he was 54.

It was in 1955 that Williamson met Ronnie Browne at Edinburgh College of Art, with whom he would team up in The Corries. This meeting started a 35 year long partnership.

The "Corrie Folk Trio" began in 1962 and consisted of Roy Williamson, Bill Smith and Ron Cockburn. After a few weeks Cockburn left. As they had already accepted an engagement at the Edinburgh Festival, Williamson suggested that Ronnie Browne should be brought in to make up numbers. They also added female Irish singer Paddie Bell to become the Corrie Folk Trio and Paddie Bell.

By 1965, Paddie Bell and Bill Smith left. Under the new name, The Corries, Williamson, a talented multi-instrumentalist, and Browne, the singer, performed at the Jubilee Arms Hotel in Cortachy, Angus.

Williamson was a skilled woodworker. In the summer of 1969 he invented the 'combolins', two complementary instruments which combined several into a single instrument. One combined a mandolin and a guitar (along with four bass strings operated with slides) , the other combined guitar and the 12-string Spanish bandurria, the latter being an instrument Williamson had played since the early days of the Corrie Folk Trio.

Originally conceived as a way to combine several of the many instruments they carried around on tour - the Corries' long row of chairs behind them on stage bearing instruments is legendary - the combolins in fact became an additional two instruments for the tour van. Most often, Ronnie Browne played the guitar/mandolin instrument with bass strings, and Williamson the other, which also had 13 sympathetic strings designed to resonate like the Indian sitar.

The wood for the instruments was obtained from antique hardwood furniture as well as premium grade Tyrolean spruce, and featured Williamson's artistic embellishments in silver and mother of pearl.

Williamson wrote Flower of Scotland, one of the two unofficial Scottish national anthems. He was possibly the first Scottish folk performer to use the bouzouki, in the song's first live performance at Ruthven Barracks for a BBC television programme in 1968.

From 1987, Williamson's health went into decline and he spent his last years living in Forres, close to where he spent his school years. He died of a brain tumour in 1990.

I chose Kishmul's Galley because it shows Roy doing what he was renowned for, telling a wee bit of the story behind the song, and playing one of the instruments he invented, the tribute also has Roy singing the song Sic a Parcel of Rogues, believe me it brought tears to my eyes..............RIP Roy Murdoch Buchanan Williamson (25th June 1936, Edinburgh - 12th August 1990, Forres)

#Scotland #scottish #musician #Singer #songwriter #storyteller #RIP

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freewisconsin · 2 years

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Chants pack fl studio

7 Themes are included with 297 samples in total with 108 Aalap Loops, 40 Chant Loops, 22 Tarana Loops, 19 Humm Loops, 12 Lala Loops, 9 Lullaby Loops,7 Love Theme Loops, 7 Jumakajum Loops, 6 Thomtana Loops,6 Sargam Loops, 6 Chamcham Loops, 4 Ooh Loops, 4 Mantra Loops,4 Tumri Loops, 4 Tananumtham Loops,4 Tanathom Loops,4 Ohoh Loops, 4 Jathi Loops,4 Tribal Loops, 3 Love Pathos Loops, 2 Thomnana Loops, 2 Tanana Loops, 2 Zuzu Loops, 2 Zumzum Loops 2 Happy Mood Loops, 2 Hoolala Loops, 2 Thillana LOops, 2 Tananam Loops, 2 Chakacham Loops,2 Ahah Loops.

In detail expect to find 2.48GB of content with 297 individual 24 Bit Wav files. Seven Songs are included at tempos between 60-110BPM, making Sacred Indian Chants perfect for your Ambient, Chillout, Downtempo tracks, as well as Chilled House, Electronica and more. Inside you will find 297 Samples with dry and effected versions – giving you the freedom to process in your own way, as well as having studio-ready samples from the off! You’ll find a hypnotic groove emanating from Sacred Indian Chants, with rich harmonics and natural warmth – with stereo-mic’d recordings, giving you a sense of real world perspective. Recorded in Chennai and produced by K.V Sacred Indian Chants features incredible vocal ranges by some of the areas most gifted performers. You’ll find an incredible selection of Vocal Ensembles, Chants, Melodies, Harmonies and multi-octave performances to set your music apart from the rest – with male and female groups and solo to bring you inner peace and tranquillity. Loopmasters have once again teamed up with our man in the Indian sub-continent - K.V Bala Krishnan, for another fresh and original collection of 100% royalty free Indian Vocals.įrom the creator of Indian Vocal Sessions, comes Sacred Indian Chants – 1.47Gb of sublimely meditative vocals, expertly performed and recorded in crystal clear 24 Bit. Read up on how to use vocal hooks when you face a songwriters block and try ARCADE free for 30 days.Loopmasters present Sacred Indian Chants - a serene collection of world music vocals, performed and recorded in the heart of India. Morph them into something one-of-a-kind with these 35 new royalty-free vox Kits out now. Love songs (and heartbreak songs) are waiting for you in ARCADE. These soulful vocal chops in Hooked’s newest release are perfect for sweater weather and cuffing season. With ARCADE and Hooked, you can explore a brand new way to introduce vocal chants, samples, and loops every single day. There are endless methods to adding vocals to your beats. This instantly created a techno-pop feel out of vocal Loops. The Blame Kit has beautiful vocal riffs and runs that we threw into ARCADE’s Resequence feature. Here are some helpful tips on creating negative space in a mix. Negative space is important because it leaves room for a lead singer to add a melody without leaving holes and emptiness in your track. Check out how we used these samples to create negative space in our mix. In the Still Got Time Kit, you’ll fall in love with the high-pitched language of love songs all over again.

These are great to chop up and make into brand-new melodies.Ī heartfelt falsetto is absolutely impossible to ignore. First up is the Felt This Before Kit, which features raspy male vocal chants and sensual R&B phrases.

#Chants pack fl studio

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