#arabian music instrumental

[musicforyou]

Beautiful MIDDLE EASTERN MUSIC - Best collection.

[artsofarabia]

Oud is an ancient Arabian instrument, and is the most important and used instrument in local music.

This is a South Arabian folkloric song/poem called Markeb al-Hind (The Ship from India) written in the early 1600s. Very famous and still covered by musicians today.

There’s a very long history of trade in the Indian Ocean between Arabia, India, and East Africa, and the lyrics of the poem reflects that.

[emaadsidiki]

Eid Sales on Ramadan Nights in Cairo Egypt

[uburdn]

the nights that define our lives

are those in which we get to sing out our love freely wherein all passers by respect and accept it and we can be comfortable in our own skin and comfortable to hold who we love close and warm without fears or worries and we express the depths of our cognitive experiences and growths with reciprocation from those listening

need this exact scenario in a bath house hypothetically if the air is dry somehow or the instrument is weatherproof

also if you're thinking "wow i didn't know there was a middle eastern system of musical notation" i don't know of one either i just wrote random shit

fun fact dont read the lyrics i was not thinking when i wrote them

[mywifeleftme]

125: Omar Khorshid // Giant + Guitar

Giant + Guitar Omar Khorshid 1974, Voice of Lebanon

Released in 1974 in various markets as بص شوف ... عمر بيعمل إيه (Look, What is Omar Doing?) and Giant + Guitar, Omar Khorshid’s finest album was probably most widely heard under the title Rhythms from the Orient, a generic title attached to a generic sleeve featuring a pair of dancers dressed in a Harlequin paperback approximation of traditional Eastern finery. (And probably in brownface as well...) His previous recordings had been released in three volumes as Belly Dance with Omar Khorshid and His Magic Guitar, to capitalize on the Western appetite for the exotic. Without meaning to cast aspersions on belly dancing, a respected artform with a history that goes back centuries, marketing an album as groundbreaking as Giant + Guitar as Oriental mood music shows how little comprehension Western music buyers had of sounds outside their milieu. (And also why, even today, it never hurts to take a flier on a random foreign LP with a cheesy cover from the bargain bins: sometimes your finds will blow you away.)

Khorshid is credited with essentially introducing the electric guitar to Egyptian and Lebanese music through his work with major composers and bandleaders of the day, and his stated intention in forming his own instrumental band was to demonstrate that “the possibilities of the guitar go far beyond” what these more traditional musicians could comprehend. Consider “Takassim Sanatalfeyn.” If you’ve ever heard Dick Dale’s take on “Misirlou,” you have some sense of the primal rumble it’s possible to achieve using Eastern scales, but Khorshid’s playing is something else altogether. The composition flows from liquid contemplation through passages of extraordinary rigid intensity, his technique impeccable—like a well-provisioned merchant allowing the customer to sample all his wares, on “Takassim Sanatalfeyn” Khorshid gives you a little bit of everything he can do. In a sense, Khorshid was already a known commodity—to go further, he needed the guitar to be proven valid, and so he bent himself wholly to the task.

While Turkish guitarist Erkin Koray would kick off a revolution of his own with Elektronik Türküler, released in the same year, Koray’s acid rock was much more explicitly influenced by Western musicians like Hendrix than Khorshid’s music was. Khorshid knew of rock music (he covered a few standards like “Apache” and “Johnny Guitar” on his first album), but there is always the sense that his use of novel instruments like the electric guitar, electric keyboard, and synthesizer were intended to advance the development of new Eastern music, rather than to pull his country’s arts into the European sphere. It’s the difference between drawing from the vernacular of an oud player to introduce an Arabian scale on an electric guitar and playing an Arabian scale as a gimmick like Greg Lake would. Khorshid’s recordings of Arabic folk standards are some of the most exciting and fresh-sounding I’ve heard (“Ah Ya Zein” could go on thrice as long without diminishment), and to my mind Giant + Guitar stands among the best instrumental albums of all time.

125/365

[szmacblog]

Roundtable Presentations: Aladdin (1992)

In what ways does the film's score situate the story with its narrative context?

The score makes extensive use of Middle Eastern and Arabic musical influences to establish the setting of the fictional city of Agrabah. Composer Alan Menken incorporates instruments like the oud, duduk, and ney to lend an authentic ethnic sound and flavor to the music. This helps transport the audience to the film's Arabian setting. It also uses musical themes and motifs to represent key characters and narrative elements. For example, the heroic "A Whole New World" theme is closely associated with Aladdin and Jasmine's blossoming romance, while Jafar's sinister intentions are conveyed through ominous, minor-key musical cues. These thematic associations help guide the audience through the film's story.

How do songs use character performance to push the cultural authenticity in the film's diegesis?

The songs in Aladdin also use character performance to enhance the cultural authenticity of the film’s diegesis. The film mostly showcases kind of an energetic, campy-comic flair that evokes the spirit of classic Hollywood musicals. On the other hand, Jasmine's solos are more introspective, contemporary-sounding ballads that reflect her personality and desire for agency, as she lives overprotected under her father's wing.

The music in Aladdin goes beyond just setting the scene. It borrows heavily from Middle Eastern musical traditions. This is clear in the prominent vocals, a common feature in Middle Eastern music. The instruments used, like percussion, strings, and wind instruments, also mirror those found in the region. Even the melodies themselves are crafted to evoke Middle Eastern music through the use of chromaticism and ornamentation, which helps capture the unique musical qualities of that part of the world. It's important to remember though, that despite the inspiration from "One Thousand and One Nights," Aladdin remains an American animated musical at its core. The music reflects this by blending these Middle Eastern influences with classic Broadway elements.

In what ways does the film use musical "framing" to structure the score within familiarized styles?

The entire story itself is presented as a performance by the Genie. This echoes the traditional concept of a frame narrative, where a story is told within the context of another story.  Musically, this is reflected in the opening number, "Arabian Nights," which establishes an exotic, Arabian Nights-inspired soundscape that serves as the backdrop for the film's musical journey. Within the Arabian Nights frame, the songs incorporate familiar musical styles from various cultures and eras—which in my opinion, goes against the whole point of making this an "Arab musical film." Similar to when they make Latinx musical films from, for example, Mexico, but they include songs or influences from many Latinx countries.

Moreover, "One Jump Ahead" uses a Broadway showtune style with a fast tempo, kind of emulating Aladdin's frenetic life on the streets. On the other hand, “Prince Ali" is a big, bombastic production number with influences from Bollywood and pop music, and A Whole New World is a romantic ballad with an orchestral sound, reminiscent of classic Hollywood musicals.

[dankthomas1]

Aaaaaaannnddddd I'm back with anotha imagine!

Yuu signing Arabian Nights but everything Yuu signs about actually happens, like wind coming from the east, and the sun in the west. Like, i just wanna see Yuu on the magic carpet just fucin lounging on it while singing and the background music coming from floating instruments made from sand. When it gets to the deep voice part of the song, i like to imagine it coming out of nowhere spooking tf out of anyone who was listening and after that, i can see Yuu being surrounded by sand before it reveals that Yuu's outfit got changed into something fitting for royalty in the land of hot sands or something

[randomvarious]

Today's compilation:

Atlantic Rhythm & Blues 1947-1974 - Japanese Edition 2012 R&B / Doo Wop / Soul / Rock & Roll / Funk / Jazz / Blues / Pop

Alright, well, I had originally planned for this post to dovetail quite nicely with the end of Black History Month, but when you get a virus, it has a way of setting things back a bit. But then again, Black History should obviously be celebrated in every month, so either way, without further ado, here's a massive end to my foray into the history of Atlantic Records: a deeply comprehensive recounting of its first 27 years in the record business called Atlantic Rhythm & Blues: 1947-1974.

Now, maybe because of how this label is currently constituted, you think of Atlantic as being among the amorphous blob of major record labels whose fingers are seemingly in the pies of every popular genre, and the quality of the output is barely distinguishable from its other competitors. Like, who cares who's on Atlantic these days, right? A major label is a major label is a major label. They all basically feel indistinguishable from one another at this point, don't they?

But here's what you may not know about Atlantic in particular. For about two decades, until they started signing rock bands like Led Zeppelin, they were almost exclusively dedicated to nothing but secular, black-made music. And that's originally how they ended up making a name for themselves, as an independent label for black musicians that actually had a reputation for usually compensating their artists fairly.

So in 1985, the first iteration of Atlantic Rhythm & Blues 1947-1974 hit the shelves. It consisted of a whopping *186 songs*, chronologically spread across 14 separate records or 7 cassettes. And then in '91, it was reissued on CD in an 8-disc set, with an extra 17 songs mixed within.

But this edition that I have for you all today is a much, much rarer one that was issued exclusively in Japan in 2012. And what it consists of is the same eight discs from the 1991 reissue, plus two more, which have songs on it that were handpicked by Japan's own super selector, Keishi Suzuki, who ends up supplying 52 more songs—a lot of them rarities—bringing the total amount of tracks within the release to a grand total of *255*! 😯

Now, obviously, that is a whole lot of music, and I'm not gonna write an ungodly amount of paragraphs to cover it all, but regarding the first discs in this box set, what I'll say is this: these are must-listens for any old school r&b/soul/doo wop novice or junkie out there. These CDs do a wonderful job of allowing you to take a bird's eye view of this label that managed to develop itself into an indefatigable powerhouse for popular black music. From its earliest days of jazzy and jump-bluesy instrumentals, to its deeper endeavors into soul, you can trace this label's contours and get a feel for just how eminent its entire existence has been upon the history of popular music writ large. From its first star Ruth Brown—who helped earn the label its clever, Yankee Stadium-inspired nickname of 'The House That Ruth Built'—to Ray Charles, to The Drifters, to Otis Redding, to Wilson Pickett, and to the Queen of Soul herself, Aretha Franklin; it's all in those first 8 discs.

But those final two Keishi Suzuki-curated CDs are the ones I'm here to write about especially today, because a whole bunch of these total obscurities are, really, absolutely phenomenal.

Like, maybe you're familiar with 60s soul-man Don Covay, who had a solid number of Billboard Hot 100 and R&B chart hits in his career, and also penned Aretha Franklin's own mega hit, "Chain of Fools." But did you know that Covay actually started out under the name of 'Pretty Boy' and performed with a raucous Little Richard-esque rock & roll flair? Suzuki provides "Bip Bop Bip" here, an energetic tune with scratchy, throaty shouts, mashing hi-hats, and an electrifying saxophone solo. And it was actually produced by Little Richard himself!

Then there's Lawrence & The Arabians (what a fucking name, man), a short-lived all-white group, who in 1967 released the outstanding "I'll Try Harder," a fully uptempo and poppy piece of horn-heavy blue-eyed soul that sounds partially cut from some type of Motown cloth. Delightful gem right there.

And lastly, we have Peggy Scott, a pretty well-known southern soul and R&B entity in her own right who managed to make the American top 40 thrice in the late 60s. But after she stopped charting, Scott ended up releasing just one single on Atlantic—through their Atco sublabel—and in 1972, on that single's B-side, she showed that she could still more than hack it with the fantastic "One Night Is All I Need," on which her voice is striking all throughout, but is especially so whenever she goes for that gravelly passion 😌.

And these final two discs in this set have more underappreciated stunners on them too, but we're done here. This is such an excellent release that I shelled out a pretty pretty penny for, and I'm ultimately glad I did, because while the easier-to-find editions of this thing are cheaper and deeply satisfying themselves, nothing beats the thrill of being exposed to underheard gems that not very many other people know about. And in that regard, Keishi Suzuki knocked his task way out of the park.

A magnificent album, both for its extensive chronologizing of one of the most important labels in the history of popular music, as well as its extra 50+ songs that get some much needed light shone upon them too.

Highlights:

CD1:

Ruth Brown - "So Long" Joe Morris - "Anytime, Anyplace, Anywhere" Ruth Brown - "Tear Drops From My Eyes" Joe Turner - "The Chill Is On" Joe Turner - "Sweet Sixteen" Willis Jackson - "Gator's Groove"

CD2:

Ruth Brown - "Mama He Treats Your Daughter Mean" Ruth Brown - "Wild Wild Young Men" Ray Charles - "Mess Around" Joe Turner - "Honey Hush" LaVern Baker - "Soul On Fire" Professor Longhair - "Tipitina" The Drifters - 'White Christmas" The Drifters - "Whatcha Gonna Do" Joe Turner - "Shake, Rattle and Roll" Tommy Ridgley - "Jam Up" Al Hibbler - "After the Lights Go Down Low" Ray Charles - "I Got a Woman" Ray Charles - "Greenbacks"

CD3:

Ray Charles - "A Fool for You" Ray Charles - "This Little Girl of Mine" The Robins - "Smokey Joe's Cafe" The Drifters - "Ruby Baby" The Cookies - "In Paradise" Ray Charles - "Drown In My Own Tears" The Coasters - "Down In Mexico" Ray Charles - "Lonely Avenue" Clyde McPhatter - "Without Love" Chuck Willis - "C.C. Rider"

CD4:

Chuck Willis - "Hang Up My Rock and Roll Shoes" The Coasters - "Yakety Yak" Ray Charles - "Night Time Is the Right Time" The Coasters - "Charlie Brown" Ray Charles - "What'd I Say" The Drifters - "There Goes My Baby" Ray Charles - "Let the Good Times Roll" The Coasters - "Poison Ivy" Ben E. King - "Stand by Me" LaVern Baker - "Saved"

CD5:

The Mar-Keys - "Last Night" The Falcons - "I Found a Love" Ben E. King - "Don't Play That Song (You Lied)" Booker T. & The MG's - "Green Onions" Doris Troy - "Just One Look" Esther Phillips - "Release Me" The Drifters - "Under the Boardwalk"

CD6:

Otis Redding - "I've Been Loving You Too Long" Wilson Pickett - "In the Midnight Hour" Otis Redding - "Respect" Percy Sledge - "When a Man Loves a Woman" Wilson Pickett - "634-5789" Sam & Dave - "Hold On, I'm Coming" The Capitols - "Cool Jerk" Wilson Pickett - "Land of 1000 Dances" Eddie Floyd - "Knock On Wood" Otis Redding - "Try a Little Tenderness" Wilson Pickett - "Mustang Sally" Sam & Dave - "When Something Is Wrong With My Baby" Arthur Conley - "Sweet Soul Music" Aretha Franklin - "I Never Loved a Man the Way I Love You" Aretha Franklin - "Do Right Woman, Do Right Man" Otis & Carla - "Tramp" Wilson Pickett - "Funky Broadway" Booker T. & The MG's - "Hip-Hug-Her" Sam & Dave - "Soul Man"

CD7:

Aretha Franklin - "Respect" Aretha Franklin - "(You Make Me Feel Like) A Natural Woman" The Bar-Kays - "Soul Finger" Aretha Franklin - "Baby, I Love You" Aretha Franklin - "Chain of Fools" Wilson Pickett - "I'm in Love" King Curtis - "Memphis Soul Stew" Aretha Franklin - "(Sweet Sweet Baby) Since You've Been Gone" Otis Redding - "(Sittin' On) The Dock of the Bay" Archie Bell & The Drells - "Tighten Up" Clarence Carter - "Slip Away" Aretha Franklin - "Think" Clarence Carter - "Too Weak to Fight" Donny Hathaway - "The Ghetto" Tyrone Davis - "Turn Back the Hands of Time" Les McCann & Eddie Harris - "Compared to What" Aretha Franklin - "Call Me"

CD8:

Aretha Franklin - "Don't Play That Song (You Lied)" King Floyd - "Groove Me" Clarence Carter - "Patches" Wilson Pickett - "Don't Knock My Love" The Beginning of the End - "Funky Nassau (Parts 1 & 2)" Persuaders - "Thin Line Between Love and Hate" Aretha Franklin - "Rock Steady" Aretha Franklin - "Day Dreaming" Roberta Flack & Donny Hathaway - "You've Got a Friend" Betty Wright - "Clean Up Woman" The Spinners - "Could It Be I'm Falling in Love" Roberta Flack - "Killing Me Softly With His Song" Roberta Flack & Donny Hathaway - "Where Is the Love" The Spinners - "I'll Be Around" Roberta Flack - "Feel Like Makin' Love" The Spinners - "One of a Kind (Love Affair)" Blue Magic - "Sideshow" The Spinners - "Mighty Love"

apparently you can have too many hyperlinks in a post...will include the rest in a reblog...

[archivist-dragonfly]

Book 494

The Sleeping Beauty and Other Fairy Tales from the Old French

Retold by Sir Arthur Quiller-Couch / illustrated by Edmund Dulac

Abaris Books, Inc. 1980

It isn’t well known, but besides being one of the great book illustrators of all time, Edmund Dulac (1882-1953) was also a talented designer of stamps, bank notes, furniture, musical instruments and was a noteworthy composer and writer, but it is for book illustration that he is best remembered. Throughout his career, Dulac illustrated no fewer than 28 books, most with fantastic or adventurous themes. Two of his best known are The Sleeping Beauty and Arabian Nights.

Originally published in 1910 by Hodder & Stoughton, this book features four French fairy tales—The Sleeping Beauty, Blue Beard, Cinderella, and Beauty and the Beast—each with four illustrations by Dulac. While the illustrations are marvelous, in truth, this 80s reprint doesn’t really do them justice. The colors and line work in this edition are a bit too muddy, but until the day I’m able to replace it, it will stay as a treasured book in the library.

[agent-darkfest]

What WOULD happen if your arabian knights bois played metal? What kind of music do the Jinn as a culture enjoy?

Hohohohohoh, definitely they would play music like Prince of Persia: Warrior Within. Particularly, "Trouble in the Barracks" and "Conflict at the Entrance"

As for the music for the Jinn culture… I feel like the type of music the Jinn listen to would have a lot of drum, string, and wind instruments and vocalizing/chanting…. Very tribal in nature. Oh! Yanni would be a good example!

Yeah! That’s what I picture! I’m actually gonna add this to the playlist. But, basically tribal music that can be danced with a partner *wink* or around a bonfire. :) (I’m even thinking songs from the Prince of Egypt, like "Heaven’s Eyes")

[satoshi-mochida]

Middle Eastern mythology-inspired side-scrolling action adventure game The Land of the Magnates announced for PC

From Gematsu

Publisher Freedom Games and developer Permanent Way Games have announced Middle Eastern mythology-inspired side-scrolling action adventure game The Land of the Magnates for PC (Steam). It will launch in 2025.

Here is an overview of the game, via its Steam page:

About

The Land of the Magnates is an epic action adventure set in a magical world inspired by the myths of the Middle East. You are Malik Shahbaz, prince of the Land of the Sun. Once a land of joy and music, the kingdom has been shrouded in darkness and silence following the death of its queen. Now, the king has been poisoned and the prince stands accused of this foul deed. After a daring escape, the disgraced prince must travel the realm to find a way to cure his father, reclaim his throne, and return light to the Land of the Sun. From the cursed Black Forest, to the Land of the Sun shrouded in darkness, from the domain of the Water Princess to the marble lands of the Monkey Kings, Shahbaz will have to lift ancient curses, defeat vile minions of the dark with his trusty sitar, and solve complex puzzles requiring quick thinking—and quick fingers.

Key Features

An Epic Tale Filled with Unique Challenges – The prince flees his homeland with little but the clothes and the sitar slung on his back. This instrument is the last source of music in the lands and his only weapon against the darkness. The magical sounds of its strings can bring life back to the land. But that’s only the first step. Shahbaz must face platforming challenges at dizzying heights, environmental puzzles demanding mastery of the elements, and finally, himself.

A World of Magic and Myth – The Land of the Magnates is a world permeated by magic, where gods and humans exist side by side. Shahbaz will meet loyal friends, ruthless manipulators, benevolent goddesses, mythical creatures—and travel through magical forests, elemental realms, magical cities of ages past, and lands of clockwork and tinkering of future ages.

An Authentic Experience – Grounded in the complex history and culture of Arabia, Persia, India, Byzantium, and other Near Eastern cultures, The Land of the Magnates brings folk tales like the Arabian Nights to life like no other game. It is a feast for the senses, harnessing the power of Unreal Engine 5 to offer a glimpse into this stunning world of myth and legend, accompanied by a score representing the finest in Middle Eastern music—brought together by a talented crew of Turkish developers from Istanbul, the gateway to the east!

Watch the announcement trailer below. View the first screenshots at the gallery.

Announce Trailer

[1five1two]

And barbarians were inventors not only of philosophy, but almost of every art. The Egyptians were the first to introduce astrology among men. Similarly also the Chaldeans. The Egyptians first showed how to burn lamps, and divided the year into twelve months, prohibited intercourse with women in the temples, and enacted that no one should enter the temples from a woman without bathing. Again, they were the inventors of geometry. There are some who say that the Carians invented prognostication by the stars. The Phrygians were the first who attended to the flight of birds. And the Tuscans, neighbours of Italy, were adepts at the art of the Haruspex. The Isaurians and the Arabians invented augury, as the Telmesians divination by dreams. The Etruscans invented the trumpet, and the Phrygians the flute. For Olympus and Marsyas were Phrygians. And Cadmus, the inventor of letters among the Greeks, as Euphorus says, was a Phoenician; whence also Herodotus writes that they were called Phoenician letters. And they say that the Phoenicians and the Syrians first invented letters; and that Apis, an aboriginal inhabitant of Egypt, invented the healing art before Io came into Egypt. But afterwards they say that Asclepius improved the art. Atlas the Libyan was the first who built a ship and navigated the sea. Kelmis and Damnaneus, Idaean Dactyli, first discovered iron in Cyprus. Another Idaean discovered the tempering of brass; according to Hesiod, a Scythian. The Thracians first invented what is called a scimitar (arph), -- it is a curved sword, -- and were the first to use shields on horseback. Similarly also the Illyrians invented the shield (pelth). Besides, they say that the Tuscans invented the art of moulding clay; and that Itanus (he was a Samnite) first fashioned the oblong shield (qureos). Cadmus the Phoenician invented stonecutting, and discovered the gold mines on the Pangaean mountain. Further, another nation, the Cappadocians, first invented the instrument called the nabla, and the Assyrians in the same way the dichord. The Carthaginians were the first that constructed a triterme; and it was built by Bosporus, an aboriginal. Medea, the daughter of Æetas, a Colchian, first invented the dyeing of hair. Besides, the Noropes (they are a Paeonian race, and are now called the Norici) worked copper, and were the first that purified iron. Amycus the king of the Bebryci was the first inventor of boxing-gloves. In music, Olympus the Mysian practised the Lydian harmony; and the people called Troglodytes invented the sambuca, a musical instrument. It is said that the crooked pipe was invented by Satyrus the Phrygian; likewise also diatonic harmony by Hyagnis, a Phrygian too; and notes by Olympus, a Phrygian; as also the Phrygian harmony, and the half-Phrygian and the half-Lydian, by Marsyas, who belonged to the same region as those mentioned above. And the Doric was invented by Thamyris the Thracian. We have heard that the Persians were the first who fashioned the chariot, and bed, and footstool; and the Sidonians the first to construct a trireme. The Sicilians, close to Italy, were the first inventors of the phorminx, which is not much inferior to the lyre. And they invented castanets. In the time of Semiramis queen of the Assyrians, they relate that linen garments were invented. And Hellanicus says that Atossa queen of the Persians was the first who composed a letter. These things are reported by Seame of Mitylene, Theophrastus of Ephesus, Cydippus of Mantinea also Antiphanes, Aristodemus, and Aristotle and besides these, Philostephanus, and also Strato the Peripatetic, in his books Concerning Inventions. I have added a few details from them, in order to confirm the inventive and practically useful genius of the barbarians, by whom the Greeks profited in their studies. And if any one objects to the barbarous language, Anacharsis says, "All the Greeks speak Scythian to me."

Clement of Alexandria

[rabbitcruiser]

World Arabic Language Day

With an estimated 390 million speakers, Arabic is one of the most widely spoken languages in the world. It is also one of the six official languages of the United Nations, as well as the liturgical language of 1.6 billion Muslims. Being one of the only modern languages to be written and read in a right-to-left form, Arabic is a fascinating language with a long history. For all of these reasons and many more, we can all agree that Arabic is more than deserving of its very own day.

History of World Arabic Language Day

Although the Arabic language is the language of Islam, it dates back over one hundred years further than the religion. The earliest Arabic inscriptions were created in the early 6th century AD. Arabic was originally based mainly on the Aramaic alphabet that was then modified and adapted over many years to finally become its very own, distinct lanuguage. In 632, the year that Muslims believe the Quran was revealed to Muhammed, Muhammed’s language became the language of his new religion. The holy book of Islam, the Quran, was written in Classical Arabic and it is still used in religious ceremonies and sermons till this day.

By the 8thcentury, many poems and other works had been written in Arabic as well. Arabic has had an enormous influence on people all over the world, as the majority of countires in the world today officially use the Arabic numerical system. Furthermore, because of the countless wars waged in the Middle Ages especially, the Arabic language is an important source of vocabulary for many European languages, such as Portuguese, Spanish, English, French and Sicilian, as well as non-European languages such as Swahili and Uzbek. Many of the words that English-speakers use regularly come from Arabic, including cotton, coffee and guitar.

World Arabic Language Day was established in 2010 by UNESCO to promote cultural understanding and to highlight Arabic as one of the most important languages in the world. Today, there are three different types of Arabic: Classical; Modern Standard Arabic, the last of which is used in publishing, education and the media across the Arab world. Colloquial Arabic, an everyday dialect, is also used in different regions and has numerous variations. Due to its elegant, flowing lines, thousands of people the world over have also chose to get tattoos in Arabic, singer Christina Perri and actors Colin Farrell and Zoe Saldana, to name but a few.

How to celebrate World Arabic Language Day

The best way to celebrate this day would be to increase your knowledge of this language. Many people living in parts of North America or Europe may not even really know how it sounds. Of course, it is nearly impossible to learn to read even small fragments of this complex language during the course of just one day, but that shouldn’t stop you from discovering it. The Arabic language is especially beautiful when sung.

If you like opera, you could check out one of Sarah Brightman’s most acclaimed albums titled, “Harem”. The songs on it are a truly original mix of Arabian pop and opera, and are sung in several different languages, including Arabic. Listening to this album will not only allow you to become acquainted with what the language sounds like, but also introduce you to various instruments and sounds typical for Middle Eastern music that you may well fall in love with.

Source

[honourablejester]

Character Concept: Thief of Baghdad inspired Warforged Genielock

I mentioned this ages ago in my post on why a Sinbad the Sailor/Arabian Nights style campaign would be awesome. One of the movies I watched way back when was the 1940 Thief of Baghdad, in which there is a) a genie subplot, and b) an extremely memorable scene in which the evil sorcerer Jaffar builds and enchants a ‘Silver Maiden’ toy-slash-construct to assassinate the Sultan. Allowing for the 40s orientalism of it all, that scene really stuck with me. And I did wonder. What if that construct had been a thinking being? What if the Silver Maiden came to life in truth, not just under Jaffar’s enchantment, and grew to hate the purpose she was used for?

And with the Genie Warlock, the particular imagery of the Silver Maiden, with her blue face, gels quite nicely with the thought of a Djinn patron, another slave of the sorcerer whom she bonded with and freed when she freed herself, earning herself friendship and magic and favour from her elemental friend/patron. So. Fidah, the Silver Maiden.

(Note: playing around on PF2e’s Pathbuilder character builder has my brain thinking level-by-level, so I figured I’d change up the format and do Fidah’s build from Level 1 to Level 20)

Character Sheet: Fidah the Silver Maiden

Name: Fidah (This is an Arabic name. Persian would probably make more sense given the Thief of Baghdad inspiration, but I’m enchanted by a pair of very similar names in Arabic, Fiddah, meaning silver, and Fidah, meaning redemption, both of which dovetail with our theme so nicely. So Arabic it is)

Race: Construct (Warforged)

Age: 24

Background: Slave Assassin (custom background to fit the movie, in which the Silver Maiden lures victims close by a performance as a toy before stabbing them with a hidden knife, so we’ll take proficiency in Performance and Sleight of Hand, proficiency in a musical instrument (setar), proficiency in one language of our choice, and we’ll take the By Popular Demand background feature from the Entertainer background)

Class: Warlock (Genie)

Description: An elegant mechanical ‘performer’, Fidah looks like a feminine human made of silvery metal. Her face and hands are enamelled blue, as if she had blue skin. This was possibly intended as a taunt to her master’s djinn slave, that she was made partly in his image, but the djinn, on being freed, made the enamel more durable and beautiful with magic, essentially giving her his blessing.

History: Fidah was designed and constructed as a slave assassin by an evil sorcerer, intended to act as a magnificent mechanical toy/performer to lure wealthy targets into complacency before killing them. As the years went on, however, Fidah developed rather more self-awareness and will than the sorcerer had intended, and began to hate her role and fear her creator. At the same time, she developed a secret rapport and then battered friendship with another of her master’s slaves, a captured djinn named Azad. Eventually, unable to allow herself and her friend to be abused any longer, Fidah lured the sorcerer into complacency as she had lured dozens of other targets, and murdered him.

She took the ring in which he had imprisoned the djinn, who suddenly feared that Fidah meant to use him as her master had, despite their years of friendship. Power is tempting and addictive, after all. Nothing could be further from Fidah’s intent, however, and she immediately freed her friend as she had freed herself. In gratitude, and deep fondness, the djinn granted her a measure of his power henceforth. Initially, she feared it, for she had no desire to become a creature like her creator, a magic user to whom power was everything and lives nothing, but the djinn pointed out that he, too, was magical, and that it was what one did with power that mattered, not power in itself. So Fidah accepted his gift, and went out into the world with his ring on her mechanical finger.

Patron: Azad, the djinn who was her fellow slave under her old master.

Ideal: No one should be bound to another’s service against their will.

Bond: I will explore my freedom and honour my friend and the magic he gave me.

Flaw: The closest I’ve known to intimacy was luring dozens to die in my arms under the command of my old master.

Starting Stats: Strength 8 (-1), Dexterity 14 (+2), Constitution 16 (+3), Intelligence 10 (+0), Wisdom 12 (+1), Charisma 16 (+3)

Starting Proficiencies:

Saving Throws: Wisdom, Charisma

Skills: Deception, Intimidation, Performance, Sleight of Hand, Stealth

Armour/Weapons/Tools: light armour, simple weapons, setar/lute (instrument), poisoners kit

Languages: Common, Primordial, Infernal

Spells By Level 20:

Cantrips: Eldritch Blast, Mage Hand, Guidance, Mind Sliver, Message, Minor Illusion, Chill Touch

Spells: Armour of Agathys, Thunderwave, Hex, Comprehend Languages (ritual, Book of Ancient Secrets), Alarm (ritual, Book of Ancient Secrets), Disguise Self (at will, Mask of Many Faces), Silent Image (at will, Misty Visions), Invisibility (at will, Shroud of Shadows), Hypnotic Pattern, Fly, Thunderstep, Greater Invisibility, Sickening Radiance, Hold Monster, Flesh to Stone, Crown of Stars, Maddening Darkness, Wish

(Probable) Eldritch Invocations by Level 20:

Mask of Many Faces, Book of Ancient Secrets, Misty Visions, Ghostly Gaze, Gift of the Protectors, Eldritch Mind, Shroud of Shadows, Devil’s Sight

(Probable) Feats by Level 20:

Skill Expert, Moderately Armoured, Inspiring Leader

Features By Level:

Level 1:

Warforged: Constructed Resilience (poison resist, adv vs poison, no sleep, no disease, no eat/drink/breathe), Sentry’s Rest (6hr long rest, inert but not unconscious), Integrated Protection (+1 AC, armour integrated to body), Specialised Design (1 skill, 1 tool).

Slave Assassin: By Popular Demand (find place to perform for room and board, earn popularity)

Warlock: Pact Magic, Genie Patron (Djinn), Expanded Spell List (Djinn), Genie’s Vessel (ring with compartment), Bottled Respite, Genie’s Wrath (thunder damage)

Spells: We’ll take Armour of Agathys, because the Silver Maiden’s embrace is a deadly thing, and Thunderwave, to honour her patron, as well as the Eldritch Blast and Mage Hand cantrips.

Level 2:

Eldritch Invocations: We’ll take Mask of Many Faces, because she’s quite distinctive and a quick disguise option will likely be useful, and Fiendish Vigor, because we’ll be swapping that out next level for Book of Ancient Secrets.

Spells: We’ll take Hex for our third 1st level spell.

Level 3:

Warlock: Pact of the Tome. We’ll take the Guidance, Mind Sliver and Message cantrips.

Eldritch Invocations: We’ll swap Fiendish Vigor for Book of Ancient Secrets, and take the Comprehend Languages and Alarm rituals. I did think about the Unseen Servant ritual, which would have felt rather thematic, at least in terms of imagery, but I think Fidah as an ex-slave would not really approve. Oh, she could treat her non-sentient heap-of-force very well, but I think it would still hew too close. So. We’ll go with Alarm, for when she’s in her ring and wants to know if someone comes close to it.

Spells: We’ll take Invisibility for our first 2nd level spell.

Level 4:

ASI: We’ll bump Charisma to 18.

Spells: We’ll take Spider Climb, because an ex-assassin construct crawling around the ceilings is a slightly terrifying and very cool image. For our cantrip we’ll take Minor Illusion.

Level 5:

Eldritch Invocations: I should probably take one of the EB Invocations, but I what I actually want is Misty Visions, because I think Fidah is becoming very fond of illusion.

Spells: We’ll take Hypnotic Pattern for our 3rd level spell. Because of her history, I feel like Fidah leans quite heavily on illusions and deception to render people vulnerable to her. Not necessarily out of desire to live that way, and just simply because of training and habit.

Level 6:

Warlock: Elemental Gift (thunder resistance, bonus action for 30ft fly speed for 10mins prof/day). This possibly makes Spider Climb redundant, so we might retrain that for Fly instead, so we can spread the flight around. Which will, amusingly, make Fidah the slowest flier despite being the source of the flight.

Spells: She does still want to honour her patron, so we’ll go Thunder Step.

Level 7:

Eldritch Invocations: We’ll take Ghostly Gaze. By this stage, Fidah is pretty good an infiltration.

Spells: For our first 4th level spell, we’re going to take Greater Invisibility.

Level 8:

ASI: We’ll bump Charisma to 20.

Spells: Not going to lie, I’ll take Sickening Radiance just because I love the spell. Fidah as a silver avatar of the Plane of Elemental Air might also be rather thematic for a spell of killing light, in a dark sort of way that I’m not sure she’d been happy with.

Level 9:

Eldritch Invocations: I don’t have strong feelings on the 9th level Invocations. I might go with Gift of the Protectors, because Fidah might want the chance to protect rather than take lives. Or, I could go back and take Devil’s Sight, if I’ve been struggling with darkness, or Agonising Blast, if I want some extra damage.

Spells: For our 5th level spell, we’ll take Hold Monster. Again on a theme of holding people vulnerable to attack.

Level 10:

Warlock: Sanctuary Vessel (can bring up to 5 people into vessel with me, and if they stay 10mins they get a short rest).

Spells: For our final cantrip, we’ll go with Chill Touch. I could go Toll the Dead, because ominous sound effect, but I suspect Fidah values efficiency over drama, and Chill Touch prevents healing.

Level 11:

Mystic Arcanum (6th level): I debated a couple of options here, including Eyebite, because mechanical assassin with dread eyes, True Seeing, because Fidah relies a lot on illusion and might want to be able to see through to the truth, but I think in the end I might go with Flesh to Stone, because we have been running on a theme of rendering people vulnerable, and for some reason a silver assassin construct that turns people to stone gives me strong Ray Harryhausen, Sinbad, Thief of Baghdad vibes, which was the initial inspiration for Fidah, so I’m going with it.

Level 12:

Feat: We’re going to take Skill Expert. I know there are more interesting options, but I feel like Fidah can go a little classic. So we’ll bump Dex to 15, we’ll take proficiency in Perception, I think, or possibly Persuasion, and we’ll take expertise in Stealth.

Eldritch Invocations: Either Eldritch Mind for concentration spells, or either Devil’s Sight or Agonising Blast if we didn’t take either of them at 9th level.

Level 13:

Mystic Arcanum (7th level): I mean, I want Crown of Stars. I always want Crown of Stars. But Forcecage might be the more sensible option. (Let’s be honest, it’ll be CoS unless someone leans on me – also the imagery on the blue-faced, silver construct, quite angelic)

Level 14:

Warlock: Limited Wish (once per 1d4 long rests, get one casting of any 1 action, 6th level or lower spell)

Level 15:

Eldritch Invocations: We’ll take Shroud of Shadow to get invisibility at will.

Spells: Since we get invisibility for free now, we’ll retrain that for Tongues.

Mystic Arcanum (8th level): Not going to lie, I’m not that fond of any of the Warlock’s 8tg level options. Dominate Monster would be good, but I suspect Fidah, given her history as a slave, might draw a line at actually mentally dominating someone. Holding them is one thing, but charming them another. I might go Maddening Darkness. It’s got no thematic link at all, but it’s cool.

Level 16:

Feat: Couple of options. We could go Moderately Armoured to bring our Dex to 16 and get a breastplate. We could do Metamagic Adept to get subtle spell. Might do something weird like Mobile, or supportive, like Inspiring Leader. That last one might work very nicely.

Level 17:

Mystic Arcanum (9th level): We’re a genielock, so we will be taking Wish, and happily.

Level 18:

Eldritch Invocation: Whichever of the three floating options we haven’t picked up yet. So one of Eldritch Mind, Devil’s Sight or Agonising Blast.

Level 19:

Feat: One of the ones we didn’t take at Level 16.

Level 20:

Warlock: Eldritch Master (plead with our patron for 1min to restore all our slots 1/day)

[yourlocalfallofthewest]

Get to know me tag game

tagged by @angry-spanish-marxist

RULES: bold the ones that are true and tag people to do it.

APPEARANCE

Blonde hair // I prefer loose clothing to tight clothing // I have one or more piercings // I have at least one tattoo // I have dyed or highlighted my hair // I have gotten plastic surgery // I have or had braces // I sunburn easily // I have freckles // I paint my nails // I typically wear makeup // I don’t often smile // I am pleased with how I look // I prefer Nike to Adidas // I wear baseball hats backwards

(imagine caring about the brand of shoes you wear lmao)

HOBBIES AND TALENTS

I play a sport // I can play an instrument // I am artistic // I know more than one language (kind of, im learning spanish) // I have won a trophy in some sort of competition // I can cook or bake without a recipe // I know how to swim // I enjoy writing // I can do origami // I prefer movies to tv shows // I can execute a perfect somersault // I enjoy singing // I could survive in the wild on my own // I have read a new book series this year // I enjoy spending time with friends // I travel during work or school breaks // I can do a handstand

RELATIONSHIP

I am in a relationship // I have been single for over a year // I have a crush // I have a best friend who I’ve known for ten years // my parents are together // I have dated my best friend // I am adopted // My crush has confessed to me // I have a long distance relationship // I am an only child // I give advice to my friends // I have made an online friend // I met up with someone I have met online

AESTHETICS

I have heard the ocean in a conch shell // I have watched the sun rise // I enjoy rainy days // I have slept under the stars // I meditate outside // the sound of chirping calms me // I enjoy the smell of the beach // I know what snow tastes like // I listen to music to fall asleep // I enjoy thunderstorms // I enjoy cloud watching // I have attended a bonfire // I pay close attention to colors // I find mystery in the ocean // I enjoy hiking on nature paths // autumn is my favorite season

MISCELLANEOUS

I can fall asleep in a moving vehicle // I am the mom friend // I live by a certain quote // I like the smell of sharpies // I am involved in extracurricular activities // I enjoy Mexican food(while not mexican, there wasnt really an option for salvadoran, as i used to go to big meetings of my stepdads family and the pupusas his aunt lucia cooked were so good.) // I can drive a stick shift // I believe in true love // I make up scenarios to fall asleep // I sing in the shower // I wish I lived in a video game // I have a canopy above my bed // I am multiracial // I am a redhead // I own at least 3 dogs

tagging @superpaperclip @arabian-knight @mylimoji @lambdadelta-communism @kneedeepincynade @torstenerikssonvt my beloved mutuals

quote(s) are:

"from each according to his ability, to each according to his needs"

"tremble with indignation at every injustice"

[jules-has-notes]

aca-Disney mashup — VoicePlay music video

When the folks who produce Disney's stage adaptations wanted to celebrate their 20th anniversary, they approached VoicePlay — a group of experienced theme park performers who grew up during the 90s Disney renaissance and are also huge musical theater nerds. Not to mention talented singers and arrangers. The guys created this enormously fun a cappella mashup of songs from the theater shows and contemporary hits.

Details:

title: aca-Disney – VoicePlay & Disney on Broadway

original songs / performers: "Kiss the Girl" by Titus Burgess as Sebastian in The Little Mermaid (2008); "All About That Bass" by Meghan Trainor; [0:50] "A Whole New World" by Adam Jacobs & Courtney Reed as Aladdin & Jasmine in Aladdin (2014); "Rude" by Magic!; [1:20] "I Just Can't Wait to Be King" by Scott Irby-Ranniar, Geoff Hoyle, & Kajuana Shuford as Simba, Zazu, & Nala in The Lion King (1997); "Trumpets" by Jason Derulo; [2:00] "Seize the Day" by the cast of Newsies (2012); [2:06] "Arabian Nights" by James Monroe Iglehart as the Genie and the cast of Aladdin (2014); "Fireball" by Pitbull, featuring John Ryan

written by: "Kiss the Girl" by Howard Ashman & Alan Menken; "All About That Bass" by Meghan Trainor & Kevin Kadish; "A Whole New World" by Alan Menken & Tim Rice; "Rude" by Magic!, Adam "Messy" Messinger, & Alex Tanas; "I Just Can't Wait to be King" by Elton John & Tim Rice; "Trumpets" by Jason Derulo & Jon Bellion; "Seize the Day" by Alan Menken & Jack Feldman; "Arabian Nights" by Alan Menken & Tim Rice; "Fireball" by Armando "Pitbull" Perez, "John the Blind" Ryan, Andreas Schuller, Ricky Reed, Joe Spargur, Tom Peyton, & Ilsey Juber

arranged by: VoicePlay

release date: 10 December 2014

(h/t to popappella for the secondary song IDs)

My favorite bits:

Eli's smooth lead on "Kiss the GIrl"

the synchronized nods accompanying ♫ "uh huh" ♫

Tony's exhuberant tone during "A Whole New World"

the slight audio tweaking on Earl's "Roar!" to make him sound even more like young Simba

Layne slipping a little Roger Rabbit into his percussion, as a reference to the Pitbull video

using the instrumental line from "Trumpets" as a royal fanfare for the king of beasts

the crunchy chord transitions in "Seize the Day"

Eli's sultry riff and impressive long belt in "Arabian Nights"

Layne cleverly turning Pitbull's rapid-fire stuttering repetition of "baby" into "Arabian"

that big finish

Trivia:

Because the video is on the Disney On Broadway channel on YouTube, Earl and Layne made a typically silly promo video for their own channel that included a way for fans to win the posters from the backdrop.

The guys also teased the premiere with a series of countdown posts on social media.

This video garnered a very nice article on Broadway World.

VoicePlay had previously recorded excerpts from "I Just Can't Wait to Be King" and "A Whole New World" as parts of movie-specific medleys on their 2012 album of Disney music, "Once Upon an Ever After".

They had included "Rude" in their "Aca Top 10 — Summer Hits 2014" countdown video.

A full arrangement of "Seize the Day" was part of VoicePlay's "Disney Playlist Sessions" collaboration with the Broadway cast of Newsies a few months later.

"I Just Can't Wait to Be King" was later included in their "Aca Top 10 — Disney Heroes" countdown.

They also recorded a quieter version of "Kiss the Girl" as part of their "Little Mermaid medley".

Another production for the Disney On Broadway anniversary was "Backstage with Disney on Broadway: Celebrating 20 Years" hosted by Jesse Tyler Ferguson, which aired on ABC. It's currently only available through iTunes.