Discover releases, reviews, songs, credits, and more about Orchestral Magic at Discogs. Shop Vinyl and CDs and complete your collection/5(2). View credits, reviews, tracks and shop for the Vinyl release of The Magic Of Mantovani on Discogs. Label: Reader's Digest - RD • Format: 8x, Vinyl LP, Compilation, Stereo Box Set • Genre: Pop, Classical, Stage & Screen •/5(5). Discover releases, reviews, credits, songs, and more about Mantovani - The Magic Of Mantovani at Discogs. Complete your Mantovani collection/5(24).
Property Manager. In he joined the Academy fulltime. Andile is a highly respected member of his community and a much loved pastor in his church. Shirley lives in Imizamu Yethu and is an elder and preacher in her church and an active member of her community. Shirley is always smiling and caring and a surrogate mother to all the KMA children and staff. He has extensive experience playing in both professional and amateur orchestras and ensembles, as well as teaching in numerous settings, as well as in conducting.
He is passionate about community outreach work and received his B Mus [Cum laude] from Stellenbosch University in French horn performance, my other majors being chamber music and musicology. He was selected for the Standard Bank National Schools Big Band from totwo years of which he played lead trumpet. A multi-instrumentalist trumpet, violin, piano, guitarJono also studied brass teaching at a beginner level.
Since he has taught composition through digital audio work stations for movie clip scoring, remixing or thematic composing at M:Tech online. He has been a band member for the Nomadic Orchestra, since Here she assesses children in need, provides music therapy to both individuals and classes and offers feedback to school teams.
Oliver is a passionate music teacher whose love for music started more than 25 years ago. As a young Swiss man, he started his musical journey in Havana Cuba where he was taught Afro-Cuban Percussion by various Cuban masters. He currently resides and teaches music at a number of Cape Town schools, including the highly respected Bergvliet music department. With a BSc. Chemical Science degree behind him, Simon has focused his working life on teaching bass. He has extensive experience as a bass player in numerous productions and bands and is presently resident bass teacher at Bergvliet High School.
Stanislav received numerous awards prior to and was accepted at The Academy of Music and Dance in Plovdiv-Bulgaria, where he studied Accordion with Prof. Peter Marinov and graduated with a degree in Accordion in Whilst teaching at the Constantine Preslavsky University in Shumen, Stanislav competed and performed in Bulgaria, France and Poland as a soloist or member of different ensembles orchestras. In he moved to Cape Town, where he now performs, records and teaches.
Vision All children develop their talents and confidence through access to music and musical instruments, developing dignity and self-worth and creating community cohesion. Executive Board. Jackie Pollock Chairperson. Beccy Kellond Vice-Chairperson. Wade Audagnotti Treasurer. Eloise Williams Secretary.
Graham Taylor Member. Charmaine Groep General Manager generalmanager kmahoutbay. Jenny Braaf Administration Secretary info kmahoutbay. Andile Petelo Property Manager. I could put a band on the road and tell them exactly at what point they're going to break up in the tour based on how much money they were getting and how much the overhead would be. I have lots of practical skills I've acquired in my adult life that have really come in handy.
But based on just pursuing this single-minded way of doing things, and never having had a manager. I'm open to one, but none of them could ever really explain to me how I wouldn't be basically shooting myself in the foot by having them. It's been an uphill battle, but again, my ambition is actually pretty low on the totem pole.
I've got low overhead, and I'm basically just myself here. I've been doing it pretty well. I mean, I don't really rely on my parents at all for anything, and I haven't for 20 years almost. No, I don't want your help. When you first started recording music as Ariel Pink's Haunted Graffiti, was your goal the same then as it is now? Did you ever imagine then that you'd have the fan base that you do now? No, I never did.
I expected to fail. I expected that it was basically going to be me working at record stores for the rest of my life, and I was perfectly happy with that. I was secure in that. I thought that was job security for me. Nobody would need to know that I made music, it would just be my inside joke with myself, and I'd be perfectly happy sweeping floors and working in a dusty old little record shop somewhere.
That would be my revenge against my family, the powers that be, and all the haters. A very modest ambition, basically. I surpassed my goal at about 27 years old. At that point, everything had to change. I was not as prolific anymore. I guess I was just looking for love. I didn't even realize it. And then I didn't write songs for five years. I basically just focused on getting my live presence back in shape, and make it feasible and take it seriously as a source of income, and to get signed, with the ultimate goal of getting signed to a real label.
And I did that. Once I was signed, then there was the sort of reality check that it's not really anything to get signed, you need to get paid for getting signed. And I sort of had to get sued a few times to learn what friendship is and what being a boss is, too, and what being responsible is and what it isn't.
Those are all very, very good lessons, which I'm grateful to my enemies for. My ambition now is really to go back to being my year-old self and having not a care in the world, basically chilling out. If I ever get there, you won't hear about it. But I'm halfway there. I'm not playing live anymore, so that's a good thing. I'm grateful I don't really have to do that. I can put myself in a place where basically I can roll out reissues and I can just do a few interviews and hopefully I won't have a dwindling audience.
Hopefully, I'll still reach new listeners. And I've got syncs, people want to use my stuff in TV shows. I've got respect, and I've got all the things, basically, that Paul McCartney has, except for the kids. My new goal is to buy a house and to start a family. I'm single and I'm ready to mingle. In the period when you weren't making music, what did that feel like for you? Because it sounds like music is very much an outlet for you, as it is for many people.
To be honest, it was a little bit concerning at the time. But I always told myself that I would never do it if I didn't feel inclined to. At the time, I wasn't inspired to. I'm not really inspired these days either. That said, what I do feel is that it's a job for me.
So, I'm grateful for every little bit I manage to squeeze out. The fact that it has any kind of audience whatsoever, however small, I'm just shocked and pleasantly surprised about, because I always feel like I'm yesterday's news pretty quickly. I'm super, super psyched. I'm out of retirement!
That's how it always feels for me. The demands I put on myself with regards to music are much more lax these days, and I don't have as much integrity, per se, or single-minded determination. I'm really more slowly, kind of nervously, putting things together every once in a while, when I feel like I might be able to.
And if people like the results, I'm like, "Yeah, I still got it. I'm not as confident as I used to be, but I'm happy with whatever it is that I can do, and grateful for that. I think that's such a hard balance that you find with creative work.
You want to do it when you feel inspired, but the world in not always the most inspiring place. If you get stuck in a rut, it's like, "How do I force myself out of here nicely? Well, I think that's been a problem with thinking about yourself as an artist from the get-go.
I think people put a lot of undue stress on themselves, and their work suffers from it because they have to find themselves as an artist. They have to be making work because that's the only thing that makes them an artist.
God forbid, they shouldn't work—will they be called out as not being an artist? Was it all basically a fraud? First of all, being creative and being an artist is the last goal that anybody should have, honestly. It's not an ambition. It's something that you had at three years old. You had all that stuff and more back in the day, and you don't need to have any kind of degree.
It just means that you do stuff. Who cares what anybody thinks, if you want to do it? I think of it as therapy. If it's working, it basically should bring you to a place where you don't need to do it anymore and you exorcize those demons, and that should be a cause for celebration, not for worry or concern.
You should go do something else. Once you've purged that musical thing, go find another interest. Go get into astronomy. There's catharsis in it, and you shouldn't be doing art for your whole life. That means that you're not getting anywhere.
I think it's a stupid thing to want to do, especially as a career. I'm able to make music and make it in a way that basically conforms to a certain level of quality that my label can basically get behind.
If I had it my way, I would just be sending my voice memos to them. Essentially, I don't care. I've already gotten all the props I can get from all of my releases. I don't really need any more acknowledgement. I really should get into gardening or something like that, some other hobby, at this point.
A lot of D. How does that make you feel, or does that matter to you that your sound and your approach influences others? Oh, yeah. It's the whole thing, man. Those are the people that have the careers. I mean, the kids are the ones who are getting record deals. As long they get turned on to what I do, I seem to be somewhat successful in my ability to sort of influence tomorrow's record deals today. It seems like the people who were exposed to my stuff as teenagers went on to become artists themselves who got record deals, that had careers that far surpassed my own.
I'm happy that I get any kind of mention at the table, and it's really what makes it possible for me to do what I'm doing. I've never been invited to a red carpet event. I'm like, "Yeah! Every day I'm not over the hill, I'm stoked to still be somewhat employed by my interests.
It's key that other people shine a light on me. That helps. I'm aware of the people doing that, and I'm not asking them and I never have.
I find out about it after it's been circulated. So, I'm kind of like the last one to find out about that kind of stuff.
All the same influences, all the things I listened to back in the day. There're more artists out there that I like now. There's so much good music hitting the world, and it's always been that way. It's always been right next door to you, you just didn't know it. I don't really have the appetite and the time or the level of patience to listen to everything that comes my way. I mean, I've got people sending links all day long, never-ending, like, "Could you listen to this and tell me what you think about what I do?
I don't want anybody that likes what I do thinking I want to hear what they do. I don't necessarily love what I do or think very highly of myself or even listen to my own music, per se. So it's a much different kind of dynamic and I try to be polite about it, but it doesn't stop me from rubbing people the wrong way, almost as a rule.
I would love to get a glimpse back into your life of when you were recording House Arrest and Loverboy. Where were you living and hanging out? What kind of music were you listening to at that time? Take us there for a moment.
I shared a bathroom with several other people in this house in Crenshaw. I answered a classifieds ad in The Recycler magazine. I thought it just was a cheap room.
I went, and I got to the house in the ghetto, on a very dangerous street. It's right by where Catch One disco is, where Das Bunker was. Back then, there was nothing going on there.
It was practically condemned. But my house was the one that's overlooking the parking lot of Catch One. It was a top floor. There was this older Cambodian guy. He was kind of a hoarder. He was in the room right next door to me. Then there was this guy who was fresh off the boat from Hungary, who was doing chiropracting down the hall. The downstairs was occupied by a bunch of monks. It was a meditation center, an ashram. They didn't deal with money or with material things in this world.
They have different homes, places around the country and around the world that are Ananda Marga centers. They welcomed these nomadic monks that go from one place to another, all of them coming and going. They'd stay for a week or two, or sometimes a couple months. And then there was also some South American refugees that were upstairs in the attic. They didn't speak a word of English.
They weren't part of the meditation center, per se. Then there was a guy downstairs who was a very handsome, tall, Black man from the Congo. His whole family had been murdered and he had just arrived in the United States. I think the monks did amnesty stuff, outreach around the world and good things like that.
Every Sunday, Ananda Marga would do a food drive, sort of like a market, on the front lawn of our house. They were devoted to doing good things for the community. And they're still there. I went there with a radio show, actually.
But it was a very, very strange thing. I lived behind a locked door. I didn't adhere to any of the rules of the house. I should have been kicked out within seconds. The only thing I asked when they gave me the three-page list of restrictions, the things that I had to agree to in order to live there, I just asked if there was a lock on my door. They said yes.
But I broke every rule in the book. You can't even bring onions in there. Anything with flavor, that was banned from the house.
But I smoked. I messed around. I had people sleeping over. I had lowlifes that made noise all hours of the night. Not one noise complaint ever, and they were up early. I was really shocked. I made four records there. And in that time, I met my wife-to-be, and we broke up not long after I left there. I had another girlfriend before that when I got there.
And I was working jobs. During the day, I was working at the elementary school that I had attended, Temple Emanuel. I was doing that from in the morning toin the afternoon. I basically had no life and no friends, so I had all of my time open to devote to making music. When I wasn't working at that place, I worked at Rhino Records and at my dad's office.
I was committed to being independent and not freeloading off of my parents. It was a very magical time. It was a very, very dark time, too, in a weird way. I can't believe I managed to get through it.
It was really amazing. I don't know how I had all the time to do all the things that I did. I just didn't have any friends. I was making the most of it. Did you feel lonely at the time or feel strange being in a place of people doing something totally different from what you were doing in there?
That was the world. I never felt like I was a part of the world until fairly recently, about eight years ago. Being completely at odds with the world was the most natural thing to me, so I sort of blocked it out. I had this cognitive dissonance. I was a very troubled, A. I was used to being left alone, at least that's what I wanted it to be. I had a very, very active private life that was just in my mind, and I just needed to be allowed to do that.
So, that's changed now, and there's a whole culture that's basically arisen around that because of me. I'm sure that place had Charmaine - Various - Orchestral Magic (Cassette) specific influence on the music you were recording there. You've spent most of your life in and around L. How do you feel like L.
I mean, I've never lived anywhere else. I guess I'm a country bumpkin. I never left home. I don't know what it's like to even imagine what being somewhere else would do to influence my music or my surroundings. If I were to leave L. I've been one continuous stream. I don't start over. I don't understand what the disconnection is between people and their roots. I still walk down the same streets that I did when I was younger.
For me, it's the most natural thing in the world to be in my element here. I'm not trying to advance or move anywhere else. I'm not even trying to make it back to the westside or anything like that. I don't even understand how people from the East Coast come here and become bi-coastal. They have means. So they all come out here, and they bring their rent prices with them.
This place used to be cheap. I mean, L. But it's my place and it's where my family is. I don't need to move. It'd be weird if I just moved somewhere else. I'm very, very rooted and very anchored to my comfort zone, I guess.
So that's the real reason I'm here. And like I said, the world seemed to come to me, in that regard. When I was doing the music stuff in the early s, there was no indie music scene here. It took New York discovering me for L. There were no indie labels, there was no grassroots scene happening underneath the current. The audience wasn't here, is what I'm saying.
We just broadcast careers across the world. It's sort of a behind-the-music place. That's changed now, and now it wants to think of itself as a hotbed of indie activity, which I don't engage with at all.
Bruce Hornsby is constantly on the search for new sounds to explore and fresh ways to express his thoughts. He later made an impact during a stint on keyboards with The Grateful Dead and dabbling in a variety of genres on his albums, including ventures into folk, jazz, bluegrass and even classical music.
I'm doing this for people who are interested in a little bit of musical adventure. His latest albums—'s Absolute Zero and the newly released Non-Secure Connection —find him exploring yet another genre: film scores. Thanks to his work on music for multiple Spike Lee filmsincluding 's BlacKkKlansmanHornsby realized he could turn a film score cue into a song.
He uses piano as well as instruments like the electric sitar and Chamberlin to create atmospheric, cinematic songs. Released Friday Aug. Album standout "Anything Can Happen" features the late Leon Russellwho co-wrote the track and appears on it courtesy of a demo that he and Hornsby recorded together more than 25 years ago. Lyrically, Hornsby has plenty to say on Non-Secure Connection.
He muses on topics such as computer hackers, mall salesmen and the "Darwinian" aspects of AAU basketball. A longtime, ardent supporter of civil rights—his hit song, " The Way It Is ," references the civil rights movement of the '60s—the singer continues to address the social issues of the time across the album.
Lots of folk music has reflected through the years the world in which those writers wrote. And so, this is me doing my version of taking Nina Simone's charge and running with it," he says. Songs such as "Bright Star Cast" and "Non-Secure Connection" feel very timely, with lyrics about civil rights and connections with each other. It's all of a sudden timely again, not that it's never not timely.
The problems of American racism are always evident; you don't have to look very closely to find them. But certainly, the George Floyd tragedy has galvanized the scene, galvanized anyone who was at all sympathetic to the race issue and Blackness in America.
It's sort of serendipitous … that I wrote this song "Bright Star Cast," which is an attempt at a civil rights anthem. But it should be no small surprise because my career started with a song about racism: "The Way It Is.
And you mentioned "Non-Secure Connection," which is a song about a hacker, and that's, of course, very much sort of au courant in the current zeitgeist. Nina Simone said it best: "It's the artist's job to reference the time in which we live. And so, this is me doing my version of taking Nina Simone's charge and running with it.
When it comes to singing about racial equality, do you feel there's a constant search for finding the right words to express your feelings about it? Well, there's a constant search to find the right words to express really anything. If you're trying to do something of some worth, then that's not easy. I think in everything I write, it's difficult to find the best words, and I struggle with it, just like any songwriter who's serious about it probably would and probably should.
But I can make also this statement about what's happening now to me. Induring the heyday of the civil rights movement, especially in the South, there was a protest going on in Birmingham, Ala.
It was just a horrific scene, and someone captured this on film … As soon as they could, they showed [this film] on the national news And so, this film of this terrible local response to a civil rights protest, again, it shocked the country when they saw this … that just made the country aware of what was going on, and they previously had not been.
And several months Charmaine - Various - Orchestral Magic (Cassette), [President Lyndon B. And I think a large part of what enabled them to do this is that footage from Bull Connor's police-hosing moment. And so, this is a Bull Connor moment right now, because the video of that terrible, basically murder of George Lloyd—that went viral in a way that they couldn't think of in '64, obviously, [without] the internet.
It went around the world and inspired the same response; that's why I call this a Bull Connor moment.
And hopefully, it will have the same effect. I mean, that was a major law passed, the Civil Rights Act Of I refer to it in my song, "The Way It Is": "They passed a law in '64 to give those who ain't got a little more.
Can you explain that connection? If you're a serious basketball aspirant as a child, as a young hopeful, and you have a very solid to great talent, you're probably going to be playing in what's called grassroots basketball, summer basketball, also known as AAU basketball. My son, Keith, went through that crucible from age 10 to This song comes from some of his experiences that he would tell me about.
But also, what may be of interest to some regarding Charmaine - Various - Orchestral Magic (Cassette) song is that to me, it's an odd musical juxtaposition of modern classical meets modern pop. Half of the songs on Non-Secure Connection were originally crafted while you were working on film scores for Spike Lee.
What was it like getting exposed to his unique perspective and working with a different kind of music? Well, I've been being exposed to Spike's unique perspectives for 28 years. We met in … The first time I worked with Spike, he directed a video for me for a song of mine off my fourth record called Harbor Lightsand the song is called "Talk Of The Town.
I've been working with him since ' Those five songs to which you're referring, they started off as film cues, as instrumental music, part of my score for various Spike movies in the last decade.
I started doing this on my last record, Absolute Zeroand I've continued to do that. It was a new way of writing songs for me and took me to a different, more cinematic place for obvious reasons. I feel these two records, Absolute Zero and Non-Secure Connectionhave that connection, that at least half of the songs come from that [film] world, hence the cinematic quality That's always inspiring, and it makes me not want to settle in my own work.
He has more stamina than two people in their 60s. He can just go and go all day, every day, from in the morning to midnight—and then do it again, like I say, every day. He's a very inspiring person and just a great, longtime friend. I think that's true. Since I tend to be a storyteller in song, I'm not much of a "woe is me" writer, if you understand what I'm saying. I'm not much into the confessional writing. I love a lot of people who've done that, but they would mine that area a lot better than I would.
I've tended to be more of a storyteller, or I guess a commentator, on the current scene. So yes, I think a filmmaker's telling the story, using music to augment the emotional quality of the film, and I'm doing the same thing here. Read: 'Score': Soundtracks take us on an emotional ride. I wanted a woman to sing with me on "Bright Star Cast," and our great friend from Jagjaguwar, Eric Davis, hooked us up with one of their artists named Jamila Woods. I wasn't familiar with Jamila, but I went and listened to her music and Charmaine - Various - Orchestral Magic (Cassette), "Wow, I love it.
It's a beautiful and great sound. So I twisted and turned his performance around just a little bit to fit what we were doing, the song that I created on top of that piece of instrumental music and the film music. I've loved [Vernon] for years, a longtime friend and a great musician. Leon Russell was one of the two pianists that I heard when I was younger that made me want to play the piano.
The first was Elton John. The second was Leon; he was one of my early heroes. I met him years later after we had our career going fairly solidly. We ended up getting together for a Rolling Stone photoshoot that they asked us to be a part of.
I asked him if he wanted to try to get back into the crazy music game, and he called me. About four months later—this is —he called and said, "Well, I'd like to try it if you can help me. Inwe made the record gradually over the course of that year, and it came out in ' I think the first song that we wrote together was sparked by him asking me to write him a Barry White track. I tried my best to effect a Barry White feeling on a musical track.
Then I picked some words that he'd written for him out of this notebook that he had full of lyrics. He sang it incredibly well, and that was the title song of that record, "Anything Can Happen. In the end, I loved the demo we cut. This happens so often, that the demo is not really made much better, or it's actually made worse in the end, by polishing it too much. I always felt that the record we made was not as good as it could have been. I've always wanted to recut the song; this was my time to do it.
We sampled a little bit of Leon from the original demo and flew it into the record. He's sort of a ghost behind me in the first part of the song.
Then he comes in full force to sing harmonies with me at the end. He passed about three or four years ago, and I spoke at his memorial service in Tulsa, Okla.
Leon meant a lot to me, and we'd become good friends for many years. I guess it is truly a tribute to my old-hero-turned-friend. Throughout your career, you've written albums in a variety of styles and have said that you're no trend-follower. Why do you feel it's still important to keep exploring in music even after plus years?
I'd say it's not really about what's important. It's just a byproduct of a constant search for inspiration, a constant search for the new, a constant search for growing and evolving and improving your craft and your creativity over a long career period. And so, I guess I'm just intellectually, musically curious or musically, intellectually curious. And I'll deal with a broad range, stylistically, of music—from the most down-in-the-dirt, old-time folk and traditional music to the most avant-garde, atonal, modern classical music.
All of that is all that is used in my records. And some people really hate that, but I guess I'm not playing for that I'm not doing this for them.
It's just the byproduct of my curiosity and, I guess you could say, insatiable search for new inspiration. Meet Dua Saleh. They are a non-binary artist born in Sudan and based in Minneapolis, creating haunting alt-pop from another dimension. On the expansive six-track project Dua explores facets of their identity, using the power of their vocals with an effortless fluidity, enhanced by beats from producer Psymun.
I want to start by checking in and see how you're feeling right now, and how you've been coping with these difficult times. Saleh : I'm feeling pretty anxious. Anxiety and fear have been the streamline that's been running through my system. But I've also been feeling activated and feeling ready to put in as many resources and as much love and care into my community as possible, because everybody's dealing with a lot, both from the uprising and from the COVID shut down and financial ruin.
And just a lot of personal things that are happening to people within the Black trans communityand just across all communities that I've been attached to personally. Christensen : I've been also pretty anxious, but overall fine. I haven't really been making music much; it's just hard to focus, I guess.
Have you been feeling that, Dua? Saleh : Yeah. I feel like I've also been sick for a long time and, even now, I'm anxious about interviews that I'm doing. So I haven't been able to even focus on music because my voice is not capable of even talking for long periods of time. I don't know if that's because that anxiety is also adding to that, but I think that's just been on my mind.
A lot of chest pains, I couldn't breathe during times. I had to intake a lot of vitamin C, otherwise, I would literally be gasping for air and my heart would be palpitating immensely. Also, my voice hurt for a long time.
I couldn't speak for like two weeks, legitimately. Saleh : Yeah, I tested negative, but I didn't get my antibodies tested, which I should check that out. Christensen : I think the antibody test is expensive. I'm getting tested again today because it's free, just to make sure. I want to get your pulse on how things are feeling right now in Minnesota. How would you describe the current situation we're in here in the U.
Christensen : Well, the feeling of it, it's a lot. It's really beautiful for a lot of reasons, but it's also really, really tense for a lot of reasons. Currently, things haven't stopped. There's still plenty of protesting, but from what I've noticed, rioting and stuff has slowed down.
I think people can literally only handle so much. It's not like things have stopped and I don't think they're going to. I hope not. But there is a weird part that feels like things have almost gone back to normal in the city. I think the media doesn't cover a lot of what's still going on, so it's hard. It does feel like things are back to normal in a way, but they're not actually. Saleh : I feel like for me, I've been seeing a lot of community care infrastructure being put in place by community members, like mutual aid efforts and sanctuaries.
People have been signing up to be security and medics at the sanctuaries and offering food and medical supplies for people, tents for displacement and homelessness. And people being there for GoFundMe efforts for people who have been harmed or their businesses and their homes have been completely destroyed by non-local agitators, as well as some local agitators.
I've just been seeing a lot of community efforts of love and care. And I feel like that energy is what makes people feel like things are going back to normal, because it's not really about the urgency of immediate fear of death and pain because there aren't weapons with live ammunition being pointed in the faces of people, but they are still afraid of being harmed by police officers.
One of the sanctuaries that was set in place by community members had to move a few times because police officers were called and they literally displaced all these people. So in my mind, I feel like the urgency is still there, just the narrative around it has shifted and people aren't as interested or intrigued by talking about sanctuaries or mutual aid because it's not as tantalizing as, I guess in a pornographic way, as protests and as tear gas grenades and other things that are thrown at people.
It's more about institutional violence and ways to help people who are in urgent need in that way. It just shows how, like you said, people have to bring the attention in all the right places, because I think many people want to help and offer what they can. Saleh : Definitely. And there are a lot of different organizations and arts-based orgs that are doing healing programming for people to try to figure things out that way and also need immediate funding.
Like Mercado Colegio, who are working with Latinx community members, or Free Black Dirt is helping with healing efforts and food redistribution, and also Women for Political Change, which me and Psymun are donating all of our proceeds from "body cast" to directly. They've been doing a lot of immediate on-the-ground work with medics, medical aid and security. As well as with redistributing funds to Black youth, specifically Black women and Black trans and non-binary people who are in immediate need, especially after all the events that occurred with the uprising and with COVID People are very vulnerable and need support, so organizations like those are very helpful.
I would love to talk a bit more about "body cast. Saleh : Psymun, do you remember—I feel like I've just been talking out my ass for most of these interviews, because I don't really remember how the songwriting process started. I know I had some random lyrics written down in my Notes app and I think you sent me some chords or something and the title of it was called body cast, and that spiraled me into something. Or were we in the studio? Christensen : I was in L.
It was when I sent you that grip of ideas and that one actually wasn't just chords, that was like one of the two that I sent with drums. It was called body cast, I just named it something random. One thing I really like about working with Dua is, a lot of the time, whenever I send them anything, it's just named something random and they typically write a song based off of what I titled it. Which is really funny, because most people don't do that. Saleh : I don't know. I get lazy with titles.
So I'm like, yes. Also, Charmaine - Various - Orchestral Magic (Cassette), it's really good inspiration. I appreciate your titles.
Actually, "windhymn" which is on the EP, was called yah originally. I miss that name, to be honest. Christensen : [ Laughs. You sent me, the one we sampled, was from Angela Whitehead.
You also sent the Sandra Bland one, which I think, I don't know if it was just me, so I'm not trying to speak for you, but I remember feeling like, man, this is really sad.
Triggering, probably. I'm glad that you chose the other one. I think the first one I sent was the Angela Whitehead one, because I think in myself, I was like maybe the Sandra Bland one is intense. I've been very cognizant of the way that auto-played videos of Black people in distress have been triggering Black people who follow me on social media. So I haven't re-posted any of those videos. I think back then, I wasn't thinking about that. It was a year ago. And I didn't even think that we were going to release the song now, I thought it was going to be in a future project.
But I definitely now, upon reflection, appreciate the fact that the Angela Whitehead video was chosen, because that video is such an energizing and activating video because people see it as reasserting their right to be aggressive and loud and to live in the comfort of her home without fear of invasion.
And once you released "body cast," what did it feel like to share that message, standing up to police brutality, at this time?
View credits, reviews, tracks and shop for the Cassette release of The Magic Of Christmas on Discogs. Label: MCA Special Products - MSC • Format: 2x, Cassette Compilation Box Set • Country: US • Genre: Jazz, Pop, Classical, Folk, World, & Country •. A Little Night Music The Magic of Mozart London Viva Cassette Tape. $ Was: $ $ shipping. or Best Offer. 2 pre-owned from $ Chicago Symphony & Various Artists. $ $ Victoria's Secret Tchaikovsky's Nutcracker (Cassette) London Symphony Orchestra. $ Heinrich Schutz- Sacred Music Cassette Tape (MHC Écoutez Orchestral Magic par Various Artists sur Deezer. Avec la musique en streaming sur Deezer, découvrez plus de 56 millions de titres, créez gratuitement vos propres playlists, explorez des genres différents et partagez vos titres préférés avec vos amis.
Aug 02, · Provided to YouTube by Kontor New Media GmbH Charmaine (Remastered) · Norman Candler · The Magic Strings Girls ℗ Intersound GmbH Released on: Artist: Norman Candler Orchestra: The.
Audio, Cassette Naughty Boys & Instrumental. by Yellow Magic Orchestra Instrumental Magic: Cocktail Piano Moods by Various () out of 5 stars 3. Audio CD $ $ $ shipping. Yellow Magic Orchestra;. His scoring replayed the theme using different instruments as lead. The different combination of instruments enhanced the beauty of the song. Unfortunately, we could not find a copy until I stumbled upon this CD on Amazon. This CD, re-mastered in , is quality sound. It is as clear as being in the concert hall with the orchestra/5().
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Aug 02, · Provided to YouTube by Kontor New Media GmbH Charmaine (Remastered) · Norman Candler · The Magic Strings Girls ℗ Intersound GmbH Released on: Artist: Norman Candler Orchestra: The. s RCA Classical Music Cassette Tape LOT Of 4 Boston Pops Arthur Fielder $ 5 NIP New Music Cassettes 4 Treasury Piano Classics 1 Tchaikovsky's Great Hits.
THE CLASSICAL COLLECTION BIZET ORCHESTRAL CLASSICS cassette album T £ BITTER SUITE - Various Artists Compilation Cassette CBS £ Click & Collect. Free postage. ALED JONES WITH THE BBC WELSH CHORUS cassette tape album T £
C⎟PRODUCTPROJECT - LÂme bleue (File, MP3, Album), Minimalive - Various - 78 Crew (Vinyl), When The King Rides By - Cat Power - I Am Chan And Chan Is Me (CDr), The Libertines - Up The Bracket (CD, Album), Walter Scanlan - The Old Homestead / Star Of Faith (Vinyl), Sunrise Serenade - Floyd Cramer - Piano Masterpieces 1900-1975 (Vinyl, LP), Martian Gun - No Artist - Sampler (Cassette), Morena Linda - Sirano & Sirino - Dando Um Banho De Gato (CD), Roast Fish and Cornbread - Lee Perry, Jij Hield Niet Van Mij - Ben Cramer - De Clown (CD), Plex - S.L.A.B. - Slow Loud And Bangin, 4.5 Plex (CD, Album)