Singing of Birth and Death: Texts in Performance
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But friends say he suffered a three-day relapse last August, during which he blacked out from alcohol, and had been drinking as recently as October. Bennington talked about his issues in an interview in February with Music Choice. And if I get stuck in here, like, I just find life really hard. He was born on March 20th, , in Phoenix, the youngest of four children.
His mother, Susan, was a nurse; his father, Lee, was a police detective who investigated child-sex crimes. From the time Chester was seven or eight until he was 13, he was sexually abused by an older male friend. The experience led Bennington to explore drugs and alcohol. By his teens, he had used opium, amphetamines, marijuana and cocaine. Bennington claimed to have kicked substance abuse the first time in , when a local gang burst into a place where he was getting high with his friends and beat and robbed them.
You could feel the tension between the two when he sang, and I think the reason so many people connected to his music was because of that balance he achieved between the two. He could be funny in a juvenile way one minute he was a fan of scatological humor and deeply sensitive the next: Shuck recalls Bennington kicking himself endlessly after making a joke about lung cancer onstage. Bennington and DeLeo were laid over for 12 hours in Chicago, and the drummer felt horrible for keeping them from home during the holiday season.
At home, Bennington found solace in his six kids. He was really an engaging soul. I thought that the city of al-Sinbillawayn was the biggest city in the world and I used to listen to news about it the same way one would listen now to news about New York or London or Paris. When she was about five years old, Umm Kulthum entered the kuttab , or Qur'an school, in her village that her older brother Khalid attended.
Upon the death of the shaykh their teacher, the children were sent to the school in the neighboring village of izbat al-Hawwal, several kilometers away. Umm Kulthum remained a student there for three years. Umm Kulthum learned to sing from her father. She overheard him teachings songs to her brother, who was supposed to accompany his father at the celebrations for which al-Shaykh Ibrahim sang. Umm Kulthum learned the songs by rote. When al-Shaykh Ibrahim discovered what she had learned and heard the unusual strength of her voice, he asked her to join the lessons.
Singing Of Birth And Death: Texts In Performance Download tags:q3dkvel
Umm Kulthum began performing in her own village at the house of the umdah on an occasion when Khalid felt ill. Because of her youth and exceptionally strong voice, the child became an attraction for the group and eventually its premiere singer. As their opportunities increased, the family traveled farther and farther afield, often on foot. Umm Kulthum later reflected that it seemed to her they walked the entire Delta before they ever set foot in Cairo.
A number of people encouraged Umm Kulthum and her father to consider going to Cairo to further her career in the center of the entertainment business. Her family was reluctant to do this, saying they did not know the city and had no close relatives nor any assurance of work there.
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The subject of Cairo remained under discussion for several years. The Move to Cairo The move was finally accomplished in about with the aid of musical mashayaikh from the city with whom Umm Kulthum and her father had established contact. They helped the young girl find performing opportunities and meet the theatrical agents who were essential to sustaining a career in the entertainment world at the time.
Umm Kulthum's chief mentor in this endeavor was al-Shaykh Abu al- ila Muhammad, a composer and singer who also became her principal teacher. Umm Kulthum's voice was quickly identified as exceptionally strong and vibrant and garnered immediate notice in the press. However her talent was viewed as unschooled: she lacked command of the vocal subtlety and melodic nuance expected of a first-rank singer as well as the requisite stage presence of the established singers of the day.
She set out to improve her skills in all areas. Her father hired numerous music teachers: al-Shaykh Abu al- ila introduced her to poet Ahmad Rami who taught her poetry and improved her command of literary Arabic. She emulated the dress and manners of the elite ladies in whose homes she sang and even became personal friends with a few of them. When Umm Kulthum began singing in Cairo, her repertory consisted in large part of that sung by her father in the Delta, augmented by a few popular songs that she had learned along the way.
Her father's repertory was customarily sung by a solo vocalist with accompaniment by a chorus of two to four men. I the Cairo of the s, this style of performance was viewed as old-fashioned; new songs, and even the older repertory of singers such as Abu al- ila, were accompanied by an instrumental takht. Following hints in the spring of that she should not succeed in the long run accompanied by her family, she hired accomplished and prestigious instrumentalists in their place. Her repertory of religious qasa'id and tawashih gave way to new and modern love songs composed especially for her.
This change, accompanied by Umm Kulthum's increasingly elegant personal style, thrust her into direct competition with the city's leading singers. Her trained voice, her new repertory and takht, and her more cosmopolitan demeanor enabled her to rise to the top of the ranks of Cairo's professional singers by During the s and s, Umm Kulthum began to make commercial recordings and launched her life-long involvement with mass media, essential to her long and extensive popularity.
Her commitments later expanded to include radio, from the inception of Egyptian National Radio in , films, which she began in , and television in Her financial success in commercial recording stabilized her income and enabled her to choose her performing opportunities with greater care than was possible for less fortunate entertainers. Radio broadcasting allowed her to count among her most devoted listeners hundreds of thousands of Egyptians and Arabs who had never seen her and would not dream of attending a public concert.
While valuing the live audience as integral to her artistry, Umm Kulthum cultivated as her audience all listeners, including the vast numbers sitting in homes and coffee shops near a radio. She used broadcast interviews as well to establish rapport with the radio audience and to identify herself as a familiar figure to them. Her command of the art of the interview, and hence the projection of a particular persona, was hard-won during the s and s.
A number unfortunate blunders with journalists left her wary of uncontrolled contact with representatives of the media. She began to court selected journalists to whom she would grant interviews and who would, in turn, support her in print. She guarded her private life carefully, cultivated friends who did the same, and would speak to reporters only on topics of her own choosing, promulgating carefully expressed opinions and views of herself.
Her increasing musical skill and financial stability in the s allowed her to assume great control over all aspects of her performances. As sis most entertainers who were able, Umm Kulthum eliminated the theatrical agent from her professional life as soon as possible. She used her circle of carefully chosen friends as advisors and sometimes representatives and, by , became the producer of her own concerts and negotiator of her own contracts. She was able to obtain extraordinary contracts that called for her approval of virtually every aspect of a performance, including selection of accompanists, and actors and technicians for her films.
During the s, her repertory took the first of several specific stylistic directions. Her songs were virtuosic, as befit her newly trained and very capable voice, and romantic and modern in musical style, feeding the prevailing currents in Egyptian popular culture of the time. She worked extensively with texts by romantic poet Ahmad Rami and composer Muhammad al-Qsabji, who's songs incorporated European instruments such as the violoncello and double bass as well as harmony.
The "Golden Age" of Umm Kulthum Umm Kulthum's musical directions in the s and early s and her mature performing style caused this period to be popularly called the "golden age" of Umm Kulthum.
The Glorious History of Handel’s Messiah
In keeping with changing popular taste as well as her own artistic inclinations, in the early s she requested songs from composer Zakariya Ahmad and colloquial poet Bayram al-Tunisi cast in styes considered to be indigenously Egyptian. It took time for Messiah to find its niche as a Christmas favorite. Matthew Passion , most especially—and so little great sacral music written for Christmas," says Cummings. There is little doubt about Handel's own fondness for the work. His annual benefit concerts for his favorite charity—London's Foundling Hospital, a home for abandoned and orphaned children—always included Messiah.
And, in , when he was blind and in failing health, he insisted on attending an April 6 performance of Messiah at the Theatre Royal in Covent Garden.
Singing of Birth and Death: Texts in Performance
Eight days later, Handel died at home. His total estate was assessed at 20, pounds, which made him a millionaire by modern standards.
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