Вы находитесь на странице: 1из 92

WSC 2019: A World on the Margins

Arts and Music


Louder than Words
Table of Contents
Arts 7
In a Gallery of their Own: Isolation and Separation 7
Office in a Small City | Edward Hopper 7
Edward Hopper 7
Office in a Small City 9
Hiding in the City – Vegetables | Liu Bolin 10
Liu Bolin 10
Hiding in the City – Vegetables 11
Papilla Estelar | Remedios Varo (1958) 12
Remedios Varo Uranga 12
Papilla Estelar/Celestial Pablum (1958) - Star Maker 14
Here We Are | Kushana Bush (2016) 15
Kushana Bush 15
The Burning Hours 16
Here We Are 17
Untitled Cobweb (Knots and Crossings) | Reena Saini Kallat (2012) 18
Reena Saini Kallat 18
Untitled (Cobweb/Crossings) 18
Open Border | Atelier ARI 20
Atelier ARI 20
Open Border 20
Self Portrait with Jewish Identity Card | Felix Nussbaum (1943) 21
Felix Nussbaum 21
The artwork 23
A Light in Obscure Places: The Unseen, the Misunderstood 25
Between the Margins - Toyin Ojih Odutola (2017) 25
Toyin Ojih Odutola 26
To Wander Determined collection 26
Between the Margins 27
Woman Ironing (Isis) - Vik Muniz 28
Vik Muniz 28
Woman ironing 29
Picasso’s Woman Ironing (1905) 29
Seodang | Kim Hong-Do 30
Kim Hong-Do 30
Seodang 30
Free Period in the Amsterdam Orphanage | Max Liebermann (1881-1882) 31
Max Liebermann 31
The painting 32
The Fourth Estate | Giuseppe Pellizza da Volpedo (1901) 33
Giuseppe Pellizza da Volpedo 33
The painting 34
The fourth estate 34
Stag at Sharkey’s - George Bellows (American, 1882-1925) 35
George Bellows 35
Stag at Sharkey’s 36
The Potato Eaters | Vincent van Gogh (1853 - 1890), Nuenen, April-May 1885 37
The Potato Eaters 37
Hotel, Room 47 | Sophie Calle 39
Sophie Calle 41
Hotel, Room 47 41
Pacific | Yukinori Yanagi 43
Yukinori Yanagi 43
Pacific 43
Fountain | Marcel Duchamp 46
Marcel Duchamp 46
Fountain 46
Between the Cracks | Cynthia Decker 50
Cynthia Decker 50
Between the Cracks 50
Unclear Creations: When the Who, How, When, and What Confound 51
The Awakening Slave | Michelangelo 51
Isleworth Mona Lisa | Unknown/Da Vinci 54
Woman-Ochre | Willem de Kooning (1955) 56
Willem de Kooning 56
The painting 57
The theft 58
Mike the Headless Chicken - Lyle Nichols 59
Miracle Mike 59
The sculpture 60
La Sagrada Familia | Gaudi 61
The Arts as a Verb: To Help, Mayhaps to Hurt 63
Key to the City - Paul Ramirez Jonas (2010) 63
Harold Whittles Hears for the First Time | Jack Bradley 65
A Show of Hands | Htein Lin 66
Music 68
In a Gallery of their Own: Isolation and Separation 68
Songs of a Wayfarer no. 2 | Gustav Mahler 68
Gustav Mahler 68
The piece 69
Viva la Vida | Coldplay 71
Coldplay 71
Viva la Vida 72
Therru’s Song | Tales from Earthsea 74
Tales from Earthsea 75
Signs | Five Man Electrical Band 75
Five Man Electrical Band 75
Signs 76
Motorcycle Drive-By | Third Eye Blind 77
Third Eye Blind 77
Motorcycle Drive-By 77
Other People’s Stories and An Ordinary Guy | Amour 78
Amour 78
Le Passe-Muraille 79
Get Some Sleep | Bic Runga 79
Bic Runga 79
Get Some Sleep 79
A Light in Obscure Places: The Unseen, the Misunderstood 80
Me and the Sky | Come From Away 80
Come From Away 80
The song 81
Beverley Bass 82
Three Romances for Violin and Piano | Clara Schumann 82
Clara Schumann 82
Three Romances for Violin and Piano 83
The Way You Make Me Feel (Cover) | Renta Flores Rivera 84
Renta Flores Rivera 84
The Way You Make Me Feel 85
Follow the Drinking Gourd | American Folk Song 85
The Song as History 88
Didge Fusion | William Barton 89
Willian Barton 89
Mbube | Solomon Linda 90
Solomon Linda 90
Mbube 91
It’s the Hard-Knock Life | Annie 92
Annie 92
It’s The Hard-Knock Life 93
Little People | Les Misérables 93
Les Misérables 93
The musical 93
The song 94
Black Man | Stevie Wonder 95
Stevie Wonder 95
Black Man 95
Unclear Creations: When the Who, How, When, and What Confound 98
Symphony No. 10 | Ludwig van Beethoven & Barry Cooper 98
Ludwig van Beethoven 98
Barry Cooper 98
Symphony No. 10 99
Trying to Get the Feeling Again | The Carpenters 100
The Carpenters 100
Trying to Get the Feeling Again 101
Unfinished Symphony | Franz Schubert 101
Franz Schubert 101
Symphony No. 8 102
Requiem in D Minor | Wolfgang Mozart & Franz Süssmayr 103
Wolfgang Mozart 103
Franz Süssmayr 104
Requiem in D Minor 104
Free as a Bird | The Beatles 105
The Beatles 105
Free as a Bird 106
The Arts as a Verb: To Help, Mayhaps to Hurt 107
God Help the Outcasts | The Hunchback of Notre-Dame 107
Notre-Dame de Paris 107
The Hunchback of Notre-Dame (1996 film) 108
The song 108
Queen - Is This The World We Created? 110
Queen 110
Is This the World We Created...? 113
Y.M.C.A. | Village People 114
Village People 114
Y.M.C.A. 114
YMCA 115
Wavin’ Flag | K’naan 116
K’naan 116
The song 118
We Care a Lot | Faith No More 119
Faith No More 119
The song 120
Streets of London | Ralph McTell 122
Ralph McTell 122
Streets of London 122
Additional Cases & Guiding Questions 123
Indian Parai Music 123
The Mysterious Origins of Jazz - A case study of the music of a marginalized group
gradually becoming mainstream 125
Who was the real fifth Beatle? 129
Maria Anna Mozart Was a Musical Prodigy Like Her Brother Wolfgang, So Why Did She
Get Erased from History? 133
The Worst Ideas Of 2010: We Are The World 25 136

Arts
In a Gallery of their Own: Isolation and Separation
Office in a Small City | Edward Hopper
Edward Hopper
Edward Hopper (July 22, 1882 – May 15, 1967) was a prominent American realist
painter and printmaker. While he was most popularly known for his oil paintings, he was
equally proficient as a watercolorist and printmaker in etching. Both in his urban and rural
scenes, his spare and finely calculated renderings reflected his personal vision of modern
American life.
Edward Hopper is widely acknowledged as the most important realist painter of
twentieth-century America. But his vision of reality was a selective one, reflecting his own
temperament in the empty cityscapes, landscapes, and isolated figures he chose to paint. His
work demonstrates that realism is not merely a literal or photographic copying of what we see,
but an interpretive rendering.

Edward Hopper was born in 1882, in NY, into a middle class family. From 1900 to
1906 he studied at the NY School of Art, and while in school, shifted from illustration to
works of fine art. Upon completing his schooling, he worked as an illustrator for a short period
of time; once this career path ended, he made three international trips, which had a great
influence on the future of his work, and the type of art he would engage in during the course of
his career. He made three trips to Europe between 1906 and 1910. In retrospect, Europe meant
France, and more specifically, Paris, for Edward Hopper. This city, its architecture, light, and
art tradition, decisively affected his development.
When he arrived in 1906, Paris was the artistic center of the Western world; no other
city was as important for the development of modern art. The move toward abstract painting
was already underway; Cubism had begun. The influence of Impressionists, such as Monet,
Cezanne, and van Gogh is directly reflected in his own art. His reaction to the Impressionists is
directly reflected in his own art. He forgot the dark, Old Master-like interiors of his New York
student days, when he was influenced mainly by the great European artists - Francisco Goya,
Caravaggio, El Greco, and Diego Velazquez. His palette lit up and he began to paint with light
and quick strokes. Even in 1962, he could say, "I think I'm still an Impressionist."
In Edward Hopper's most famous piece, Nighthawks, there are four customers and a
waiter, who are in a brightly lit diner at night. It was a piece created during a wartime; and
many believe that their disconnect with the waiter, and with the external world, represent the
feelings of many Americans during this period, because of the war. The piece was set up in
1942, in the Art Institute of Chicago, and was seen by many people while it was on exhibit for
a show.
In the 1940s and 1950s, Hopper found himself losing critical favor in the wake of
Abstract Expressionism. Among the new vanguard art movement emerged in the early 1940s,
artists such as Willem de Kooning, Jackson Pollock and Mark Rothko advanced audacious
formal inventions in a search for significant content. By breaking away from accepted
conventions in both technique and subject matter, those artists made monumentally scaled
works that stood as reflections of their individual psyches, and attempted to tap into universal
inner sources. But Hopper continues on to paint the feeling familiar to most humans - the
triste embedded in existence, in our intimate knowledge of the solitude of the self. Although
the 20th century was the heyday of Sigmund Freud and Freudian Psychoanalysis, if ever
Hopper felt his psyche was distorted, he did not want it corrected, for art came from who the
artist was in every way. He did not wish to tamper with his subconscious nor his personal
vision of the world. Hopper never lacked popular appeal, however, and by the time of his
death in 1967, Hopper had been reclaimed as a major influence by a new generation of
American realist artists.
Office in a Small City
Office in a Small City is a 1953 painting by the American realist painter Edward
Hopper. It is owned by the Metropolitan Museum of Art in New York City.
It depicts a man sitting in a corner office surveying the landscape outdoors. The
style is reminiscent of many of Hopper's works in that it depicts loneliness and beauty in a
uniquely stark yet pleasing fashion.
Edward Hopper and his wife first rented a cottage in Truro, Massachusetts, in the
summer of 1930, and they would return there regularly through the 1950s. Hopper began
Office in a Small City while he was staying in Truro in the summer of 1953, and he finished it
in his New York studio in the fall. Rather than depicting the Cape Cod landscape, however,
Office in a Small City is a scene that could have taken place in any American town in the
mid-twentieth century. Hopper's explanation of his earlier work Office at Night (1940;
Walker Art Center, Minneapolis) also applies to this painting: "My aim was to try to give the
sense of an isolated and lonely office interior rather high in the air, with the office furniture
which has a very definite meaning to me."
The solitary office worker in this scene is isolated both physically and emotionally.
There is no indication of his particular profession, as he sits in his shirtsleeves; he appears, in
fact, to be daydreaming rather than working. The postwar culture of American business is
evident in the mass-produced office furniture, the impersonal atmosphere of the office
itself, and the man's detachment from his unseen coworkers. Despite the light and air
afforded by his corner office, he appears trapped in place. He is framed by the office window,
and his head is profiled against another window and the wall of the building beyond, in a
manner that suggests his containment within his environment. The solitude of the man, and
the contrast between the stark, utilitarian upper story of the building and its decorative false
front, visible at the lower right, suggest Hopper's own ambivalence toward modern urban life.
The Metropolitan Museum of Art acquired this painting very shortly after its
completion, and included it in the opening of its new galleries for American art in December
1953.
Hiding in the City – Vegetables | Liu Bolin
Liu Bolin
Artist Liu Bolin was born in China’s Shandong province and studied at the Shandong
College of Arts and the Central Academy of Fine Arts in Beijing. Bolin’s works have been
exhibited in museums across the globe allowing him to gain international notoriety. What he
has become most famous for is his series titled “Hiding in the City”.
The meaning of his artworks
Bolin’s work draws attention to the various social problems that come with China’s
fast-growing economic development. Bolin paints himself into the background of various
man-made structures, using products and slogans as a satirical and highly political statement
within his works as a focus throughout the background. While he is absorbed into the
background and all but ceases to exist, Bolin is questioning the environment in which he
lives. Each background that he has selected has specific and profound meaning.
Bolin questions what the meaning of human beings is in modern society, in which,
industry, the environment, society, and individuals themselves are constantly changing. He
challenges the ideas of people and place, which is why many of the spaces he chose to be
painted include landmarks, construction zones, gardens, retail, and public art spaces.
Inspiration & Bolin’s statement
As evident in his use of colors and pop art theme, Bolin’s style is inspired by Picasso
and Andy Warhol. In order to create his scenes, Bolin has a team of assistants who spend
several hours camouflaging him with paint to help him become one with the chosen
background. Not only does he use imagery that is recognizable in modern society, but he also
uses himself within these scenes as a political statement directed at today’s society and the
place people hold within it. Bolin combines vibrancy and politics in a way that is not only
visually pleasing but also effective at engaging the audience with the backgrounds that have
been carefully selected, thus communicating a silent message to the audience.
Hiding in the City – Vegetables
Bolin’s series began as an emotional reaction to the destruction of Chinese Beijing
artist village Suo Jia Cun, in which studios were demolished. This displacement of artists
serves as an example of the precarity in which artists in China face. “Hiding in the City” was
Bolin’s silent protest of the destruction of Suo Jia Cun. His protest was also meant to bring
attention to the absence of protection of Chinese artists. In his “Hiding in the City” series,
Bolin uses his body and paints himself into a variety of settings in Beijing. Through using
his body and inserting himself into art and by placing public spaces into his scenes, he
creates a space for Chinese artists fighting the precarity that their status often held in
China.
Liu's Hiding in the City series, along with other work by the photographer, is currently
on view at the Eli Klein Fine Art gallery in New York City. For Liu, the most important
element of his images is the background. By using iconic cultural landmarks such as the
Temple of Heaven, the Great Wall, or the remains of Suo Jia Village where his studio was
housed, Liu seeks to direct awareness to the humanity caught between the relics of the
imperial past and the sleek modern monoliths of the 21st century China. Each image
requires meticulous planning and execution: as both artist and performer, Liu directs the
photographer on how to compose each scene before entering the frame. Once situated, he puts
on his Chinese military uniform, which he wears for all of his Invisible Man photographs
and, with the help of an assistant and painter, is painted seamlessly into the scene. This
process can sometimes take up to 10 hours with Liu having to stand perfectly still. Although
the end result of Liu's process is the photograph, the tension between his body and the
landscape is itself a manifestation of China's incredible social and physical change.
Simultaneously a protester and a performance artist, Liu completely deconstructs himself by
becoming invisible, becoming a symbol of the humanity hidden within the confines of a
developing capital.
Papilla Estelar | Remedios Varo (1958)

Remedios Varo Uranga


Life
Remedios Varo Uranga (16 December 1908 – 8 October 1963) was a Spanish
surrealist artist.
Born in Anglès (north of Catalonia), Spain in 1908, she studied at the Real Academia
de Bellas Artes de San Fernando, Madrid. Varo spent her formative years between France and
Barcelona and was greatly influenced by the surrealist movement. While still married to her
first husband Gerardo Lizarraga, Varo met her second partner, the French surrealist poet
Benjamin Péret, in Barcelona. During the Spanish Civil War she fled to Paris with Péret
leaving Lizarraga behind (1937). She was forced into exile from Paris during the German
occupation of France and moved to Mexico City at the end of 1941 when the Mexican
president, Lázaro Cardenas, made it a policy to welcome Spanish and European refugees. She
died in 1963, at the height of her career, from a heart attack, in Mexico City.
Career
The very first works of Varo's, a self-portrait and several portraits of family
members, date to 1923 when she was studying for a baccalaureate at the School of Arts and
Crafts.
At school, surrealistic elements were already apparent in her work, as it had arrived in
Spain from France, and she took an early interest in it. While in Madrid, Varo had her initial
introduction to Surrealism through lectures, exhibitions, films, and theater. She was a regular
visitor to the Prado Museum and took particular interest in the paintings of Hieronymus Bosch,
most notably The Garden of Earthly Delights, as well as other artists, such as Francisco de
Goya.
The summer of 1935 marked Varo's formal invitation into Surrealism when French
surrealist Marcel Jean arrived in Barcelona. That same year, along with Jean and his artist
friends, Dominguez and Francés, Varo took part in various surrealist games such as cadavres
exquis that was meant to explore the subconscious association of participants by pairing
different images at random. These cadavres exquis, meaning exquisite corpses, perfectly
illustrated the principle André Breton wrote in his Surrealist manifestos. Varo soon joined a
collective of artists and writers, called the Grupo Logicofobista, who had an interest in
Surrealism and wanted to unite art together with metaphysics, while resisting logic and
reason. Varo exhibited with this group in 1936 at the Galería Catalonia although she
recognized they were not pure Surrealists.
She considered surrealism as an "expressive resting place within the limits of
Cubism, and as a way of communicating the incommunicable".
Varo often painted images of women in confined spaces, achieving a sense of
isolation. Later in her career, her characters developed into her emblematic androgynous
figures with heart-shaped faces, large almond eyes, and the aquiline noses that represent her
own features. Varo often depicted herself through these key features in her paintings,
regardless of the figure's gender.
Papilla Estelar/Celestial Pablum (1958) - Star Maker
Artwork description & Analysis: In the small chamber at the summit of a much taller
multi-sided medieval looking tower, a lone woman sits on a stool in front of a small table,
clearly doing 'woman's work' of some sort. The desk, chair and apparatus placed there
remind one of a sewing machine set up, or of pasta making equipment, but this instrument
does not have an ordinary usage. Hiding from the earthly realm below, close to heavens and
surrounded by swirling darkness, Varo pipes starlight in through a hole in the ceiling and
then turns the handle of her small machine to crush these celestial fragments to create the
pablum (baby food) that she then somberly, at a distance and with mechanical resolve,
spoon-feeds her caged moon.
The atmosphere is one of melancholy and although the moon is typically associated
with female strength and fertility, for Varo it seems that such associations have negatively
domesticated women and fueled restrictive patriarchal societies. Thus, Varo creates a wry
commentary upon the endless care taking of motherhood. Even when one's baby is cosmic
and the food is as beautiful as the stars, the task is portrayed as arduous, repetitive, and
quite isolating. Yet there is also a sense of longing in this image, which raises the question of
whether Varo did want to have children. Drawing upon her knowledge of science, as the
astrophysicist Karel Schrijver says, "most of the material that we're made of comes out of
dying stars". Varo therefore, whilst seemingly extraordinarily, in fact quite realistically
portrays an ordinary woman continuing the cycle of natural creation.
Here We Are | Kushana Bush (2016)
Kushana Bush
Kushana Bush is an artist who lives and works in Dunedin, New Zealand. She is
creating an entirely new style of art.
Kushana Bush draws on a range of influences in her skilfully created gouache
paintings, but her primary focus is the human figure, sometimes alone or, more frequently,
part of a larger crowd. Her palette of soft, delicate colours is distinctive and highlights the
elaborate gestures or poses of her subjects, who are engaged in mysterious actions, and set
in an indeterminate era. Bush deliberately draws on a range of cultural references, mixing
elements from Giotto’s frescoes, Japanese Shunga art, Indo-Persian miniatures, Dutch
religious paintings, Korean still life and folk art, and the painting of British artist Stanley
Spencer. Using a flat picture plane, she includes patterns resembling decorative tiles or
porcelain ware. Her figures are often wounded and vulnerable, partially clothed, and
playing out themes of power, conformism and sexuality, and the images hint at an
underlying violence through the use of humour and absurdity.
The Burning Hours
The Burning Hours focuses on paintings produced from 2014 to 2016 – years that mark
a significant compositional shift in Bush’s practice. Her early works positioned the subject
matter in the centre of the page – hovering within the image field as a way of isolating and
highlighting what was important.
In contrast, her most recent works see the central image reaching out to consume the
entire picture plane, a configuration that was first tested in Untitled (drawing). The inclusion
of horizons, landscapes and architectural structures bring the narrative to the fore, and anchor
the figures in a more realistic pictorial space.
This new body of work is rich with detail – each surface, of gouache and gold, is
filled with references to illuminated manuscripts, Persian miniatures, European art
history and modern life. These disparate sources bind Bush’s works to both the past and the
present; the historical and the contemporary.
Human interactions, humour, dramatic tension and intimate scale are her tools to
draw viewers into a private conversation and, in some cases, a spiritual space.
This sense of a spiritual space is the cornerstone of the body of work presented in The
Burning Hours – a title that pays homage to the medieval illuminated manuscript, ‘The
Book of Hours’. In 2014 Bush visited the Chester Beatty Library, Dublin, where she viewed
illuminated manuscripts, miniatures and decorative arts from Islamic, East Asian and
Western traditions. This experience was the closest thing to a spiritual event that she, as
secular individual, had experienced.
With her source material extending from thirteenth-century manuscripts to twentieth-
century painters (including Stanley Spencer), Bush is interested in how religious themes
blend with secular narratives, often manifesting in ritualistic violence. This interest is
permeated by Bush’s enquiry into grand narrative constructions, resulting in a series of works
that examines what spirituality, ritual and community might mean in a contemporary
world.
Here We Are
In 'Here we are' 2016, New Zealand artist Kushana Bush traverses, in painstaking
strokes of gouache, a vast array of sources -- from Mughal miniatures to medieval books
of hours and Italian Renaissance painting -- to create one of her most ambitious works to
date. In a brocade of figures, colour, gesture and pattern, Bush seamlessly infuses historical
references with symbols of our contemporary world, blurring temporal, cultural and
geographical boundaries so that, contrary to the assertion of the title, exactly where we
are is anything but clear-cut.
Here We Are takes place in front of a string of tapestries, each with their own rich
patterns. As Gutsell explains: “Every detail, down to the species of bird or tree, has been
carefully chosen to locate the work in a particular place at a particular time – juxtaposing
elements from diverse cultures and time periods into one composition.”
Untitled Cobweb (Knots and Crossings) | Reena Saini Kallat (2012)

Reena Saini Kallat


Reena Saini Kallat (b. 1973, Delhi, India) graduated from Sir J.J. School of Art,
Mumbai in 1996 with a B.F.A. in painting. Her practice spans drawing, photography,
sculpture and video engages diverse materials, imbued with conceptual underpinnings. She is
interested in the role that memory plays, in not only what we choose to remember but also
how we think of the past. Using the motif of the rubber stamp both as object and imprint,
signifying the bureaucratic apparatus, Kallat has worked with officially recorded or
registered names of people, objects, and monuments that are lost or have disappeared
without a trace, only to get listed as anonymous and forgotten statistics. In her works made
with electrical cables, wires usually serving as conduits of contact that transmit ideas and
information, they become painstakingly woven entanglements that morph into barbed wire-
like barriers. Her ongoing series using salt as a medium explores the tenuous yet intrinsic
relationship between the body and the oceans, highlighting the fragility and unpredictability of
existence.
Untitled (Cobweb/Crossings)
Sculpture
Since the Bhau Daji Lad Museum stands situated at Jijamata Udyaan (once called the
Victoria Gardens) in the natural environment of the zoo, I wanted the sculpture to have an
organic form, one that has some sort of a relationship to its surroundings. While thinking of
the museum’s history and its mutating relationship to the city of Mumbai, what occupied my
mind about the transforming city are the changing street names; in what manner streets
define a city’s imagination and how their names speak to us about the people who occupy
them. The Museum itself had undergone a change of name from the Victoria and Albert
Museum to Dr. Bhau Daji Lad Museum, a century after its inception. Conceived at the time
of the British rule, the museum and its collection narrate some of the earliest moments in the
city’s history through its industrial and artisanal past, through the changing life patterns of its
people across maps and historical photographs.
As we know, the early 90’s, as part of the decolonization spree, saw the change of
street names in Mumbai from colonial names to indigenous ones. While renaming is either
geographic, commemorative, often linked to language, in case of Mumbai it has been
more political than cultural and never without controversy. It’s been a real struggle between
the cosmopolitan identities over local or regional claims. ‘Untitled (Cobweb/Crossings)’, is
an oversized web formed with hundreds of rubber-stamps that weaves the history of the
city onto the façade of the museum. Each one bears the colonial name of a city street that
has now been replaced by an indigenous one. Part of the bureaucratic apparatus, rubber-
stamps metaphorically either seem to endorse or stamp histories out of existence. While
unknowingly, unconsciously, histories are constantly being interpreted and altered, what’s
interesting is the comfort and ease with which people shift between the old and new names,
often referring to a place with numerous appellations at the same time. The web is a home,
linear, fragile, protecting the physical self; at the same time it can also be a restricting trap.
A cobweb is evocative of time and appears to hold dust from the past.
Open Border | Atelier ARI
Atelier ARI
In 2014, Paul van den Berg and Joyce de Grauw formed Atelier ARI. Based in
Rotterdam, they are known for their no-nonsense approach of architecture and interior and
project design. Joyce and Paul seek innovation by perpetually studying missing ideas or
elements and by creating unusual combinations or applications of existing methods. Ideas
often start with an analyses of possible applications of the designated material.
Open Border
Responding to the tensed political climate spreading across the world, Rotterdam-
based Atelier ARI unveils a brightly red installation set across the Assiniboine river in
Winnipeg, Canada. stretching almost four meters in height, the wall, titled ‘Open Border’,
creates a striking contrast against the white snowy landscape and the sinuous ice skating trail
through which it cuts perpendicularly.
Atelier ARI’s open border installation was completed in January of this year with the
help of Canadian firm Sputnik Architecture as part of the 2017 Warming Huts competition,
which invites artists and architects to build a pavilion along the skating trail. Furthermore, this
project surfaced at the same time the President of the United States confirmed his plans to
construct a wall along the Mexican border and ban the entry of visitors coming from
several Muslim countries. Hence this installation, seemingly threatening at first glance, is
actually a porous border through which people can easily cross.
Cladded in red insulating strips that keep the cold wind out, ‘Open Border’ has an
inner wall that creates a series of interlinked spaces, bringing about a warm and friendly
nest for skaters and pedestrians. Finally, the structure is fixed to the ground via simple, red
painted wooden structures that are covered by the PVC slabs. The project is set to remain on
the ice until the river defrosts during early spring.
Self Portrait with Jewish Identity Card | Felix Nussbaum (1943)
Felix Nussbaum
Felix Nussbaum (11 December 1904 – 9 August 1944) was a German-Jewish
surrealist painter. Nussbaum’s artwork gives a rare glimpse into the essence of one
individual among the victims of the Holocaust.
The next decade of Nussbaum's life was characterised by fear, which is reflected in his
artwork. In 1934 he took Felka Platek , a painter whom he had met while studying in Berlin
and would later marry during their exile in Brussels in 1937, to meet his parents in
Switzerland. Felix's parents eventually grew homesick for Germany and, against his fierce
objections, they returned. This was the last time Felix would see his mother and father — the
source of his spiritual and financial support. Felix and Felka would spend the next ten years in
exile, mostly in Belgium, a period of emotional and artistic isolation for him but also one of
the most artistically productive in his life.
After Nazi Germany attacked Belgium in 1940, Nussbaum was arrested by Belgian
police as a "hostile alien" German, and was subsequently taken to the Saint-Cyprien camp in
France. The desperate circumstances in the camp influenced his pictures of that time. He
eventually signed a request to the French camp authorities to be returned to Germany. On the
train ride from Saint Cyprien to Germany, he managed to escape and rendezvous with Felka
in Brussels, and they began a life in hiding. Without residency papers, Nussbaum had no way
of earning an income, but friends provided him with shelter and art supplies so that he could
continue his craft. The darkness of the next four years of his life can be seen in the expression
of his artwork from that period.
1944 was the year in which the plans of Nazi Germany had the greatest impact on the
Nussbaum family. Philipp and Rahel Nussbaum were killed at Auschwitz in February. In
July, Nussbaum and his wife were found hiding in an attic by German armed forces. They
were arrested, sent to the Mechelen transit camp and given the numbers XXVI/284 and
XXVI/285. On August 2 they arrived at Auschwitz, and a week later Felix was murdered at
the age of 39. On September 3, Nussbaum’s brother was sent to Auschwitz, and on September
6 his sister-in-law and niece were also murdered there. In December, his brother – the last of
the family – died from exhaustion in the camp at Stutthof. Within one year, the entire
Nussbaum family had been murdered.
Felix Nussbaum’s artwork affords a rare glimpse into the mind of one individual
among the victims of the Holocaust. In 1998, the Felix Nussbaum Haus in Osnabrück
opened its doors to exhibit the artworks of Felix Nussbaum.
He was featured alongside fellow concentration camp survivors and artists Jan Komski
and Dinah Gottliebova in the 1999 documentary film Eyewitness, which was nominated for an
Academy Award for Documentary Short Subject.
Art and Remembrance: The Legacy of Felix Nussbaum is a 1993 documentary directed
by Barbara Pfeffer.
The artwork
Creating art can be an exhilarating yet painful process for an artist as he grapples with
his emotions, his vision, his message, and his limitations. Throughout his artistic life, an artist
grows, learns his craft, explores, and matures in a very personal process. However, external
factors like war, upheaval, and social change can rob an artist of the ability to freely pursue his
inner calling, and cause him to use his art as a vehicle to record and attempt to
contextualize the chaos enveloping him.
Felix Nussbaum was such an artist: a German Jew caught in the relentless downward
spiral of Nazi persecution, an artist who in the prime of his creative life had to focus on his
own survival. In the end, he was murdered by people who saw him only as an object of hatred
- a Jew - rather than as an extraordinarily talented human being with a gift to bring beauty into
the world.
The way in which Felix Nussbaum viewed himself as a Jew, a German, and an artist is
fascinating. Through his artwork, we see a young man who began his artistic journey with
an affirmation of his Jewish identity, before embarking on a path of exploration of his own
artistic vision. Later, as a hunted exile, he returned yet again to reaffirm this identity.
The body of work Nussbaum left behind in his brief 40-year life is extensive. In these
paintings one can trace the painful journey Nussbaum made from a proud young Jewish
man, aged 21, to the terrified, persecuted victim he became in his thirties.
In 1943, little more than a year before his murder in Auschwitz, Nussbaum painted one
of his most striking and devastating self-portraits titled “Self Portrait with Jewish Identity
Card.” In this portrait, the symbols of Jewish identity do not come from the Jewish faith
itself, but rather are symbols of persecution and degradation imposed upon Jews by the
Nazis.
Turning his head to visually engage the viewer, Nussbaum seems to have been
cornered next to a crumbling and dirty white wall (a symbol of menace in Nussbaum’s
visual vocabulary). Lifting his coat collar up, he reveals the yellow badge of shame concealed
under it, while his left hand shows us his Jewish identity card. His expression is furtive,
alert, his direct gaze is penetrating. What does it mean to us as viewers?
 Is it a conspiratorial gaze, asking us to help keep the secret of his Jewish identity?
 Is it the gaze of the accuser, demanding from the viewer answers as to why he has
been allowed to be so humiliated and persecuted?
 Is this the terrified face his persecutors will see when he is eventually arrested in July,
1944?
 Or perhaps, 17 years after first painting himself as a Jew, he again asks the viewer to
consider the implications of what it means to be a Jew at this point in history, with
the threat of annihilation looming so close.
Beyond the wall, a dark cloud floats in the lowering dark sky, while windows of a
nearby house witness the scene.
 Do these windows represent the life-saving shelter of hiding, now lost?
 Perhaps they symbolize the bystanders, those who detachedly witness Nussbaum’s
revelation from the safety of their own homes?
The tree, which juts up on the other side of the wall, combines two symbols that
appear repeatedly in Nussbaum’s artwork.
 The most prominent part of the tree is limbless; a symbol in Jewish funerary art of a
life cut short, and in Nussbaum’s art, a symbol of melancholy, hopelessness and
death.
 In the midst of this dark and despairing scene with a portent of approaching doom, a
blossoming branch grows from a lower limb of the dead tree, highlighted by a
small patch of blue sky behind it. This small symbol of optimism represents the
quintessentially human quality of hope. Even in the shadow of death, most people are
loath to believe they will actually die. In the midst of his horrible predicament, it
appears that Nussbaum still held on to a glimmer of hope that he and his loved ones
would somehow survive.
Felix Nussbaum was one of six million Jews murdered during the Holocaust for merely
being a Jew. His genius, his vision, his voice were all snuffed out by those whose hatred
prevented them from seeing Nussbaum as a human being. Until the bitter end, Nussbaum
created his art, using his talent to visually portray his inner struggles with fear and solitude as
an artist, a man, and a Jew spiraling toward catastrophe. Even under such horrific
circumstances, in his brief 40 years of life, he still managed to bring great beauty to the world.
By seeing Felix Nussbaum’s artwork, and trying to understand its messages, we honor
one of his last wishes: that after his death, his artwork would not die with him.
A Light in Obscure Places: The Unseen, the
Misunderstood
Between the Margins - Toyin Ojih Odutola (2017)

Toyin Ojih Odutola


Toyin Ojih Odutola (b. 1985, Ife, Nigeria) creates multimedia drawings on various
surfaces investigating formulaic representations and how such images can be unreliable,
systemic, and socially-coded.
She earned her BA from the University of Alabama in Huntsville and her MFA from
California College of the Arts in San Francisco. Ojih Odutola lives and works in New York.
Toyin Ojih Odutola left Nigeria for the United States at age five, but it will not let go.
As one title puts it, she is not just between continents, but Between the Margins.
Ojih Odutola is best known for her self-portrait drawings, entirely or primarily done in
black pen ink. Her more recent work has expanded to include charcoal, pastel, and pencil.
The artist, whose subjects include black and white people, seeks to understand what
colour, or palette, of skin does to our perception of the person she has painted.
To Wander Determined collection
At the Whitney Museum’s ground level gallery, a sophisticated story about two
prominent Nigerian families continues its second chapter, as in Toyin Ojih Odutola’s To
Wander Determined. The Nigerian-born, Alabama-raised, California-educated, and New
York-based artist picks up where she left off in Matter of Fact, where viewers were first
introduced to the fictional UmuEze Amara family, a noble Igbo clan. In To Wander
Determined, we meet the Yoruba branch of the UmuEze Amara clan, as well as the upper
middle-class house of Obafemi. Both dynasties are illustrated as fabulous globetrotters and
bon vivants, who live well, dress exquisitely, and travel often.
The collection illustrates the extraordinary world of an elite.
Ojih Odutola guides us through both families’ sweeping and majestic storylines in
her seventeen large pastel, charcoal, and pencil works on paper. The works, a series of
portrait and still lives, visually stun in a lush palette of lavenders, mauves, and warm
camels. On the Whitney’s website, Ojih Odutola explains she wanted to “explore wealth
through the lens of color and race”, both affluent households clearly possess the means and
we observe this as they elegantly pursue leisure and beauty. In Representatives of State,
black women of varying shades stand boldly and stylishly wearing expensive threads in a
‘squad-like’ pose. Skin, black skin, has been Ojih Odutola’s signature focus throughout her
career. She has previously referred to black skin as an “access point”, as a material, or set of
ideas, not as a socio-economic tool of divisiveness.
Ojih Odutola creates intimate drawings that explore the complexity and
malleability of identity. Depicted in her distinctive style of intricate mark-making, her
sumptuous compositions reimagine the genre and traditions of portraiture.
Rendered life-size in charcoal, pastel, and pencil, Ojih Odutola’s figures appear
enigmatic and mysterious, set against luxurious backdrops of domesticity and leisure.
They, and the worlds they inhabit, are informed by the artist’s own array of inspirations, which
range from art history to popular culture to experiences of migration and dislocation. Highly
attentive to detail and the nuances of space, class, and color—whether of palette or skin—
Ojih Odutola continues her examinations of narrative, authenticity, and representation.
Ojih Odutola also shares this thought, “black bodies being capital to black bodies
owning their selfhood, and themselves, and the spaces they’re in, what that would look like.”
We see this in breathtaking works such as Winter Dispatch, where a well-manicured hand
writes a note on posh letterhead, perhaps right before taking off for a luxurious expedition. We
also see tidbits of black pop culture seep in, imagined versions of Solange and her husband
Alan Ferguson (both in separate life-size portraits) as well-heeled members of these regal
families. Although these are fictitious families, this exhibit mirrors real life, and it's incredibly
aspirational, given that we are in the golden age of travel for young, educated, millennials
of color who are out seeing the world.
Between the Margins
In, Between the Margins, a young gorgeous boy in a green field beckons you with
seductive eyes.
Woman Ironing (Isis) - Vik Muniz

Vik Muniz
Vik Muniz is a Brazilian artist based in Brooklyn; originally trained as a sculptor, his
work often involves making large-scale collages from everyday objects and photographing
them from above. In the series Pictures of Garbage, Muniz explored the world's largest
garbage dump, Jardim Gramacho, located on the outskirts of Rio de Janeiro (the dump
has since closed). There he worked with the "catadores”— self-designated pickers of
recyclable materials — to create portraits from the garbage where they make their living.
The resulting collaborative works depict both the strength and the despair of these hard-
working people. Muniz sold the works at auction, giving the money to the catadores.
Woman ironing
Brazilian artist Vik Muniz created this massive digital C-print as part of his 2008
“Pictures of Garbage” series. To complete the works, Muniz enlisted the help the catadores, a
Brazilian workforce that foraged for recyclable materials in a landfill outside of Rio de
Janeiro. Muniz and the catadores collected objects from landfills and arranged them to
resemble well-known artworks, such as Picasso’s Woman Ironing (1904). He then
photographed the constructions before they were disassembled.
Picasso’s Woman Ironing (1905)

Woman Ironing, painted at the end of the Blue Period in a lighter but still bleak color
scheme of whites and grays, is Picasso’s quintessential image of travail and fatigue. Although
rooted in the social and economic reality of turn-of-the-century Paris, the artist’s
expressionistic treatment of his subject—he endowed her with attenuated proportions and
angular contours—reveals a distinct stylistic debt to the delicate, elongated forms of El Greco.
Never simply a chronicler of empirical facts, Picasso here imbued his subject with a poetic,
almost spiritual presence, making her a metaphor for the misfortunes of the working poor.
Seodang | Kim Hong-Do
Kim Hong-Do
Gim Hong-do, also known as Kim Hong-do, most often styled Danwon, was a full-
time painter of the Joseon period of Korea. He was together a pillar of the establishment and a
key figure of the new trends of his time, the 'true view painting'. Gim Hong-do was an
exceptional artist in every field of traditional painting, even if he is mostly remembered
nowadays for his depictions of the everyday life of ordinary people, in a manner analogous to
the Dutch Masters.
Seodang
A sniveling young student with his back turned to his teacher, who is sitting behind
him wearing a square headgear, called a banggeon in Korean, is the focal point of this
painting. He is surrounded by his fellow students, who seem to find the situation amusing.
The circular composition of the painting, the omission of background, the use of simple
brushstrokes to capture the folds in clothes, and the facial expressions help viewers feel the
atmosphere of this old classroom.
Seodang were private village schools providing elementary education during the
Goryeo and Joseon dynasties of Korea.
Free Period in the Amsterdam Orphanage | Max Liebermann (1881-
1882)

Max Liebermann
Max Liebermann, (born July 20, 1847, Berlin, Ger.—died February 8, 1935, Berlin),
painter and printmaker who is known for his naturalistic studies of the life and labour of the
poor. He was also the foremost proponent of Impressionism in Germany.
In 1878 Liebermann returned to Germany, living at first in Munich and finally settling
in Berlin in 1884. From 1875 to 1913 he spent summers painting in the Netherolands. During
this period he found his painting subjects in the orphanages and asylums for the elderly in
Amsterdam and among the peasants and urban labourers of Germany and the Netherlands. In
works such as The Flax Spinners (1887), Liebermann did for German painting what Millet had
done for French art, portraying scenes of rural labour in a melancholy, yet unsentimental,
manner.
The painting
Conservative circles taunted Liebermann as the “apostle of ugliness”. Nevertheless,
the Städelscher Museums-Verein showed courage and providence when it acquired this early
key work immediately after it was founded in 1899. Liebermann had sketched the inmates of
the ‘Burgerweeshuis’ in Amsterdam. It was only later that he executed the oil painting in his
Munich studio. This work was created at a turning point, when Liebermann left behind the
shades of brown of his realist phase and adopted the lighter palette of Impressionism.
It shows Liebermann as a painter who had absorbed the influence of both the
Naturalists and the Impressionists he knew from Paris. The motif reflects his penchant for
social realism; at the same time, however, he bathes reality in an atmosphere of peace and
harmony. The girls have a home here, they are properly dressed, no one harasses them,
they play and busy themselves.
The painting thus also solicits social empathy and visions of social reform. In reality,
the location was not as picturesque; to an extent, the scene was artfully composed by the
painter. The entrance at the back, for instance, was actually further to the left. Even more
significantly, there were no trees in this courtyard filtering the sunlight to form the
“Liebermannesque sun spots” on the ground, walls and figures.
The Fourth Estate | Giuseppe Pellizza da Volpedo (1901)

Giuseppe Pellizza da Volpedo


Giuseppe Pellizza da Volpedo (28 July 1868 – 14 June 1907) was an Italian divisionist
painter. He was born and died in Volpedo, in the Piedmont region of northern Italy.
Pellizza was a pupil of Pio Sanquirico. He used a divisionist technique in which a
painting is created by juxtaposing small dots of paint according to specific color theory.
The painting
His most famous work, The Fourth Estate ("Il Quarto Stato") (1901), has become a
well-known symbol for progressive and socialist causes in Italy, and throughout Europe. The
painting is shown during the opening credits of Bernardo Bertolucci's film 1900 and is
currently housed at the Museo del Novecento in Milan.
The painting is an icon of the twentieth century, showing striking workers (members
of the fourth estate), and is in the "chromoluminarist" or divisionist style. Not only does it
depict a scene of social life – a strike – it is a symbol. The people, with equal space being
given to a woman with a baby in her arms, are moving towards the light. The painting
represents the full development of this theme, which the artist already dealt with in paintings
such as Ambassadors of hunger, Stream of people and a preparatory sketch of 1898, The
path of workers. The composition of the painting is balanced in its shapes and vibrant in its
light, giving the perfect idea of a mass movement.
The fourth estate
The term Fourth Estate (or fourth power) refers to the press, and news media, both
in explicit capacity of advocacy and implicit ability to frame political issues. Though it is not
formally recognized as a part of a political system, it wields significant indirect social
influence.
The derivation of the term fourth estate arises from the traditional European concept of
the three estates of the realm: the clergy, the nobility, and the commoners. The equivalent
term fourth power is somewhat uncommon in English but is used in many European languages
referring to the separation of powers in government into a legislature, an executive, and a
judiciary.
“The fourth estate” can also refer to the proletariat. In Italy, for example, striking
workers in 1890s Turin were depicted as Il quarto stato—The Fourth Estate—in a painting by
Giuseppe Pellizza da Volpedo.
Stag at Sharkey’s - George Bellows (American, 1882-1925)
George Bellows
George Wesley Bellows (August 12 or August 19, 1882 - January 8, 1925) was an
American painter, known for his bold depictions of urban life in New York City. At a young
age he was to become "the most acclaimed artist of his generation".
Bellows was born in Columbus, Ohio. He attended The Ohio State University from
1901 until 1904. There he played for the baseball and basketball teams, and provided
illustrations for the Makio, the school's student yearbook.
He was encouraged to become a professional baseball player, and he worked as a
commercial illustrator while a student and he continued to accept magazine assignments
throughout his life. Despite these opportunities in athletics and commercial art, Bellows
desired success as a painter. He left Ohio State in 1904 just before he was to graduate and
moved to New York City to study art.
Stag at Sharkey’s
American artist George Bellows focused on images of urban realism. A Stag at
Sharkey’s, based on his 1909 oil painting, is one of the most iconic images of 20th-century
American printmaking. Bellows was a member of an artists’ group in New York City known as
the Ashcan School. His first studio was located on Broadway opposite the Sharkey Athletic
Club, where the law permitted members to see illegal prize fights, or “stags.” Prizefighting
clubs like Sharkey’s were often condemned as sordid spaces, and this print captures that
tawdry underworld. Arranged in a pyramid-like composition recalling classical sculpture, the
anonymous fighters appear in an interlocking form with bold diagonal lines. The voyeuristic
spectators, who are enthralled by the dramatic fight, represent a range of social types, from
laborers to businessmen. Encouraging a favored fighter and reacting to and with the punches
until the bout’s end, the spectators are vicarious participants in the fight. Bellows is believed to
have included himself as the second spectator to the referee’s right, with just an eye and
balding head peeping over the raised floor.
The painting has been a part of the Cleveland Museum of Art's permanent collection
since 1922.
The Potato Eaters | Vincent van Gogh (1853 - 1890), Nuenen, April-
May 1885

The Potato Eaters


The Potato Eaters expresses most strongly and fully his social and moral feeling. He
was a painter of peasants, not for the sake of their picturesqueness - although he was moved
by their whole aspect - but from a deep affinity and solidarity with poor people, whose
lives, like his own, were burdened with care. He found in their common meal the occasion in
which their humanity and moral beauty are strikingly revealed; they appear then as a close
community, based upon work and the sharing of the fruits of work. The table is their
altar and the food a sacrament for each one who has labored. Under the single light at this
common table, the solitude of the individual is overcome and the harshness of nature, too -
yet each figure retains a thought of his own and two of them seem to be on the brink of an
unspoken loneliness. The colors of the dark interior - blue, green, and brown - bring us back
to nature outside. In the homely faces the hands of these peasants - in color and modeling they
are like the potatoes that nourish them - there is a touching purity. It is the purity of familial
souls in who care for one another and the hard struggle with the earth and weather leave
little place for self-striving.
The composition has a rough strength, in part the result of a naive placing. And in Van
Gogh's clumsiness, which conveys also, as he intended, the clumsiness of his people, there is a
source of movement. The grouping of the figures at the sides of the table is odd; the wall
between the two figures at the right creates a strange partitioning of the intimate space.
Within the gloom of the dark tonality are remarkable bits of painting, prepared by Van
Gogh's tenacious studies: the cups of coffee, with their gray shadows; the potatoes on the
platter; and the superb heads, which in their isolation from one another betray the portrait
studies from which they were copied. The eyes of two figures at the left shine with an inner
light and the shadows on their features are more a modeling of character than a phenomenon
of darkness. "I like so much better to paint the eyes of people than to paint cathedrals", Van
Gogh wrote shortly after.
The artist used the de Groots, a Netherlands farming family of his acquaintance, as
the subjects of "The Potato Eaters."
Hotel, Room 47 | Sophie Calle
Sophie Calle
Sophie Calle (born 9 October 1953) is a French writer, photographer, installation artist,
and conceptual artist. Calle's work is distinguished by its use of arbitrary sets of constraints,
and evokes the French literary movement of the 1960s known as Oulipo. Her work frequently
depicts human vulnerability, and examines identity and intimacy. She is recognized for her
detective-like ability to follow strangers and investigate their private lives. Her photographic
work often includes panels of text of her own writing.
Christine Macel described Calle's work as a rejection of the Post-structuralist notion of
the "death of the author" by working as a "first-person artist" who incorporates her life into her
works and, in a way, redefines the idea of the author.
Hotel, Room 47
This is a two-part framed work comprising photographs and text. In the upper part, the
title Room 47 is printed below a colour photograph of elegantly carved wooden twin
headboards behind a bed covered in rich brown satin. Below it, three columns of italic text
are diary entries describing findings in the hotel room between Sunday 22 February 1981
and Tuesday 24. In the lower frame a grid of nine black and white photographs show things
listed in the text above. This work is part of a project titled The Hotel, which the artist has
defined:
On Monday, February 16, 1981, I was hired as a temporary chambermaid for
three weeks in a Venetian hotel. I was assigned twelve bedrooms on the fourth floor. In
the course of my cleaning duties, I examined the personal belongings of the hotel
guests and observed through details lives which remained unknown to me. On Friday,
March 6, the job came to an end. (Quoted in Calle, pp.140-1.)
Each of the twelve rooms gave rise to a diptych of similar structure following the
occupancy of one or more guests during the period of the artist’s employment at the hotel.
Some rooms feature more than once as a second set of guests occupied them, giving rise to a
total of twenty-one diptychs in the series. Calle’s descriptions of the hotel rooms and their
contents combine factual documentation along with her personal response to the people
whose lives she glimpsed by examining their belongings. Each text begins with the
chambermaid/artist’s first entry into the room and a notation of which bed or beds have been
slept in, with a description of the nightwear the guests have left. A list of objects usually
follows, as the artist transcribes her activities in the room. Calle is unashamedly voyeuristic,
reading diaries, letters, postcards and notes written or kept by the unknown guests, rummaging
in suitcases, and looking into wardrobes and drawers. She sprays herself with their perfume
and cologne, makes herself up using the contents of a vanity case, eats food left behind and
salvages a pair of women’s shoes left in the bin. Outside the room, she listens at doors,
recording the occupants’ conversations or any other sounds she may overhear, and even peers
into a room when the floor-waiter opens the door to catch a glimpse of the unknown guests.
The absent occupants described in Room 47 are a family of four – two parents and
two children – as revealed by their four pairs of slippers. Calle does not go through their
suitcase, commenting: ‘I am already bored’. From their passports she discovers that the
parents are a married couple from Geneva and she copies out four postcards one of them has
written. Words on one of these hint at problems within the family.
Calle began her artistic projects in 1979 on returning to Paris after seven years’ travel
abroad. Disorientated, she felt like a stranger in her own city, not knowing how to occupy
her time. She started to follow random passers-by and spend her days as they did. Eventually
she picked up the camera she had been experimenting with during her time abroad and
photographed the strangers, writing diaristic notes of their movements. From this she has
developed a particular way of working, collecting information about people who are absent
and investigating her subjects like a detective. The Hotel follows directly from a project the
artist undertook the previous year entitled Suite Venetienne 1980, which evolved from a
chance encounter with a man she had been following in Paris. He told her he was going to
Venice, so she followed him there in disguise, documenting her observations. After a year of
planning and waiting, she returned to Venice in 1981 as a chambermaid.
Pacific | Yukinori Yanagi
Yukinori Yanagi
Born 1959 in Fukuoka, Japan
Lives and works in Hiroshima, Japan
Yukinori Yanagi explores fundamental questions of human existence through site-
specific installations that negotiate a diverse range of media. Interested in questions of
identity, both on a social and national scale, many of Yanagi’s earlier works have examined
individuality and the ways we are defined by constructs such as class, gender and ethnicity.
More recently, his increasingly ambitious, large-scale installations pose questions that relate to
the consequences of technological advancement and globalisation.
Pacific
Pacific is a large installation comprising forty-nine plastic boxes arranged in a
rectangular grid on the wall and connected using vinyl chloride resin tubes. Each box
contains a representation of a national flag made from synthetic, coloured sand that has a
dry and coarse appearance. Pacific was produced in its present form by allowing a large
number of ants to move through the boxes, creating tunnels in the sand that have
produced cracks across the faces of the flags, and the bodies of some of the dead ants are
still present in several of the boxes. The flags all represent countries that border the Pacific
Ocean, nations that once had colonies which lay on those borders, or indigenous groups
that live in such areas but do not have sovereignty over any territory (for instance, the Maori
of New Zealand). Each box measures 300 x 450 x 17 mm and there is a gap of 120 mm
between the boxes in the vertical rows and 150 mm between those in the horizontal rows. The
boxes are backed onto a cast acrylic resin board and each has two tubes emerging from its top
and bottom edges, as well as one from either of its sides. The tubes that project from the edges
of the outermost boxes on all four sides of the installation are blocked up by means of plugs.
This work was made by the Japanese artist Yukinori Yanagi in 1996, when he was
primarily living and working in New York but was also travelling to Japan regularly. Yanagi
produced a number of sketches during the process of planning the work. Each flag has a
designated position in the grid and Yanagi had all of the boxes and tubes fabricated according
to his own instructions. Yanagi produced the flag patterns inside the boxes himself with a type
of gardening sand called perlite, which he coloured with dried pigment. During the work’s
initial installation the boxes were placed on a temporary wall, behind which, visible to
viewers, were feeding containers holding live ants. The ants were released into the boxes and
were allowed to move through the installation over the course of the exhibition. Afterwards the
feeding containers were removed and Yanagi used a spray adhesive to fix the sand
permanently in place. Yanagi has supplied Tate with a video documenting the making of
Pacific, including the movements of the ants, and although this is not part of the work it can be
displayed alongside it.
Pacific is one of many installations that Yanagi has made since 1990 in which their
compositions are altered by ants moving between sand-filled plastic boxes, several of which
also involve depictions of national flags (see, for instance, The World Flag Ant Farm 1990,
Benesse House, Naoshima Contemporary Art Museum, Naoshima). Here, the title Pacific acts
as a seemingly neutral reference to a geographical region, yet through the co-presence of flags
representing recognised nations, former colonial powers and indigenous peoples, the work
acknowledges the contestation of territorial authority and national identities that
characterises the area’s history. Yanagi has made more explicit references to geopolitical
conflict in works such as 38th Parallel (North Korean and South Korean Flag) 1991 (Hara
Museum, Shinagawa), a similarly ant-farm-like installation that combines the flags of two
nations which have a particularly hostile relationship.
Discussing Pacific in 1996, Yanagi stated that ‘Through my work I expose movement
and transportation’ (Yanagi 1996, unpaginated). In light of this, the ants’ lines of movement
between and across the depicted flags in this installation could be taken to suggest the
migration of people between different nations, especially given Yanagi’s own status as an
Japanese emigré who often travelled between his home country and America. In 2003 Yanagi
said that his works involving ants and national flags are designed to suggest that ‘Nations,
ethnicities, religions are all ghettos. They are surrounded by imaginary boundaries born out
of social or institutional constructs’ (Yanagi in Trujillo 2003, p.243) and that when the ants
erode the clear boundaries between the flags in these works, this serves as ‘a simple, equal
and hopeful way of expressing the gradual unification of all the world’s nations’ (Yanagi
in Trujillo 2003, p.240).
Fountain | Marcel Duchamp

Marcel Duchamp
Trained as a painter, Marcel Duchamp made a radical break with traditional art by
inventing the "readymade." A readymade is a pre-existing, industrially produced object —
e.g. a bicycle wheel, urinal, or bottle rack — that the artist placed on a pedestal with little or no
modification. These banal items became art simply because Duchamp chose to declare them as
such and to display them in the rarified space of the museum or gallery. In so doing, he called
into question art's emphasis on craft and the unique aura bestowed by the artist's hand.
Duchamp brought European avant-garde ideas to America when he immigrated in 1915. He
later abandoned art for chess, but his methods (which also include wry, self-referential
assemblages) paved the way for much of the art of the second half of the century.
Fountain
Fountain is one of Duchamp’s most famous works and is widely seen as an icon of
twentieth-century art. The original, which is lost, consisted of a standard urinal, usually
presented on its back for exhibition purposes rather than upright, and was signed and dated ‘R.
Mutt 1917’. Tate’s work is a 1964 replica and is made from glazed earthenware painted to
resemble the original porcelain. The signature is reproduced in black paint. Fountain has been
seen as a quintessential example, along with Duchamp’s Bottle Rack 1914, of what he called a
‘readymade’, an ordinary manufactured object designated by the artist as a work of art.
Duchamp later recalled that the idea for Fountain arose from a discussion with the
collector Walter Arensberg (1878–1954) and the artist Joseph Stella (1877–1946) in New York.
He purchased a urinal from a sanitary ware supplier and submitted it – or arranged for it
to be submitted – as an artwork by ‘R. Mutt’ to the newly established Society of
Independent Artists that Duchamp himself had helped found and promote on the lines of the
Parisian Salon des Indépendants (Duchamp had moved from Paris to New York in 1915). The
society’s board of directors, who were bound by the Society’s constitution to accept all
members’ submissions, took exception to Fountain, believing that a piece of sanitary
ware – and one associated with bodily waste – could not be considered a work of art and
furthermore was indecent. The board excluded the submission from the Society’s inaugural
exhibition that opened to the public on 10 April 1917. Arensberg and Duchamp resigned in
protest against the board taking it upon itself to veto and effectively censor an artist’s work.
This was no small matter. The idea of having a jury-free exhibition of contemporary
art had become invested with the aspirations of many in the art world for New York to become
a dynamic artistic centre that would rival and even outstrip Paris. Duchamp, as head of the
hanging committee, had already signaled the democratic ethos of the new Society by
proposing that works should be hung by the artists’ last names (in alphabetical order) rather
than according to the subjective views and preferences of one or more individuals.
The creation and submission of Fountain can be seen in part as an experiment by
Duchamp to replay his experience of having his painting Nude Descending a Staircase, No.2
withdrawn from a show by the Salon, testing the commitment of the new American Society
to freedom of expression and its tolerance of new conceptions of art.
Within a day or so of the exhibition opening, Duchamp located the work, which had
been stored in the exhibition space behind a partition, and took it to be photographed by the
leading photographer and gallery owner Alfred Stieglitz. As the work of art was lost thereafter
(and had been seen by very few people), Stieglitz’s photograph, which according to a letter had
been taken by 19 April 1917, became a key document in recording the work’s existence.
Stieglitz was proud of the image, writing in a letter dated 23 April 1917, ‘The “Urinal”
photograph is really quite a wonder – Everyone who has seen it thinks it beautiful – And it’s
true – it is. It has an oriental look about it – a cross between a Buddha and a Veiled Woman’.
Importantly, Duchamp was not publicly known as the creator of Fountain at the
time. Duchamp later explained that he had not made his identity known because of his position
on the Society’s board. The fact that ‘R. Mutt’ was an unknown artist meant that Duchamp
could test the openness of the society to artworks that did not conform to conventional
aesthetic and moral standards without compromising the outcome or his relationships with
board members, though at the expense of being able to avow that the work was his own.
R. MUTT: Mutt was the tall thin man in the cartoon duo but Duchamp’s point about
having wanted essentially ‘any old name’ remains. On other occasions Duchamp recalled that
he bought the urinal at J.L. Mott Iron Works Company. Richard [French slang for money-
bags]
The rotation of the urinal by ninety degrees: a matter of ‘placing’ it ‘so that its
useful significance disappeared under the new title and point of view’. It is possible that
the rotation of the urinal was linked to his broader interest in seeing things quite literally in a
new perspective. The intimate nature of the function of the urinal, and its highly gendered
character, also resonated strongly with the complex psycho-physical themes of the masterpiece
he was working on at the time, The Bride Stripped Bare by her Bachelors, Even 1915–23.
Fountain was not publicly commented upon again until 1934 when the leader of the
surrealist movement and poet André Breton wrote a pioneering article that reviewed
Duchamp’s career to date and placed the Fountain firmly in the context of Duchamp’s
readymades.
Duchamp’s profile in art circles rose dramatically in the 1950s and 1960s, not least as a
new generation of artists identified his dada-period works as precedents for their own. In 1963
the Pasadena Art Museum organised the first retrospective of Duchamp’s work. Addressing the
growing number of requests from gallerists and museums for works to show, Duchamp
authorised a number of replicas of his original readymades, many of which had been lost.
In 2004 Fountain topped a poll of 500 British art experts as the single most
influential artwork of the twentieth century, ahead of Picasso’s Les Demoiselles d’Avignon
1907 and Andy Warhol’s Marilyn Diptych 1962. Simple in form but rich in metaphor, the work
has generated many interpretations over the years, and continues to be seen as a work that
challenges – or, at the least, complicates – conventional definitions of art.
Duchamp once attributed the work to a female friend. In 2002 literary historian
Irene Gammel claimed that, if a woman was involved in the submission of Fountain, that
woman might have been Baroness Elsa von Freytag-Loringhoven (1874–1927), an eccentric
German poet and artist who loved Duchamp and was in turn jealous of him and mildly
contemptuous of what she saw as his absorption in fashionable circles. Gammel explored the
possibility that the Baroness was the creator of Fountain. As Gammel acknowledged, however,
there is no contemporary documentary evidence or testimony that points to the involvement of
von Freytag-Loringhoven in Fountain.
Fountain tested beliefs about art and the role of taste in the art world. Interviewed
in 1964, Duchamp said he had chosen a urinal in part because he thought it had the least
chance of being liked (although many at the time did find it aesthetically pleasing). He
continued: ‘I was drawing people’s attention to the fact that art is a mirage. A mirage, exactly
like an oasis appears in the desert. It is very beautiful until, of course, you are dying of thirst.
But you don’t die in the field of art. The mirage is solid.’ Extensively studied and the subject
of various interpretations, Fountain has continued to exert an extraordinary power over
narratives of twentieth-century art in large part because of its piercing – if also humorous –
questioning of the structures of belief and value associated with the concept of art.
Between the Cracks | Cynthia Decker
Cynthia Decker
I am a lighthearted digital artist currently living and working in Asheville, North
Carolina.
My artwork is best described, I think, as imaginary realism. I like to create
impossible or improbable environments that have familiar textures and evocative moods.
Most of my work has humor, or a bit of a story to tell.
I am inspired by the everyday, by small moments and big ideas. I love working in the
digital medium because it lets me take these ideas and present them to you the same way I see
them in my head...as places you could walk into and explore.
I believe the digital medium is finding its place in the art world, and that artists should
use, value and enjoy all available means of creative expression. I hope that artists and art
lovers everywhere continue to push the boundaries of what constitutes a fine art medium.
Between the Cracks
Digital 3D
In every society, there are people who are overlooked, there are people many choose
not to see. In a social sense, these people have fallen between the cracks.
Unclear Creations: When the Who, How, When, and
What Confound
The Awakening Slave | Michelangelo
Awakening slave, also referred to as Atlante slave, is an incomplete work of art by
Italian renaissance artist Michelangelo. This 2.67 marble statue is dated 1525-30 and is
among the ‘prisoner’ or ‘slave’ series of an aborted plan of sculptors specially made for the
tomb of Pope Julius II which would be located at the Basilica of St. Peter’s.
The awakening slave is the most powerful sculpture among the slaves in the series.
The beautiful figure, which strikes an unnatural pose, is expressive and seems to be struggling
to burst out of the marble block. One can almost feel the extraordinary power that the
prisoner wields.
This work was commissioned by Pope Julius II for his tomb. Originally, Michelangelo
was supposed to carve more than 40 figures to surround Moses. However, after Julius II died,
the project stopped because there was minimal funding and he could not find marble to use for
sculpting. Although Michelangelo was still pressured to complete the work, he was always
busy with other art endeavours.
He eventually returned to work on them but did not complete some of them because
he was not satisfied with them or he had changed plans. For this reason, most of the figures
are incomplete and are fittingly referred to as Titan slaves.
Some argue that this state of incompletion and rough characteristics was necessary for
the feel and impact of the pieces. They claim that the figures were intentionally left
unfinished to represent the unending struggle of humans to be free from the trappings of
material possessions. After his demise, his nephew donated four of the prisoners that were in
his studio to Duke Cosimo I Medici.
Slaves of Michelangelo
Other slaves in different stages of completion are:
The young slave: This one is more clearly defined than the Awakening slave. Also in a
twisted pose, he traps himself by hiding his face in one arm and by burying the other around
his hips. He seems to be significantly younger than the other slaves.
The bearded slave: With a face with a thick, curly beard, this figure is nearly complete.
It only has a section of his arms and his hands unfinished. The upper body is perfectly
chiselled revealing the artist’s passion for his work.
The Atlas slave: The figure is named after Atlas, a Titan who held the world on his
shoulders. This is because he is lifting a huge weight on his head and is struggling to emerge
from the block.
The dying slave: This slave is the most frontal. Although it is referred to as the dying
slave, it is believed that it’s not dying but is in a dream state.
Rebellious slave: This realistic structure bears resemblance to sculptures of prisoners in
imperial Rome, hence the title rebellious slave.
Michelangelo believed that he was a tool of God. He said that he was not just creating
but that he was revealing figures that were already in the marble. He worked on the figures
for several years and took a lot of pride in his work. Unlike other artists, he sculpted free hand
from the front moving to the back. It is clear that Michelangelo has an understanding of the
human body and that a lot of care and detail went into carving the pieces. The prisoners
stand with most of their weight on one foot with shoulders and arms twisting off axis to
give them a powerful appearance.
This artist was very talented with his work demonstrating physical realism and
understanding of the human psyche. For this reason, many powerful men of his time
including religious leaders commissioned him.
The Awakening slave is a masterpiece that continues to attract visitors and impress
many people long after its completion. Although the art is incomplete, it is clear from its detail
that the artist put a lot of attention and effort into creating it. Four sculptures are kept at the
Gallery of the Academy of Florence, a museum in Italy. The rebellious and dying sculptures
were complete figures which were sent as presents to King Francis and are now on display at
the Louvre Museum in Paris.
Isleworth Mona Lisa | Unknown/Da Vinci
In February 1914, a painting resembling the Mona Lisa made headlines following its
rediscovery by Hugh Blaker, an art connoisseur and museum curator, who after years of
searching found the work stored in a mansion in Somerset, England. Art critic P.G. Konody in
his New York Times report described the features of the portrait's sitter, Lisa del Giocondo, as
"far more pleasing and beautiful than in the Louvre version" but recognized that the
painting "is likely to be received with a good deal of skepticism." Today, one century after
Blake's finding and years of research into the work's authenticity, the painting known as the
"Isleworth Mona Lisa" is on view to the public for the first time at the Arts House in
Singapore's Old Parliament before it travels to museums around the world. Accompanying the
portrait is evidence compiled by a group of art historians and experts who assert that it is a
genuine da Vinci that captures a younger Lisa del Giocondo over a decade before the artist
completed his famous masterpiece hanging in Paris.
Although this is the painting's first worldwide exhibition tour, it initially received
international attention in 2012, when Swiss non-profit The Mona Lisa Foundation unveiled it
to the media with the findings of over 35 years of historical research and scientific tests. The
Foundation says the examined documents and test results confirm that da Vinci painted this
earlier version between 1503 and 1506, and the exhibition, which opened in December,
seeks to unravel the mystery of multiple portraits for the public.
Historical evidence that the portrait depicts the wife of wealthy merchant Francesco
del Giocondo in her youth includes
 a 1504 sketch by Raphael based on the Mona Lisa after he visited da Vinci's
studio that year. The pen and brown ink drawing shows a young woman on a
balcony flanked by two columns, which appear in the "Early Mona Lisa" but
are missing in the Louvre painting, implying that Raphael was not studying the
latter.
 Descriptions of the alleged earlier painting also emerge in the writings of
the historian Giorgio Vasari, who wrote in 1550—and again in 1568—that da
Vinci had worked on a portrait of Lisa that her husband commissioned but left
it unfinished after four years. The Louvre Mona Lisa hangs as a complete
portrait (it also entered the collection of Francis I at Fontainebleau, which is
unlikely to house an unfinished painting), leading some experts to conclude that
Vasari saw a second version of it.
 Other mentions of the existence of two different commissions of the same sitter
appear in a travel journal written by Antonio de Beatis, secretary to Cardinal
Luigi of Aragon, and in Gian Paolo Lomazzo's 1584 treatise on painting.
Da Vinci has created multiple versions of his works, including reproductions of "The
Virgin of the Rocks," but dozens of paintings closely resembling the Mona Lisa have revealed
themselves as copies after careful examination. To attribute the "Early Mona Lisa" to da Vinci
himself, experts studied the painting's pigments, brushstrokes and techniques. While the
pigments confirm the work's date to the start of the 16th century, analysis of the brushwork
reveals that a left-handed artist executed several parts of the painting. Da Vinci, who
worked with his left hand, may have rendered the sitter's features while another artist may
have painted the landscape. Spectral analysis also revealed clear underdrawings in the
"Early Mona Lisa" that usually appear only in original works and not in copies. Furthermore,
when comparing the two versions of the most recognized face in the world, researchers found
that they were both framed identically by the Golden Ratio and conformed to the intricate
geometric codes on which da Vinci based almost all his portraits, including his Vitruvian Man
and "The Virgin of the Rocks."
Woman-Ochre | Willem de Kooning (1955)

Willem de Kooning
Willem de Kooning was a Dutch abstract expressionist artist. He was born in Rotterdam, in
the Netherlands. He moved to the United States in 1926, and became an American citizen in
1962. On December 9, 1943, he married painter Elaine Fried.
In the years after World War II, de Kooning painted in a style that came to be referred to as
abstract expressionism or "action painting", and was part of a group of artists that came to
be known as the New York School. Other painters in this group included Jackson Pollock,
Elaine de Kooning, Lee Krasner, Franz Kline, Arshile Gorky, Mark Rothko, Hans Hofmann,
Nell Blaine, Adolph Gottlieb, Anne Ryan, Robert Motherwell, Philip Guston, Clyfford Still,
and Richard Pousette-Dart.
The painting
Woman-Ochre is a 1955 abstract expressionist oil painting by Dutch-born American artist
Willem de Kooning, part of his Woman series from that period. It was controversial in its day,
like the other paintings in the series, for its explicit use of figures, which Jackson Pollock and
other abstract expressionists considered a betrayal of the movement's ideal of pure, non-
representational painting. Feminists also considered the works misogynistic, suggesting
violent impulses toward the women depicted.
In 1985 it was stolen from the University of Arizona Museum of Art (UAMA). Investigators
believed the thieves were a couple who had visited the museum briefly on the day after
Thanksgiving Day that year, as it was found to have been cut from its frame shortly after they
left. Sketches were circulated in an effort to identify them, but no leads turned up until it was
recovered 32 years later after it was offered for sale at a New Mexico antique store, where it
had been part of the estate of Jerry and Rita Alter, two former New York City public school
teachers who had retired to the area. Visitors to the store speculated that the work was a de
Kooning, and then the proprietor found a picture of the missing painting on the Internet. He
contacted museum staff, who were able to provisionally authenticate it, and it was returned to
Tucson. The museum has not yet put it back on exhibit; it is raising funds to restore and repair
it.
It has not been determined who stole the painting. Suspicion has fallen on the Alters, who
were photographed at a family Thanksgiving dinner in Tucson the night before the theft, and
displayed it in their house in a manner that only they were likely to have seen during their
lifetimes. They also did bear a slight resemblance to the couple in the sketches, and Jerome
Alter later wrote a book of stories in which two characters carry out a similar theft of a
museum piece to reserve for their own exclusive enjoyment. However, as they are dead they
cannot be interviewed, and their living relatives believe it is entirely possible that they bought
the painting from a third party, entirely unaware of its provenance.
The theft
On November 27, 1985, the day after Thanksgiving, an older woman and younger man,
wearing heavy winter coats against the 55 °F (13 °C) late November chill, were waiting outside
the museum shortly before its 9 a.m. opening time. When security guards let a staff member in,
the couple followed. The guards decided to let them in anyway.
The couple went upstairs. Midway up the stairs, the woman began asking the guard on duty
about some of the artwork in the museum, while the man continued upstairs. Shortly
afterwards, he returned and the two left.
This very short visit to the museum seemed unusual to the guard, and he went upstairs to see if
anything was amiss. He found that Woman-Ochre had been cut from its frame. It appeared that
the man had hidden the painting under his coat before leaving. A witness later recalled seeing
the two drive off in a rust-colored two-door sports car.
No fingerprints were found at the scene. At the time the museum had no security cameras, so
investigators had to rely on eyewitness accounts which described the man as in his late 20s,
with dark brown hair, glasses and a mustache, wearing sunglasses and a dark blue water-
repellent coat with a hood; the woman was said to be older, with a scarf and granny glasses,
reddish-blonde hair, wearing a red water-repellent coat and tan bell-bottoms. Sketches were
made and distributed to the public. The university's police department turned the case over to
the Federal Bureau of Investigation, but no leads materialized.
The museum's insurance company paid it $400,000, the painting's estimated market value at
the time, on the claim. It used the money to buy security cameras; the museum also revised its
schedule to stay closed on the day after Thanksgiving in the future. Like many other art
museums that have suffered thefts of works on display, it did not replace Woman-Ochre,
instead placing a blank ochre-colored canvas on the wall behind the frame, where the cut
fibers were still visible, to call attention to the loss. By 2015, when another 1955 de Kooning,
Interchange, was sold for $300 million, making it the most expensive painting ever at that
time, the museum estimated the value of the still-missing work at $160 million.
Mike the Headless Chicken - Lyle Nichols
Sculpture
Miracle Mike
Mike the Headless Chicken (April 20, 1945 – March 17, 1947), also known as Miracle Mike,
was a Wyandotte chicken that lived for 18 months after his head had been cut off. Although
the story was thought by many to be a hoax, the bird's owner took him to the University of
Utah in Salt Lake City to establish the facts.
On September 10, 1945, farmer Lloyd Olsen of Fruita, Colorado, was planning to eat supper
with his mother-in-law and was sent out to the yard by his wife to bring back a chicken. Olsen
chose a five-and-a-half-month-old Wyandotte chicken named Mike. The axe removed the
bulk of the head, but missed the jugular vein, leaving one ear and most of the brain stem
intact.
Due to Olsen's failed attempt to behead Mike, the chicken was still able to balance on a perch
and walk clumsily. He attempted to preen, peck for food, and crow, though with limited
success; his "crowing" consisted of a gurgling sound made in his throat. When Mike did not
die, Olsen instead decided to care for the bird. He fed it a mixture of milk and water via an
eyedropper, and gave it small grains of corn and worms.
Once his fame had been established, Mike began a career of touring sideshows in the
company of such other creatures as a two-headed baby. He was also photographed for dozens
of magazines and papers, and was featured in Time and Life magazines. Mike was put on
display to the public for an admission cost of 25 cents. At the height of his popularity, the
chicken's owner earned US$4,500 per month ($50,500 today); Mike was valued at $10,000.
In March 1947, at a motel in Phoenix on a stopover while traveling back from tour, Mike
started choking in the middle of the night. He had managed to get a kernel of corn in his
throat. The Olsens had inadvertently left their feeding and cleaning syringes at the sideshow
the day before, and so were unable to save Mike. Olsen claimed that he had sold the bird off,
resulting in stories of Mike still touring the country as late as 1949. Other sources say that the
chicken's severed trachea could not properly take in enough air to be able to breathe, and it
therefore choked to death in the motel.
The sculpture
In 2000, sculptor Lyle Nichols paid tribute to Mike's fortitude with this 300-pound
interpretation, and the city of Fruita, Colorado, plays host to an annual festival that invites
visitors to "party their heads off" called “Mike the Headless Chicken Festival,” usually in
May or June. Attendees can participate in events like the “5K Run Like a Headless Chicken
Race” and “Pin the Head on the Chicken.”
The statue of Mike is is being permanently installed in a flower planter on a downtown
corner today. The 4-foot-high Mike likeness is appropriately made from 300 pounds of old
metal farm castoffs that include ax heads, sickle blades, hay-rake teeth and other cutting
objects.
The Fruita Chamber of Commerce decided to enshrine Mike because the rooster has brought
the world's notice to this town of 6,000 more than half a century later.
Fruita's reputation for mountain biking and dinosaurs has paled beside the attention drawn by a
bird without a head. Since his bizarre tale was publicized last year, when the town held its first
Mike the Headless Chicken Festival, Fruita chamber officials and historians have been
inundated with thousands of calls, letters and e-mails, from New Delhi to Auckland, wanting
more information about Mike.
La Sagrada Familia | Gaudi

When the foundation stone of the Basílica i Temple Expiatori de la Sagrada Família
was laid in 1882, it’s unlikely that anyone involved anticipated that the construction of this
church would take well over a century to complete. But when Catalan architect Antoni
Gaudí, now famous for his unique take on the Modernista movement, took charge of the
project a year later, he scrapped the original neo-Gothic design plans and exchanged them for a
grander vision, unlike any the world had ever seen.
Gaudí worked steadily on his masterpiece until his death in 1926, at which point an
estimated 15 to 25 percent of the total design, including the crypt, the apse walls, a portal,
and a tower, was complete. Since then a series of architects have attempted to continue his
legacy. Not surprisingly, progress on Sagrada Família’s construction has faced a few
setbacks over the past 130+ years. Vandalism in 1936 following the outbreak of the Spanish
Civil War resulted in the destruction of many of Gaudí’s models. The sacristy was destroyed
in a fire in 2011.
When complete, the church will be composed of three major facades, two of which —
the Passion facade and the Nativity façade — have already been completed, while construction
of the Glory facade remains ongoing. Much of the ornate Nativity facade was completed by
Gaudí himself, who feared that beginning with the austere Passion facade would temper the
public’s enthusiasm. The Passion facade’s gaunt, tortured figures, sculpted by Josep Maria
Subirachs, have met with probably some of the harshest complaints from critics, though the
church’s website defends the design, saying its graphic nature remains true to Gaudí’s original
vision of a facade meant to inspire fear. The Glory facade, expected to be the largest and most
impressive of the three, began construction in 2002.
The church’s interior is defined by columns that stretch like tree branches toward the
ceiling. Gaudí’s plans also called for 18 spires, eight of which are complete, as well as
numerous towers, chapels, portals, and other interior features. When built, the tallest spire,
which symbolizes Jesus Christ, will secure Sagrada Família’s place as the world’s largest
church building.
Though Sagrada Família is said to be Gaudí’s magnum opus, the architect appeared
unfazed by its glacial progress, remarking, “There is no reason to regret that I cannot finish the
church. I will grow old but others will come after me. What must always be conserved is the
spirit of the work, but its life has to depend on the generations it is handed down to and with
whom it lives and is incarnated.” Despite this statement’s apparent acceptance of the inevitable
variations on his design at the hands of the architects who followed him, some have
advocated for leaving the church unfinished out of respect for the original designer.
Some projections have Sagrada Família’s completion date as 2026, the centennial
anniversary of Gaudí’s death, while others estimate construction could continue into the 2040s.
Though still incomplete, the church sees an estimated 2.8 million visitors each year.
The Arts as a Verb: To Help, Mayhaps to Hurt
Key to the City - Paul Ramirez Jonas (2010)

Paul Ramírez Jonas’s Key to the City bestowed the key to New York City—an honor
usually reserved for dignitaries and heroes—to esteemed and everyday citizens alike. For this
participatory public art project, Ramírez Jonas reinvented the civic ornamental honor as a
master key able to unlock more than 20 sites across New York City’s five boroughs and
invited the people of the city to exchange keys in small bestowal ceremonies. Upon
receiving a key, individuals were then encouraged to explore locations ranging from
community gardens to cemeteries, and police stations to museums.
Key to the City sought to ignite the public’s imagination with a complex portrait of
New York City that included both the traditional tourist attractions and new places city
dwellers might otherwise never visit. The project expanded Ramírez Jonas’s longstanding
interest in the key not so much as an object, but as a vehicle for exploring social contracts as
they pertain to trust, access, and belonging.

Key to the City is now officially closed, but you can still use your key to open the locks
below:
 Postnet
 The Point
 The Rincon Criollo Cultural Center
 PS 73
 Bronx County Court House
 Louis Armstrong House Museum
 Eddie's Sweet Shop
 Cabinet
 Staten Island Buddhist Vihara
 Conference House Park

Harold Whittles Hears for the First Time | Jack Bradley

This emotional picture shows a rather astonished little boy: he isn’t sure what’s
happening, or how it’s happening. From a world of silence, he has suddenly been
transported to a world of rich, vibrant sound. It is new, it is strange, and it’s also a little
scary. His little eyes grow wide with wonder, and he is itching to respond to this new world
that has been presented to him. Harold Whittles, the little boy, has just been fitted with a
hearing aid. Deaf until then, Harold was introduced to sound with the arrival of technology at
his doorstep. Just as his doctor fitted the hearing aid, the first wave of sound awoke a dormant
sense in the little boy.
At that precise moment, photographer Jack Bradley froze the scene in a frame from
behind the lens. The photo was published in the February 1974 edition of Reader’s Digest, in
the article “Unforgettable moments caught on film”.
A Show of Hands | Htein Lin

Since my return to Burma in July 2013 after six years in London, I have been hoarding
arms. Those arms are the forearms of former political prisoners (PPs), captured in plaster
of Paris (PoP). I now have several hundred, but the incarcerating enthusiasm of the military
regime which ruled Myanmar from 1962-2010 – or arguably until 2012 or even today – means
that I have several thousand more to cast.
The purpose of plaster of Paris is to fix a broken bone. I had my own broken arm – a
bicycle accident – during my break in London, and as a result, I developed an interest in the
art of breaking, fixing and healing.
After six years, I was able to return to Burma for the first time in February 2012. I met
a number of my old friends, former political prisoners, freshly released from prison. In the
eighteen months since, almost all political prisoners have been released.
During this period, fresh from jail, they remain strongly cohesive, bound by their
common past. Over time, they will start to take different paths, as politicians, business people,
journalists, activists and parents. I wanted to capture this important period in their lives,
and gather them and their experiences into an archive, called ‘A Show of Hands’.
A Show of Hands is a multimedia work. It combines sculpture, in the plaster of Paris
arms, photographs of the making process, videos which record both the plastering, and the
past, their experience in jail. There are texts cataloguing the individuals and the years they
sacrificed in jail.
Under decades of military rule since 1962, Burma became a broken country. But now
it is starting the slow process of healing, not least by the return of the political prisoners to
society, and their contribution to a better future.
If you break your arm, your bones heal thanks to the immobilization of the plaster,
and the natural healing of your body. But it takes time to heal, and during that time you are
immobilized. Over 3,000 political prisoners were immobilized in prison and sacrificed
years of their lives during the period 1988-2012. I may well not gather them all. Some are
dead, dying in jail, or after their release, and some may never get in touch.
3,000 is just a number. But the visual impact of over a thousand arms will remind
the audience of just how many people gave up their freedom of movement to try to fix a
broken nation, just as the cases of bones in Cambodia document the evils of Pol Pot.
A Show of Hands is more than just a show of hands. It is a process of community
engagement, performance, and public art. I have found old jail comrades and new friends,
put faces and arms to names of those whom I never met but heard about through the prison
grapevine. I have found them in their new environments: monasteries, teashops, newspaper
offices, hospitals.
The casting process requires trust, just as a political movement requires trust. I
have asked doctors who have plastered a hundred arms themselves but never experienced it, to
submit to my amateur wraps. I have asked former prisoners whose fingers were broken in
torture to have them immobilized years after they should have received treatment. There is the
initial promise that the plaster will only be temporary, and the trust of taking a knife close
to the skin to release the arm from the cast.
This year was the 25th anniversary of the 1988 uprising. I have found many arms at
memorial events and celebrations. As I have plastered my subjects, old memories and even old
allergies have returned; a former prisoner who suffered a bad allergy to water while in jail
found a similar rash build up under her damp cast.
A Show of Hands is being both recorded and being extended via the social media.
Through the website http://www.hteinlin.com/ and through Facebook and other social media,
word of the project is spreading, and more former prisoners are tracking me down. We are
putting political prisoners in touch with their friends and families in exile. Even as the plaster
dries, former prisoners have recorded and uploaded their own casting experience. They have
been contacted across continents by Skype with friends in the diaspora, using social media and
internet opportunities which we did not even dream of at the start of our struggle in 1988.
These connections represent the importance of the community in Myanmar, and
reinforce the importance of treating our fellow men and women with respect, compassion
and loving kindness. People often ask us how we survived under the military regime, and
how we survived in jail. Each of us had our survival strategies, but the main answer to that
question is that we had the support of our community, and we had solidarity between
individuals, just as plaster of Paris supports the arm and the healing bone.

Music
In a Gallery of their Own: Isolation and Separation
Songs of a Wayfarer no. 2 | Gustav Mahler
Gustav Mahler
Gustav Mahler was born on 7 July 1860 in Bohemia and died on 18 May 1911 aged 50.
His father was an innkeeper, and Gustav was the second of 14 children, though many of his
siblings died as children, and his musical gifted brother Otto committed suicide in 1895.
In 1901 he married Alma Schindler and they had two daughters together, Anna and
Maria. His early marriage seemed to be happy, and some love themes in his works depict Alma
or his relationship with her. Strains began to show in their marriage after the tragic death of
Maria, aged four, following completion of Mahler's Kindertotenlieder. On top of this he was
diagnosed with a fatal heart condition and subject not just to musical criticism but also public
expressions of anti-Semitism. Some years later, when Mahler's works were beginning to
receive a certain recognition, Alma had succumbed to alcoholism. At the sanatorium where she
was treated she met and had an affair with Walter Gropius.
A life so full of tragic events clearly had a major influence on much of Mahler's
output, though there is also much in his music which expresses joy and hope. Mahler has said
that his music is about life, and there is clearly an autobiographical aspect to his works, where
a "hero" struggles with the meaning of life, death, love and disappointment. However, Mahler
withdrew any programmatic comments he had previously made about his compositions saying
that they should be appreciated as pure music and this is indeed the best approach.
Mahler is labelled a late Romantic composer denoting the freer type of music which
developed after the stricter Classical period. He produced large-scale dramatic works with
enormous contrasts in sounds and moods, and has been quoted as saying that his music is
"about life". This is evident from the juxtaposition of tragedy, humour, love, and other
extremes of emotion, conveying melancholy and pathos amid joy, strength and consolation
within tragedy, and the knowing use of self-mocking irony and sarcasm.
The piece
Lieder eines fahrenden Gesellen (Songs of a Wayfarer) is a song cycle by Gustav
Mahler on his own texts. The cycle of four Lieder (German song) for medium voice (often
performed by women as well as men) was written around 1884–85 in the wake of Mahler's
unhappy love for soprano Johanna Richter, whom he met while conductor of the opera house
in Kassel, Germany, and orchestrated and revised in the 1890s.
Although Songs of a Wayfarer is the title by which the cycle is generally known in
English, Fritz Spiegl has observed that German "Geselle" actually means "journeyman", i.e.,
one who has completed an apprenticeship with a master in a trade or craft, but is not yet a
master himself; journeymen in German-speaking countries traditionally traveled from town
to town to gain experience with various masters. A more accurate translation, therefore,
would be Songs of a Travelling Journeyman. The title hints at an autobiographical aspect of
the work; as a young, newly qualified conductor (and budding composer), Mahler was himself
at this time in a stage somewhere between 'apprentice' and recognized 'master' and had
been moving from town to town (Bad Hall, Laibach, Olmütz, Vienna, Kassel). All the while,
he was honing his skills and learning from masters in his field.
I – "Wenn mein Schatz Hochzeit macht" ("When My Sweetheart is Married")
The first movement is entitled "Wenn mein Schatz Hochzeit macht" ("When My
Sweetheart is Married"), and the text discusses the Wayfarer's grief at losing his love to
another. He remarks on the beauty of the surrounding world, but how that cannot keep him
from having sad dreams. The orchestral texture is bittersweet, using double reed instruments,
clarinets and strings. It begins in D minor and ends in G minor.
II – "Ging heut' Morgen über's Feld" ("I Went This Morning over the Field")
The second movement, "Ging heut' Morgen über's Feld" ("I Went This Morning over
the Field"), contains the happiest music of the work. Indeed, it is a song of joy and wonder at
the beauty of nature in simple actions like birdsong and dew on the grass. "Is it not a
lovely world?" is a refrain. However, the Wayfarer is reminded at the end that despite this
beauty, his happiness will not blossom anymore now that his love is gone. This movement is
orchestrated delicately, making use of high strings and flutes, as well as a fair amount of
triangle. The melody of this movement, as well as much of the orchestration, was later reused
by Mahler and developed into the 'A' theme of the first movement of his First Symphony. It
begins in D major and ends in F-sharp major.
III – "Ich hab' ein glühend Messer" ("I Have a Gleaming Knife")
The third movement is a full display of despair. Entitled "Ich hab' ein glühend Messer"
("I Have a Gleaming Knife"), the Wayfarer likens his agony of lost love to having an actual
metal blade piercing his heart. He obsesses to the point where everything in the environment
reminds him of some aspect of his love, and he wishes he actually had the knife. Note: while
the translation of "glühend" as gleaming is not totally incorrect, "gleaming" misses an
important point: "glühend" includes an element of heat, as in "glowing with heat"; a
potentially better translation might be any of "glowing", "burning", scorching". This isn't just a
bright-looking (i.e. gleaming") knife, but one that burns and scorches. The music is intense and
driving, fitting to the agonized nature of the Wayfarer's obsession. It begins in D minor and
ends in E-flat minor.
IV – "Die zwei blauen Augen von meinem Schatz" ("The Two Blue Eyes of my
Beloved")
The final movement culminates in a resolution. The music, also reused in the First
Symphony (in the slow movement), is subdued and gentle, lyrical and often reminiscent of a
chorale in its harmonies. Its title, "Die zwei blauen Augen von meinem Schatz" ("The Two
Blue Eyes of my Beloved"), deals with how the image of those eyes has caused the
Wayfarer so much grief that he can no longer stand to be in the environment. He describes
lying down under a linden tree, finding rest for the first time and allowing the flowers to fall
on him; and somehow (beyond his own comprehension) everything was well again:
"Everything: love and grief, and world, and dream!" It begins in E minor and ends in F minor.
Viva la Vida | Coldplay
Coldplay
Coldplay are a British rock band formed in London in 1996. The four members, lead
singer and pianist Chris Martin, lead guitarist Jonny Buckland, bassist Guy Berryman, and
drummer Will Champion were at University College London, and came together from 1996 to
1998, during which time the band changed names from Pectoralz, to Starfish, then Coldplay.
Creative director and former manager Phil Harvey is often referred to as the fifth member by
the band. They recorded and released two EPs: Safety in 1998 and The Blue Room in 1999.
The latter was their first release on a major label, after signing to Parlophone.
Coldplay have won numerous awards throughout their career, including nine Brit
Awards, six MTV Video Music Awards, seven MTV Europe Music Awards and seven Grammy
Awards from 29 nominations. They have sold more than 100 million records worldwide,
making them one of the world's best-selling music artists. Three of their albums: Parachutes, A
Rush of Blood to the Head, and X&Y, are among the best-selling albums in UK chart history.
In December 2009, Rolling Stone readers voted the group the fourth-best artist of the 2000s.
Coldplay have supported various social and political causes, such as Oxfam's Make Trade Fair
campaign and Amnesty International. They have also performed at charity projects, including
Band Aid 20, Live 8, Global Citizen Festival, Sound Relief, Hope for Haiti Now: A Global
Benefit for Earthquake Relief, One Love Manchester, The Secret Policeman's Ball, Sport
Relief and the UK Teenage Cancer Trust.
Viva la Vida
"Viva la Vida" is a song by British rock band Coldplay. It was written by all members
of the band for their fourth album, Viva la Vida or Death and All His Friends (2008), and was
released as the second single from the album. On the album, this song segues directly into the
next track, "Violet Hill". Viva la Vida is Spanish for "Long Live Life" or simply "Live Life".
The lyrics to the song contain historical and Christian references, and the track is
built around a looping string section in unison with a digital processed piano, with other layers
gradually being added as the song builds.
The song's Spanish title, "Viva la Vida", is taken from a painting by 20th-century
Mexican artist Frida Kahlo. In Spanish "viva" is an expression used to acclaim someone or
something, so "Long Live Life" is an accurate translation and the painting reflects the artistic
irony of acclaiming life while suffering physically. When asked about the album's title,
referring to Frida Kahlo's strength, enduring polio, a broken spine, and a decade of
chronic pain, lead singer Chris Martin said: "She went through a lot of pain, of course, and
then she started a big painting in her house that said 'Viva la Vida', I just loved the boldness of
it."
During the album's production, "Viva la Vida" was one of the songs that had polarised
each member's opinion over which version they should choose. In an interview, Martin
recalled: "We did quite a few different versions and went round the houses a bit and eventually
settled on those treatments for it."
The lyrics to "Viva la Vida" are narrated by a protagonist who says he "used to rule the
world". Martin has explained the song lyric "I know Saint Peter won't call my name" in an
interview with Q magazine: "It's about ... You're not on the list," When asked about the song,
bass guitarist Guy Berryman said: "It's a story about a king who's lost his kingdom, and all the
album's artwork is based on the idea of revolutionaries and guerrillas. There's this slightly
anti-authoritarian viewpoint that's crept into some of the lyrics and it's some of the pay-off
between being surrounded by governments on one side, but also we're human beings with
emotions and we're all going to die and the stupidity of what we have to put up with every day.
Hence the album title."
Unlike the then-typical arrangement of Coldplay songs, in which either the guitar or
piano is the prominent instrument, the track mostly consists of a string section and a digital
piano playing the song's upbeat riff, along with a steady bass drum beat, percussion (including
a timpano and a church bell), bass guitar, and Martin's vocals; there is limited use of electric
guitar. All the strings are arranged and conducted by violinist Davide Rossi, who is one of the
main collaborators of the album. Rossi's strings comprise the main driving force throughout
the song, with a strong beginning loop that supports Martin's voice, until the choruses where
the symphonic power of the orchestra takes its fullest shape. The prominent chords played by
the string section throughout the song (and in the chorus of "Rainy Day," another of the band's
songs) are very similar to those used by "Viva la Vida" co-producer Brian Eno in his piece "An
Ending (Ascent)," meaning they could have been suggested partially for the song by Eno.
The song is written in the key of A-flat major. Its main chord progression is
D♭/E♭/A♭/Fm.
Therru’s Song | Tales from Earthsea
Far far above the clouds soaring the wind,
A falcon flies alone, silent as the sky,
I hear his lonely cry, never can he rest,

I walk with you along an empty winding road,


We are far from the ones we love and never can return,
Never can we see again, the countries of our birth

When will ever find a place to call my home?


Sadness circling like a falcon in the sky,
When will I ever find a way to speak my heart
To someone who knows, what it is to be alone?
Far far above the clouds soaring the wind,
A falcon flies alone, silent as the sky,
I hear his lonely cry, never can he rest,

I long to spread my wings and fly into the light,


Open this lonely heart to one who understands,
When will I ever find a way to speak my heart?

When will ever find a place to call my home?


Sadness and loneliness, a falcon in the sky
When will I ever find a way to speak my heart
To someone who knows, what it is to be alone?
Tales from Earthsea
Tales from Earthsea is a 2006 Japanese animated fantasy film directed by Gorō
Miyazaki, animated by Studio Ghibli. The film is based on a combination of plot and character
elements from the first four books of Ursula K. Le Guin's Earthsea series (A Wizard of
Earthsea, The Tombs of Atuan, The Farthest Shore, and Tehanu), as well as the manga The
Journey of Shuna by Hayao Miyazaki. The film's title is named from the collection of short
stories, Tales from Earthsea, made in 2001. The plot was "entirely different" according to the
author Ursula K. Le Guin, who told director Gorō Miyazaki, "It is not my book. It is your
movie. It is a good movie", although she later expressed her disappointment with the end
result. A film comic adaptation of the film has been published in Japan.
Earthsea
Earthsea, also known as The Earthsea Cycle, is a series of fantasy books written by
the American writer Ursula K. Le Guin and the name of their setting, a world of islands
surrounded by an uncharted ocean. There are six Earthsea books written between 1968 and
2001, beginning with A Wizard of Earthsea and continuing with The Tombs of Atuan, The
Farthest Shore, Tehanu, Tales from Earthsea, and The Other Wind. Unusually for a series,
Tales from Earthsea is a short story collection; the rest are novels. There are also four
additional short stories not in Tales from Earthsea.
Signs | Five Man Electrical Band
Five Man Electrical Band
The Five Man Electrical Band (originally known as The Staccatos from 1963–68) is a
Canadian rock group from Ottawa, Ontario. They had many hits in Canada, including the top
10 entries "Half Past Midnight" (1967) (as The Staccatos), "Absolutely Right" (1971) and "I'm
a Stranger Here" (1972). Internationally, they are best known for their 1971 hit single "Signs".
Signs
"Signs" is a song by the Canadian rock group Five Man Electrical Band. It was written
by the band's frontman, Les Emmerson and popularized the relatively unknown band, who
recorded it for their second album, Good-byes and Butterflies, in 1970. "Signs" was originally
released that year as the B-side to the relatively unsuccessful single "Hello Melinda Goodbye"
(#55 Canada).
Re-released in 1971 as the A-side, "Signs" reached No. 4 in Canada and No. 3 on the
US Billboard Hot 100 chart. Billboard ranked it as the No. 24 song for 1971. It became a gold
record.
The song's narrator describes four instances of encountering signs that anger or
concern him, as follows:
 A notice that "long-haired freaky people need not apply" for a job opening. He stuffs
his hair into his hat in order to get an interview, then contemptuously reveals it once he
has been offered the job.
 A "no trespassing" warning outside a house. He climbs onto the perimeter fence and
berates the owners for keeping people out and fencing in the land's natural beauty.
 Being told to leave a restaurant because he does not meet its dress code or have a
membership card, both of which are displayed on a sign.
 A sign inviting people to worship at a church. When an offering is taken up at the
end of the service, he makes a sign telling God that he is doing well, as he has no
money to contribute.

Motorcycle Drive-By | Third Eye Blind


Third Eye Blind
Third Eye Blind is an American rock band formed in San Francisco in 1993. The
songwriting duo of Stephan Jenkins and Kevin Cadogan signed the band's first major-label
recording contract with Elektra Records in 1996, which was later reported as the largest
publishing deal ever for an unsigned artist. The band released their self-titled debut album in
1997, with the band largely consisting of Jenkins (lead vocals, rhythm guitar), Cadogan (lead
guitar), Arion Salazar (bass guitar), and Brad Hargreaves (drums). Shortly after the release of
the band's second album in 1999, Blue, with the same line-up, Cadogan was released from the
band under controversial circumstances.
Motorcycle Drive-By
The song is about a guy and a girl who are just friends - but the guy wants more.
He knows that she thinks it will never happen and that they are better as friends. Whenever he
is with her he "has never been so alive" because he is able to spend time with her but also
he "has never been so alone" because he can't be intimate with her, a feeling that is
killing him.
I assume they both live in NYC. She loves it but he hates it. The only reason he still
stays there is because he thinks there is still a chance they will end up together.
"And this is our last time We'll be friends again" most likely means that he puts it all
out on the line. He tells her how he feels, and she turns him down (as he expected she
would).
The last few verses is about him getting over her and moving on with his life.
Other People’s Stories and An Ordinary Guy | Amour
Amour
Amour is a musical fantasy with an English book by Jeremy Sams, music by Michel
Legrand, and lyrics by Didier Van Cauwelaert, who wrote the original French libretto.
The musical is adapted from the 1943 short story Le Passe-Muraille by Marcel Aymé
and set in Paris shortly after World War II. It centers on a shy, unassuming clerk who
develops the ability to walk through walls, and who challenges himself to stick to his
moral center and change others' lives, and his own, as a result.
In Paris after World War II, a shy, unassuming "invisible" civil servant, Dusoleil, lives
alone and works in a dreary office under a tyrannical boss. His lazy co-workers are unhappy
because Dusoleil is a hard worker who finishes his work early. To pass the time, he writes
letters to his mother and daydreams about the beautiful Isabelle. Isabelle is kept locked away
by her controlling husband, the prosecutor-general with an unsavory past. When Dusoleil
miraculously gains the ability to walk through walls, he begins to steal from the rich and
give to the poor. He also gains the self-confidence to woo Isabelle, who is intrigued by the
news stories about Passepartout, a mysterious criminal who can walk through walls.
Dusoleil's life, as well as Isabelle's and the other characters, takes a rich and, for a
while, romantic turn. As Dusoleil admits to being Passepartout, he is put on trial in front of
the prosecutor. Before the trial progresses, Isabelle reveals her husband's secret—that he
was a Nazi collaborator. Dusoleil is pardoned and he spends one romantic night with
Isabelle. When he takes pills that the doctor has given him, mistaking them for aspirin, he
loses his magic power. He becomes stuck mid-leap in a wall, and his memory is carried on
in story and song.
Le Passe-Muraille
The passer-through-walls (French: Le Passe-muraille), translated as The Man Who
Walked through Walls, The Walker-through-Walls or The Man who Could Walk through Walls,
is a short story published by Marcel Aymé in 1943.
Get Some Sleep | Bic Runga
Bic Runga
Briolette Kah Bic Runga MNZM (born 13 January 1976), recording as Bic Runga, is a
New Zealand singer-songwriter and multi-instrumentalist pop artist. Her first three studio
albums debuted at number one on the New Zealand Top 40 Album charts. Runga has also
found success internationally in Australia, Ireland and the United Kingdom with her song
"Sway".
In the 2006 New Year Honours Runga was appointed a Member of the New Zealand
Order of Merit for services to music.
Get Some Sleep
"Get Some Sleep" is a song by New Zealand recording artist Bic Runga. It was
released in June 2002 as the lead single to her second studio album, Beautiful Collision.
The song was the highest selling song by a New Zealand artists in 2002, ranking at
number 6 overall. The song reached number 78 in the UK and 26 in Ireland.
The refrain of this uptempo, overtly commercial track is "I believe I might be having
fun," and Runga is clearly a girl who is doing that here. An obvious single, it received heavy
airplay in her native New Zealand where it was first performed at "a few intimate shows at The
Odeon, in Auckland" early in 2002. With a fine blend of electric and acoustic guitars and laid
back harmonies, "Get Some Sleep" was a deserved top ten hit in both Ireland and Japan.
Multi-instrumentalist Runga spent a grueling two years touring the United States,
which is clearly what inspired the song: "From here to there to everywhere, then back to
Union Square. Where do I get some sleep?"
A Light in Obscure Places: The Unseen, the
Misunderstood
Me and the Sky | Come From Away
Come From Away
Come from Away is a musical with book, music and lyrics by Irene Sankoff and
David Hein. It is set in the week following the September 11 attacks and tells the true
story of what transpired when 38 planes were ordered to land unexpectedly in the small
town of Gander, Newfoundland and Labrador, Canada as part of Operation Yellow
Ribbon. The characters in the musical are based on (and in most cases share the names of)
real Gander residents as well as some of the 7,000 stranded travelers they housed and fed.
The musical has been received by audiences and critics as a cathartic reminder of the
capacity for human kindness in even the darkest of times and the triumph of humanity over
hate.
After being workshopped in 2012 and first produced at Sheridan College in Oakville,
Ontario in 2013, it went on to have record-breaking runs at the La Jolla Playhouse and the
Seattle Repertory Theatre in 2015, at the Ford's Theatre in Washington, D.C., and the Royal
Alexandra Theatre in Toronto in 2016. It opened on Broadway at the Gerald Schoenfeld
Theatre on March 12, 2017, and became a critical and box office success, routinely playing to
standing-room-only audiences even during previews. In October 2018 it became the longest-
running Canadian musical in Broadway history, surpassing The Drowsy Chaperone's previous
record of 674 performances.
Baz Bamigboye announced on Twitter on June 7, 2018 that a London production of
Come from Away would be coming in February 2019. He said the show will first premiere in
The Abbey Theatre in Dublin in December and then would transfer to The Phoenix Theatre.
He also stated that an official announcement would come on Canada Day.
At the 71st Tony Awards, it was nominated for seven awards including Best Musical,
Best Original Score, Best Book of a Musical and Best Featured Actress in a Musical for Jenn
Colella, ultimately winning for Best Direction of a Musical for Christopher Ashley.
The song
On September 11, 2001, actor Jenn Colella—then a grad student in Los Angeles—
heard the news of the terrorist attacks while in her car. She pulled over and began walking in
L.A. That same day, American Airlines Captain Beverly Bass heard the news of a terrorist
action over air-to-air traffic while piloting a flight from Paris to Dallas. She landed her plane
in Gander, Newfoundland, along with 37 other diverted aircrafts.
“...The emotion of it [is] her trying to tamp down her emotions because she’s supposed
to be in control,” Colella explains. “Then add on top of that that Beverly is usually in the
audience watching and crying and staring right at me”—Bass has seen the show 65 times—
“there’s no amount of training to prepare me for the challenge that song is every single night.”
In order to portray Bass to the audience in such a short snippet of time, Colella has to
feel the emotion of the pilot who has lost her friend and colleague in the terrorist attack
on the Pentagon and portray the mitigated expression of that emotion as Bass stays calm
to lead her flight crew and passengers. (And the actor has appropriated Bass’ natural hand
gestures to get into the bones of her character.)
Simultaneously, Colella must keep her own emotions at bay. “[Director] Chris Ashley
has directed us not to get lost in the emotion, just as actors who are telling the story, so that’s
running through my head,” says Colella. Still, “a little piece of me breaks every time because
it’s true,” she shares. “We’re not making up a really sad story; this happened, and I have to
relive it every night.” While the show is set in Canada, the crux of the American story hits
Colella in the quietest moment of the song—when she practically whispers the lyric “suddenly
something has died.”
Beverley Bass
Beverley Bass (born 1951 or 1952) is an American former aircraft pilot. She was
hired in 1976 by American Airlines as their third female pilot.
Bass was piloting a Boeing 777 enroute from Charles de Gaulle Airport to Dallas/Fort
Worth International Airport when the terror attacks of September 11, 2001 occurred. Due to
the closure of American airspace Bass' flight was ordered to land at Gander International
Airport in Gander, Newfoundland as part of the Canadian government's Operation Yellow
Ribbon. Her experience in Gander during the days following the attacks was one of several
people's stories featured in the Tony Award-winning Canadian musical Come from Away.
While the Beverley Bass character in the musical is partly a composite character combining
experiences of other pilots in Gander at the time, the show stopping number "Me and the Sky"
is entirely drawn from the real Bass' life story. Bass has developed a close friendship with
Jenn Colella, the actress who portrays her in the main company of Come from Away, and
frequently travels to see the show.
Three Romances for Violin and Piano | Clara Schumann
Clara Schumann
Clara Schumann was a German musician and composer, considered one of the most
distinguished composers and pianists of the Romantic era. She exerted her influence over a 61-
year concert career, changing the format and repertoire of the piano recital, while also having
composed a body of work including various piano concertos, chamber works, and choral
pieces. She was married to composer Robert Schumann, and together they encouraged and
maintained a close relationship with Johannes Brahms. She was the first to perform publicly
any work by Brahms, notably the Variations and Fugue on a Theme by Handel. She was also
an influential piano educator at the Hoch Conservatory in Frankfurt.
During her lifetime, Clara Schumann was an internationally renowned concert pianist.
Over 1300 concert programs from Schumann's performances throughout Europe between 1831
through 1889 have been preserved. She championed the works of her husband, Robert
Schumann, and other contemporaries Johannes Brahms, Frédéric Chopin, and Felix
Mendelssohn.
In her early years, her repertoire, selected by her father, was showy and popular and in
the style common to the time, with works by Kalkbrenner, Henselt, Thalberg, Herz, Pixis,
Czerny, and her own compositions. In 1835, she performed her Piano Concerto in A minor
with the Leipzig Gewandhaus, led by Felix Mendelssohn. Her only other piano concerto, a
Konzersatz in F minor (1947), was left unfinished. In 1841, she premiered Robert Schumann's
Piano Concerto in Dresden.
Her busiest years as a performer were between 1856 and 1873, after Robert
Schumann's death. During this period, she experienced success as a performer in Great Britain,
where her 1865 performance of Beethoven's Piano Concerto No. 5 was met "with enormous
applause." As a chamber musician, she often concertized with violinist Joseph Joachim and
played songs frequently on recitals in the later years of her career.
Three Romances for Violin and Piano
The Three Romances for Violin and Piano, Op. 22 of Clara Schumann, were written
in 1853 and first published in 1855.
Having moved to Düsseldorf in 1853, Clara Schumann, who said that "Women are not
born to compose," produced several works, including these three romances. Dedicated to the
legendary violinist Joseph Joachim, Schumann and Joachim went on tour with them, even
playing them before King George V of Hanover, who was "completely ecstatic" upon hearing
them. A critic for the Neue Berliner Musikzeitung praised them, declaring: "All three pieces
display an individual character conceived in a truly sincere manner and written in a delicate
and fragrant hand." Stephen Pettitt for The Times, wrote, "Lush and poignant, they make
one regret that Clara's career as a composer became subordinate to her husband's."
The romances, scored for violin and piano, are written in three movements:
1. Andante molto
2. Allegretto
3. Leidenschaftlich schnell
The first romance begins with hints of gypsy pathos, before a brief central theme with
energetic arpeggios ensues. This is followed by a final section similar to the first, in which
Clara Schumann charmingly refers to the main theme from her husband Robert Schumann's
first violin sonata. The second romance is more wistful, with many embellishments. It is
sometimes considered as representative of all three, beginning with a plaintive appetizer to its
energetic, extroverted leaps and arpeggios, followed by a more developed section with the first
theme present. The last movement, while very similar to the first but approximately the same
length in time as the first two, features long-limbed melodies with rippling, bubbling piano
accompaniment.
An average performance is about ten minutes in duration.
The Way You Make Me Feel (Cover) | Renta Flores Rivera
Renta Flores Rivera
14-year-old indigenous Peruvian Renata Flores sings a Michael Jackson cover in the
Quechua language, becoming a symbol of the fight against racial discrimination.
As happens to many American equal-in-age girls, Renata Flores at age 14 became a
celebrity on YouTube singing Michael Jackson’s songs. But unlike other girls, this Peruvian
student didn’t make do with singing an international superstar’s cover with a beautiful and
emotional voice, she translated the lyrics into her native language, the Quechua, to bring
her traditions back to life.
This centuries-old dialect, derived from the Inca who spoke it more than 800 years
ago, is now a social stigma in Peru. Even if it’s the second most spoken language in the
country, after Spanish, those who speak the Quechua are considered uncool. It’s not taught at
school and, by now, just the old people living in the Andes speak it since new generations
avoid learning it. “People think that Quechua is another word for poverty and unfairly
don’t think highly of it”, said Flores, who has recently begun to learn the Quechua language.
In August the talented singer shared the video of her cover of Michael Jackson’s “The
Way You Make Me Feel” with Inca ruins in the background. It was watched more than a
million times on the Internet. The next month, thanks to the help of friends and relatives, she
held her first concert in her native city of Ayacucho. On the stage, what standed out the most
was not only the innovative mix of English and Quechua in her songs, but also the chullo
she proudly wears, which has become the symbol of the fight against ethnic discrimination
in Peru.
The Way You Make Me Feel
"The Way You Make Me Feel" is a song by American recording artist Michael Jackson.
It was released by Epic Records on November 9, 1987 as the third single from his seventh
studio album, Bad (1987). It was written and composed by Jackson, and produced by Quincy
Jones and Jackson.
Musically, "The Way You Make Me Feel" is a pop and rhythm and blues song
composed of blues harmonies. The song's opening lyrics are "Hey, pretty baby with the high
heels on". "The Way You Make Me Feel"'s lyrics pertain to being in love, as well as the
feeling of loving someone. Throughout the song, Jackson's vocal range spans from B to A .3 5

The song is played in the key of E major. "The Way You Make Me Feel" has a mid-tempo of
medium rock and has a metronome of 120 beats per minute. The song follows in the chord
progression of C—E♭/C—C—C/E♭ in the first line, when Jackson sings "Hee-hee! Ooh Go
on!" and continues on the same progression in the second line, when Jackson sings "Girl!
Aaow!".
Follow the Drinking Gourd | American Folk Song
"Follow the Drinking Gourd" is an African American folk song first published in 1928.
The Drinking Gourd is another name for the Big Dipper asterism. Folklore has it that
fugitive slaves in the United States used it as a point of reference so they would not get lost.
According to legend, the song was used by a conductor of the Underground Railroad, called
Peg Leg Joe, to guide some fugitive slaves. While the song may possibly refer to some lost
fragment of history, the origin and context remain a mystery. A more recent source challenges
the authenticity of the claim that the song was used to help slaves escape to the North and to
freedom.

Polaris (Little Dipper) and Big Dipper


Big Dipper vs. Little Dipper
Two of the stars in the Big Dipper line up very closely with and point to Polaris.
Polaris is a circumpolar star, and so it is always seen pretty close to the direction of true north.
Hence, according to a popular myth, all slaves had to do was look for the Drinking Gourd
and follow it to the North Star (Polaris) north to freedom. James Kelley has argued against the
historicity of this interpretation in the Journal of Popular Culture.
These directions then enabled fleeing slaves to make their way north from Mobile,
Alabama to the Ohio River and freedom.
The Song as History
In the ensuing 80 years, the Drinking Gourd played an important role in the Civil
Rights and folk revival movements of the 1950s and 1960s, and in contemporary elementary
school education. Much of the Drinking Gourd's enduring appeal derives from its perceived
status as a unique, historical remnant harkening back to the pre-Civil War South – no other
such map songs survive. But re-examining the Drinking Gourd song as history rather than
folklore raises many questions. And the Drinking Gourd as it appears in roughly 200
recordings, dozens of songbooks, several award-winning children's books and many other
places is surely not "traditional." The signature line in the chorus, "for the old man is awaitin'
for to carry you to freedom," could not possibly have been sung by escaping slaves, because
it was written by Lee Hays eighty years after the end of the Civil War.
Historians John Hope Franklin and Loren Schweninger found that most slaves from the
Deep South did not head north. Instead they struck out for big Southern cities, Indian territory,
Mexico, the Caribbean or other avenues to freedom. They further note that the distinctive dress
and language of field hands made their escape particularly difficult.
Of the one to two thousand slaves annually that made it to safety in the north, almost
all came from Border States, not the Deep South.
Consider also whether the practice of marking trees makes sense. To be of any use,
many, many miles, perhaps on both sides of the Tombigbee, would have to be marked. It
would take countless days of dangerous work, in constantly patrolled territory.
Manipulating folklore is a common practice with a very long history indeed. The lyrics
were rewritten and melody re-arranged to the point where neither are representative of the
African-American tradition. And after its rewrite the song fit snugly into the desire of the
Weavers and others for activist songs that drove social change.
Didge Fusion | William Barton
Willian Barton
William Barton is an Australian Aboriginal didgeridoo player. He was born in Mount
Isa, Queensland on 4 June 1981 and learned to play from his uncle, an elder of the Wannyi,
Lardil and Kalkadunga tribes of Western Queensland. He is widely recognised as one of
Australia's finest traditional didgeridoo players and a leading didgeridoo player in the
classical world.
"I'm doing what I love," Barton says. "I want to take the oldest culture in the world
and blend it with Europe's rich musical legacy."
Taught to play the digeridoo from an early age by aboriginal elders, by the age of 12
Barton was working in Sydney, playing for Aboriginal dance troupes. At the age of 15 he
toured America, after which he decided he wanted to become a soloist rather than a backing
musician and started to study different kinds of music. In 1998, he made his classical debut
with the Queensland Symphony Orchestra, and became Australia's first didgeridoo artist-in-
residence with a symphony orchestra.
Mbube | Solomon Linda
Solomon Linda
Solomon Popoli Linda (1909 – 8 October 1962), also known as Solomon Ntsele
("Linda" was his clan name), was a South African musician, singer and composer best known
as the composer of the song "Mbube", which later became the popular music success "The
Lion Sleeps Tonight", and gave its name to the Mbube style of isicathamiya a cappella later
popularized by Ladysmith Black Mambazo.
Linda is credited with a number of musical innovations that came to dominate the
isicathamiya style. Instead of using one singer per voice part, the Evening Birds used a number
of bass singers. He introduced the falsetto main voice, which incorporated female vocal texture
into male singing. His group was the first known to use striped suits to indicate that they were
urban sophisticates. At the same time, their bass singing retained some musical elements
indicative of traditional choral music.
Some of Linda's music can be interpreted as expressing political dissent. For example,
"Yethulisgqoko" ("Take off your hat", Gallo GE 887) recalls treatment by Pass Office officials,
and ends with the words "Sikhalela izwe lakithi" ("We cry for our country"). Such expressions
were an occasional feature of Mbube songs. Groups such as The Alexandrians were associated
with the Industrial and Commercial Workers Union in Johannesburg.
Mbube
The song is Mbube, produced by Zulu musician Solomon Linda in 1939. It’s estimated
that Linda received a total of 10 shillings for the song. Yet the tune went on to become Pete
Seeger’s runaway hit Wimoweh, then the Tokens’ The Lion Sleeps Tonight, on to at least 160
covers, before ending up in the voices of Timon and Pumbaa, the meerkat and warthog
characters in Disney’s classic movie and Broadway hit The Lion King.
Along the way, it is said to have earned some US$15-million (R90-million) in
royalties – but not for Linda. The musician died in 1962 with less than R100 in his bank
account. His widow couldn’t afford a headstone for his grave.
In February 2006, Linda’s legacy finally received some justice. After a six-year battle
his surviving daughters Delphi, Elizabeth and Fildah, who had claimed almost R10-million
from copyright holder Abilene Music, settled their dispute for an undisclosed sum. The
settlement involves back payment of royalties to the family and the right to receive future
payments for worldwide use.
“The settlement came about as a result of pressure from various sectors of society, both
in South Africa and overseas,” family lawyer Hanro Friedrich told Business Day at the time of
the settlement.
It’s unlikely that this pressure would have come to bear if it hadn’t been for Rian
Malan, South African journalist and author of the bestselling My Traitor’s Heart.
In 2000 Malan delved deep into the story of Solomon Linda and his remarkable song
for Rolling Stonemagazine, producing a four-part expose that brought world attention to the
song and the injustice done to Linda and his family.
It was Malan who, after consulting widely with experts on music copyright, came up
with the $15-million royalties estimate.
“It is the most famous melody ever to emerge from Africa,” Malan says of Mbube,
“a tune that has penetrated so deep into the human consciousness over so many generations
that one can truly say, here is a song the whole world knows.
“[I]t mutated into a truly immortal pop epiphany that soared to the top of the charts
here and then everywhere, again and again, returning every decade or so under different names
and guises.
“Navajo Indians sing it at pow-wows, Native American people’s way of meeting
together, to join in dancing, singing, visiting, renewing old friendships, and making new ones.
Japanese teenagers know it as TK . It has been recorded by artists as diverse as REM and Glen
Campbell, Brian Eno and Chet Atkins, the Nylons and schlockmeister Bert Kaempfert. The
New Zealand army band turned it into a march. England’s 1986 World Cup soccer squad
turned it into a joke. Hollywood put it in Ace Ventura Pet Detective.
“It has logged nearly three centuries of continuous radio air play in the US alone.”
It’s the Hard-Knock Life | Annie
Annie
Annie is a Broadway musical based upon the popular Harold Gray comic strip Little
Orphan Annie, with music by Charles Strouse, lyrics by Martin Charnin, and book by
Thomas Meehan. The original Broadway production opened in 1977 and ran for nearly six
years, setting a record for the Alvin Theatre (now the Neil Simon Theatre). It spawned
numerous productions in many countries, as well as national tours, and won the Tony Award
for Best Musical. The musical's songs "Tomorrow" and "It's The Hard Knock Life" are among
its most popular musical numbers.
It’s The Hard-Knock Life
"It's the Hard Knock Life" is a song from the musical Annie with music by Charles
Strouse and lyrics by Martin Charnin. The song is about the hard times while living in an
orphanage.
Little People | Les Misérables
Les Misérables
Les Misérables is a French historical novel by Victor Hugo, first published in 1862,
that is considered one of the greatest novels of the 19th century. In the English-speaking
world, the novel is usually referred to by its original French title. However, several alternatives
have been used, including The Miserables, The Wretched, The Miserable Ones, The Poor
Ones, The Wretched Poor, The Victims and The Dispossessed. Beginning in 1815 and
culminating in the 1832 June Rebellion in Paris, the novel follows the lives and interactions
of several characters, particularly the struggles of ex-convict Jean Valjean and his
experience of redemption.
Examining the nature of law and grace, the novel elaborates upon the history of
France, the architecture and urban design of Paris, politics, moral philosophy,
antimonarchism, justice, religion, and the types and nature of romantic and familial love.
Les Misérables has been popularized through numerous adaptations for film, television and the
stage, including a musical.
The musical
Les Misérables, colloquially known in English-speaking countries as Les Mis, is a
sung-through musical based on the 1862 novel of the same name by French poet and novelist
Victor Hugo. The musical premiered in Paris in 1980, and has music by Claude-Michel
Schönberg and original French-language lyrics by Alain Boublil and Jean-Marc Natel. An
English-language libretto and English lyrics were written by Herbert Kretzmer. The London
production has run continuously since October 1985, making it the longest-running musical in
the West End and the second longest-running musical in the world after the original Off-
Broadway run of The Fantasticks.
Set in early 19th-century France, Les Misérables is the story of Jean Valjean, a French
peasant, and his desire for redemption after serving nineteen years in jail for having stolen a
loaf of bread for his sister's starving child. Valjean decides to break his parole and start his life
anew after a bishop inspires him by a tremendous act of mercy, but he is relentlessly tracked
down by a police inspector named Javert. Along the way, Valjean and a slew of characters are
swept into a revolutionary period in France, where a group of young idealists attempt to
overthrow the government at a street barricade.
The song
"Little People" takes place at the barricades. Gavroche tells the revolutionaries that
Javert is a spy and is really a police inspector.
"Little People" is Gavroche's most famous song in the musical Les Misérables.
The lyrics were written by Herbert Kretzmer.
On the original French concept album, "Little People" is known as "La Faute à
Voltaire." This was then shortened on a more recent French album to "C'est la faute à...".
When Les Misérables was originally in London in 1985, "Little People" was over two
minutes long and had extra verses and a second chorus, and it mentioned nothing about
Inspector Javert. It was sung in between "Look Down" and "Stars."
"Little People" was cut down to what it is today when it came to Broadway in 1987.
As of when the new orchestrations were added to the musical, the chorus from "Little People"
has been cut as well, but it is still somewhat known to those that knew the song before the cuts.
Black Man | Stevie Wonder
Stevie Wonder
Stevland Hardaway Morris (né Judkins; born May 13, 1950), better known by his stage
name Stevie Wonder, is an American singer, songwriter, musician, record producer, and multi-
instrumentalist.
A child prodigy, Wonder is considered to be one of the most critically and
commercially successful musical performers of the late 20th century. Wonder signed with
Motown's Tamla label at the age of 11, and he continued performing and recording for
Motown into the 2010s. He has been blind since shortly after his birth. He has recorded more
than 30 U.S. top ten hits and received 25 Grammy Awards, one of the most-awarded male solo
artists, and has sold over 100 million records worldwide, making him one of the top 60 best-
selling music artists.
Wonder is also noted for his work as an activist for political causes, including his 1980
campaign to make Martin Luther King Jr.'s birthday a holiday in the United States. In 2009,
Wonder was named a United Nations Messenger of Peace. In 2013, Billboard magazine
released a list of the Billboard Hot 100 All-Time Top Artists to celebrate the US singles chart's
55th anniversary, with Wonder at number six.
Black Man
"Black Man" is a track on the 1976 Stevie Wonder album Songs in the Key of Life. The
song was written by Wonder and Gary Byrd.
The song was written about Wonder's desire for worldwide interracial harmony,
and criticism of racism, as evidenced in earlier works such as "Living for the City". The
lyrics referred prominently to Crispus Attucks, widely considered the first martyr of the
American Revolution. Wonder deliberately chose this theme as the United States
Bicentennial was underway at the time of recording.
The song uses color-based terminology; (i.e. black, red, yellow, white, brown) to
describe different racial groups and although this language has become less acceptable
culturally, these terms are mentioned below, as in the original form of the song, along with the
activity for which the song holds each historical figure to be famous.
The opening verses refer to 12 people, or groups of people.
1. a black man - first man to die for the American flag (Crispus Attucks)
2. the redman - first people on American ground (Native American people)
3. a brown man - guide on the first Columbus trip (Pedro Alonso Niño)
4. the yellow man - laid tracks for railroads (Chinese workers)
5. a black man - first heart surgeon (Dr. Daniel Hale Williams)
6. a redman - helped pilgrims to survive at Plymouth (Squanto)
7. a brown man - leader for farm workers' rights (Cesar Chavez)
8. a white man - inventor of incandescent light bulb (Thomas Edison)
9. a black man - created first clock to be made in America (Benjamin Banneker)
10. a red woman - scout who helped lead Lewis and Clark expedition (Sacagawea)
11. a yellow man - pioneer of martial arts in America (Bruce Lee)
12. a white man - Emancipation Proclamation (Abraham Lincoln)
The second section is a call-and-response format, calling out 17 people.
1. Matthew Henson - a black man - first man to set foot on the north pole
2. Squanto - a redman - first American to show the pilgrims at Plymouth the secrets of
survival in the New World
3. Sing Kee – a yellow man - soldier of Company G who won high honors for
extraordinary heroism in World War I
4. Cesar Chavez - a brown man - leader of United Farm Workers who helped farm
workers maintain dignity and respect
5. Dr. Charles Drew - a black man - founder of blood plasma and the director of the Red
Cross blood bank
6. Sacagawea - a red woman - great American heroine who aided the Lewis and Clark
Expedition
7. Hayakawa - a yellow man - famous educator and semanticist who made outstanding
contributions to education in America
8. Garrett Morgan - a black man - invented the world's first stop light and the gas mask
9. Harvey William Cushing - a white man - American surgeon who was one of the
founders of neurosurgery
10. Benjamin Banneker - a black man - man who helped design the nation's capitol, made
the first clock to give time in America and wrote the first almanac
11. Hiawatha - a red man - legendary hero who helped establish the league of Iroquois
12. Michio Kushi - a yellow man - leader of the first macrobiotic center in America
13. Jean Baptiste - a black man - founder of the city of Chicago in 1772
14. Dennis Banks - a red man - one of the organizers of the American Indian movement
15. Luis de Santángel - a white man - Jewish financier who raised funds to sponsor
Christopher Columbus' voyage to America
16. Harriet Tubman - a black woman - woman who led countless slaves to freedom on the
Underground Railroad
17. T. J. Marshall – a black man - inventor of the fire extinguisher (barely heard during
fadeout)

Unclear Creations: When the Who, How, When, and


What Confound
Symphony No. 10 | Ludwig van Beethoven & Barry Cooper
Ludwig van Beethoven
Ludwig van Beethoven was a German composer and pianist. A crucial figure in the
transition between the Classical and Romantic eras in Classical music, he remains one of the
most famous and influential of all composers. His best-known compositions include 9
symphonies, 5 piano concertos, 1 violin concerto, 32 piano sonatas, 16 string quartets, his
great Mass the Missa solemnis, and one opera, Fidelio.
Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman
Empire, Beethoven displayed his musical talents at an early age and was taught by his father
Johann van Beethoven and by composer and conductor Christian Gottlob Neefe. At the age of
21 he moved to Vienna, where he began studying composition with Joseph Haydn and gained
a reputation as a virtuoso pianist. He lived in Vienna until his death. By his late 20s his hearing
began to deteriorate, and by the last decade of his life he was almost completely deaf. In 1811
he gave up conducting and performing in public but continued to compose; many of his most
admired works come from these last 15 years of his life.
Barry Cooper
Barry Cooper (born 1949) is an English musicologist, composer, organist, Beethoven
scholar, and editor of the Beethoven Compendium.
Born in Westcliff-on-Sea in Essex, Cooper studied piano and composition in his
childhood, leading to scholarships to Gordonstoun School and later to University College,
Oxford, where he studied organ with John Webster and earned an MA in 1973 and a DPhil in
1974. His musical compositions include an oratorio, The Ascension.
But Cooper is best known for his books on Beethoven, as well as a completion and
realization of Beethoven's fragmentary Symphony No. 10. Having extensively studied
Beethoven's sketchbooks and written a book about them, Beethoven and the Creative Process,
Cooper felt confident enough to identify the sketches for the individual movements of the
Symphony and put together those for the first movement into a musically satisfactory
whole. The realisation was recorded by the London Symphony Orchestra conducted by Wyn
Morris. It was then revised and received its public premiere in 1988 by the Royal Liverpool
Philharmonic Orchestra, conducted by Walter Weller. In a way, this fulfilled Beethoven's
promise of his Symphony No. 10 to the Royal Philharmonic Society, since the premiere was at
a concert given by this society. Several recordings are available.
Symphony No. 10
Ludwig van Beethoven's Symphony No. 10 in E♭ major is a hypothetical work,
assembled in 1988 by Barry Cooper from Beethoven's fragmentary sketches for the first
movement. All the sketches assembled were clearly intended for the same symphony, which
would have followed the Ninth, since they appear together in several small groups, and there is
consensus that Beethoven did intend to compose another symphony. Cooper's score was first
performed at a concert given in 1988 by the Royal Philharmonic Society, London. The score is
published by Universal Edition, Vienna, and appeared in a new edition in 2013.
After completing the Ninth Symphony in 1824, Beethoven devoted his energies largely
to composing his late string quartets, although there are contemporary references to some
work on a symphony (e.g. in his letter of 18 March 1827); allegedly he played a movement of
this piece on the piano for his friend Karl Holz, whose description of what he heard matches
the sketches identified by Cooper. Cooper claimed that he found over 250 bars of sketches for
the first movement, which he wove together to form the movement, keeping as close as he
could to Beethoven's style and sketching processes. Cooper's movement consists of an
Andante in E♭ major enclosing a central Allegro in C minor. Cooper claimed to have also
found sketches for a Scherzo and other later movements, but he deemed them not extensive or
developed enough to assemble into a performing version.
There are a few references to this work in Beethoven's correspondence. (He had
originally planned the Ninth Symphony to be entirely instrumental, the Ode to Joy to be a
separate cantata, and the Tenth Symphony to conclude with a different vocal work.)
Earlier, in 1814–15, Beethoven also began sketches for a 6th piano concerto in D
major, Hess 15. (Unlike the fragmentary symphony, the first movement of this concerto was
partly written out in full score and a reconstruction by Nicholas Cook has been performed and
recorded.)
Trying to Get the Feeling Again | The Carpenters
The Carpenters
The Carpenters were an American vocal and instrumental duo consisting of siblings
Karen (1950–1983) and Richard Carpenter (b. 1946). They produced a distinct soft musical
style, combining Karen's contralto vocals with Richard's arranging and composition skills.
During their 14-year career, the Carpenters recorded ten albums, along with numerous singles
and several television specials.
Their career together ended in 1983 when Karen died from heart failure brought on by
complications of anorexia. Extensive news coverage surrounding these circumstances
increased public awareness of eating disorders. Though the Carpenters were criticized for their
clean-cut and wholesome conservative image in the 1970s, their music has since been re-
evaluated, attracting critical acclaim and continued commercial success.
Trying to Get the Feeling Again
"Tryin' to Get the Feeling Again" is a song written by David Pomeranz that became a
top 10 hit for Barry Manilow in 1976. It was first recorded by The Carpenters in 1975, but
their version was not released until 1994 on their 25th anniversary CD, Interpretations: A 25th
Anniversary Celebration.
The Carpenters' version of "Tryin' to Get the Feeling Again" was recorded during the
Horizon sessions in 1975, but it had been shelved as being "one too many ballads". Years
later, Richard was looking for the master backing track for "Only Yesterday" and discovered
on that same tape the lost, earlier attempt at "Tryin' to Get the Feeling Again" with Karen's
"work lead." (A work lead can easily be identified by such anomalies as Karen flipping a sheet
of paper over at about 1:50 into the play time of the song as she sight reads and sings.)
Richard felt that the vocal was good enough to finish production of the song and release
it, as he did in 1994, almost 20 years after it was recorded.
Unfinished Symphony | Franz Schubert
Franz Schubert
Franz Peter Schubert was an Austrian composer of the late Classical and early
Romantic eras. Despite his short lifetime, Schubert left behind a vast oeuvre, including more
than 600 secular vocal works (mainly Lieder), seven complete symphonies, sacred music,
operas, incidental music and a large body of piano and chamber music. His major works
include the Piano Quintet in A major, D. 667 (Trout Quintet), the Symphony No. 8 in B minor,
D. 759 (Unfinished Symphony), the three last piano sonatas (D. 958–960), the opera Fierrabras
(D. 796), the incidental music to the play Rosamunde (D. 797), and the song cycles Die schöne
Müllerin (D. 795) and Winterreise (D. 911).
Born to immigrant parents in the Himmelpfortgrund suburb of Vienna, Schubert's
uncommon gifts for music were evident from an early age. His father gave him his first violin
lessons and his older brother gave him piano lessons, but Schubert soon exceeded their
abilities. In 1808, at the age of eleven, he became a pupil at the Stadtkonvikt school, where he
became acquainted with the orchestral music of Haydn, Mozart, and Beethoven. He left the
Stadtkonvikt at the end of 1813, and returned home to live with his father, where he began
studying to become a schoolteacher; despite this, he continued his studies in composition with
Antonio Salieri and still composed prolifically. In 1821, Schubert was granted admission to the
Gesellschaft der Musikfreunde as a performing member, which helped establish his name
among the Viennese citizenry. He gave a concert of his own works to critical acclaim in March
1828, the only time he did so in his career. He died eight months later at the age of 31, the
cause officially attributed to typhoid fever, but believed by some historians to be syphilis.
Appreciation of Schubert's music while he was alive was limited to a relatively small
circle of admirers in Vienna, but interest in his work increased significantly in the decades
following his death. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and
other 19th-century composers discovered and championed his works. Today, Schubert is
ranked among the greatest composers of the 19th century, and his music continues to be
popular.
Symphony No. 8
Franz Schubert's Symphony No. 8 in B minor, D 759 (sometimes renumbered as
Symphony No. 7, in accordance with the revised Deutsch catalogue and the Neue Schubert-
Ausgabe), commonly known as the Unfinished Symphony (German: Unvollendete), is a
musical composition that Schubert started in 1822 but left with only two movements—
though he lived for another six years. A scherzo, nearly completed in piano score but with only
two pages orchestrated, also survives.
It has been theorized by some musicologists, including Brian Newbould, that Schubert
may have sketched a finale that instead became the big B minor entr'acte from his incidental
music to Rosamunde, but all evidence for this is circumstantial. One possible reason for
Schubert's leaving the symphony incomplete is the predominance of the same meter
(triple meter). The first movement is in 3/4, the second in 3/8 and the third (an incomplete
scherzo) again in 3/4. Three consecutive movements in basically the same meter rarely occur
in symphonies, sonatas, or chamber works of the most important Viennese composers.
Schubert's Eighth Symphony is sometimes called the first Romantic symphony due to
its emphasis on the lyrical impulse within the dramatic structure of Classical sonata form.
Furthermore, its orchestration is not solely tailored for functionality, but specific combinations
of instrumental timbre that are prophetic of the later Romantic movement, with astonishing
vertical spacing occurring for example at the beginning of the development.
To this day, musicologists still disagree as to why Schubert failed to complete the
symphony. Some have speculated that he stopped work in the middle of the scherzo in the fall
of 1822 because he associated it with his initial outbreak of syphilis—or that he was distracted
by the inspiration for his Wanderer Fantasy for solo piano, which occupied his time and energy
immediately afterward. It could have been a combination of both factors
Requiem in D Minor | Wolfgang Mozart & Franz Süssmayr
Wolfgang Mozart
Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791), baptised as
Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential
composer of the classical era.
Born in Salzburg, Mozart showed prodigious ability from his earliest childhood.
Already competent on keyboard and violin, he composed from the age of five and performed
before European royalty. At 17, Mozart was engaged as a musician at the Salzburg court but
grew restless and traveled in search of a better position. While visiting Vienna in 1781, he was
dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame
but little financial security. During his final years in Vienna, he composed many of his best-
known symphonies, concertos, and operas, and portions of the Requiem, which was largely
unfinished at the time of his early death at the age of 35. The circumstances of his death have
been much mythologized.
He composed more than 600 works, many acknowledged as pinnacles of symphonic,
concertante, chamber, operatic, and choral music. He is among the most enduringly popular of
classical composers, and his influence is profound on subsequent Western art music. Ludwig
van Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn
wrote: "posterity will not see such a talent again in 100 years".
Franz Süssmayr
Franz Xaver Süssmayr was an Austrian composer and conductor. Popular in his day, he
is now known primarily as the composer who completed Wolfgang Amadeus Mozart's
unfinished Requiem. In addition, there have been performances of Süssmayr's operas at
Kremsmünster, and his secular political cantata (1796), Der Retter in Gefahr, SmWV 302,
received its first full performance in over 200 years in June 2012 in a new edition by Mark
Nabholz, conducted by Terrence Stoneberg. There are also CD recordings of his unfinished
clarinet concerto (completed by Michael Freyhan), one of his German requiems, and his Missa
Solemnis in D.
Requiem in D Minor
The Requiem in D minor, K. 626, is a requiem mass by Wolfgang Amadeus Mozart
(1756–1791). Mozart composed part of the Requiem in Vienna in late 1791, but it was
unfinished at his death on 5 December the same year. A completed version dated 1792 by
Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who commissioned the
piece for a Requiem service to commemorate the anniversary of his wife's death on 14
February.
The autograph manuscript shows the finished and orchestrated Introit in Mozart's hand,
and detailed drafts of the Kyrie and the sequence Dies irae as far as the first eight bars of the
Lacrimosa movement, and the Offertory. It cannot be shown to what extent Süssmayr may
have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus
and Agnus Dei as his own.
Walsegg probably intended to pass the Requiem off as his own composition, as he is
known to have done with other works. This plan was frustrated by a public benefit
performance for Mozart's widow Constanze. She was responsible for a number of stories
surrounding the composition of the work, including the claims that Mozart received the
commission from a mysterious messenger who did not reveal the commissioner's identity, and
that Mozart came to believe that he was writing the requiem for his own funeral.
In addition to the Süssmayr version, a number of alternative completions have been
developed by musicologists in the 20th century.
Free as a Bird | The Beatles
The Beatles
The Beatles were an English rock band formed in Liverpool in 1960. With members
John Lennon, Paul McCartney, George Harrison and Ringo Starr, they became widely
regarded as the foremost and most influential music band. Rooted in skiffle, beat and 1950s
rock and roll, the Beatles later experimented with several musical styles, ranging from pop
ballads and Indian music to psychedelia and hard rock, often incorporating classical elements
and unconventional recording techniques in innovative ways. In 1963 their enormous
popularity first emerged as "Beatlemania"; as the group's music grew in sophistication, led by
primary songwriters Lennon and McCartney, the band were integral to pop music's evolution
into an art form and to the development of the counterculture of the 1960s.
The Beatles are the best-selling band in history, with estimated sales of over 800
million physical and digital albums worldwide. They have had more number-one albums on
the British charts and sold more singles in the UK than any other act. They are also the best-
selling music artists in the United States, with 178 million certified units. In 2008, the group
topped Billboard magazine's list of the all-time most successful artists; as of 2017, they hold
the record for most number-one hits on the Hot 100 chart with twenty. They have received
seven Grammy Awards, an Academy Award for Best Original Song Score and fifteen Ivor
Novello Awards. The group was inducted into the Rock and Roll Hall of Fame in 1988, and all
four main members were inducted individually from 1994 to 2015. They were also collectively
included in Time magazine's compilation of the twentieth century's 100 most influential
people.
Free as a Bird
"Free as a Bird" is a song originally composed and recorded in 1977 as a home demo
by John Lennon. In 1995, a studio version of the recording, incorporating contributions from
Paul McCartney, George Harrison and Ringo Starr, was released as a single by the Beatles. It
was released 25 years after the break-up of the band and 15 years after the death of
Lennon. The song was very successful around the world, peaking at No. 2 on the UK Singles
Chart, No. 3 in Sweden, and No. 6 on the US Billboard Hot 100. It also became a top-ten hit in
Australia, Canada, Finland, Ireland, the Netherlands and Spain, and it charted strongly in
several other countries, including Belgium and Norway.
The single was released as part of the promotion for The Beatles Anthology video
documentary and the band's Anthology 1 compilation album. For the Anthology project,
McCartney asked Lennon's widow Yoko Ono for unreleased material by Lennon to which the
three remaining ex-Beatles could contribute. "Free as a Bird" was one of two such songs
(along with "Real Love") for which McCartney, Harrison, and Starr contributed additional
instrumentation, vocals, and arrangements. Jeff Lynne of Electric Light Orchestra, who had
worked with Harrison on Harrison's album Cloud Nine and as part of the Traveling Wilburys,
was asked to co-produce the record.
The music video for "Free as a Bird" was produced by Vincent Joliet and directed by
Joe Pytka; shot from the point of view of a bird in flight, it features many references to Beatles
songs, such as "Strawberry Fields Forever," "Penny Lane", "Paperback Writer", "A Day in the
Life", "Eleanor Rigby", "Revolution", and "Helter Skelter". "Free as a Bird" won the 1997
Grammy Award for Best Pop Performance by a Duo or Group with Vocal and was the Beatles'
34th Top 10 single in the United States. The song secured the group at least one Top 40 hit in
four different decades.
The Arts as a Verb: To Help, Mayhaps to Hurt
God Help the Outcasts | The Hunchback of Notre-Dame
Notre-Dame de Paris
The Hunchback of Notre-Dame (French: Notre-Dame de Paris, "Our Lady of Paris") is
a French Romantic/Gothic novel by Victor Hugo, published in 1831.
The novel's original French title, Notre-Dame de Paris, is a double entendre: it refers to
Notre Dame Cathedral, on which the story is centered, and Esmeralda, the novel's main
character who is "our lady of Paris" and the center of the human drama within the story.
Frederic Shoberl's 1833 English translation was published as The Hunchback of Notre Dame
(which became the generally used title in English), which refers to Quasimodo, Notre Dame's
bellringer.
Victor Hugo began writing Notre-Dame de Paris in 1829, largely to make his
contemporaries more aware of the value of the Gothic architecture, which was neglected and
often destroyed to be replaced by new buildings or defaced by replacement of parts of
buildings in a newer style. For instance, the medieval stained glass panels of Notre-Dame de
Paris had been replaced by white glass to let more light into the church. This explains the large
descriptive sections of the book, which far exceed the requirements of the story. A few years
earlier, Hugo had already published a paper entitled Guerre aux Démolisseurs (War to the
Demolishers) specifically aimed at saving Paris' medieval architecture. The agreement with his
original publisher, Gosselin, was that the book would be finished that same year, but Hugo was
constantly delayed due to the demands of other projects. In the summer of 1830, Gosselin
demanded that Hugo complete the book by February 1831. Beginning in September 1830,
Hugo worked nonstop on the project thereafter. The book was finished six months later.
The Hunchback of Notre-Dame (1996 film)
The Hunchback of Notre Dame is a 1996 American animated musical drama film
produced by Walt Disney Feature Animation for Walt Disney Pictures. The 34th Disney
animated feature film, the film is based on the 1831 novel of the same name written by Victor
Hugo. The plot centers on Quasimodo, the deformed bell-ringer of Notre Dame, and his
struggle to gain acceptance into society.
Produced during a period known as the Disney Renaissance, the film is considered to
be one of Disney's darkest animated films as its narrative explores such mature themes as
infanticide, lust, damnation, genocide, and sin, despite the changes made from the original
source material in order to ensure a G rating received by the MPAA. The musical score was
written by Alan Menken, with songs written by Menken and lyricist Stephen Schwartz, who
had previously collaborated on Pocahontas, released the year before.
The song
During the song "God Help the Outcasts," Esmeralda brings up the point that Jesus –
the person in whose name religious people such as Frollo persecute and subjugate "children of
God" – was in fact an outcast too.
"God Help the Outcasts" is a song written by composer Alan Menken and lyricist
Stephen Schwartz for Walt Disney Pictures' 34th animated feature film The Hunchback of
Notre Dame (1996). A pop ballad, the song is performed by American singer Heidi
Mollenhauer as the singing voice of Esmeralda on American actress Demi Moore's behalf,
who provides the character's speaking voice. A prayer, "God Help the Outcasts" is a somber
hymn in which a beset Esmeralda asks God to shield outcasts and Roma like herself
against racism and discrimination at the hands of Paris and Judge Claude Frollo. The
song also establishes Esmeralda as a selfless, empathetic character with whom Quasimodo
falls in love.
One of The Hunchback of Notre Dame's most poignant moments, "God Help the
Outcasts" is Esmeralda's only song. Identified as the film's "prettiest" musical number, the
song occurs immediately after Esmeralda, relentlessly pursued by Judge Frollo, claims
sanctuary in the Notre Dame Cathedral upon "see[ing] how ... Quasimodo, and her people are
treated by others", according to Defying Gravity: The Creative Career of Stephen Schwartz,
from Godspell to Wicked "bring[ing] with her a bitter and acute awareness of the injustice
of her situation." Preceded by a brief exchange between Esmeralda and the Archdeacon, the
latter ultimately suggests that Esmeralda approach God for help, explaining, "You can't right
all the wrongs of this world by yourself, perhaps there's someone in here who can."
During the "heartwarming" musical sequence, Esmeralda "pray[s] selflessly on behalf of the
world's outcasts." "[F]illed with religious imagery," the song "sum[s] up everything that
[Esmeralda] stands for". Meanwhile, an earnest Quasimodo, enamored with Esmeralda's
beauty and sincerity, hides in the bell tower, "overhearing her prayer" and "being drawn down
to her."
In terms of character development, "God Help the Outcasts" establishes Esmeralda as a
"thoughtful, empathetic" character, "worthy of our compassion," "developing Esmeralda’s
character" while "depict[ing] the rest of the Paris commonfolk as simple and selfish, asking
for wealth and fame for themselves while Esmeralda prays for the salvation of the Gypsy
race." In Tinker Belles and Evil Queens: The Walt Disney Company from the Inside Out,
author Sean Griffin observed that "the more respectable parishioners pray for wealth, fame and
glory." According to Annalee R. Ward, author of Mouse Morality: The Rhetoric of Disney
Animated Film, "God Help the Outcasts" is a "tender prayer-song" in which "Esmeralda
expresses a heart full of concern for others, which ultimately Quasimodo mistakes as a heart
for him." Esmeralda is "bathed in colored light from the stained glass window" as "God’s light
shines down upon Esmeralda" via a rose window. Initially, the song does not specify to whom
the prayer is being recited – Mary, Jesus or God. It does, however, suggest that both Mary and
Jesus are former outcasts, much like Esmeralda herself. In The Disney Middle Ages: A
Fairy-Tale and Fantasy Past, author Tison Pugh described Esmeralda as "latently or innately
Christian."
"'God Help the Outcasts' is sung by Esmeralda as an intercessory prayer on the behalf
of Quasimodo and her people, the gypsies, whom are treated as outcasts by the rest of their
society. Esmeralda begins her prayer by realizing that Jesus Christ must have also known what
it was like to be treated as an outcast, for his own people crucified him on the Cross at Calvary.
The heart of her prayer can be summed up in this statement, 'I thought we all were the children
of God.'"
— Program Notes for the Senior Showcase of Mariel Villarreal and Preston-
Joseph Woods.
In Mickey Mouse Monopoly: Disney, Childhood, and Corporate Power, Dr. Robert B.
Pettit identified "God Help the Outcasts" as "a plea on behalf of all minorities – not only by
ethnicity, but also by race, class, gender, or sexual orientation." Additionally, Pettit feels that
the song "might have been a jab at the homophobic religious right who were organizing a
boycott of Disney." A somber song, "God Help the Outcasts" also "underlines the theme of
Victor Hugo’s novel": "At one point in the song, we have a group of rich, well-off Christians
asking God for wealth, fame, and love" while "Esmeralda, a penniless gypsy who confessed
that she didn’t know if God was there, prays for her people and asks that they be shown mercy
and love," additionally "pointing out that Jesus was also an outcast when he walked on this
Earth, and that we’re all children of God no matter who we are or what we’ve done." The
scene additionally suggests "a more positive view of the Church than found in Hugo's novel"
as it provides outcasts such as Esmeralda with both shelter and sanctuary.
Queen - Is This The World We Created?
Queen
Queen are a British rock band that formed in London in 1970. Their classic line-up was
Freddie Mercury (lead vocals and piano), Brian May (lead guitar and vocals), Roger Taylor
(drums and vocals), and John Deacon (bass guitar). Their earliest works were influenced by
progressive rock, hard rock and heavy metal, but the band gradually ventured into more
conventional and radio-friendly works by incorporating further styles, such as arena rock and
pop rock, into their music.
Freddie Mercury was born in Zanzibar, went to boarding school in India, and came to
England with his parents in 1964. His birth name is Farookh Bulsara. Due to racial abuse he
had suffered in his early teens, he legally changed his name to Freddy Mercury in 1972.
Mercury died of AIDS the day after announcing he had the disease. He died the
morning of November 24, 1991 at age 45.
All 4 members wrote at least one of their hits. Since they all wrote, it gave them very
diverse sound.
 They first toured the US as the opening band for Mott The Hoople in 1974.
 All of the members are very intelligent. In addition to May's degree in astronomy, they
had degrees in biology (Taylor), illustration (Mercury), and electronics (Deacon).
 They proudly declared that no synthesizers were used in their music until 1980.
There is a statue in honor of Mercury at the University of London. He is the first rock
star to be honored in England with a statue.
May and Taylor have continued to represent Queen and play together at various events.
Taylor chose not to participate, but have them his blessing.
In 2004, in Japan, a very popular TV drama called Pride, featuring SMAP's Kimura
Takuya and about an Ice Hockey player, featured a mainly Queen soundtrack. This brought the
Queen Greatest Hits album to a record breaking #1. The show and music appealed to people of
all ages - just like Wayne's World, this brought Queen to a whole new generation.
In 2005 May and Taylor took Queen on the road again with Paul Rodgers, best known
for his work with Bad Company and Free.
Although Freddie Mercury was the primary vocalist for the band, all the members of
the group except Deacon sang lead vocals on different songs. Deacon did, however, provide
backing vocals during live shows.
They were inducted into the Rock And Roll Hall Of Fame in 2001. In 2003, they also
became the first band to be inducted into the Songwriters Hall Of Fame. They were inducted
into the UK Music Hall Of Fame in 2004, and have a star on the Hollywood Walk of Fame.
Widely considered as one of the greatest vocalists in popular music history, Freddie
Mercury possessed a very distinctive voice. Although his speaking voice naturally fell in the
baritone range, his singing voice was that of a tenor. His recorded vocal range spanned nearly
4 octaves (falsetto included), with his lowest recorded note being the F below the bass clef and
his highest recorded note being the D that lies nearly 4 octaves above. In addition to vocal
range, Mercury often delivered technically difficult songs in a powerful manner. However, due
to vocal nodules (for which he declined surgery), he would often lower the highest notes
during many concerts. Mercury claimed that he never had any formal vocal training.
According to the official UK charts company, Queen have sold more albums than The
Beatles from 1955-2005 in the UK. Queen's Greatest Hits (5,407,587) has sold a little over
half a million more copies than The Beatles' Sgt. Pepper's Lonely Hearts Club Band
(4,811,996), and almost 2 million more than Pink Floyd's Dark Side of the Moon (3,781,993).
The results are based strictly on sales figures, not fan voting or expert analysis. This begs the
question that if, as John Lennon once suggested, The Beatles were "More popular than Jesus,"
what does that make Queen?
In 1984, Queen performed in South Africa during the Apartheid era, which caused
some controversy as most artists were boycotting the country because of the racist policy. Any
ill-will was erased by their performance at Live Aid a year later, where their set was one of the
highlights.
A study by Austrian, Czech, and Swedish researchers released in 2016 concluded that
Freddie Mercury had a rare and unique singing voice. The study stated that Mercury likely
employed subharmonics, in which the ventricular folds vibrate along with the vocal folds.
Most human vocal patterns never use the ventricular folds, with the exception of Tuvan throat
singers. In addition, Mercury's vocal cords just moved faster than other people's. While a
typical vibrato will fluctuate between 5.4 Hz and 6.9 Hz, Mercury's was 7.04 Hz. To look at
that in a more scientific way, a perfect sine wave for vibrato assumes the value of 1, which is
pretty close to where famous opera singer Luciano Pavarotti sat. Mercury, on the other hand,
averaged a value of 0.57, meaning he was vibrating something in his throat even Pavarotti
couldn't move.
Is This the World We Created...?
"Is This the World We Created...?" is a song by the British rock band Queen, which
was originally released on their eleventh studio album The Works in 1984.
At face value, this pre-Live Aid song is about third-world poverty and the huge
imbalances between rich and poor. However, Queen songs often come in clever pairs, best
listened to in the order on the album. This song follows "Hammer To Fall," which is about
a nuclear apocalypse and ends with a loud bang. The second song laments "the world we
devastated, right to the bone."
This is often the forgotten song of Queen's Live Aid performance: everyone
remembers their six-song main set which catapulted them to fame, but it's easy to forget that
Brian May and Freddie Mercury came out later into the evening to perform this song as a duo,
before joining in on the final ensemble performance of "Do They Know It's Christmas?" to
close the show, featuring most of the artists who had performed on the London stage as well as
Bob Geldof and Midge Ure, who had organized and curated the show.
Y.M.C.A. | Village People
Village People
Village People is an American disco group best known for their on-stage costumes,
catchy tunes, and suggestive lyrics. The group was originally formed by French producers
Jacques Morali, Henri Belolo and lead singer Victor Willis following the release of the debut
album, Village People, which targeted disco's gay audience. The group's name refers to New
York City's Greenwich Village, at the time known for its large gay population. The characters
were a symbolic group of American masculinity and macho gay fantasy personas.
The group quickly became popular and moved into the mainstream, scoring several
disco and dance hits internationally, including the hit singles "Macho Man", "In the Navy",
"Go West" and their biggest hit, "Y.M.C.A.".
Y.M.C.A.
"Y.M.C.A." is a song by the American disco group Village People. It was released in
1978 as the only single from their third studio album Cruisin' (1978). On the Billboard Hot
100, the song reached number 2 on the US charts in early 1979. Outside the US, "Y.M.C.A."
reached Number 1 in the UK around the same time, becoming the group's biggest hit. It is one
of fewer than 40 singles to have sold 10 million (or more) physical copies worldwide.
The song remains popular and is played at many sporting events in the U.S. and
Europe, with crowds using the dance in which the arms are used to spell out the four
letters of the song's title. "Y.M.C.A." appeared as Space Shuttle Wakeup call on mission STS-
106, on day 11.
Victor Willis, lead singer and lyricist, recalls that while in the studio, Jacques Morali
asked him, "What exactly is the YMCA?" After Willis explained it to him, he saw the
expression on Morali's face and said, "Don't tell me, Jacques, you want to write a song about
it?" and they quickly wrote the track for the album Cruisin'.
Upon its release, the YMCA threatened to sue the band over trademark infringement.
The organization ultimately settled with the composers out of court and later expressed pride
regarding the song saluting the organization.
Taken at face value, the song's lyrics extol the virtues of the Young Men's Christian
Association. In the gay culture from which the Village People sprang, the song was implicitly
understood as celebrating the YMCA's reputation as a popular cruising and hookup spot,
particularly for the younger men to whom it was addressed. Willis, the group's lead singer and
lyricist, said through his publicist that he did not write "Y.M.C.A." as a gay anthem but as a
reflection of young urban black youth fun at the YMCA such as basketball and swimming.
That said, he has often acknowledged his fondness for double entendre. Willis says that he
wrote the song in Vancouver, British Columbia. The initial goal of Morali and Belolo was to
attract disco's gay audience by featuring popular gay fantasy. Although co-creator Morali was
gay and the group was initially intended to target gay men, the group became more popular
and more mainstream over time.
The song, played in the key of G♭ major, begins with a brass riff, backed by the
constant pulse that typified disco. Many different instruments are used throughout for an
overall orchestral feel, another disco convention, but it is brass that stands out.
As with other Village People hits, the lead vocals are handled by Willis and the
background vocals are supplied by Willis and professional background singers. The distinctive
vocal line features the repeated "Young man!" ecphonesis followed by Willis singing the verse
lines. The background vocals join in throughout the song.
YMCA
The Young Men's Christian Association (YMCA), sometimes regionally called the Y, is
a worldwide organization based in Geneva, Switzerland, with more than 64 million
beneficiaries from 120 national associations. It was founded on 6 June 1844 by Sir George
Williams in London and aims to put Christian principles into practice by developing a healthy
"body, mind, and spirit".
From its inception, it grew rapidly and ultimately became a worldwide movement
founded on the principles of muscular Christianity. Local YMCAs deliver projects and services
focused on youth development through a wide variety of youth activities, including providing
athletic facilities, holding classes for a wide variety of skills, promoting Christianity, and
humanitarian work.
Wavin’ Flag | K’naan
K’naan
Keinan Abdi Warsame, better known by his stage name K'naan, is a Somali Canadian
poet, rapper, singer, songwriter, and instrumentalist. He rose to prominence with the success of
his single "Wavin' Flag", which was chosen as Coca-Cola's promotional anthem for the 2010
FIFA World Cup. Besides hip-hop, K'naan's sound is influenced by elements of Somali
music and world music. He is also involved in various philanthropic initiatives.
K'naan became a friend and associate of Canadian promoter Sol Guy, who helped him
secure a speaking engagement before the United Nations High Commissioner for Refugees in
1999, where K'naan performed a spoken word piece criticizing the UN for its failed
peacekeeping missions to Somalia. One of the audience members, Senegalese singer Youssou
N'Dour, was so impressed by the young MC's performance and courage that he invited him to
contribute to his 2001 album Building Bridges, a project through which K'naan was able to
tour the world.
K’Naan has remained committed to his Somali roots and continues to be outspoken in
the geopolitics of his home country. He is often regarded as a spokesperson for the Toronto
Somali community. In 2007 he was invited by Canadian Broadcast Corporation to reflect on
changes Somali courts- including the removal of the Islamic Courts Union. K’Naan renounced
this act by Somalia and indicated his support for the Islamic Courts Union- pushing back on
the Western nations critiques of Muslim governing systems. Furthermore, he has spoken out
against the clan system used in Somalia and particularly its use in immigrant communities in
Canada.
K’Naan’s engagement with his Somali roots dates back to his first hit “Soobax,” which
in his native Somali language means come out. The song critiques the warlords that held
power in Somalia’s capital, Mogadishu. The song gained popularity in both Somalia and
Canada, in addition to the general population in North America. Additionally, K’Naan goes
beyond reflecting on his Somali roots in his lyrics as he often raps in both English and Somali
rather than one language. His choice to blend both language has made him a stand out in hip
hop, as most rappers often rap in English.
K’Naan’s involvement in the rap and hip hop in Northern America has expanded the
discussion on both Somali and the Black Diaspora in the West. Both his music and
appearances on television and radio shows have grown the conversation on what it means to
be Black in Canada. In addition to Black communities that have been residing in the country
for over a century there are large Black immigrant communities from the Caribbean and
Africa. Rather than speaking for a larger Black diaspora, K’Naan speaks on his own personal
experience and thus expanding on experiences of Somali’s in Canada.
K’Naan continues to be a voice of the Toronto Somali communities. Additionally, he
has expanded the greater discussion of Afrodiasporic communities in Canada and the West.
The song
"Wavin' Flag" is a song by Somali-Canadian artist K'naan from his album Troubadour.
The song was originally written for Somalia and aspirations of its people for freedom.
After a devastating earthquake in Haiti in 2010, a remake of the song by an ad hoc
supergroup of Canadian artists, credited as Young Artists for Haiti, became a charity single in
Canada, reaching #1 on the Canadian Hot 100 in its own right. The song became a truly global
hit when it was chosen as Coca-Cola's promotional anthem for the 2010 FIFA World Cup,
hosted by South Africa. This amended international version with additional lyrics reached the
top ten in more than twenty different charts around the world. The English version was
released as "Wavin' Flag (Celebration Mix)" by K'naan to differentiate it from the original
Canadian hit or from the Canadian Haiti charity hit.
In 2012, K'naan published a children's book, When I Get Older: The Story Behind
Wavin' Flag, about the song and its history.
The lyrics of the original version are about the struggle of refugees displaced by
war, with references to K'naan's native Somalia, in comparison to the later version used for the
World Cup, where the lyrics were rewritten in a more celebratory tone.
We Care a Lot | Faith No More
Faith No More
Faith No More (sometimes abbreviated as FNM) is an American rock band from San
Francisco, California, formed in 1979. Before settling on their current name in 1982, the band
performed under the names Sharp Young Men and later Faith No Man. Bassist Billy Gould and
drummer Mike Bordin are the longest-remaining members of the band, having been involved
with Faith No More since its inception. The band underwent several lineup changes early in
their career, along with some major changes later on. The current lineup of Faith No More
consists of Gould, Bordin, keyboardist/rhythm guitarist Roddy Bottum, lead guitarist Jon
Hudson and vocalist/lyricist Mike Patton.
While Faith No More's music is generally considered as alternative metal,
experimental rock, and funk metal, as Faith No Man, their sound was described as post-
punk. The band's first single from 1983, "Quiet in Heaven/Song of Liberty", was labelled as a
"solid post-punk/pre-goth single." These elements endured during their tenure with Chucky
Mosley, with AllMusic comparing their first album to early Public Image Ltd works. By the
mid-1980s, Billy Gould stated the band were in a "weird spot", as their eclectic sound didn't fit
in with the burgeoning hardcore punk and alternative rock movements of the era. Upon Mike
Patton's arrival in 1989, the band began to expand their sound range even further, merging
disparate genres such as synthpop, thrash metal and carousel music on The Real Thing.
Rolling Stone states that during the late 1990s, the band were "too heavy for the post-grunge
pop hits of The Verve and Third Eye Blind [and] too arty to work comfortably with the nu
metal knuckle-draggers they spawned." Over the course of their career, they have
experimented with heavy metal, funk, hip hop, progressive rock, alternative rock, hardcore
punk, polka, easy listening, jazz, samba, ska, bossa nova, hard rock, pop, soul, gospel, and
lounge music.
Faith No More's lyrics have been described as "bizarrely humorous". When
interviewed about his lyrics, Patton responded, "I think that too many people think too much
about my lyrics. I am more a person who works more with the sound of a word than with
its meaning. Often I just choose the words because of the rhythm, not because of the
meaning".
Bordin acknowledged certain bands as early influences, including Killing Joke, PiL,
Black Sabbath, and Theatre of Hate, and upon reforming, Faith No More returned to their early
post-punk/goth influences on Sol Invictus.
The song
"We Care a Lot" is a song by Faith No More. There are three versions of the song
(including a Mike Patton era 'Live' version), all of which have been officially released over
three different albums. The original was recorded for and released on the band's first studio
album, We Care a Lot. A re-recorded version, with new lyrics was included on the Introduce
Yourself album and was the lead single, reaching no.53 on the UK Singles Chart. The live
version, without original singer Mosley was included on the live album and video Live at the
Brixton Academy and was also released as a single in 1991. Although a Chuck Mosley-era
song, it was the second most frequently-played song during the band's live performances,
behind "Epic". "We Care a Lot" featured different lyrics and ad-libs when performed by Mike
Patton, much like performances of "Chinese Arithmetic".
The lyrics of this song are a sarcastic parody of "the popstar posing that
accompanied those [Live Aid style] charitable events" and mentions a range of things
about which the band sarcastically claims 'we care a lot', such as the LAPD, the "food
that Live Aid bought", the Garbage Pail Kids and even The Transformers. The original
version, released in 1985, mentions Madonna and Mr. T. This was altered for social relevance
in the 1987 re-release. When asked about the song's meaning, Chuck Mosley replied
Well, ah Roddy wrote all the things that he cared about and I just wrote the part that
says, "it's a dirty job but someone's gotta do it" 'cause I figured that's just the feeling I got.
That's the only thing I submitted. That, and the newer lyrics in the updated version.
There was a seven-second-long ad-lib of "The Right Stuff" by New Kids on the Block
on The Real Thing-era live performances, including the Live at the Brixton Academy version.
In later performances of the song, during the Mike Patton era as vocalist, he occasionally
changed some lines: the studio versions' lyrical reference to Rock Hudson and disease (i.e.,
AIDS) was changed to mention Rodney King.
All music's reviewer laments the song's lack of future front-man Mike Patton, calling
Mosley's vocals "brute thuggishness" and "flat", but also says that the song is a "fully realized
effort in itself". "We Care a Lot" was also listed in PopMatters' 65 Great Protest Songs, citing
it as Faith No More's anti-protest song and as a "smirking account of everything that pop and
political culture shoved down our throats at the height of the Reagan revolution".
Streets of London | Ralph McTell
Ralph McTell
Ralph McTell (born Ralph May, 3 December 1944) is an English singer-songwriter and
acoustic guitar player who has been an influential figure on the UK folk music scene since the
1960s.
McTell is best known for his song "Streets of London", which has been covered by
over two hundred artists around the world, and for his tale of Irish emigration, "From Clare to
Here".
McTell's guitar playing has been modelled on the style of the US's country blues guitar
players of the early 20th century, including Blind Blake, Robert Johnson and Blind Willie
McTell. These influences led a friend to suggest that he change his professional name to
McTell as his career was beginning to take shape.
McTell is also an accomplished performer on piano and harmonica, which he uses on a
harness.
Streets of London
"Streets of London" is a song by Ralph McTell, who first recorded it for his 1969
album Spiral Staircase. It was not released in the United Kingdom as a single until 1974. The
song has been covered by over 200 artists. The song was re-released, on 4 December 2017,
featuring McTell with Annie Lennox as a charity single for CRISIS, the Homelessness Charity.
The song was inspired by McTell's experiences busking and hitchhiking
throughout Europe, especially in Paris and the individual stories are taken from
Parisians. McTell was originally going to call the song "Streets of Paris"—eventually London
was chosen, because he realised he was singing about London; also, there was another song
called "The Poor People of Paris". McTell's song contrasts the common problems of
everyday people with those of the homeless, lonely, elderly, ignored and forgotten
members of society. In an interview on Radio 5 with Danny Baker on 16 July 2016, McTell
said that the market he referred to in the song was Surrey Street Market in Croydon.
McTell played the song in a fingerpicking style with an AABA chord progression.
It is often remarked upon that the composition (along with many others) echoes certain
musical patterns found in Pachelbel's Canon.
Additional Cases & Guiding Questions
Indian Parai Music
Parai is one of the oldest drums used in India, especially in the South Indian state of
Tamil Nadu, and also in the northern and eastern parts of Sri Lanka. It is considered one of the
symbols of Tamil culture. In ancient days, this instrument was used as a communication
mechanism to convey messages to people and alert against danger. The word Thappu came
into practice predominantly during Nayakar's rule in Tamil Nadu. It is believed to be the
mother of all skin instruments in Tamil Nadu.

Uses
In Tamil, the word parai means 'to speak' or 'to tell'. It was performed in the courts of
Sangam, Chola, and Pandiyan rulers. The drums were used to announce important messages
and orders of the great Tamil Kings.
In olden days, parai was used for multiple reasons, ranging from warning people
about the upcoming war, requesting the civilians to leave the battlefield, announcing
victory or defeat, stopping a breach of water body, gathering farmers for farming
activities, warning the wild animals about people's presence, during festivals, wedding,
celebrations, worship of nature and so on. Parai has been an instrumental part of the
people's life.

Kurunthokai mentions that Parai was used as an auspicious instrument in weddings. It


was also used to alert the people in flood time. A type of parai called Ari parai was used in
harvest time to make the birds fly off from the fields. Another type of parai called Perum
parai is found only in the Kongu Nadu region of Tamil Nadu.
Description
The parai that is played while dancing is called parai aattam (Parai Dance), and is
also referred to as Adavu. The parai aattam is a folk art in Tamil Nadu.
The parai is a frame drum about 35 centimeters in diameter. It consists of a shallow
ring of wood, covered on one side with a stretched cow hide that is glued to the wooden
frame. The preferred wood is neem wood although other types may be used. The shell is made
up of three separate pieces of wood each in the shape of an arc. These pieces are held
together by three metal plates. The parai is played with two sticks: one long, thin flat
bamboo stick (approx. 28 cm) called 'Sindu/ Sundu Kuchi’ and a short, thick stick called
'Adi Kucchi’ that can be made from any variety of wood (approx. 18 cm).
A 17-year-old Deepan gathered his friends from in and around his locality, and formed
Friends Kalaikuzhu. They started performing for weddings and school functions. Deepan says
that paraiattam is often associated with funeral processions in Tamil Nadu and, hence, it is not
seen as a respectable art form. However, he wants to remove this stigma. “We never perform at
funerals. You are supposed to beat without any interval during the funeral procession. Many
resort to alcohol to be immune to fatigue and end up as addicts. ...We wish the mainstream
entertainment industry also remembers us on occasions other than Pongal as a token gesture to
recognise village art forms”.
The parai is the ticket to freedom and identity for the women in the group. Kamali
Manickam and Pradeepa say that initially, their parents did not approve of them playing the
instrument in public. “But after they saw the recognition we won, they were more accepting,”
says Pradeepa. Manickam says they experience a gethu (pride) when audience gives them a
standing ovation, and requests them for their selfies and autographs.
They have been performing at temples, schools, public gatherings and at churches.
Their beats resonate across all religions, says Deepan. “The only God we pray to before a
performance is our guru who trained us and the salangais (anklets) on our feet.”
The Mysterious Origins of Jazz - A case study of the music of a
marginalized group gradually becoming mainstream
The five members of the band took the lift to the 12th Floor of the Victor Talking
Machine Company’s building on 38th Street in New York City. They were known for playing
while wearing white shirts with top collars buttoned and no neckties but black dinner jackets
with shiny lapels. The song this quintet would play for the waiting microphones was silly, and
not rendered with the greatest of technical skill – its most memorable moment is when a
clarinet imitates the sound of a rooster; a cornet, a whinnying horse; and a trombone, a cow.
The Beatles playing Ed Sullivan this was not. And yet this was as significant a moment in US
musical history. The date was 26 February 1917, and this novelty song, Livery Stable Blues by
the Original Dixieland Jass Band, was the first jazz recording.
That would be a remarkable milestone in its own right, but embedded into Livery
Stable Blues are issues that have haunted jazz, and popular music as a whole, ever since. We
all know the debates, from Elvis to Taylor Swift, over white copycats appropriating the sound
and style of black musicians. When they recorded Livery Stable Blues the all-white Original
Dixieland Jass Band borrowed to the point of plagiarism from the African-American musicians
they’d heard in their native New Orleans. We follow the legal challenges over who wrote
Stairway to Heaven or whether Blurred Lines should have listed Marvin Gaye as a co-author.
Livery Stable Blues, one of the first true hit singles, selling over one million copies at a time
most still preferred to buy sheet music over recordings, inspired its own attribution battle.
We’ve all heard the arguments, usually from very concerned parents, about what defines good
taste or aesthetic achievement in popular music. The judge who presided over the lawsuit
about who wrote Livery Stable Blues ultimately ruled that since the song was in bad taste and
composed by people who couldn’t actually read or write sheet music it would be remanded to
the “public domain” with no writer attributed at all.
More than other forms of popular music Jazz is particularly fraught with these kind of
debates, but some of the most heated arguments among jazz aficionados are even more
fundamental: what qualifies as jazz? Does jazz have some essential ingredient? Where does
the term “jazz” even come from? One hundred years after the first jazz recording, the answers
remain elusive, but the story of Livery Stable Blues shows how early the questions that still
surround the genre were raised.
Word play
‘Jazz’ was named the Word of the 20th Century by the American Dialect Society,
which is remarkable since we don’t actually know for sure from where the term originates.
One of the most striking features of jazz to its earliest listeners was its speed, its sheer energy.
Dating back to 1860 there had been an African-American slang term, ‘jasm’, which means
‘vim’ or ‘energy’. On 14 November 1916, the New Orleans Times-Picayune newspaper
referred for the first time to “jas bands”. That particular spelling suggests “jas” could have
come from jasm. Or perhaps it referred to the jasmine perfume that prostitutes in New Orleans’
famed Storyville red light district often wore – jazz music had developed, in part, as the music
played in brothels. Early jazz pioneer Jelly Roll Morton, whose own name was a euphemism
for sex, first developed his own style playing piano in these ‘sporting houses’ and to get extra
tips he’d peek at a prostitute and her client through a peephole and time his playing with the
pace of their revels.
The Original Dixieland Jass Band itself shows the etymological mystery of jazz. Like
‘jas’, ‘jass’ probably has a sexual connotation, as a reference to a woman’s backside. Musician
Eubie Blake said, in an interview with National Public Radio before his death in 1983: “When
Broadway picked it up, they called it 'J-A-Z-Z.’ It wasn't called that. It was spelled 'J-A-S-S.'
That was dirty, and if you knew what it was, you wouldn't say it in front of ladies." Or perhaps
by the time ‘jass’ made it to New York City from New Orleans, bandleaders were simply tired
of pranksters scratching off the ‘j’ from their posters. A few months after that recording of
Livery Stable Blues, the fivesome would change their name to the Original Dixieland Jazz
Band for good.
Livery Stable Blues also helps answer the question ‘What is jazz?’ by pointing to its
roots. The song is structured around three chords and into 12 bars, like virtually all blues songs
emerging from the African-American tradition. Its barnyard sounds connect it to the setting of
the work songs black field labourers would sing. Its habanera beat, common to so much of
jazz, reflects the influence of bouncy Caribbean melodies on New Orleans music – there were
several ferries arriving in New Orleans from Havana every day in the early 20th Century. Its
repetition indicates the call-and-response tradition of black Baptist churches. The clarinet,
cornet and trombone in its arrangement reflect the influence of march music, which was wildly
popular in New Orleans during and after the Civil War and resulted in an excess of brass and
woodwind instruments floating around the city for would-be musicians to play. Its piano
comes from the tradition of ragtime, the musical form that directly proceeded jazz. And its
sense of humour comes from minstrelsy, the tradition of parodying opera and operettas and
poking fun, often most insensitively, at the racial divide between white and black. Minstrelsy
most commonly featured white musicians in blackface projecting their own cartoonish idea of
what it meant to be black – and it was by far the most popular form of music in the US from
1840 to 1920. But while minstrelsy involved white Americans parodying their idea of African-
Americans, many other white musicians like those of the Original Dixieland Jass Band chose
to copy African-American musical traditions wholesale.
The musical DNA in Livery Stable Blues comes from black artists and shows that jazz
is a fundamentally African-American music, even if an all-white band was first to record it.
The particular mix of African-style drumbeats and the Caribbean rhythm, found in this song
but so common to jazz as a whole, points to the time from 1817 to 1843, when black slaves –
some from Africa, some from the Caribbean, some from the interior of the American South –
would gather on Sundays in New Orleans’ Congo Square to play music and cross-pollinate
their traditions. New Orleans Creoles of colour, who were the mixed-race descendants of black
and white ancestors, typically identified more with European culture than with Africa’s. After
the Jim Crow laws of 1890 classified the city’s mixed-race Creoles as ‘black’, they were only
allowed to play with other black musicians and this brought a greater musical fluency and
technical skill to black music because many Creoles of colour were trained in classical music.
Jazz emerged from this merger of forms.
Full circle
But as to who actually invented jazz, if such an achievement could be attributed to one
person, that’s a tricky matter. Some say Elvis Presley or Chuck Berry invented rock n’ roll,
others would argue DJ Kool Herc or Grandmaster Flash created hip hop. Nick La Rocca, the
Original Dixieland Jass Band’s cornet player and composer, claimed that he personally
invented jazz – though the cornetist Buddy Bolden had a much better claim, or even the Creole
artist Morton, who certainly was the first to write jazz out as sheet music and always said he’d
invented it. As jazz historian Gary Giddins puts it, “LaRocca turned racist, and proceeded to
make horrible statements about how whites invented jazz, and how they were there before the
black guys, and so forth, scurrilous stuff — a cartoon cliché of the Southern bigot.” Louis
Armstrong was more charitable in his 1936 book Swing That Music, calling the Original
Dixieland Jass Band “the first great jazz orchestra” and that LaRocca “had an instrumentation
different from anything before, an instrumentation that made the old songs sound new.” But
LaRocca’s later statements follow a long tradition in the US of white artists dependent on
African-American culture publicly degrading it in order to justify their exploitation of it.
It’s not only the racism and the cultural appropriation that makes even Dixieland jazz
aficionados uncomfortable with the Original Dixieland Jass Band – it’s the bad taste of it all
too: LaRocca’s inflammatory comments, yes, but also the silliness of the animal sounds the
musicians imitate in their performances, their lack of technical proficiency, the association of
their sound with minstrelsy. But the loudest voices who declare ‘this is not jazz’ about any
particular band or sound are usually jazz obsessives splitting musical hairs that only the
infatuated would care about. It’s an internal civil war.
Jazz as a whole also came under attack as an example of bad taste, however, in much
the same way rock n’ roll and hip-hop would later, by people who had no knowledge of the
music whatsoever. The New York Times published editorial after editorial throughout the late
1910s and 1920s touting the dangers of jazz, which had historically been associated with the
brothels where it was initially played; just months after Livery Stable Blues became a hit
recording, the Storyville red light district, previous tolerated by the city leaders of New
Orleans, was completely shut down. And Edward Baxter Perry wrote in the popular music
magazine The Etude that ragtime, into which he was lumping early jazz songs like Livery
Stable Blues and the Original Dixieland Jass Band’s even more popular 1917 follow-up Tiger
Rag, “is syncopation gone mad. And its victims in my opinion can only be treated like the dog
with rabies, with a dose of lead. Whether it is simply a passing phase in our decadent art
culture, or an infectious disease which has come to say, like leprosy, time will tell.”
These attacks on jazz from both outsiders and insiders still occur today. Even the film
La La Land taps into this, with Emma Stone’s jazz neophyte Mia declaring “I hate jazz” while
Ryan Gosling’s jazz pianist Seb frets endlessly about what is and isn’t jazz and whether the
form has a future – “it’s conflict and it’s compromise, it’s new every time, and it’s dying.”
Over the 100-year journey from Livery Stable Blues to La La Land the music has
changed drastically, while the discourse has remained the same. Perhaps it’s time to stop
talking and start listening.

Who was the real fifth Beatle?


When news broke on Tuesday that the "fifth Beatle" had died, you might be forgiven
for asking "which one?"
In this case, the honorary member in question was the band's former producer, Sir
George Martin, who passed away at his English home at age 90.
"If anyone earned the title of the fifth Beatle, it was George," said Paul McCartney on
his Facebook page, of the producer who spent seven years crafting one of the most successful
bands in history.
Martin might have "earned" the coveted fifth Beatle crown -- but that hasn't stopped it
being attributed to many more people over the years.
From former manager Brian Epstein, to original drummer Pete Best, we take a look at
other worthy (some less so) contenders for the title. As for who really deserves the "fifth
Beatle" moniker... we'll leave that one up to you.
George Martin, producer
Not only did the legendary music producer give the band their first recording contract,
he also played piano on many of their songs, including "In My Life," and "Lovely Rita."
"From the day that he gave The Beatles our first recording contract, to the last time I
saw him, he was the most generous, intelligent and musical person I've ever had the pleasure
to know," added McCartney on Tuesday.
Brian Epstein, manager
Epstein is often credited with "discovering" the Beatles in 1961, during a performance
at the Cavern Club in Liverpool.
The young manager had a huge impact on the band's early years, working hard to set
up that fateful meeting with producer Martin, then head of EMI's Parlophone Label.
However, his time with the band was cut short in 1967, when he died from an apparent
accidental drug overdose at age 32.
Neil Aspinall, schoolmate and road manager
Before he was their roadie, Aspinall was Paul McCartney and George Harrison's
schoolmate in Liverpool.
From driving the band to gigs and lugging their kit onstage, Aspinall moved up the
Beatles management ranks, later becoming the group's personal assistant, and ultimately the
CEO of Apple Corps until 2007. He died in 2008 from cancer at age 66.
Stuart Sutcliffe, original bassist
Look closely at the "Sgt. Pepper's Lonely Hearts Club Band" album cover, and you'll
see the unremarkable black-and-white image of a young man in the far left corner, third from
the top. That's Stuart Sutcliffe, the band's original bassist.
Sutcliffe was there back when the Beatles were a five-piece band, performing night
after night during their formative days in Hamburg, Germany.
But he left the band at the end of their trip in 1961 to resume his studies (Sutcliffe was
a talented painter who struck up a friendship with John Lennon at art school) and be with his
sweetheart, Astrid Kirchherr.
He died the following year due to a brain hemorrhage. He was 21.
Pete Best, original drummer
Does Pete Best still rue the day he was ditched from arguably the world's biggest band?
We can only guess.
But the drummer still had two years with the Beatles before he was apparently
dismissed by Epstein in 1962, and replaced with Ringo Starr.
Unlike many other "fifth Beatle" candidates, Best is still going strong at the ripe old
age of 74, working variously as a civil servant and even touring with his own group -- the
"Pete Best Band."
Billy Preston, pianist
Preston is one of the few non-Beatles to be credited on a record with the band, with the
singles "Get Back" and "Don't Let Me Down" joint-credited to the "Beatles with Billy
Preston."
The piano prodigy also performed on hits "Let it Be" and "I Want You."
Preston, a Grammy-winning artist in his own right, died from apparent kidney disease
in 2006 at age 59.
Derek Taylor, PR man
British journalist Derek Taylor met the Beatles after reviewing their show, later
becoming the band's press officer and Epstein's personal assistant.
Epstein was keen to lure Taylor into a promotional job with the band, using the
reporter's newspaper contacts to maximize their coverage.
Taylor later became press officer at Apple Corps and played a leading role in their
media success.
Murray the K, disc jockey
You've got to hand it to Murray Kaufman -- otherwise known as disc jockey Murray
the K. If no one is going to call you the "fifth Beatle," then you may as well give yourself the
title first.
The popular New York radio host was a big supporter of the Beatles, promoting them
during their first U.S. tour and even declaring himself the "fifth Beatle" in 1964.
The self-promotion paid off for both sides, with the Beatles happily jumping on board
with the "fifth Beatle" description during their tour.
Allan Williams, manager
Before there was Epstein, there was Allan Williams -- the band's first manager.
Williams was one of the first music promoters to really give the Liverpool lads a
chance, even personally driving them to their influential Hamburg gigs in the early 1960s.
He parted ways with the band in 1961. Epstein took over the reins the following year --
the rest, as they say, is history.
Jimmie Nicol, drummer
Thirteen days can be a long time in pop history -- as drummer Jimmie Nicol discovered
when he replaced a sick Ringo Starr on the Beatles' 1964 world tour.
While Ringo was recovering from tonsillitis, Nicol had a brief moment of
superstardom, happily signing autographs for fans across Denmark, the Netherlands, and Hong
Kong.
By the time they reached Australia, Ringo was back behind the drums -- and riding the
wave of Beatlemania once more.
Apu Nahasapeemapetilon, store owner
When Lisa grapples with her newfound vegetarianism in "The Simpsons," she seeks
the advice of Paul and Linda McCartney (who had her own line of vegetarian food).
How did this happy meeting come about? The McCartneys met shopkeeper Apu back
in their India days of course... though Paul appears less than impressed with Apu's declaration
that "I was known as the fifth Beatle."
Maria Anna Mozart Was a Musical Prodigy Like Her Brother
Wolfgang, So Why Did She Get Erased from History?
Wolfgang Mozart was widely hailed as a child prodigy, playing instruments at the age
of four and composing music by the age of five. However, he started out not as a solo
performer, but as the junior member of a duo, accompanied by his equally prodigious older
sister, Maria Anna. A gifted harpsichordist by the age of nine, Maria Anna Mozart received
equal acclaim to her brother during their lengthy tours around Europe in the 1760s.
The Firstborn Prodigy
Born in Salzburg, Austria on July 30, 1751, Maria Anna “Marianne” Mozart was the
first of Leopold and Anna Mozart’s children to survive more than a few months. Seven
children were born to the couple between 1748 and 1756, but only Marianne and Wolfgang
reached adulthood.
Leopold Mozart, Maria Anna's father, was a musician, composer, and music teacher,
but by the time his daughter was seven, he was devoted to the education of his children.
Leopold set Maria Anna down in front of a harpsichord, and before long, four-year-old
Wolfgang began picking out notes right beside her.
Both children learned with astonishing speed, and within three years of their first
lesson, Maria Anna and Wolfgang were polished enough to perform for the court of Prince-
elector Maximilian III of Bavaria in Munich. “The poor little fellow plays marvelously,” said
one eyewitness of the event. “He is a child of spirit, lively, charming. His sister’s playing is
masterly, and he [the prince] applauded her.”
As they made their way from one venue to the next, both children grew in confidence.
“We played a concert on the 18th which was great,” Leopold wrote a friend in Salzburg in
1763. “Everyone was amazed. Thank God, we are healthy and, wherever we go, much
admired. As for little Wolfgangerl, he’s astonishingly happy, but also naughty. Little Nannerl
[Maria Anna] is no longer in his shadow, and she plays with such skill that the world talks of
her and marvels at her.”
The Mozart Siblings' Grand Tour
After the short tour in 1762-63, the Mozarts set out in the summer of 1763 on what
would come to be called the Grand Tour, spanning four years and more than 88 performances
across Western Europe.
They performed for kings and queens, nobles and commoners, in performances that
stretched for three hours or more. Wolfgang’s extraordinary talent, combined with his outsized
personality, made him the star of the duo, but Maria Anna's obvious talent also drew applause.
While Leopold's focus was primarily on promoting Wolfgang’s career, Maria Anna's skill was
a source of enormous pride for her father, who considered her one of the most skilled
musicians in all of Europe by the time she was 12 years old.
The Mozart family became accustomed to fine food and clothing, servants, and the
gifts of admiring nobles during their long journey. However, travel was not without its
dangers. Both Maria Anna and Wolfgang were frail, and their progress was frequently halted
by illness. In September 1765, Maria Anna came down with what first appeared to be a cold,
but was, in fact, a severe case of typhoid.
As she grew weaker, Leopold decided that she must take time to recover rather than
continue on the long and tiring tour. Wolfgang fell ill at the same time, and the children spent
four months recuperating. Ultimately, Leopold decided the tour would continue. The children
returned home to Salzburg in November 1766.
"Next to God Comes Papa"
Now in her late teens, Maria Anna was no longer as marketable as a child prodigy. As a
result, after 1768, Wolfgang and Leopold toured alone. It was a difficult adjustment for the
family. "I only wish that my sister were in Rome, for this town would certainly please her,"
Wolfgang wrote in one of his many letters home.
Maria Anna did not, however, give up music entirely. Leopold and Wolfgang sent her
sheet music from their journeys so that the siblings could play together when Wolfgang was at
home, and she even appears to have tried her own hand at composing. In 1770, Wolfgang
wrote to thank her for a composition she had penned. However, the piece did not survive, and
no other compositions in her hand have ever been discovered.
When her mother died in 1778, Maria Anna, now 27, took over her mother’s role as
Leopold’s housekeeper and companion. Leopold and his needs always sat at the center of the
family’s emotional life—"Next to God comes Papa," Wolfgang once wrote—and Maria Anna's
obedience to her father’s wishes was absolute. She was so obedient, in fact, that when
Wolfgang disobeyed Leopold and went out on his own around 1781, Maria Anna took her
father’s side. Even after Leopold’s death, the breach between the once-close siblings never
fully healed.
Marriage and Motherhood
In 1783, Maria Anna married Johann Baptist Franz von Berchtold zu Sonnenburg, a
twice-widowed magistrate from St. Gilgen, a village about 20 miles east of Salzburg.
She returned to Salzburg in 1785 to give birth to her first child, but when she returned
to St. Gilgen, baby “Leopold” stayed with his aged grandfather. With his children grown and
gone, Leopold Mozart may have seen his grandson as his last opportunity to cultivate a child
prodigy. Whatever the long-term plan may have been, Leopold died in 1787, and the baby was
returned to his parents.
Maria Anna was widowed in 1801 and moved her three children back to Salzburg,
where she would spend the final decades of her long life. Music remained an important part of
her life, and she helped support the family by giving music lessons.
Final Years
Brother and sister were still estranged at the time of Wolfgang’s death in 1791, at the
age of just 35. As the years passed, Maria Anna's views softened, and she played an active role
as the guardian of family memories, including a treasure-trove of family correspondence that
memorialized how close they had all once been.
Her health declined in the early 1820s, and by 1825 she was blind, mostly deaf, and
bedridden. That year, her nephew Franz Mozart brought some admirers to visit her in her little
room, filled with family mementos. The visitor marveled that this woman, who had once been
applauded by the kings and queens of Europe, was now so alone.
Maria Anna died on October 29, 1829 and was buried at St. Peter’s Cemetery in
Salzburg. Although her compositions did not survive, her musical genius is now remembered
an equal to her brother's.

The Worst Ideas Of 2010: We Are The World 25


We Are the World
"We Are the World" is a charity single originally recorded by the supergroup United
Support of Artists (USA) for Africa in 1985. It was written by Michael Jackson and Lionel
Richie and produced by Quincy Jones and Michael Omartian for the album We Are the World.
With sales in excess of 20 million copies, it is one of fewer than 30 retail singles to have sold
at least 10 million copies worldwide.
Following Band Aid's 1984 "Do They Know It's Christmas?" project in the United
Kingdom, an idea for the creation of an American benefit single for African famine relief came
from activist Harry Belafonte, who, along with fundraiser Ken Kragen, was instrumental in
bringing the vision to reality. Several musicians were contacted by the pair, before Jackson and
Richie were assigned the task of writing the song. The duo completed the writing of "We Are
the World" seven weeks after the release of "Do They Know It's Christmas?", and one night
before the song's first recording session, on January 21, 1985. The historic event brought
together some of the most famous artists in the music industry at the time.
The song was released on March 7, 1985, as the first single from the album. A
worldwide commercial success, it topped music charts throughout the world and became the
fastest-selling American pop single in history. The first ever single to be certified multi-
platinum, "We Are the World" received a Quadruple Platinum certification by the Recording
Industry Association of America.
Awarded numerous honors—including three Grammy Awards, one American Music
Award, and a People's Choice Award—the song was promoted with a critically received music
video, a home video, a special edition magazine, a simulcast, and several books, posters, and
shirts. The promotion and merchandise aided the success of "We Are the World" and raised
over $63 million (equivalent to $144 million today) for humanitarian aid in Africa and the US.
25 for Haiti
On January 12, 2010, Haiti was struck by a magnitude-7.0 earthquake, the country's
most severe earthquake in over 200 years. The epicenter of the quake was just outside the
Haitian capital Port-au-Prince. Over 230,000 civilians have been confirmed dead by the
Haitian government because of the disaster and around 300,000 have been injured.
Approximately 1.2 million people are homeless and it has been reported that the lack of
temporary shelter may lead to the outbreak of disease.
To raise money for earthquake victims, a new celebrity version of "We Are the World"
was recorded on February 1, 2010, and released on February 12, 2010. Over 75 musicians
were involved in the remake, which was recorded in the same studio as the 1985 original. The
new version features revised lyrics as well as a rap segment pertaining to Haiti. Michael
Jackson's younger sister Janet duets with her late brother on the track, as per a request from
their mother Katherine. In the video and on the track, archive material of Michael Jackson is
used from the original 1985 recording.
On February 20, 2010, a non-celebrity remake, "We Are the World 25 for Haiti
(YouTube edition)", was posted to the video sharing website YouTube. Internet personality and
singer-songwriter Lisa Lavie conceived and organized the Internet collaboration of 57
unsigned or independent YouTube musicians geographically distributed around the world.
Lavie's 2010 YouTube version, a cover of the 1985 original, excludes the rap segment and
minimizes the Auto-tune that characterizes the 2010 celebrity remake. Another 2010 remake of
the original is the Spanish-language "Somos El Mundo". It was written by Emilio Estefan and
his wife Gloria Estefan, and produced by Emilio, Quincy Jones and Univision
Communications, the company that funded the project.
Why it’s the worst idea of 2010?
Recorded February 1 in a marathon session, "We Are the World 25 for Haiti" was an
ambitious update. It boasted an all-new lineup, ranging in age from the pubescent Justin
Bieber to the octogenarian Tony Bennett. It incorporated modern twists: Auto-Tuned solos by
T-Pain and Akon, a rap break penned by Will.I.Am, a dash of creole from Wyclef Jean. After
debuting at the Winter Olympics, the remake entered the charts at number two and sold a
quarter-million downloads in three days.
And then, just as suddenly, it was gone. A few weeks after its release, WATW25 had
been all but abandoned by radio. Media coverage tapered off, and the single spent the
remainder of its time on the charts languishing behind Ke$ha"s "TiK-ToK." What happened?
At least some of it came down to taste. Critics far and wide slammed the track,
dismissing the rap verse as pandering, the Auto-Tune as straight-up tacky. The choice of talent
took some heat as well; with over 80 participants, the group included more than a few sub-
celebrities. Saturday Night Live parodied the song a few weeks later and gleefully pointed out
the D-listers ("It's Fonzworth Bentley!/He was the fella who held the umbrella for P. Diddy!").
But taste isn't everything. WATW25 may have been overwrought and underwhelming,
but it also had the misfortune of being released in 2010, when just about every principle that
made the original WATW a success has been dismantled. To justly compare the two, one must
first acknowledge a few big-picture truths about our time:
1. Music doesn't sell like it used to. Arts fundraising tends to marry a good cause with
an exclusive product. Back when music had to be bought to be heard, that model applied --
people's charitable concerns and selfish interests could be yoked together effectively. No
longer.
2. Consumers are more empowered than ever. When a handful of broadcasters
controlled all the content, hammering you with a message was child's play. That control has
dissolved, and even the most powerful messengers have to fight for attention.
3. Getting informed is easy. A two-second Google search will turn up countless relief
groups for any cause, each of which has four or five ways to accept donations. We know how
to send our money to Haiti; we don't need Quincy Jones to do it for us.
4. Fame isn't what it used to be. Gone are the days when celebrity implied
inaccessibility. Thanks to reality TV, everyone's a star -- and thanks to Twitter, we know more
about stars than we could ever want. Intimacy is the norm, not the exception.
5. Collaboration is commonplace. These days, 80 pop stars in one room isn't a
milestone, it's a Kanye West album.
The question naturally arises: How can the charity song adapt to the digital age? Can
the forces that broke a once-mighty revenue model be repurposed for good?
A few artists are already having a go at it. Within a week of its premiere, the WATW25
video had inspired a massively collaborative "YouTube Edition," which urged viewers to
donate to Jones and Richie's nonprofit We Are the World Foundation (the tribute has four
million views and counting). The Bay Area duo Pomplamoose tried a more focused approach
-- fans can only get the band's new Christmas EP by donating to a local book drive (about
6,500 have so far).
Whether the charity song will survive the era of weak ties and long tails remains to be
seen. But if it does, the glamour and grandeur of "We Are the World" probably won’t be a part
of it.

Follow the Drinking Gourd

Chorus
Follow the drinking gourd,
Follow the drinking gourd,
For the old man is a-waiting for to carry you to freedom,
Follow the drinking gourd.
Verse 1
When the sun comes back and the first quail calls,
Follow the drinking gourd.
The old man is a waiting for to carry you to freedom,
Follow the drinking gourd.
Chorus
Verse 2
Now the river bank makes a mighty good road,
The dead trees will show you the way.
Left foot, peg foot, traveling on,
Follow the drinking gourd.
Chorus
Verse 3
Now the river ends between two hills,
Follow the drinking gourd.
There's another river on the other side,
Follow the drinking gourd.
Chorus

LYRICS EXPLANATION

VERSE 1 Taken together, this verse suggests escaping in the spring and heading North
to freedom.

When the sun Refers to the winter or spring. The days are getting longer, and the angle of
come back, the sun is higher each day at noon.

When the firs' Refers to the breeding season. Quail in Alabama start calling to each other in
quail call, early to mid-April.

Then the time


is come

Foller the The "drinkin' gou'd" alludes to the hollowed out gourd used by slaves (and
drinkin' gou'd. other rural Americans) as a water dipper. Used here it is a code name for the
Big Dipper star formation, which points to Polaris, the Pole Star, and North.

CHORUS

For the ole "Ole man" is nautical slang for "Captain" (or "Commanding Officer.")
man say, According to Parks, the Underground Railroad operative Peg Leg Joe was
formerly a sailor.

"Foller the
drinkin'
gou'd."

VERSE 2 Describes how to follow the route, from Mobile, Alabama north.

The riva's bank The first river in the song is the Tombigbee, which empties into Mobile Bay.
am a very Its headwaters extend into northeastern Mississippi.
good road,

The dead trees According to Parks, Peg Leg Joe marked trees and other landmarks "with
show the way, charcoal or mud of the outline of a human left foot and a round spot in place
of the right foot." (1)
Lef' foot, peg
foot goin' on,
Foller the
drinkin' gou'd.

CHORUS

VERSE 3 Describes the route through northeastern Mississippi and into Tennessee.

The riva ends The headwaters of the Tombigbee River end near Woodall Mountain, the
a-tween two high point in Mississippi and an ideal reference point for a map song. The
hills, "two hills" could mean Woodall Mountain and a neighboring lower hill. But
the mountain itself evidently has a twin cone profile and so could represent
both hills at once.

Foller the
drinkin' gou'd;

'Nuther riva on The river on the other side of the hills is the Tennessee, which extends
the other side outward in an arc above Woodall Mountain. The left-hand side proceeds
virtually due north to the Ohio river border with Illinois – definitely the
preferred route, since the right hand side meanders back into northern
Alabama and then proceeds up into Tennessee.

Follers the
drinkin' gou'd.

CHORUS

VERSE 4 Describes the end of the route, in Paducah, Kentucky.

Wha the little When the Tennessee...


riva

Meet the grea' ...meets the Ohio River. The Tennessee and Ohio rivers come together in
big un, Paducah, KY, opposite southern Illinois.

The ole man Per one of Parks's informants, the runaways would be met on the banks of the
waits-- Ohio by the old sailor. Of course, the chances that Peg Leg Joe himself would
be there to meet every escapee (as depicted literally in the children's books)
are quite small.

Foller the
drinkin' gou'd.

We Care a Lot | Faith No More

We care a lot
We care a lot
We care a lot about disasters, fires, floods and killer bees
We care a lot about the NASA shuttle falling in the sea
We care a lot about starvation and the food that Live Aid bought
We care a lot about disease, baby Rock, Hudson, rock, yeah
We care a lot
We care a lot
We care a lot about the gamblers and the pushers and the freaks
We care a lot about the people who live on the street
We care a lot about the welfare of all the boys and girls
We care a lot about you people 'cause we're out to save the world, yeah
It's a dirty job but someones gotta do it
Oh, it's a dirty job but someones gotta do it
Its a dirty job but someones gotta do it
Oh, it's a dirty job but someones gotta do it
It's a dirty job but someones gotta do it
Oh, it's a dirty job but someones gotta do it
We care a lot about the army, navy, air force and marines
We care a lot about the NY, SF and LAPD
We care a lot about you people
We care a lot about your guns
We care a lot about the wars you're fighting gee that looks like fun
We care a lot about the cabbage patch, the smurfs, and DMC
We care a lot about Madonna and we cop for Mr.T
We care a lot about the little things, the bigger things we top
We care a lot about you people yeah you bet we care a lot, yeah
It's a dirty job but someones gotta do it
Oh, it's a dirty job but someones gotta do it
Said, it's a dirty job but someones gotta do it
Oh, it's a dirty job but someones gotta do it
Oh, it's a dirty job but someones gotta do it
Oh, it's a dirty job but someones gotta do it
Oh, it's a dirty job but someones gotta do it
Oh, it's a dirty job but someones gotta do it
Oh, it's a dirty job but someones gotta do it
Oh, it's a dirty job but someones gotta do it

Wavin’ Flag

Original Version Coca Cola Celebration Mix

when i get older Give me freedom, give me fire


i will bestronger Give me reason, take me higher
they'll call me freedom See the champions take the field now
just like a wavin flag You define us, make us feel proud
when i get older
i will be stronger
they'll call me freedom In the streets our heads are liftin'
just like a wavin flag As we lose our inhibition
and then it goes back Celebration, it surrounds us
and then it goes back Every nation, all around us
and then it goes back
ahhho ahhho ahhho Saying forever young
born to a throne Singing songs underneath the sun
stronger than rome Let's rejoice in the beautiful game
but violent prone And together at the end of the day, we all say
poor people zone
but its my home
all i have known When I get older I will be stronger
where i got grown They'll call me freedom just like a wavin' flag
streets we would roam When I get older I will be stronger
out of the darkness They'll call me freedom just like a wavin' flag
i came the farthest
among the hardest survive
So wave your flag, now wave your flag
learn form these streets
Now wave your flag
it can be bleak
accept no defeet
surrender retreat Give you freedom, give you fire
(so we struggling) Give you reason, take you higher
fighting to eat See the champions take the field now
(and we wondering) You define us, make us feel proud
when we will be free In the streets our heads are liftin'
so we patiently wait As we lose our inhibition
for that faithful day Celebration, it surrounds us
its not far away Every nation, all around us
but for now we say
when i get older
i will be stronger Saying forever young
they'll call me freedom Singing songs underneath the sun
just like a wavin flag Let's rejoice in the beautiful game
and then it goes back And together at the end of the day, we all say
and then it goes back
and then it goes back When I get older I will be stronger
ahhho ahhho ahhho They'll call me freedom just like a wavin' flag
so many wars When I get older I will be stronger
settling scores They'll call me freedom just like a wavin' flag
bringing us promises
leaving us poor
i heard them say So wave your flag, now wave your flag
love is the way Now wave your flag, now wave your flag
love is the answer Now wave your flag, now wave your flag
that's what they say Now wave your flag
but look how they treat us
make us believers
we fight there battles We all say, when I get older I will be stronger
then they deceive us They'll call me freedom just like a wavin' flag
try to control us When I get older I will be stronger
they couldn't hold us They'll call me freedom just like a wavin' flag
cause we just move forward
like buffalo soldiers So wave your flag, now wave your flag
(but we struggling) Now wave your flag, now wave your flag
fighting to eat Now wave your flag, now wave your flag
(and we wondering) Now wave your flag
when we will be free
so we patiently wait
for that faithfully day And everybody will be singing it
its not far away And we all will be singing it
but for now we say
when i get older
i will be stronger
they'll call me freedom
just like a wavin flag
and then it goes back
and then it goes back
and then it goes back
when i get older
i will bestronger
they'll call me freedom
just like a wavin flag
and then it goes back
and then it goes back
and then it goes back
ahhhooo ahhhoooo ahhhooo
and everybody will be singing it
and you and i will be singing it
and we all will be singing it
wo wah wo ah wo ah
when i get older
i will bestronger
they'll call me freedom
justlike a wavin flag
and then it goes back
and then it goes back
and then it goes back
when i get older
i will be stronger
they'll call me freedom
justlike a wavin flag
and then it goes back
and then it goes back
and then it goes back
a oh a oh a oh
when i get older
when i get older
i will be stronger
just like a wavin flag
just like a wavin flag
just like a wavin flag
flag flag
just like a wavin flag

Queen - Is This The World We Created?

Songwriters: Brian May / Freddie Mercury

Just look at all those hungry mouths we have to feed


Take a look at all the suffering we breed
So many lonely faces scattered all around
Searching for what they need
Is this the world we created?
What did we do it for
Is this the world we invaded
Against the law
So it seems in the end
Is this what we're all living for today
The world that we created
You know that everyday a helpless child is born
Who needs some loving care inside a happy home
Somewhere a wealthy man is sitting on his throne
Waiting for life to go by
Wooh, is this the world we created?
We made it all our own
Is this the world we devastated, right to the bone
If there's a God in the sky looking down
What can he think of what we've done
To the world that he created
The Way You Make Me Feel
Songwriters: Michael Jackson

Go on girl!
Hey pretty baby with the high heels on
You give me fever
Like I've never, ever known
You're just a product of loveliness
I like the groove of your walk,
Your talk, your dress
I feel your fever
From miles around
I'll pick you up in my car
And we'll paint the town
Just kiss me baby
And tell me twice
That you're the one for me
The way you make me feel
(The way you make me feel)
You really turn me on
(You really turn me on)
You knock me off of my feet
(You knock me off of my feet)
My lonely days are gone
(My lonely days are gone)
I like the feelin' you're givin' me
Just hold me baby and I'm in ecstasy
Oh I'll be workin' from nine to five
To buy you things to keep you by my side
I never felt so in love before
Just promise baby, you'll love me forevermore
I swear I'm keepin' you satisfied
'Cause you're the one for me
The way you make me feel
(The way you make me feel)
You really turn me on
(You really turn me on)
You knock me off of my feet
Now baby
(You knock me off of my feet)
My lonely days are gone,
(My lonely days are gone)
Go on girl!
Go on! Hee! Hee! Aaow!
Go on girl!
I never felt so in love before
Promise baby, you'll love me forevermore
I swear I'm keepin' you satisfied
'Cause you're the one for me
The way you make me feel
(The way you make me feel)
You really turn me on
(You really turn me on)
You knock me off of my feet
Now baby
(You knock me off of my feet)
My lonely days are gone
(My lonely days are gone)
The way you make me feel
(The way you make me feel)
You really turn me on
(You really turn me on)
You knock me off of my feet
Now baby
(You knock me off of my feet)
My lonely days are gone
(My lonely days are gone)
Ain't nobody's business,
Ain't nobody's business
(The way you make me fell)
Ain't nobody's business,
Ain't nobody's business but
Mine and my baby
(You really turn me on)
(You knock me off of my feet)
Oh!
(My lonely days are gone)
Give it to me, give me some time
(The way you make me feel)
Come on be my girl, I want to
Be with mine
(You really turn me on)
Ain't nobody's business
(You knock me off of my feet)
Ain't nobody's business but
Mine and my baby's
Go on girl! Aaow!
(My lonely days are gone)
Hee hee! Aaow!
Chika, chika
Chika, chika, chika
Go on girl!, Hee hee!
(The way you make me feel)
Hee hee hee!
(You really turn me on)
(You knock me off of my feet)
(My lonely days are gone)

Вам также может понравиться