But feeling -- sometimes overflowing feeling -- is the core of his sense of interpretation. As a result, some very old songs sound newly written in his hands.
Released in near the height of his Tony-winning fame, the album is as wildly eclectic as the actor himself. In a torrent of emotion he wears his heart--and seemingly the rest of his organs--on his sleeve. Now it would appear to be common sense that composers join with their fellow musicians and with their audience as equal partners in a common endeavor. It would appear that each needs the other in an exchange of mutual benefit. But this is the solution and not the problem. The problem is that for more than a hundred years and spearheaded by the political and cultural influence of the United States, all of us have been led to believe that the solution is the problem to which the problem is the solution.
In other words, composers have to protect themselves from being ripped off by other musicians and an uncaring, selfish public. In this scenario the publisher suddenly appears as the saviour to whom the composer should be grateful. This turns things upside down and inside out making it impossible to address legitimate concerns in a constructive manner. To begin with what concerns most music makers be they composers, performers, instrument builders or technicians is credit and just compensation.
Credit and just compensation are not equivalent to the ownership of an object such as a piece or performance of music. They are principles in their own right corresponding to historical facts and the necessity for maintaining living practitioners of a craft. It is important to know how and by whom creativity was expressed in particular contributions to music. It is vital that musicians be supported in making music.
But it is precisely for these reasons that credit and just compensation are in conflict with current structures which take the greatest portion of credit and compensation and hand them over to corporations which perform no function necessary to the making and enjoying of music. Instead, these corporations invest in expanding their dominance of public space. They do this by advertising stars and hits at the expense of the vast majority of music makers and the public at large.
The fact that many people consume such stars and hits is no argument in their defense, bad ideas are often held by many people before they give way. An obvious example is slavery, a legally sanctioned institution in which many people once believed. New structures are needed that would ensure that credit and compensation are awarded fairly. These require that people act as citizens and not as consumers. This already happens to a limited extent in the case of classical music and other arts considered to be our heritage.
While at the present time this is narrowly confined to a cultural elite it nonetheless puts the lie to the idea that we need big business to make great art. It also offers possibilities for cooperative effort on the part of a wide range of social actors once we take responsibility out of the hands of the so-called free market and place it firmly in our own.
Time does not permit going into details here. But suffice it to say that there are numerous proposals readily available that indicate a direction forward. The main obstacle, of course, are habits of thought and the music industry itself.
In closing I would like to add that If sharing is a crime then ownership is a prison. If musicians are cops protecting their precious property then audiences are thieves since they take possession of this property every time they listen to it. But this is a dialogue of the dead. Dead ideas, dead institutions, dead weight. Fortunately, music is alive and being shared. For eleven years Komotion was a center of radical art making and revolutionary politics in San Francisco.
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Price : Format : 7inch EP. Seller : pitouille. Price : 8. Crosby made yet another studio recording of the song, accompanied by Joseph J.
Lilley 's orchestra and chorus, for the film's soundtrack album. They did an outdoor show in northern France… he had to stand there and sing 'White Christmas' with , G.
Of course, a lot of those boys were killed in the Battle of the Bulge a few days later. The version most often heard today on the radio during the Christmas season is the re-recording. The master was damaged due to frequent use. Crosby re-recorded the track on March 19, , accompanied again by the Trotter Orchestra and the Darby Singers, with every effort made to reproduce the original recording session. Although Crosby dismissed his role in the song's success, saying later that "a jackdaw with a cleft palate could have sung it successfully",  he was associated with it for the rest of his career.
Crosby's "White Christmas" single has been credited with selling 50 million copies, the most by any release and therefore it is the biggest-selling single worldwide of all time.
The Guinness Book of World Records Edition lists the song as a million seller, encompassing all versions of the song, including albums. There has been confusion and debate on whether Crosby's record is the best-selling single, due to a lack of information on sales of "White Christmas," because Crosby's recording was released before the advent of the modern-day US and UK singles charts.
In , National Public Radio included it in the "NPR ", which sought to compile the one hundred most important American musical works of the 20th century. Crosby's version of the song also holds the distinction of being ranked No. In , it ranked No. The recording was broadcast on Armed Forces Radio on April 30, , as a secret, pre-arranged signal precipitating the U.
Irving Berlin's opening verse is often dropped in recordings. The sun is shining, the grass is green, The orange and palm trees sway. There's never been such a day in Beverly Hills, L. But it's December the twenty-fourth,— And I am longing to be up North— . In , The Ravens peaked at No. In , Mantovani and his orchestra reached No.
It returned to the same chart in the next two years. Michael Bolton performed it on his non-holiday album, Timeless: The Classics , where it peaked at No. The Glee cast's version of the song entered the UK charts for the first time in , four years after its release, at No.
From Wikipedia, the free encyclopedia. Original song written and composed by Irving Berlin. Christmas traditional pop. Decca — issues MCA — issues. Guinness World Records. Heralded the 'next big thing' on Broadway by Lin-Manuel Miranda, Lozano's new album will feature an eclectic collaboration of musical theatre, jazz, Mexican folklore, Tex-Mex, and Latin musicians and performers. Broadway Records Announces Three-Album Partnership With the Creators of the Averno Universe Broadway Records announced today a three-album partnership with the creators of the Averno Universe, a fictional universe that lives across several media platforms.
Broadway Records will release the concept recording of Willow, the first of three albums in the Averno musical series, on September 25th.
This recoding is in collaboration with songwriter, Holly Gewandter, and has become a bright spot in these uncertain times. Coincidentally recorded ahead of the COVID pandemic, this EP resonates now more than ever, as we are searching for an escape from the stress and worry and this recording, produced and arranged by Scott Wasserman, is a cheery and humorous antidote.96 vinyl records & CDs found for Alexander'S Ragtime Band search on CDandLP. Forum 1; Blog 1; Sell music; berlin, irving alexander's ragtime band Hollywood Soundstage - NO let the good times roll/two years of torture/alexander's ragtime band/when your lover has gone.