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ืฉืืื, ืงืืจืืื ืื ืฉืืื ืคืจืืืื , ืืืจืืืื ืืืืื ื-"ืืืกืงืืืกืกืื" - ืคืืืงืืกื ืขื ืืืกืงืืืจืคืืืช.
ืืคืืืงืืกื ืืชืขืืง ืืืืกืงืืืจืคืื ืฉื ืืื ืืื ืืื ืขืื ื.
ืืคืืืงืืกื ืืขืืืจ ืขื ืื ืืืืื, ืจืฆืืขื ืืืจ ืจืฆืืขื, ืืืื ืืืืกืืืจืื ืฉื ืืืื, ืืืืชืืื ืืืืงืืืช ืืืืชืจ ืฉืื ืืขื ืืืฆืืจื ืืืืจืื ื ืฉืื, ืืืกืงืืจ ืืช ืืืืืืืฆืื ืืืืืืงืืืช ืฉื ืืืื, ืืืฉืคืขืืช ืขืืื ืืืช ืืืฉืคืขืืช ืฉืื ืขื ืืชืจืืืช.
ืืขืื ื ืืจืืฉืื ื ืืืืจื ื ืื ื ืืืื ืขื ืืืงืช "ืืืืืืืื" ืฉืืฉ ืื ืืืืกืกืื ืืจืืืช ืฉื ืื ืขืืื.
ืื ืืื ืื ืืชื ืืขืจืืฆืื ืืืฉืืขืื ืื ืกืชื ืืืืื ืืช ืืืืืืงื ืฉืืื ืืคืขื ืืจืืฉืื ื, "ืืืกืงืืืกืกืื" ืืื ืืคืืืงืืกื ืฉืืืืขื ืืื ืื ืฉืืืื ืืืืืงื ืืจืืฆื ืืืืื ืขืื ืขื ืืืื ืื ืฉืืื ืืืืื ืืื. -
ืืื ืืื ืืืืืชื ืื ื ืฉืืืข ืืืืืงื ืืืื ืืช, ืืืื ืืช ืืงืืจืืชืื ืืืืงืจ ืืืืคื ืงืืืข ืืื 1990 ืืืืขืืื ื ืืืืืืงื ืืืืืจื ืืช ืืืืื. ืืืืื ืืฉื ืื ืืืืจืื ืืช ืืชืืจืืชื ืืืืืื ืืืืืืงื ืืืื ืืช ืืืกืฆื ืช ืืืืืื ืืืืขืืื ืื ืืืืืจื ืืช ืืืืื ืืืงืคืจืืกืื ืืชืืื ืืืช ืจืืื ืฉืื ืืช. ืื ืืกืฃ ืืื, ืื ื ืืงืืื ืคืืืงืืกืืื ืขื ืืืืืงื ืืืื ืืช ืืืจืฆื ืขื ื ืืฉื ืื ืืคื ื ืงืืืื ืฉืื ืื. ืืคืืืงืืกืืื ืชืืืื ืืืืืื ืืกืืคืืจื ืืืืืืช ืืืืงืืจืื ืืืืื, ืืชืจืืืื ืฉืืจืื ืืืชืืื ืืืช ืืืืืืืช, ืฉืชืืงืืฉื ื ืืืืจืื ืืกืืืืื ืื ืืืืคืขืืช ืืืืืืืช.
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Join author, Howard Weiner, as he explores the diverse musical universe of the Grateful Dead and Jerry Garcia. Howard draws upon his many years of touring with the Grateful Dead to analyze their best shows and jams, as well as sharing his personal tales from the road, Deadology will also provide a touch of Dylan, and other artists influential to the Dead.
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Join me while I read my own music to you. The Flamingo75โs podcast is an exclusive moment you get to spend with me Jessica Gins Smith the proud composer of electronic/ computer music who has the absolute wish to get feedback on her own creation.
Find out more on how and what I use to read the music and finally what my music is telling me!
Flamingo75โs podcast is a weekly broadcast where we discover and understand electronic music via a tool of another kind.
Each episode unveilings the mysteries of electronic music and the projection it has from above not from an intellectual transportation stand point but from a spiritual locomotion. The podcast is dedicated to the music gods and their higher powers.
Hosted on Acast. See acast.com/privacy for more information.
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Johnny Cash: The Man in Black
Known for his signature all-black outfits and gritty bass-baritone voice, Johnny Cash carved out a remarkably influential career spanning over five decades at the forefront of country, rock and Americana music, through songs giving voice to the struggles of the oppressed and highlighting his own battles with addiction, heartache and faith, Cash connected with the raw honesty of the human experience like few other artists. His prolific output of chart-topping albums and crossover collaborations earned him inductions into the Country Music, Rock and Roll and Gospel Music Halls of Fame. However, beyond sales and accolades, Johnny Cash endures as an authentic American icon because his music emanates from and celebrates the soul of Americaโs forgotten working class.
Humble Origins
Born February 26, 1932, in Kingsland, Arkansas to poor sharecroppers, no one could anticipate difficult upbringings marred by struggle would launch Cashโs meteoric rise fueled by lyrical wisdom. One of seven children stretching limited resources, Cash experienced tragedy early losing his brother Jack in a sawmill accident. The rural isolation and reliance on crops identified Cash with communities often marginalized by postwar urbanization and industrialization. Music, namely gospel hymns and folk songs, bonded the family during long days harvesting cotton fields under the unforgiving sun. While their house lacked electricity early on, Cash later credited his mother Carrieโs playing piano by kerosene lamp inspiring a lifelong love for songwriting and storytelling.
After serving Air Force duty in Germany, Cash moved to Memphis and married Vivian Liberto in 1954. Unable to earn steady paychecks from music, he took sales jobs while playing small venues with rising artists like Elvis Presley, Carl Perkins and Jerry Lee Lewis during the dawn of rockabilly. The combination of music industry connections and family responsibilities pushed Cash towards boldly approaching Sun Records producer Sam Phillips in 1955 desperate to secure a record deal. While Phillips remained unimpressed by gospel tunes Cash auditioned with, he promised solo recording contract if Cash returned with original songs infused with the maverick rock and roll energy electrifying youth culture.
Man in Black is Born Just months later Cash delivered raw, self-penned hits like โCry Cry Cryโ and โHey Porter!โ melding working-class folk lyricism with edgy rock rhythms. The combination of Cashโs sandpaper vocals and humble yet poetic observations of American struggles struck instant resonance beyond just country audiences accustomed to syrupy Nashville standards. With the Man in Black moniker coined from his trademark uncompromising uniform of black apparel, his music anchored rebellious energy in rootsy authenticity.
Over the next decade, Cash churned out iconic songs like โI Walk the Lineโ, โFolsom Prison Bluesโ and โRing of Fireโ earning over 10 number-one Billboard country hits. Embraced as an outlaw before the term existed, Cash attracted youth activism movements like folk icon Bob Dylan for defiantly standing up for prisoners, coal miners, Native Americans and other marginalized groups through humanizing story-songs. Yet as his star ascended, private demons increasingly disrupted stability at home.
Battles with pills and infidelity characterized much of the 1960s as pressure mounted. A 1965 arrest for smuggling amphetamines across the Mexico border earned a wrecked Cash sobering isolation in jail followed by a spiritual awakening towards transformation. The late 1960s marked a major revival both personally and professionally. Cash pivoted to evocative, stripped-down albums like At Folsom Prison and At San Quentin poignantly performing for inmates in 1968. Around this time Cash also hosts his iconic musical variety television show casting wide influence across American and global culture by showcasing rising country, rock, roots and gospel talent alongside humor segments.
The Silver Fox Marches On While the 1970s brought more chart-topping duets with June Carter Cash after finally divorcing first wife Vivian, Cash continued grappling with dependence issues and exhaustion through repetitions of rehabilitation and relapse. Yet his breadth of collaborations multiplied impact immeasurably โ recording with Bob Dylan, backing environmental activist groups, acting in feature films like A Gunfight with Kirk Douglas, and lobbying on behalf of Native American rights.
After a fallow period lacking direction in the 1980s and struggling through numerous health issues, Cash experienced a career resurgence in the 1990s at an unlikely stage. Recording landmark albums like American Recordings with producer Rick Rubin, Cash attracted youthful alternative rock fans through vulnerable takes on songs by Soundgarden, Nick Cave and U2 earning him MTV video awards and Lollapalooza appearances. The stripped production foregrounded his weathered voice taking on new depth and grit with age. While diabetes, Parkinsonโs and pulmonary issues increasingly hospitalized Cash towards the end, he recorded prolifically almost until his passing on September 12, 2003, only months after his beloved June.
Legacy - Giving Light to Darkness
Johnny Cash left an indelible impact on music's evolution fusing genres and amplifying marginalized voices. Artists ranging from Elvis and Bob Dylan to Chris Cornell credit Cash's signature sound and courageous vulnerability exploring human suffering as profoundly influencing their songwriting. He holds the record for most Grammy wins in the country field with a trophy awarded even posthumously in 2006 cementing legendary status.
Yet beyond quantifying record sales and chart achievements, Cash's cultural importance links to the sympathy and dignity he broadcast towards America's lonely, weary and heartbroken - those crying out unheard from society's shadows. The Man in Black sheds light through stories speaking to outcast underdogs and rebels with causes. His calls for justice, freedom and redemption echo through generations. Ultimately Cash remains the consummate American troubadour expressing darkness and light, humiliation and humor, vice and virtue that country's complex soul holds in both sanctified and desperate spaces. Thanks for listening to Quiet Please. Remember to like and share wherever you get your podcasts -
Roger Cormier and Andrew Lowden have a very simple system for rating Beatles songs: the Josie Scale. As in, is this song better than "Your Love" by The Outfield?
Hosted on Acast. See acast.com/privacy for more information.
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ืคืืืงืืกื ืืืืฉืช ืืืจื ืงืืื ืืืืงืืฉ ืื ืืืื ืืืืงืช ืืืืืืก ืืืืืืช.
: ืืช ืืืืืื ืืงืก ืชืืืื ืืืฆืื ืื ืืืจืกืช ืืืืื ืขื ืืืืืืก.
beatlemanix.co.il
ืืช ืืฃ ืืคืืืกืืืง ืฉื ืืืืืื ืืงืก ืชืืืื ืืืฆืื ืืื: https://www.facebook.com/beatlemanix
ืืืช ืงืืืฆืช ืืคืืืกืืืง ืฉื ืืืืืื ืืงืก ืื ืืชื ืืืืืืื ืืงืื ืืืชืืื ืื ืื ืชืืืื ืืืฆืื ืืื: https://facebook.com/groups/186653676343179 -
Hi there! I'm Em! Talking about all things BTS and related! About how they made it to success worldwide. Also, we’ll drive deep into their songs too and uncover the meanings of songs that I choose for the week. I'll dive into my stories and other fun stuff to look forward to! When it gets close to the release of new songs I drive into the rumors and my opinions and reasons after the release! So enjoy bi-weekly episodes about BTS-related content! * This podcast is going to be a crazy since BTS is focusing on their solo music, so watch out for content *
Dangsin-eul Saranghaeyeo,
Em -
ืืฆื ืืื ืืฉืืืข ืฉืืจ ืฉื ืืชื ืืกืคื ืืืฉืืื ืืช ืขืฆืืื: "ืื ืขืืจ ืืืืื ืืื ืืจืืฉ?!"
ืืื ืื ืฉืืืื, ืืจืืช ืขืืื, ืื ืืืขืชื ืฉืชืืื ืืื ื, ืืื ืื ืืืื ื, ืืจืฅ ืืจืืคืืช ืืคื, ืกืืื ืืืื, ืื ืืืช ืืืื - ืื ื ืชืืื ืืื ืืช ืืช ืื ืืงืืืกืืงืืช ืฉืืกืคื ืงืฉืืจ ืืืืื ืืฉืืจืืช ืืืจ ืื ืืืื ืืกืคืืง ืืงืื ืืืกืืืจ ืขื ืื ืืืื ืงืืจื ืืคืืืงืืกื.
ืงืืื ืืช "ืคืืืืกืคื", ืืืกืืช ืืืืฉ ืฉื ืืื ืฆื"ื! ืืืกืืช ืืชื ืืกืคื ืฆืืื ืขื ืืืืื ืืืืืืงืื ืืืื ืื ืืื ืืกืืคืืจืื ืืืืืจื ืืฆืืืืื - ืื ืืื ืืืจ ืืื ืืืขืืข ืืช ืืื ืขืืจื ืืืืื ื? ืืื "ืฉืืืช ืืืจืช", ืืืืฆืขืืชื ืืื ืืืคื ืืจืืื ืืืช ืจืืืืืช ื-"ืืชื ืืกืคืืืช", ืืืื ืืืจืืื ืืืืกื ืื ืื, ืืืืคื ืืืืข ืฉืื ืืืข ืืฉืืจ, ืืืฆืข ืืช ืืื ืืฉืืจื ืืืืื ืืืืืืื ืืืืืืงื ืืืฉืจืืืืช?
ืื ืืื ืืขืื ื-"ืคืืืืกืคื" - ืฉืืื ืืืื!
ืขืืจื ืืืืืฉ: ืืืื ืื ืืื
ืจืืฉ ืืืืงืช ืืืฆ ืืกืืชืื: ืืืจ ืคืจื ืงื ืื
ืขืืจื ืืืขื ืืืฆ: ืืฉื ืืกืงื
ืืคืงื: ื ืืขื ืืจืงืื, ืืฉื ืืกืงื
ืืื ืื ืกืืื ื: ืืืื ืฉืืจืืืื
ืขืืฆืื ืืจืคื: ืืืื ืงืืคืื ื
ืืืื ืืฉืืืืจ: ืฉืงื ืืฉืขื
ืชืืื ืืืืืืช ืืืื: ืืืจ ืขืืืจื, ืืืื ืขืืืจืื ืชืจืื ืืคืจืง ืืื ืฉื ืคืืืืกืคื!
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.ืฉืืืืช ืขื ืืจื ืืื ืคืืื ืขื ืขืืืืช ืืชืคืืื ืืืชืฉืืื ืืืืืฉ ืืจืืืื ืืืกืืืืืช
ืืืืฉ: ืคืื ื ืคืืื
ืืืืืงื: ืืกืื ืืืืื, ืืชื ืืืจืชื ื - ืืืฆืืข ืืงืืจื, ืืจื ืืื ืคืืื. ืืชืื ืืขืจื ืฉื ืงืืืืช ’ืจืืฉืืช’ ืจืืช ืืฉืจืื, ืืืืืืืช ืืืืืื ืืืืจ
ืืืขื ื, ืืืชื ืืฅ -
ืืื ื ืกืืจืืช ืืืืืช ืืืืืืงืืื, ืืืืืืืื ืืืืืจืืขืื ืืืืืืงืืืื, ืืืืืืื ืืื ืืืื ืื: ืคืื ืง ืคืืืื, ืจืืืืื, ืืืืืืื ืืืื, ื'ืื ื ืืืืฉื ืืขืื. ืืฆืืืช: ืชืืืจ ืืืืืืืืื, ืืื ืืืืก ืื ืืื ืงืืืื.
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ืืจืืืื ืืืืื ืืืกืืช ืืืืืืืคืื!
AudioFeel - ืืืขืืช ืืืงืืจ:)
ืืืกืืช ืืื ืืืช ืืฉืืื ืขืจื ืื ืืฉื ืืืจืืฃ ืืืจ ืฆืืื ืชืื ืืืงืื ืืืื ืื ืืื ื ืืคืืคืืืืจื ืืชืื, ืืืืืจื. ืืืืื ืกืืจืช ืคืจืงื ืืืกืืช ืืื ื ืืืืื ืืืชื ื ืืืื ืืฉืืืืื ืขื ืกืืื ื ืืขืืื ืืื ืื ืืื ื, ืืจืฆืื ืืืื ืกืืคื ืฉื ื ืื ืื ืืืชืืงืืช ืืืจ ืฆืืืืื ืืืืจืื ืืคืืคืืืืจืืื, ืืื ืืขืื ืืืืื ืืฆืืื, ืืื ืืื ืืืจืืื ืืืืืื ืฉืืืืฉืืช ืกืืื ืฆืืื, ื ืืชืื ืฉืจืฉืจืช ืืกืืื ื, ืกืงืืจื ืฉื ืคืจืื ืฆืืื ืฉืื ืื ืืืฉืคืขืืชืืื ืขื ืืฆืืื ืืขืื!
ืืื ื ืืืืื ืืื ืืืืืกื ืฉื ืืืจืช "ืืื-ืืืื" ืืืืฉืืื ืืื ืฉืื ืขืกืืงืื ืืช ืืืืื ืืืืื ืื ืื. ืืชื ืืื ืืืืืงืืกื, ื ืื ืืืื, ืืืงืจ ืฆืืื ืื ืืืข ืืืืจืืก ื"ืก.ืจ.ืฅ" (ืกืื ืืจืื ืจืืืฉืช ืฆืืื).
ืืืื ื ื ืขืืื! -
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