Word: singeing
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Dates: during 1990-1999
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...concert in Chicago on Labor Day Sunday and a week before sent the lyrics of Solidarity Forever to be printed in the concert program for the audience to sing. The sponsor sent back a message: "Can't sing Solidarity Forever--too political." I looked at that message, and I heard the rattle of drums and the skirl of bagpipes. I heard the Authors Guild lining up behind me. PEN. The A.C.L.U...
...dreams, then we wouldn't always be clamoring for the highest salary or the biggest name-brand place to work in a desperate scramble to say to the world: "This is who I am." We would go to graduate schools, redesign cities, write novels, start theater companies, found publications, sing, teach, research and discover all kinds of new things that so frighteningly few people are capable of discovering. Student loans be damned. We have the talent. We have the resources. We just don't have the faith...
...punchy, bitter-sweet, nostalgic. "Shelly," and "Enough," their closest chance at breaking through to the pop radio realm. DHC even reaches back into their earlier days with "Skinhead Barbecue" and "He wants Me Back." On the latter, Rogers and Denike, invite a group of girls up on stage to sing along, emphasizing the band's respect for an actively involved audience, especially the female contingent...
...impossible. The metal tubes under each bar--the resonators--provide only a few seconds worth of audible sustain. The use of four mallets, two to a hand, limits the simultaneous articulation of tones to tetrachord. The challenge then, in both performing and writing for this instrument, is making it sing: creating lines out of points of sound...
...entire dynamic and registral capacity of the instrument. Beginning with complex arpeggios, the piece unfolds into a mass of sound of almost orchestral density. The abrupt pause that followed filled the room with a tremendous resonance. Kissel succeeded in making not only the instrument but the entire room sing with a resonance of unprecedented duration. After a contrasting section in the upper register, compositionally disappointing in Abe's almost banal use of functional harmony, the return to the opening led seamless into an improvisation, a cadenza of sorts, by Kissel herself. Here, at her virtuosic best, an intense...