Skip to main content

Lulu - Funny How Time Slips Away

Festivals can be sites for musical experimentation and hybridity, essential vehicles for the innovation and affirmation of daring artistic practice, where moments of mutual enrichment of the local by musics from elsewhere are commonplace.

Headliners may be internationally renowned musicians but festivals also provide platforms for up and coming local musicians, music festival producers/promoters are therefore both cultural importers and investors, the flipside of which being occasional claims of cultural invasion and even elitism. Performance at particular festivals can enhance the status of  amusician and increase the chances of further festival bookings, other festivals include elements of adjudication in which musicians are judged and rewarded.

Festivals are often sites for showcasing local talent and for creating a platform for exporting musicians abroad. They can be key tools for developing new audiences for musicians and for genres more broadly. They thus function as trusted curators in which listeners are more willing to take risks in the music they experience and in the venues they attend, indeed, some festivals even sell out before the acts have been announced. Festivals are sites for learning and personal development for musicians, audiences, and crew including volunteers, and may even contribute to social inclusion via political engagement and communitas.

However, there is little research yet about the specific impacts of festivals on musicians/composers and/or genre development, or even on the important roles of festivals in commissioning new work or as sites for musical premieres. The commercialisation of festivals and the need to compete across markets can be seen in the inclusion of popular music into festivals such as world and folk, or other art forms such as comedy and ballet into music festivals, although this can have subsequent impacts on participants’ perceptions of authenticity.


Lulu - Funny How Time Slips Away
  • Written by: Willie Nelson
  • First recording by: Billy Walker
  • First release on: April 21, 1961

"The first album for Chelsea Records was recorded with the cream of US session musicians, and includes her

interpretations of songs made famous. In 1974, Lulu recorded that year’s Bond film theme “The Man With The Golden Gun” with John Barry."

See previous Song of the Day

Labels:
Location: United States

Comments

Post a Comment

Popular posts from this blog

The Psychotic Reactions - Skip To My Lou

It expresses the emotions of angst, anger, and lust in some of the only ways that are accepted by society. The history of this edgy music genre dates back to the 1950s. It was formed by a combination of the blues, gospel music, and country. Throughout the decades, rock ‘n roll has evolved and become famous for being the genre that’s continued to push the boundaries of music, and, sometimes, the cultural boundaries of society itself. In the 1950s rock ‘n roll could be defined as rhythm and blues. In the 1960s it was partial to new musical styles such as folk rock and soul. And in the 1970s hard rock was born. From the 1980s to the present, technology has had an enormous impact on the music industry. Good taste is the enemy of the revolution. This remark epitomizes the spirit of rock ‘n roll. You’re not expected to conform, you’re expected to be yourself… no matter what anyone thinks. You are admired deeply for expressing emotions such as anger, heartbreak, and sadness through music in a...
Post a Comment
Read more

The Pat Moran Quartet - Come Rain Or Come Shine

The very institutional acceptance that many musicians sought in the mid to late 20th century has hitched jazz to a broken and still segregated education system. Partly as a result, the music has become inaccessible to, and disconnected from, many of the very people who created it, young Black Americans, poorer people and others at the societal margins. Of the more than 500 students who graduate from American universities with jazz degrees each year, less than 10 percent are Black, according to Department of Education statistics compiled by DataUSA. In 2017, the last year with data available, precisely 1 percent of jazz degree grads were Black women. The education is the anchor... We should be questioning our education system. Is it working? Is there a pipeline into the university for indigenous Black Americans to play their music, and learn their music? I don’t think that exists. Source: Jazz Has Always Been Protest Music. Can It Meet This Moment? by Giovanni Russonello The Pat Moran Q...
Post a Comment
Read more

Kenny Dorham - Like Someone In Love Take 2

In the early 20th century, the blues was considered disreputable as white audiences began listening to blues. Blues came into its own as an important part of the country’s relatively new popular culture in the 1920s with the recording, first, of great female classic blues singers and, then, of the country folk blues singers of the Mississippi Delta, the Piedmont of the Carolinas, and Texas. The first copyrighted song was in 1912, the Dallas Blues. As huge numbers of African Americans left the South at this time due to failed Reconstruction, dismal economic conditions, oppression in the South and the hope of better treatment in the North between 1915 and 1940s, the blues went with them, and settled in the urban centers of the North, especially Chicago. A more urban, electric blues developed as a result, which eclipsed the rural blues of the South and eventually became both rock and roll and what would become known as rhythm and blues. Blues fell somewhat out of popular favor until the l...
Post a Comment
Read more