Here She Comes Now: Women in Music Who Have Changed Our by Marc Weingarten, Jeff Gordinier

By Marc Weingarten, Jeff Gordinier

Even if it was once Patti Smith's offended moan, Nina Simone's guttural growl, or Dolly Parton's towering hair and candy voice, girls were a musical strength to be reckoned with, encouraged through, and paid consciousness to. In Here She Comes Now, today's largest and brightest writers take on their favourite lady musicians and the influence they've had on their lonesome lives. From Rosie Schaap writing approximately Sandy Denny to Susan Choi writing approximately Stevie Nicks to Elissa Schappell writing approximately Kim Gordon, Here She Comes Now thoughtfully and lovingly discusses the extraordinary badassery of the ladies who holiday via the entire obstacles to actually rock.

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Additional info for Here She Comes Now: Women in Music Who Have Changed Our Lives

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Sin perder la base sonora norafricana, sus composiciones son a la vez agradables y emotivas. Toda una promesa para el futuro. Trilok Gurtu disco Kathak tema “Kathak” Mintaka Recordings 1999 La música de Trilok Gurtu ha sino nombrada en varias ocasiones como el sonido de Bombay. Como el propio Gurtu lo señala, tal vez es un tipo de composiciones a las que habría que tratar más bien como etno-jazz. Esta definición es, creemos, acertada. De hecho, las grabaciones con las que Trilok se dio a conocer, antes de formar su propia agrupación, han sido como parte de conjuntos de jazz, de los mejores por cierto.

En los centros urbanos resulta cada vez más difícil, diríamos imposible, hacer abstracción de la heterogeneidad cultural y de origen de sus habitantes así como de las creaciones que ellos realizan. Las heterogéneas comunidades que en ellos viven intercambian y mezclan sus experiencias y formas de vida, su alimentación, su vestido, sus costumbres y, por supuesto, sus manifestaciones musicales. Desde luego, nada de lo expuesto niega las disparidades y las profundas asimetrías entre las diferentes regiones y naciones del planeta, tampoco las existentes en el interior de los núcleos de población de los centros urbanos: prejuicios, estereotipos y expresiones xenofóbicas tan constantes y peligrosas.

Las expresiones locales devienen al mismo tiempo partes de lo universal. , p. 117. aquí sentido las preocupaciones sobre la “autenticidad” de las expresiones sonoras porque aparece con claridad que tanto las manifestaciones culturales, como mestizas, son siempre procesos inacabados y en constante cambio, son siempre auténticas y relativas en el tiempo. En los centros urbanos resulta cada vez más difícil, diríamos imposible, hacer abstracción de la heterogeneidad cultural y de origen de sus habitantes así como de las creaciones que ellos realizan.

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