Signore, Ascolta! (Turandot) 1924 – Giacomo Puccini

Pieces of music from the Italian composer Giacomo Puccini have featured here from his Operas: La Bohème and Tosca, but nothing from Turandot or Madame Butterfly. But hold your hats because today we have an exquisite soprano aria from act one of the opera Turandot called Signore, Ascolta! (“My lord, listen!”) sung by no other than the American born Greek goddess Maria Callas. Her musical and dramatic talents led to her being hailed as La Divina (“The Divine One”). Recently I caught a sensational documentary on one of my favourite channels ‘Film and Arts‘ called Magical Moments in Music: Maria Callas & Tosca.

Puccini left the Turandot unfinished at the time of his death in 1924; it premiered in 1926 after the music was posthumously completed by Franco Alfano.

To set the scene of Signore, Ascolta!:
Setting: The streets of Peking
Synopsis: Liù, Calaf and Timur are in the midst of a processional to the execution of the Prince of Persia who attempted to win the Princess Turandot by answering three riddles. If he had given the correct answers, he would have married the Princess, but the price for incorrectly answering them was death. During the processional, Calaf catches a glimpse of Turandot, falls in love with her immediately, and decides to attempt to answer the three riddles. Liù sings this aria to beg him not to risk his life for the Princess.

Below are Liù’s words which touch the Prince’s heart, and he replies with “Non piangere, Liù” (“Don’t cry, Liù”):

Signore, ascolta! Deh!, signore, ascolta!
Liù non regge più!
Si spezza il cuore!
Ahimè, quanto cammino
col tuo nome nell’anima
col nome tuo sulle labbra!
Ma se il tuo destino,
doman, sarà deciso,
noi morrem sulla strada dell’esilio.
Ei perderà suo figlio…
io l’ombra d’un sorriso!
Liù non regge più!
ha pietà!
My lord, listen, ah! listen!
Liù can bear it no more!
My heart is breaking!
Alas, how long have I travelled
with your name in my soul,
your name on my lips!
But if your fate
is decided tomorrow
we’ll die on the road to exile!
He will lose his son…
And I, the shadow of a smile!
Liù can bear it no more!
Ah, have pity!

References:
1. Signore, ascolta! – Wikipedia
2. Turandot – Wikipedia

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16/9 – 22/9/24 – Jakob Ingebrigtsen, American Beauty & Malaysian Flight 370

news on the march

Welcome to Monday’s News on the March – The week that was in my digital world.

Not since April this year have I published a Monday’s News on the March article, but I’m delighted to restore the segment today. My aim is to keep at it, like I used to. Thanks for reading and I look forward to your comments.

Men’s 3000m (2024 Silesia Diamond League)
Video presentation at Land of Running

Norwegian Jakob Ingebrigtsen is a distance-running prodigy. As a high-schooler he was already world-class. He has won gold medals in consecutive Olympic Games. Owns multiple world records. And yet, he just turned 24. If you want to see just how good he is, watch this video of his recent 3000 metre world record. His sheer dominance and how he pulled away from the rest of the field in the closing laps was astonishing viewing…Oh and is it just me or does Jakob Ingebrigtsen look similar to a young Morrissey from The Smiths?

Kevin Spacey on American Beauty | Lex Fridman Podcast Clips
Video interview at Lex Clips

The film American Beauty currently sits at No 16 on my all-time favourite movies list. In February this year, I posted on the film here in my ‘Friday’s Finest‘ segment.
Lex Fridmen sat down with former disgraced, but now exonerated movie and TV star Kevin Spacey who spoke at length about the behind the scenes aspects of making the film and its themes and philosophy. I consider this must-see viewing for movie buffs out there.

What Netflix got WRONG – Malaysian Flight 370
Documentary at Green Dot Aviation

I hadn’t heard of any updates about the mystery surrounding Malaysian Flight 370 until this documentary came into my feed. I found it riveting, compelling and convincing all at the same time. Yet it was achieved by a You Tuber who clearly has a sense of accuracy with the detailed investigative nature and isn’t financially or narratively driven it seems.

This video presents a version of the most likely scenario which took place on board MH370. It is not definitive, and experts who agree with the main thrust of this video, will disagree on specifics. I have made a sincere effort to stick to the facts where they are available. Where they are not, I have restricted myself to informed and reasonable speculation’.

news on the march the end
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Cúlpame a Mí (2022) – Kenia Os

Cúlpame a Mí (Eng: Blame Me) by Mexican singer-songwriter Kenia Os came onto my random music player yesterday when I was getting ready to go out. I thought it was beautiful and had it on repeat until I left the house. I have no idea how this song found its way into my music library, but I’m sure glad that it did. Initially, I thought Cúlpame a Mí was a Christian outreach song because it sounded like a track from fellow Mexican singer songwriter Marcela Gandara. Also, I heard in the first line ‘Diós’ (God), but Kenia actually sang ‘Adios’ (Goodbye).

Kenia Os born Kenia Guadalupe Flores Osuna (born 15 July 1999) came to prominence from 2015 as a You Tube personality. In August 2018 Os signed with label “Lizos Music” and released her debut single, Por Siempre. Two years later, she signed with Sony Music Mexico and released her first studio album Cambios de Luna (2022) where today’s featured track Cúlpame a Mí resides. She has had appearances on streaming platform shows such as HBO Max’s Bake Off Celebrity: Mexico, in which she was a contestant on the show.

Apart from Cúlpame a Mí‘s alluring melody I enjoyed interpreting her lyrics. Most ballads of this ilk lament over a ‘lost love’ or unrequited love. In this song Kenia Os isn’t remorseful over the termination of the relationship despite still hearing the whispers of their voice. She explores the raw emotions of accepting blame for the end of a relationship, although you wonder if in fact she was the wrongdoer. Perhaps its more a case of ‘it’s not you, it’s me‘ of Seinfeld notoriety when she really means ‘Ok, it really is you‘.

An English translation of the lyrics follow:

Lost in the storm this goodbye
I hear the whisper of your voice
Trying to reach me
Trying to reach me

Time passes, the distance grows
Months go by, love dies

Baby, you have to accept
That things happened like this
I didn’t want to hurt you
You have to blame me

And I don’t know what could happen
It’s time to accept and let go
Blame me

I wouldn’t change a moment
I treasure all the time
I know we tried
We sailed against the wind

Don’t say anything, I see it in your eyes
Time passes, the distance grows
Months go by, love dies

References:
1. Kenia Os – Wikipedia

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Siege of a Nation (1982) – The Fureys

When I was a preadolescent I bought the album by The Furey’s called ‘When You Were Sweet Sixteen‘. Today’s featured track, Siege of a Nation, is the fourth song I’ve highlighted from my favourite Celtic album, which I consider a true gem of traditional Irish music. Another song by them on my blog called Belfast Mill continues to rack-up considerable daily ‘view’ numbers.

Siege of a Nation is characterized by its traditional Irish instrumentation, particularly the low whistle played by Finbar Furey. The group made a name for themselves by performing popularized versions of Irish traditional songs. They earned attention for bringing Irish folk music to mainstream listeners with their 1981 single When You Were Sweet 16 which we will delve into when we reach the ‘W’s in the Music Library Project.

The oldest of the brothers, Eddie Furey left home in 1966 and travelled to Scotland at the time of the great folk revival where, with his brother Finbar, he met and shared accommodation with then unknown folk singers Billy Connolly, Gerry Rafferty, Tam Harvey and Alex Campbell, now all famous in their own right. In 1969 Eddie and Finbar were the special guests for the Clancy Brothers throughout the USA and Canada. In 1972, Gerry Rafferty wrote Her Father Didn’t Like Me Anyway for Eddie.

Eddie Furey recalls how “many musicians have told us we influenced them after hearing a record from their parents or grandparents’ collection”. Dave Stewart of The Eurythmics has credited Eddie with teaching him his first chords on the guitar while still a teenager. Eddie would return the compliment by joining Dave on stage in Paris for a jam during the latter’s wedding to Bananarama’s Siobhan Fahey.

References:
1. About The Fureys – The Fureys

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Battle Without Honor or Humanity (2000) – Tomoyasu Hotei

Quentin Tarantino’s fusion of today’s featured music with the images of the arrival of O-Ren Ishii at “The House of Blue Leaves” in Kill Bill Volume 1 (2003) is perfect -pairing. It creates such a ‘badass’ scene and is a cinematic highlight. Also the music has become an anthem of the movie along side The Lonely Shepherd by Gheorghe Zamfir.

The instrumental called Battle Without Honor or Humanity is by Tomoyasu Hotei (image inset) and was originally used in the 2000 film New Battles Without Honor and Humanity (also known as Another Battle) by Junji Sakamoto, which Hotei wrote the soundtrack for and acted in.

The instrumental evolved into something far greater when it was picked up by Tarantino 3 years later and he used it for Western audiences. Tarantino, with his gift for recontextualizing music, recognized its potential beyond the boundaries of Japanese cinema. By placing it at a crucial moment in Kill Bill: Vol. 1, the track gained an entirely new audience.

The track has cemented itself in pop culture. According to the Japanese Society for Rights of Authors, Composers and Publishers, “New Battles Without Honor and Humanity Theme” has been one of the top 10 highest-grossing Japanese recordings based on foreign income. It has made over 20 appearances in Films and TV. Also the Kill Bill Vol. 1 Original Soundtrack reached number 1 on the Soundtracks chart.

References:
1. Battle Without Honor or Humanity – Wikipedia
2. Kill Bill Vol. 1 Original Soundtrack – Wikipedia

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Si Tú Te Vas (1986) – Juan Luis Guerra y 440

Si Tú Te Vas (English: If You Go) is one of the great successes of ‘merengue romántico’ music. It features Dominican singer songwriter Juan Luis Guerra and his group 440. Each sing a verse and it was the debut single from the 1985 album Mudanza y Acarreo and Guerra’s first ‘merengue’ song. Below I have presented their live version on The Midday Show, Dominican Republic in 1986 which includes to the right of screen a 29 year-old Juan Luis Guerra Y 4:40 (Roger Zayas, Mariela Mercado, Maridalia Hernandez). For many, today’s featured track Si Tú Te Vas represents the ‘beginning’ of Guerra’s commercial career.

Juan Luis Guerra is one of the most internationally acclaimed Latin artists in recent decades, and Si Tú Te Vas marks his eighth appearance here. His music, more than any other I can recall since moving to Colombia, has dominated the country’s airwaves. His popular style of merengue and Latin fusion has garnered him considerable success throughout Latin America. He is also credited for popularizing bachata music on a global level.

Mudanza y Acarreo (Spanish for House Moving and Haulage) is the second album by songwriter and musician Juan Luis Guerra. The album is widely known for making Guerra and 440 famous, and launching to national fame the group within their native Dominican Republic. Si tu te Vas is considered their first hit and was included in the Greatest Hits compilation Grandes Éxitos Juan Luis Guerra y 440 (1995). Lead singer Juan Luis Guerra and power-vocalist Maridalia Hernandez redefined 440’s sound to more traditional danceable merengue boundaries and made a more commercial turn to the band’s musical career.

A crude English translation of part of the lyrics follow below:

[Intro]
If you go, if you go
My heart will die
If you go, if you go
My heart will die
If you go

[Verse 1]
You are, my love, all I have
The sea that bathes me, the light that guides me
You are the home I inhabit
And if you go, I have nothing left
If you go

[Verse 2]
You are the mountain, ooh ooh
That my body seeks, ooh ooh
The river at night, ooh ooh
Spring, winter, ooh ooh

You are what I dream of, ooh ooh
I wake up, and if you go, ooh ooh
I have nothing left

[Verse 3]
You are, my life, the wheat that I sow
Everything I think, my voice, my joy
You are what I yearn for and crave, if you go away
I have nothing left if you go away

[Verse 4]
You are my life, ooh ooh
All my nourishment, ooh ooh
The story that rhymes, ooh ooh
If you are in my verses

You are the blanket, ooh ooh
My breath, ooh ooh
And if you go away
I have nothing left, oh no!

References:
1. Mudanza y Acarreo – Wikipedia

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Show Me The Place (2012) – Leonard Cohen

Show me the place where the Word became a man
Show me the place where the suffering began

Leonard Cohen has crafted some of the finest modern spiritual songs, and today’s featured track, Show Me the Place, stands among the best in this genre. Show Me The Place is from his twelfth studio album Old Ideas released in January 2012. It is Cohen’s highest-charting release in the United States, reaching number 3 on the Billboard 200, 44 years after the release of his first album. Show Me the Place is the fifth track from this late-career masterpiece to be featured here. Few singer-songwriters can be said to improve with age, but Leonard Cohen is certainly one of them.

Leonard’s music is able to enter the heart and mind, and often against our will by broaching difficult subjects such as ‘suffering’. Show Me the Place makes me feel like he’s humming a prayer directly into my ear, only for me, only to me, his precious secret thoughts and doubts. Help me roll away the stone of temptations / troubles that prevent us from freeing up our spirit to be in unison with God.

Cohen penned the song with Patrick Leonard, who is best known for co-writing many of Madonna’s late ’80s hits. As Cohen told Mojo in 2013, he met the producer when he was making an album with Cohen’s son, singer Adam Cohen:

And I know the work he did with Madonna. I think he’s a seminal figure in modern American music, very brilliant. I was listening to some of his solo piano work, too. I bumped into him with Adam several times, and somehow we got together and these four songs we did together came very quickly…Pat saw the lyric for ‘Going Home‘ and said, ‘This could be a really good song,’ and I said, ‘I don’t think so.’ He said, ‘Can I have a shot at it?’ I said, ‘Sure.’ He came back with the music, I don’t know if it was the next hour or the next day but it was very fast…He is a very unusual man and, I guess, we were both in good form..

[Verse 1]
Show me the place where you want your slave to go
Show me the place, I’ve forgotten, I don’t know
Show me the place, for my head is bendin’ low
Show me the place where you want your slave to go

[Verse 2]
Show me the place, help me roll away the stone
Show me the place, I can’t move this thing alone
Show me the place where the word became a man
Show me the place where the suffering began

[Bridge]
The troubles came, I saved what I could save
A thread of light, a particle, a wave
But there were chains, so I hastened to behave
There were chains, so I loved you like a slave

[Verse 1]
Show me the place where you want your slave to go
Show me the place, I’ve forgotten, I don’t know
Show me the place, for my head is bendin’ low
Show me the place where you want your slave to go

[Bridge]
The troubles came, I saved what I could save
A thread of light, a particle, a wave
But there were chains, so I hastened to behave
There were chains, so I loved you like a slave

[Verse 2]
Show me the place, help me roll away the stone
Show me the place, I can’t move this thing alone
Show me the place where the word became a man
Show me the place where the suffering began

For you music trivia buffs out there Show Me the Place features backing vocals from singer-songwriter Jennifer Warnes, whose biggest hits include two Oscar winning duets: “Up Where We Belong” (with Joe Cocker, from An Officer and a Gentleman) and “(I’ve Had) The Time of My Life” (with Bill Medley from Dirty Dancer). In 1971, she met Cohen, and they became lifelong friends. Warnes has toured Europe with Cohen’s band and featured as vocal arranger and guest singer on many of his albums. In 1986 she recorded the album Famous Blue Raincoat, which was made up entirely of Cohen-penned songs.

Bob Dylan, who referred to Cohen as “number one“, cited three songs from “Old Ideas” in his list of favourite Cohen songs: “Going Home“, “Show Me the Place” and “Darkness“.

References:
1. Show Me the Place – Song Facts
2. Fan Thoughts on Show Me the Place – Leonard Cohen Forum
3. Old Ideas – Wikipedia

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Should I Wait (1973) – Raspberries

If you the threw into a music blender The Byrds – I’ll Feel a Whole Lot Better and a sped up melodic instrumental version of Don William’s – I Believe in You then Should I Wait by the Raspberries might sound like the result. I challenge you to listen to the former by The Byrds and not hear the striking similarities between the two; it’s almost uncanny, which is not to insinuate that today’s featured track doesn’t hold up on it’s own.
I first heard it in Max’s PowerPop article way back in December, 2021. I agree with him when he described Should I Wait as ‘country tinged power pop‘. It seems deceptively simple and an emulation of other music, but artists have been borrowing and stealing for decades, and when a band can achieve this crisp and catchy sound you have to give credit where it’s due. It does seem Should I Wait stands as a testament to the band’s influence on the power pop genre and with each listen it sounds better.

Below are snippets from Max’s article:
‘The Raspberries formed in the early 1970s when Eric Carmen and Jim Bonfanti envisioned a band that would emulate bands such as The Beatles, The Who, and The Beach Boys.
This song came off of the Side 3 album released in 1973…It was an odd and cool album cover (see image left). It was a die-cut of a basket of Raspberries, with the group’s name placed on top of the LP sleeve. 

Three members wrote and sang songs. It wasn’t just Eric Carmen…This song (Should I Wait) was written and sung by Dave Smalley the bass player. This was their third album and they would end up releasing four studio albums’.

[Verse 1]
Don’t you know you’re gonna lose
If you love somebody that don’t love you?
You’ll believe him when he’s untrue
But I can’t bear seeing him break your heart in two
I’ve let it happen much too long

[Chorus]
Should I wait, hoping you’ll find out on your own?
It’s me who’s loved you for so long

[Verse 2]
If he hurts you with his lies
Don’t let it take too long to open your eyes
You’re gonna see through his disguise
But I can’t bear seeing him break your heart in two
I’m tired of trying to play it cool

[Verse 3]
If I had the chance I’d make you see
When you fall in love how it should be
A love that makes you sad can only turn out bad
So I’ll be hanging ’round until you’re free

The album itself, while not reaching the commercial heights of their earlier releases, is regarded as a cult classic, with Rolling Stone calling it “an album that stands the test of time.” Artists like Cheap Trick and The Knack have cited Raspberries as a major influence. Eric Carmen’s later solo success, particularly with ballads like All by Myself, drew attention back to his earlier work with Raspberries, further boosting the song’s legacy.

References:
1. Side 3 (Raspberries album) – Wikipedia

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Shooting Star (1989) – Bob Dylan

“The song came to me complete, full in the eyes like I’d been traveling on the garden pathway of the sun and just found it. It was illuminated. I’d seen a shooting star from the backyard of our house, or maybe it was a meteorite.”
– From Bob Dylan’s memoir Chronicles: Volume One

Shooting Star is the tenth and final track on Dylan’s critically acclaimed 80’s Oh Mercy album. It is more than an apt choice to end the record because it is a last round; ‘closing bar’ time Dylan song. It puts me into a quiet space of gentle melancholy about lost acquaintances. It is a simple song of lost love with a beautiful melody for his reflections. I think he ended the record on exactly the right note. When I was in my youth I considered Shooting Star my favourite from the album, but I prefer other songs from the record now such as Most of the Time and Ring Them Bells, and if he had put Series of Dreams of it, it could have been extraordinary.

[Verse 1]
Seen a shooting star tonight
And I thought of you
You were trying to break into another world
A world I never knew
I always kind of wondered
If you ever made it through
Seen a shooting star tonight
And I thought of you

[Verse 2]
Seen a shooting star tonight
And I thought of me
If I was still the same
If I ever became what you wanted me to be
Did I miss the mark or overstep the line
That only you could see?
Seen a shooting star tonight
And I thought of me

[Verse 3]
Listen to the engine, listen to the bell
As the last fire truck from hell
Goes rolling by
All good people are praying
It’s the last temptation, the last account
The last time you might hear the sermon on the mount
The last radio is playing

[Verse 4]
Seen a shooting star tonight
Slip away
Tomorrow will be
Another day
Guess it’s too late to say the things to you
That you needed to hear me say
Seen a shooting star tonight
Slip away

Rolling Stone magazine included Shooting Star on a list of “Bob Dylan’s Greatest Songs of the 1980s“, noting that it “echoes some of the self-doubt and regret heard earlier on ‘Most of the Time“. According to his official website, Dylan performed the song 126 times in concert on the Never Ending Tour between 1990 and 2013. A live performance from New York City in 1994 was filmed and officially released on the Bob Dylan MTV Unplugged television special and accompanying live album in 1995.
The song is prominently featured in Curtis Hanson’s Academy Award-winning 2000 film Wonder Boys which featured here at Friday’s Finest back in August 2021.

References:
1. Shooting Star (Bob Dylan song) – Wikipedia

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Shipyard Town (1988) – Gerry Rafferty

Shipyard Town is the third song to be presented here from Scottish singer songwriter Gerry Rafferty after his highly acclaimed 70’s hits Baker Street and Right Down the Line. He was a founding member of Stealers Wheel, whose biggest hit was Stuck in the Middle with You. Today’s featured track is not nearly as well known as those three, but this Shipyard Town is in a class of its own. I love its pronounced Celtic sound and how it speaks of the working class. I’m surprised it wasn’t a smash hit. It was one of the singles from his sixth studio album North and South and it also was released on several compilation albums.

Most of the following information was extracted from the Wikipedia article below. It is highly abridged and is not reflective of Rafferty’s extensive musical career, so I would encourage to read from the source for more information:

Heavily influenced by folk music and the music of the Beatles and Bob Dylan, Rafferty started to write his own material. He worked in a variety of modest jobs in the early 60’s, but he explained in an interview, “But there was never anything else for me but music. I never intended making a career out of any of the jobs I did.” In the mid 1960s Rafferty earned money, for a time, busking on the London Underground. In 1969 he became the third member of a folk-pop group, the Humblebums, along with comedian Billy Connolly. In 1971 he recorded his first solo album, Can I Have My Money Back? which was a critical success but did not enjoy commercial success. According to Rafferty’s daughter Martha, it was around this time that her father discovered, by chance, Colin Wilson’s classic book The Outsider, about alienation and creativity, which became a huge influence both on his songwriting and his outlook on the world: “The ideas and references contained in that one book were to sustain and inspire him for the rest of his life.

Rafferty eventually did achieve fame and commercial success with he songs highlighted at the beginning of this article. Fast forward to 1983, Rafferty sang the Mark Knopfler-penned song The Way It Always Starts on the soundtrack of the film Local Hero which featured here at Friday’s Finest in April 2023. Also in 1983, Rafferty announced his intention to take a break and devote more time to his family: “It dawned on me that since Baker Street I had been touring the world, travelling everywhere and seeing nowhere. Whatever I do in the future, it’s at my own pace, on my own terms.”

At a 16th-century Tye Farm in Hartfield, near the Kent-Sussex border closed himself to the rest of the world to concentrate on recording. According to his former wife Carla, who discouraged visitors: “He was just stalling for time. Maybe some new project would suddenly happen, but I knew he’d crossed the line as far as the record business went.” His next album, North and South, was released in 1988 which received mixed reviews. Shipyard Town stood out as a reflective piece, drawing inspiration from Rafferty’s deep connection to Scotland and the people whose lives were tied to its industrial heritage. It evokes a sense of melancholy but also pride. It’s a lament for an era slipping away, yet it’s equally a tribute to the workers who defined it.

In a dance hall by the river, I was singing in a travelling band
Just another small town night, with a silver moon shining
I remember when I saw you, that first moment when it all began
You looked across a crowded room, and stole my heart away

And we stood out in the moonlight, in the shadow of a factory wall
Music playing soft and low, and a gentle breeze sighing
And the light on the river was magic, yes a magic that I still recall
Moments come and moments go, but these moments still remain

Remember how we met, down by the waterside
How easily we forget, all the love that we knew

So we married our fortunes together, and we sealed it with a golden band
But somewhere down along the road, we could see the flame dying
Now an exiled heart gets weary, like two strangers in a foreign land
We reached the point of no return, a long long time ago

Remember how we met, down by the waterside
How easily we forget, all the love that we knew

References:
1. Gerry Rafferty – Wikipedia

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