Santa Fe Chamber Music 1998; Spanish Village by William Lumpkins,27 in. x 21 in.

• Artist: William Lumpkins
• Title: Santa Fe Chamber Music 1998; Spanish Village
• Frame: None
• Image Dimensions: 27 in. W x 21 in. H

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Ever so often a cultural force grabs America by the neck and does not let go. The chicken noodle soup dance and song could be the next silent assassin in the night, waiting to take the spot. As its popularity grows, chicken noodle soup could become the next big thing on Americas pop culture landscape.

You may ask what the chicken noodle soup dance is ? The chicken noodle soup dance originated in Harlem, New York and started out as a street dance done by young urbanites. An accompanying song was released and this birthed the dance craze for 2006. The song by Webstar and Young B has placed more attention on the dance as it catchy lyrics and simplified chorus has infected the radio airwaves of America.

The chicken noodle soup dance can be done in many different ways as each dancer adds their own personal flair to it. The basic steps in the dance begin with dancers following the initial lyrics from the accompanying song. Let it rain and clear it out When this is said dancers bring their hands down like the rain is falling, then they clear out whoever is beside them by doing a sweeping action with their hands. This is done three times before Webstar sings Chicken noodle soup. At this point the chicken noodle soup dance begins. This is the side to side movements of the legs followed by the flailing of the arms to match the corresponding feet movement. As mentioned before, personal style is incorporated a lot into the dance. You have people who spin, jump and create sheer havoc with this dance.

The chicken noodle soup however has it detractors. There are many people in the black community who feel that the chicken noodle soup dance is nothing more than the 2006 version of shucking and jiving. They feel as if this dance is a step backward.

The Chicken noodle soup might possibly infiltrate American popular for 2007. The suburbs has slowly caught on and as the song gets bigger and bigger, it can be guaranteed that soccer moms and wall street executives will be chicken noodle souping at their various parties and social events.

James Dalton an author on various topics related to the chicken noodle soup dance. You can get the latest information about Chicken Noodle Soup at http://thechickennoodlesoup.blogspot.com

ballroom dance music

Yellowcard - KNOCKOUT Women's T-shirt, Chocolate

Yellowcard is a rock band from Jacksonville, Florida. Their music can be classified as pop punk, and contains elements of emocore. A distinct characteristic of the music of Yellowcard is their use of a violin, making them somewhat unique within this genre

If you haven't seen Lara Fabian perform live, you are missing a lot. Blessed with a beautiful voice and exceptional songwriting ability makes Lara a joy to listen to. But her talents are not restricted to the ear only. It is a true joy to watch her perform live on stage. One of the biggest reasons why her live shows are such a success is due to the fact that she makes the audience part of the show. Many artists consume all the attention during a live show and leave no participation to the audience. Shows like these are one-way shows, you sit back listen and watch and go home. With Lara Fabian it's different, you feel like you are part of the stage performance. It is not strange when the crowd almost completely sings Je T'aime when Lara performs that specific song. This was seen during her Nue tour and you will almost get this phenomenon during any live performance when she sings Je T'aime. The best of all is the fact that Lara doesn't mind to give the spotlight once in a while to the crowd.

Her live shows are a whole mix of all sorts of entertainment. She adds a bit of humor in between songs by telling a joke or two or by making a witty comment. She is an extremely good dancer and her dance moves on stage really adds some special flavor to her shows. Her energetic approach is very contagious and this was seen during her PBS special, From Lara With Love. Young and old jumping was jumping for joy when she performed I Will Love Again. Her Pure and Nue concerts were both very energetic shows. The tone of her En Toute Intimit concert was much like her 9-album, sedated and calm, but still it had the elements of humor and pure musical excellence.

Musical excellence is the other element that makes her shows so special. Exceptional talented musicians, compliment her music on each and every show. Crowds fell in love with the band used during the Baden Baden, From Lara With Love and Nue concerts. But the ones that really stand out are the pianist Pierre Grimard, bass guitarist, Rmy Malo and the guitarist, Rejean Lachance, the background vocalist, Kim Richardson and the percussionist and background vocalist, Dorian Sherwood. They are part of the total recipe that makes Lara's shows so great to watch. Lara gives each and every musician on stage the chance to be in the spotlight, even though she's the main attraction of the show. It is this humble approach by every artist on stage, including Lara, which brings out the true talent of the other artists. You never get the sense that they are competing against each other, or try to steal the spotlight, they always act in perfect harmony, as a team.

Lara is known for altering the style and tone of her songs on her live shows. I Will Love Again have a distinct pop style, but Lara performed a ballad version of the song during her PBS special. During her Nue tour she performed Humana in a tropical tone, while it has an African tone on her Pure-album. She performed Tout in a bossa nova style during her 9-concert and one of the highlights of her Pure-concert was the Soul/Rap style performance of Rveille-Toi Brother. It is illustrative of Lara's talent to take a song and make something special of it, something out of the ordinary, even if it is her own music.

One must not forget to give credit to the director of most of Lara's shows, Rick Allison. He perfected most of Lara's ideas into very successful performances. Teamwork, determination, vibrant ideas, exceptional musical talent, charisma, and having a true passion for music, the ingredients for a super live performance. If you mix them right, you will please the fans and have them beg for more. Lara Fabian gets the mix right every time and that is why she is one of the best live performers of our time.

Coenraad de Beer is a huge fan of Lara Fabian. Visit the Lara Full Of Grace Forum for interesting views and discussions about Lara Fabian and her music.

80s dance music

Art Poster Print - Coldplay (Group B&W) - Artist: Anon - Poster Size: 24 X 36

This poster is 24 inches by 36 inches approximately. It is in mint condition

Blending in Socially

Let's begin with stereotypes. As mentioned above, there are blond haired, blue eyed Latin Americans. Some may be very tall or heavy as well. They might speak other languages, have spent time in another country, or live in mansions. Forget about stereotypes. The best thing to do is to come with an open mind and take in everything around you. Along with forgetting stereotypes, there are some cultural items to remember when coming to Latin America

One important thing to keep in mind is the personal space bubble. Here in Latin America, people stand closer together than those in other countries. Although it may seem intrusive when someone is just a few inches away from your nose, resist the temptation to step back. Personal space is just smaller here. When you're greeting or leaving women use air kisses near the check. When men greet men they usually shake hands and embrace, for greeting women they use air kisses. When leaving, make sure you say good-bye to everyone.

When meeting someone you'll be sure to find out that time is relative here in Latin America. If you're meeting someone for lunch at noon, don't be surprised if they're a half an hour late. They're not trying to be rude, that's just the way things are here. So next time you're meeting someone, try to be a little late as well.

Make an effort to learn a bit about the country's history and culture before you go. This is a great way to start a conversation. Latin Americans love conversation, so be ready to talk about anything. Try keeping abreast of the news, especially the local news as it's a favourite topic among Latin Americans. People here like to express themselves with gestures, so try using your hands when you talk. And remember about the personal space bubble? Since people here stand closer together when they talk, they don't need to talk so loudly, so lower your voice while carrying on a conversation or you'll be accused of shouting.

Speaking of talking, learning a bit of the language show that you're willing to make an effort to learn more about their country. Spanish is the main language used in Latin America. So if you learn the basics, you can use it in many countries. Portuguese is used in Brazil and French is still used in some countries as well. And as English is the world's language, most people, especially young people have a decent grasp on English. However, if you are going to use English to communicate, speak a bit slower and without slang. But at the same time, there's no need to shout or speak to people as if they were ignorant. Although they may not understand you, try writing things done. Latin Americans are very helpful and will go out of their way to show you where something is, so be considerate and make sure to thank them for helping you out.

Don't be afraid to try something new. Latin America has loads of local delicacies for you to try. When dining out, wait for others to be served before beginning. And be sure to hold your fork in one hand and your knife in the other. Cut one bite at a time and keep your fork and knife in the same hands, don't switch hands.

Going along with trying new things is venturing out and using the public transport. At first it may seem like a daunting task, as driving and organization may seem a bit iffy, but you'll get used to it. Besides being cheaper than taking taxis, it's safer as well.

Prices are somethings that might take some time to get used to. Although things might be considerably cheaper than in your home country, keep in mind that salaries might be lower. Don't go on and on about how cheap things are, because for those earning money in the local currency, they're not really that cheap.

Most importantly, remember that you're a guest and as such don't speak badly about the country you're in. Of course there are going to be differences, some good, some bad. But don't compare your country to theirs in a negative light. No one wants to hear how horrible their country is. Pay compliments instead. Latin Americans are proud of their culture and native people. Food, handicrafts and the arts are good things to compliment. It's best to take advantage of your time in the country and see some of the local festivals and events. They're unforgettable and are a great way to get an inside look at the culture.

When in Rome

So remember, blending physically and socially will greatly help you the next time you're in Latin America. Make an effort and you will be rewarded for doing so.

Sharon de Hinojosa (naturegirl321) has lived and worked (mainly teaching English) in the US, Scotland, Spain, the Czech Republic, China, Korea, and Peru. And taught short-term in Venezuela and Taiwan. Her work has been featured in Transitions Abroad, Viva Travel Guides, TEFL News, and ELT World.

She has created The LA Job List http://www.thelajoblist.blogspot.com which lists schools, institutes and universities in 19 Latin American countries which offer English teaching positions.

Since living in Peru since August 2006, she wrote The Ultimate Peru List http://www.theultimateperulist.blogspot.com . With 50 pages and updated monthly it's a comprehensive guide for those living in or moving to Peru.

dance dance music video

THE POSTAL SERVICE - THREE SINGLES - T-SHIRT

A while back I was driving along the Jerusalem highway scanning the radio stations. On one frequency, a very intense dance beat was exploding out of the speakers. I was about to move the dial some more in search of a Jewish tune when the vocalist started in. Shock of shocks, he was a heavily Hassidic singer, complete with eastern European pronunciation. And what was he singing? "Kumee oy'ree ki va oy-reich.." from 16th century Rabbi Shlomo Alkavetz' classic Sabbath poem, L'cha Dodi. Before he had began his rendition I had been expecting something like "Oh baby, the way you move with me ..."!

I had to ask the old question, "Is this good for the Jews?" And I had to give the old answer, "Does hair grow on the palm of your hand?"

Of course it's not good for the Jews, I felt. Poor, unfortunate L'cha Dodi, dragged from the fields of Tsfat on the Sabbath eve and infected with Saturday Night Fever! Lovingly done by a Hassid, no less!

Speaking of Tsfat, I recall meandering about their Klezmer festival once and hearing a contemporary setting of Psalm 126. It was to a funk rhythm, and the words did not fit. The singer had to split words in two, which rendered them more or less meaningless. Good for the Jews? Nah.

What bothered me about this so-called Jewish music? To put it briefly, besides the words, it just wasn't. It was dance, trance, shmantz. It was hip, driving, suggestive. If this music was asked where it wanted to play, the synagogue or the sin-skin club, the answer was clear. If Jewish music is to be defined as such, it must have authentic Jewish roots. And so much contemporary music simply does not. Where was the source of this tradition? Nowhere. That's what bothered me.

But, as Tevye reminds us, there's another hand. After all, go listen to classic Hassidic nigunim (melodies). Then go listen to Russian folk songs. Eerie, no? Weren't those folk songs the "dance" of their day?

Even stronger, go watch the religious kids. They love contemporary popular music and all its villains. What these new Jewish groups do is take what's hip and put Jewish content into it. Isn't that what the original Hassidic nigunim were all about? If we don't want to lose our young people in the culture war, we have to compete. Didn't Rabbi Samson Raphael Hirsch bring the choral works of Lewandowsky and Japhet in to the synagogue service, even though they were completely in the style of the German composers of the age, such as Schubert and Mendelssohn (he needs an asterisk because he was halakhically Jewish)? So maybe I should not only calm down, I should applaud this phenomenon.

Hold on. We're both right, I believe. Here's how I reconcile the difference, and my earnest appeal to all who create Jewish music. The most important thing is to ask, "To be or not to be?" That is the question.

Every song has a purpose, a message. It can be joy, faith, pensiveness, determination, anything. The message is in the melody and rhythm, which create the atmosphere. It's in the text, which gives articulation to the message. And it's in the performance, which makes the message personal between the performer and the listener. If the message is congruent, if the music and the lyrics are a perfect union that inspires the performer, then you have a great piece of music. If the message is mixed, if there's a battle going on between the rhythm and the words, then we are troubled. That was why that "kumee oy'ree" was so absolutely awful. It was a mixed message of licentious music with holy texts.

We love to set verses from the liturgy to music, and that's wonderful. Composers have a special responsibility to make sure that the music conveys the message and colors the words with deeper meanings. Do that, and I'm fascinated, I'm inspired, even if it's a contemporary style.

But be very, very careful with verses. We tend to ask, "Do you think Adon Olam goes to this?", when we would do better to ask, "What is this melody saying?". If it says Adon Olam, good. If it does not, then WRITE YOUR OWN WORDS. To keep with the idea of message, if you have a great tune that can say something worthwhile (something human and real, not negative or immodest), say it your way. That satisfies.

The foundation of Jewish music has always been expressing what's in our hearts as a prayer to God. That expression must be congruent, pure, sincere. There is room in the Jewish music world for great innovation, if it comes from our hearts, not from the charts.

Seth Yisra'el Lutnick is a singer and composer who has performed on stage and screen. His CD is called Gesharim, and he is also a trained cantor. Visit his website, http://www.greatjewishmusic.com for music and more.

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In My Place

The exceptionally talented Jazz artist Freddie Hubbard has released him CD entitled Face To Face. I am very confident and happy to announce that I believe Freddie Hubbard fans, and Jazz fans alike will be pleased with this one. With the release of Face To Face Freddie Hubbards artistic excellence is on full display as Hubbard has once again delivered a brilliant collection of tracks that could very well be him best work to date.

The CD kicks off with a great track, All Blues, that I suspect will be heard on radio stations everywhere, and deservedly so. It really is a very nice track.

Face To Face is a pleasantly varied, mix of 5 tracks that are very well written songs by this clearly talented artist. With many of the songs displaying a lot of the kind emotion that makes for a really great listen. Clearly drawing from what I can only imagine are him own personal experiences. At different points touching on the most real emotions like love, and the pain of failed relationships can certainly be heard.

I give Face To Face my highest recommendation. It just plain belongs in any serious music collectors collection regardless of genre preference.

While the entire album is really very good the truly standout tunes are track 2 - Thermo, track 3 - Weaver Of Dreams, and track 5 - Tippin.

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 - All Blues. This is a great track!

Face To Face Release Notes:

Freddie Hubbard originally released Face To Face on June 24, 1997 on the Original Jazz Classics label.

CD Track List Follows:

1. All Blues

2. Thermo

3. Weaver Of Dreams

4. Portrait Of Jenny

5. Tippin'

Personnel: Freddie Hubbard (trumpet); Oscar Peterson (piano); Joe Pass (guitar); Niels-Henning Orsted Pedersen (bass); Martin Drew (drums). Recorded at Group IV Studios, Hollywood, California on May 24, 1982. Includes liner notes by Norman Granz.

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