For Boney and other old families of New Mexico, a land where the past seems ever present, the water crisis threatens not just livelihoods but also the connection they feel to their Spanish ancestors. New Mexico has more than 800 acequias, some dating to the 1600s, said Paula Garcia, executive director of the New Mexico Acequia Assn. The waterways can be several feet across or as compact as a narrow ditch. The communal watercourses carry snow runoff to distant fields. Engineered to use gravity and the natural contours of the land, the acequias feed arterial channels, which spread out like capillaries in the fields. #storysongs combo: You Dont Miss Your Water, by William Bell. Otis Redding may have had a bigger hit, but William Bell wrote it, and was first. I miss my water/My well ran dry. # Young militants ready to die, eager to kill Abdul Wali Fadaei is proud of his family history. His father died when he drove an explosives-laden car into the capital’s upscale Hotel Inter-Continental in 2011, a brazen attack that killed 18 people, including seven militants. His brothers he won’t say how many or their ages are studying to become suicide bombers. Fadaei, 17, was arrested last year before he was able to detonate the explosives he’d transported in a Toyota from Kandahar to Kabul in order to kill Americans. The message my father left me when he became a martyr was that I should follow him, Fadaei said, speaking in a matter-of-fact tone while sitting on a thin mattress in a small, dank room in Kabul’s government-run juvenile rehabilitation center. I regret my attack failed, but I gained by trying.
Rahman last evidence of composer being king: Music historian
Bharatan has documented Naushad’s tone-setting career as composer from the 1940s to 2005 in his latest book: “Naushadnama: The Life and Music of Naushad”. “If Naushad was king-emperor in his time, A R Rahman is the last evidence of a composer (with no true comprehension of Urdu) being king in Hindustani cinema. What we hear today, in the name of music, is diabolically deadly murder of poetry in all its subtleties,” Bharatan told in an email interview. “That Naushad lived to witness this assault on our senses was the saddest part of it all.” Bharatan has had a successful career juggling films and cricket. He started out — end-1952 — on the editorial desk of “The Illustrated Weekly of India” in the Times Group, serving for a full 40 years. Initially, he was assigned the then contemptuously viewed sports and film pages to do. When Khushwant Singh materialised as editor of ‘The Weekly’ in June 1969, he took pride in projecting Bharatan as his specialist on cricket and films alike. “I rose to my zenith under the Sardar whom cartoonist Mario alone could contain inside a highly charged electric bulb,” said Bharatan, who at Khushwant’s instance did the “Forty Years of Naushad” story in “The Weekly” in mid-70s. Asked if music composers still compose six tunes for one song — as was done in Naushad’s times — Bharatan said, “There is no question any longer, of preparing six tunes for one song situation, as there now is no true application of mind to creating a genuine song situation. Raj Kapoor , for instance, evolved the script strictly in musical terms. Even as the film’s photoplay took shape in his mind and heart , the songs would, eminently naturally, emerge as ‘idea-tunes’ situationally integrating into the screenplay.” ALSO ON TOI
Music: Jack Johnson is back, more mellow than ever
(Kirk McKoy / Los Angeles Times / September 19, 2013) Also See more stories X September 20, 2013, 9:00 a.m. They come at night for Gustavo Dudamel. They come during the day for Frank Gehry . Not everyone visiting the Walt Disney Concert Hall during its first decade has been interested in experiencing the Los Angeles Philharmonic Orchestra, it seems. “I’m not here for the music. I like the architecture,” said Lucian Huxley Smith, a 26-year-old writer from London. FULL COVERAGE: Walt Disney Concert Hall at 10 Smith was with Penni Killick, 25, who works for a London literary agency. “I like music. But I’m here to see the building,” agreed Killick. Architecture buffs Timo Kersten and Aline Jede, both from Germany, joined a dozen others for one of the free guided tours offered most days at Disney Hall. Music Center employee Jan Hilander led the group from the Grand Avenue lobby to the second floor, called the stage level. As the visitors peered over a railing, she explained that the Douglas fir wood panels on the curving wall were designed with acoustics in mind for BP Hall, where lectures, dinners and other events are staged. On the third-floor garden level, Hilander told of how Gehry himself drew up the geometric floral design used in the Disney Hall carpeting. The same design, called “Lillian” after original hall donor Lillian Disney, is replicated in the fabric upholstery created for the performance hall’s 2,265 seats. PANORAMA: Inside Walt Disney Concert Hall Lillian Disney, widow of Walt Disney, launched the campaign to build the 3.6-acre hall and garden on a former Bunker Hill parking lot used by jurors at the civil courthouse.
Dropping the kids off at school, and just day-to-day life, just washing the dishes, working in the garden, taking the trash out. That’s not necessarily what the songs are about, but that’s kind of where I was living, in that space.” It’s a very comfortable space. “From Here to Now to You,” out Tuesday, is his sixth album and moves away from the darker, more electric-oriented music on his last two albums, which were filled with songs affected by the deaths of his father and a cousin. There’s a gentle, rolling rhythm throughout the album’s 12 tracks with a handful of love songs aimed at his wife and others examining fatherhood. There’s even one called, “Washing Dishes.” The songs were mostly written on an acoustic guitar on Johnson’s front porch on the North Shore of Hawaii, recorded in his studio and created with his friends, including his longtime band members, Ben Harper and producer Mario Caldato Jr., who recorded Johnson’s second and third albums in the mid-2000s. The process mimicked the way he started, before his platinum debut, “Brushfire Fairytales.” “Music’s always been about sharing to me,” Johnson said. “The first chords I ever learned were basically so we could do Bob Marley songs on the front porch, and the Beatles and Cat Stevens. So when I started writing my own, it was the same thing, about sharing. Everybody’s singing together. … It’s a very nice feeling. It’s spiritual, you know. So I do like it. But I can have too much of it and I can decide I don’t need it for a while.” Which is what happened after he finished the tour for his last album.