Singers

“A village singer” portrays the internal conflict, the bitterness and responses of Candace when she was dismissed from the choir that served for forty years. The story partially points out the social norm that set down for women. In this community, women are not considered equal and have the same feelings as men which represent through Reverend Pollard and Williams Emmons.

Williams Emmons is three years older than Candace, but he still holds his choir leader position. If they complain that her voice has worsened, Williams’s voice logically must have the same situation as her. However, Emmons is not dismissed and remain his choirmaster position. The minister just like Candace also serves at the church for forty years. He hesitates of his speech and could not keep the freshness for his sermons.

He still can stay in the church and continue his duties since nobody asks him to leave his position and gives him a photograph album. Candace indicates that all of them have the same position in the church and change according to age, but the congregation chooses to dismiss her as she is a woman.

Candace’s bitterness, pain, and conflict become more intense due to the betrayal of people around her. A betrayal of Emmons who had sung duets and had walked Candace home after rehearsals in Saturday night when he said “a most outrageous proceeding” for Candace action. He critics her voice with Alma and supports the dismissal.

Even Candace’s nephew, Wilson Ford, threats to throw her organ out of the window if she continues to disturb Alma’s solo. He does not express any sympathy or even gently discuss her grief. She also feels hurt and betrayed by members of the choir since they celebrate for her and leave a photograph album with the letter informing her dismissal from the choir. However, the way that Candace responses and against to conflict is full of anger, foolishness, disregard, and arrogance.

She says that the member of the church pretends to be a Christian; however, she also goes against what the church teaches. She uses photograph album as a footstool, disturbs Alma’s solo, refuses to pray “‘I don’t see any use prayin’ about it,’ said she. ‘I don’t think the Lord’s got much to do with it, anyhow'” and challenge other people to stop her ” I’d like to see anybody stop me.”

Besides that, the story carries the message of kindness and forgiveness. At the end of the story, Candace forgives to all people who have wronged her and also ask for the forgiveness from those people. She apologizes to the minister, reconciles with Alma, and forgive Wilson.

“I don’t think about my success. I’m happy that the work I’ve done in the past has been very successful. All I can do is leave it in God’s hands and hope my fans feel where I’m coming from. I took the time to give my all.” – Aaliyah Haughton.

As I sit listening to the infectious, sensuous harmonies of Aaliyah’s smooth R & B, I wonder why it had to happen. Why did someone so young with such amazing talent, strength and the potential to carry on rising higher and higher, have to be taken from us? The lyrics swirl around in my head, saying more about the real Aaliyah than any media report could ever attempt. Her tragically shortened life followed the message from within one of her most famous songs,

“If at first you don’t succeed, dust yourself off and try again.”

Aaliyah Dana Haughton was born on January 16th, 1979 in Brooklyn, New York. Her Grandmother would tell stories of how she was special straight out of the womb; born with a full head of hair. Aaliyah lived in Brooklyn for five years until, together with her parents and older brother, she was moved to Detroit where they could be closer to family. Her devoted mother gave up her teaching job to care for Rashad and Aaliyah full time.

Aaliyah was introduced to music at a very young age; her mother would play Stevie Wonder, Marvin Gaye and other such legends while she worked around the house. It wasn’t long before Aaliyah was joining in, having learnt all the words off by heart. She was just six years old when her talent for singing was recognized by her mother. Before she even started school, the services of a voice coach had been secured for her.

Aaliyah spent most of her pre-teen years between singing in school plays and auditioning for various small television projects. At the tender age of only eight or nine she was charming people all around Michigan with her sweet, angelic voice, belting out songs during weddings. Aaliyah sang the very songs she listened to at home, while people sat in awe, eagerly anticipating the time her voice would mature to its full potential.

Her first downfall came when she was just eleven years of age. Aaliyah landed a spot on the nationally syndicated talent show, Star Search. She chose to sing ‘My Funny Valentine”, a soul classic that she had often heard her mother singing,

‘That was my Mommy’s song and I wanted to be like my Mommy’ she said, remembering the experience during an interview. The high hopes she and her family had for victory where shattered when Aaliyah lost, and was ripped apart just as any other child would have been. However, without any falls no lessons could be learnt. With lots of encouragement from her mother, Aaliyah began to understand a prospect of great importance, one that would guide her through not only her musical career, but every aspect of her life. Never give up.

It was only a matter of months before the bright, upcoming star was on the rise again. At the time her uncle, Barry Hankerson, was married to Gladys Knight. Some people slated Aaliyah for this, claiming she only got onto the music scene because she knew the right people, but without her outstanding talent, none of her future success would have been possible. Hankerson took his niece to perform with Gladys Knight for five nights at Bally’s Las Vegas Casino. Here, the two would duet on Believe In Yourself and Aaliyah would sing solos. Remembering she was still only eleven at the time, she was nervous and hardly moved on the first night. Her aunt helped her, teaching Aaliyah how to work a crowd and loosen them up.

Two years later came the meeting that would set Aaliyah’s career on fire. Barry Hankerson introduced his niece to R. Kelly, a performer he was managing at the time. Kelly fell in love with her beautiful voice, going on to become her mentor. He ended up writing and producing all the tracks on her debut album, Age Ain’t Nothing But A Number. And it wasn’t – not many people can boast a completed album at just thirteen years of age. The process of selling the album began but, once again, expectations of Aaliyah were not fulfilled. Many record companies passed on the album – a setback very hard to take at such a vulnerable age. Her confidence was dented but her strength was not; Aaliyah was prepared to give things another go. Hankerson created his own label, Blackground Records especially for his niece. There was no way he was going to give up on her; she was far too special to let go.

In 1994 the album was released, catching the world’s attention. Her first single, Back And Forth reached number one on the R&B/Hip-Hop chart, dethroning her mentor. Other singles followed including At Your Best (You Are Love), Down With The Clique, and the adulterated title track. Her sound was new and fresh to the music world, her unique mystique captivating listeners. The artist herself liked to describe her music as ‘street but sweet’.

With the success of her debut album Aaliyah’s spirits soared. She had kept information about her age (she was just fifteen at the time) concealed, as she wanted her triumphs to be based solely on her talent. She did not seek any advantages because she was, ‘really good for someone so young’. Unfortunately her decision to withhold such facts was taken in the wrong way. Vicious rumors arose, slowing down album sales and threatening to thwart a prosperous career. The provocative nature of Age Ain’t Nothing But A Number combined with a little bit of media imagination and the mystery of her age sparked a frenzy of stories about a relationship between Aaliyah and twenty-five-year-old R. Kelly. Tales of marriage and even pregnancy were spread. All were denied.

The storm settled and three years passed, leaving many wondering what Aaliyah’s next project would be. She teased fans with numerous guest appearances, singing songs from soundtracks and building them up for the time she would truly return, stronger then ever. Aaliyah left R. Kelly behind to prove, more to herself than to anyone else, that she had grown as an artist and could make it without him. Perhaps the rumors that had at one point looked like they could destroy her had in fact been a Godsend. Would Aaliyah have made this choice if tales of something more than a good friendship and working partnership between the two hadn’t sprung up? Whatever her reasons, the change was for the best. She teamed up with the then unknown Missy Elliot and Timbaland and, between the three, a new sound was created, once again irresistible to fans.

They blended rough Hip-Hop beats with Aaliyah’s silky, laid-back vocals, the voice of an angel. The result was a sassy, sexy, sophomore album, One In A Million. The album went double platinum, putting her among the superstars of the music industry and silencing critics in their questions as to whether or not she had been just a ‘one hit wonder.’ The first single from the album, If Your Girl Only Knew, went straight to number one on the R&B/Hip-Hop chart, followed by four other singles including the number one radio play title track.

Aaliyah never let the fame go to her head. Between all her musical commitments she still found time for her family, friends and schoolwork. In June 1997 Miss Haughton graduated from the Detroit High School for the Fine and Performing arts, just one A-grade away from a perfect grade score. She had always set her sights so high and her determination paid off. She worked hard through hard times as well as the good, and brought her dreams to life. She truly was one in a million.

It was time for Aaliyah to turn her attention to Hollywood. She began by sticking to her music, recording Journey To The Past for the Anastasia soundtrack and then the contagious, Grammy nominated, number one hit song, Are You That Somebody, from the Dr. Dolittle soundtrack. With that track, she really got a taste for the mainstream and took a hiatus from the music world to team up with Joanne Baron, an acting coach. With Baron’s help, Aaliyah’s talent for acting was revealed and, by 1999, she was flying to Vancouver to shoot her debut film, Romeo Must Die. She starred alongside Jet Li in the adrenalin-stoked/Hip-Hop action flick, in which she was the executive producer of the soundtrack. From this came Try Again, the song that followed the story of her life. The lyrics came straight from her heart, from the lessons she had learnt. These qualities took the single all the way, reaching number one on the Billboard Hot 100 singles chart, the first single ever to do so based on Airplay alone.

Romeo Must Die sparked rave reviews and her acting skills were soon sought throughout Hollywood. Her next film was the novel-based Queen Of The Damned. Baron recalls the memory of Aaliyah during the audition process,

‘She put her heart, her time, her love and her life into it. She just ripped it out.’

It was her second starring role in just her second motion picture, displaying to the world she was more than just a crossover singer/actress. So much more. The release of the completed film was fervently awaited. Little did anyone know that Aaliyah wouldn’t be there to witness its success.

Whilst shooting Queen Of The Damned, Aaliyah simultaneously recorded her third, self-titled album. She was not put off or daunted by her doubled workload, choosing instead to put her all into both projects, as she had always done. Aaliyah was well aware of her presence, or lack of it, in the music world; it had been five years since the release of One In A Million. She released the dark, feisty, first single, We Need A Resolution, warming fans up, preparing them for what was to come. Aaliyah was released on July 17, debuted at number two in the charts and, in it’s first week alone, sold over 200,000 copies. Blackground Records planned to release Rock The Boat and More Than A Woman as back-to-back singles; they were getting heavy rotational airplay and already an awesome response from listeners. It seemed nothing could stop her.

It was August the 25th, 2001. Aaliyah had just finished shooting the island themed video for Rock The Boat in The Bahamas. Another video completed; another accomplishment. The set was laid-back and, together with the film crew and dancers, Aaliyah was enjoying herself, chatting, laughing and winding down. Her work done, Aaliyah decided to head home a day early, anxious to be with her beloved family before heading back to promote the album. Her parents and brother had always been there for her and it had been a while since she had managed to get back to them. The arrangements were made; she would leave that day along with eight others.

The small Cessna 402 departed from the Marsh Harbour airport, bound for Opa-locka, Florida. It had been airborne for only a short while when, suddenly, it crashed. Six of the eight were killed instantly. Aaliyah was among them.

Nobody knows just what it was that made the plane crash that day. Nobody could understand why it had to happen. Why Aaliyah, why someone so talented, so determined, so beautiful? There were so many questions and so few answers. At just twenty-two years of age Aaliyah, a daughter, a sister, a friend, a star, was gone. Disbelief, anger and, most of all, a great sense of sorrow and grief spread with the news. She had lived her life like an angel, fallen from the heavens. Through her life she rose and fell and now she had risen for the final time. We can only hope that, when the time came, she knew how much she was loved.

Aaliyah will never be forgotten. Through her music and her memory, she will live on. The album in the CD player draws to a close. It is an album that she never saw released, an album that wouldn’t even have been put together if she was still with us; a tribute to Aaliyah, I Care For You. Visions of her float by with the music and songs take on a whole new meaning now she’s gone. When Miss You is played, instead of thinking of the singer’s lost love, we think of ours, Aaliyah. Every note she sang was a part of her and with every song we understand more about her. She was a star in every sense of the word and I believe she continues to be so even now; still a star, shining brightly down on us.

There is no doubt in my mind that this angel lived up to the true meaning of her name,

‘The highest, most exalted one.’ The best. Aaliyah.

Singer’s goal in the article “Famine, Affluence and Morality” is to get people to think differently about famine relief, charity, and morality. These are key issues that people need to be more aware of and act on them. People who are financially stable and well off should take more of an active role by giving more. They should feel obligated in helping those in need. There are many people suffering severely, those who can help are doing nothing. People should be more willing to give help rather than being obtuse & self-centered.

Singer argues it is wrong for a person to suffer from homelessness, hunger, or lack of medical attention. These needs are essential in life and without them can alimentally lead to one’s death. Another argument Singer gives is if a person is wealthy, they are more than capable to help others financially. They need to feel obligated to do so. Instead of a person spending money on extras and materialistic items for themselves, they should donate that money to the poor. The money should help with necessities for the poor and uplift them. On the same point he points out, one should not sacrifice if it would put them in harm’s way.

Singer’s concept of marginal utility is that one should give as much as possible to the unfortunate; it should never create a hardship to the giver. This would be doing more harm than good. When a person contributes to the poor, it should not financially affect their lifestyle by putting them in debt, homeless, or without food. People that are wealthy and well off should donate to the people that are unfortunate and suffering. It would be morally correct to help the less fortunate. An argument Singer makes is the distinction between a duty and charity.

He states, “That a duty is an action that is an obligation and charity is an action of something that is good to do but not obligated” (Singer, 1972, p. 232). An example he gives is if a child were drowning, it would be a person’s duty and obligation to help to save the child from drowning. Singer questions why this is any different from charity. Charity is “generosity and helpfulness especially toward the needy or suffering; also : aid given to those in need” (Dunignan, 2013). Singer feels that people that have the means and are able to help by giving money to the poor should feel obligated and it be there duty.

They should be obligated to do this because it is a person’s duty to help others from suffering. He does not understand why a person should feel they have a choice to prevent help suffering, it should be a duty that we have an obligation to do. An argument I would have with Singer is about being fair and right. I do not agree that all people need to be obligated to give away their hard-earned money to the poor. I would agree that people who are born into wealth or have received a large inheritance should be obligated to donate and not the people that have worked many years to get to that state.

People born into wealth or have received a large inheritance have been given a gift. Therefore, they should be inclined to share the gift by giving some of the money to the poor. (If money is a gift to a family or they were born into it, they should donate and give to the poor. They did not work for the money it was a gift, therefore a person should feel obligated as their duty to give to the poor. ) People that are well off because of many hours or having multiple jobs should not have to give their money away to the poor.

They have worked hard to receive it so they would not have to live paycheck to paycheck. I think these types of people have earned the right to live comfortably and do what they want with their money. They have put the time and work into making the money and it should be theirs to do what they want. “Famine, Affluence, and Morality” was written in response to an immediate humanitarian crisis. In November 1971, the confluence of war, poverty, and natural disaster had created nine million refugees in East Bengal, and Singer was appealing for immediate life-saving aid” (Jamiesom, 2005, p. 153). An Irish rock musician, Bob Geldof, immediately rushed into the studio with an all star line-up to record “Do they Know It’s Christmas? ” The record sold nearly 4 million copies in the United Kingdom alone, and was quickly followed by “We Are the World,” produced by Quincy Jones, in the United States.

Geldof went on the organized the LiveAid concert the following July, which was broadcast simultaneously from London and Philadelphia, and viewed by 1. 5 billion people around the world. The records and concert ultimately raised between $100 and $500 million for famine relief in Africa” (Jamiesom, 2005, p. 53-154). “These celebrity-driven, media-centered projects were valuable for a number of reasons. They created awareness of suffering in Africa, motivated people to act, and raised large sums of money”(Jamiesom, 2005, p. 154). Since 1972, the a lot more wealth people have stepped up into given aid to the poverty stricken. The article did raise awareness off the issue that needed to be addressed. In my opinion the wealthy have become more proactive in helping the poverty stricken. Leaving the middle class to do what they can when they can.

References

Duignan, B. (2013). Encyclopedia Britannica. http://dx.doi.org/http://www.britannica.com/EB checked/topic/1053194/Peter-Singer Jamiesom, D. (2005). Duties to the distance:Aid, assitance, and intervention in the developing world. The Journal of ethics, 9, 151-170. http://dx.doi.org/ProQuest doi: http://dx.doi.org/10.1007/s10892-004-3324-9 Singer, P. (1972, Spring). Famine,affluence,and morality. Philosophy and public affairs, 1, 229-243. http://dx.doi.org/http://www.Jstor.org/stable/2265052

Animal rights are one of the most controversial issues today. There has been endless debate about whether or not animals have rights. Philosophers attempt to come up with the moral conclusions by taking in account the many different standpoints and presenting their related arguments. In his essay “The case of animal rights”, Tom Regan, a professor of philosophy at North Carolina State University, defends his view that the center of our moral concern should not bring the suffering on animal as well as treating animals in a certain way.

In other words, we should treat animals as if they are our property. We should only use them to benefit us and hurting them is an action that is not morally justifiable. In addition, in his article “All Animal Are Equal”, Peter Singer, an Australian philosopher, has many points which show us that we have responsibilities to protect animal rights. Singer’s argument in his essay gives us a great support to the argument that Reagan trying to discuss in terms of morally equal.

In contrast, “The case of the use of animals in biomedical research” by Carl Cohen, a philosophy professor at University of Michigan Medical School, although he agrees with Regan’s idea in terms of moral rights as well as practices that essentially involve harming animals are morally unjustified, he strongly supports for the use of animal in medical research, and scientific experiments to avoid risking human lives. “The case of animal rights”, “all animal are equal” and “The case of the use of animals in biomedical research” introduce to us a new thinking about treating animals.

In his essay, Tom Regan points out theories are deficient in animals. The author discusses “Indirect duty view” which humans should recognize that animals should have the same rights as humans and they have the duty to uphold these rights. Besides that, Regan states in the “Contractarianism” that humans have rights and can protect their rights under the terms of the contract they signed. However, he indicated that animals have no rights because they cannot sign the contract. We humans should have direct duties to all animals.

Even the views including “Indirect duty view,” “Cruelty-kindness view,” and “Utilitarian view” fail to protect animal rights, he promotes the right view, which is the inherent value view. The author states that all individuals, including human and nonhuman animals, who are experienced the subject of life, should have equal inherent values and equal rights while being treated with respect. In addition, Peter Singer agrees with Regan that all animals are morally equal, at least with regard to their suffering. Peter Singer argues the point that animals and humans should be granted “equal consideration. Granting equal consideration means that humans and animals do not need to be treated exactly the same way, but that they need to be treated in an appropriate manner. Singer believes that suffering is “the vital characteristic that gives a being the right to equal consideration”. If all beings are able to suffer, animals should be treated with consideration equal to humans in most circumstances. Moreover, in his essay “All animals are equal,” Peter Singer points out the case for women’s rights and refers to similar arguments of animal’s rights.

Since animal’s rights were absurd, the argument for women’s rights must be mistaken. In contrast with both Regan and Singer’s views, Carl Cohen gives us strong evidences to demonstrate his standpoints why animals have no rights. He claims rights only exists within a community of moral agents who can make moral claims against each other and just human can exercise moral judgment. He thinks we must at least treat animals humanely, but this does not mean we need to treat them as if they have rights.

He also compared the differences between animals with brain damaged persons, senile or young in terms of the ability to make claim which is essential to being a person. That’s why these people are still part of our moral community, but animals are not. Moreover, he strongly supports to the increasing in the use of animals for medical experiments. He agrees that we actually need to increase the number experiments to avoid risking human lives because the increase in longevity , decrease in pain , the significant numbers of lives saved , the quality of human life all depends on such those research or experiments.

As we grow older, we find someone to looks up to. Some of us admire celebrities, family, and friends. I admire Andy Lau. A star of over 100 films and one of Asia’s most popular singers, Andy Lau was born on September 27, 1961 in Hong Kong. He grew up in a very poor area where there was not even running water. The young Andy had to make up to eight trips a day to collect water for his family. Despite financial problems, Andy’s parents encouraged him to do well in school, and upon graduating, he entered the TVB academy, where he studied acting and martial arts.

After appearing on television for a couple of years, Lau moved onto films with 1982’s Boat People. As was the norm for many young stars at this time, there was an attempt to diversify Lau by having him record an album. While these types of albums usually provide some extra publicity and money for the actor, for Lau they became a second career. His first album I Only Know I Love You came out in 1985 to a minor buzz. It was not until 1990, when Lau had established himself as one of Hong Kong’s top actors.

Lau’s musical career intertwined with his acting, as he began to record songs for the movies he appeared in. Despite his success, Lau’s career almost suffered a fatal flaw early on when he refused to sign a contract with TVB. Lau was blacklisted from Hong Kong television, and it was only through the intervention of Chow Yun-Fat (who was a friend of the director of Boat People, Ann Hui) that Lau began to find more work in movies. Despite having a reputation of being hard to work with, Lau continues to be one of Hong Kong’s most prolific and bankable actors.

In fact, there were times when Lau was so popular that he was working on multiple films as well as recording songs all at once, sleeping in his car as time allowed. This dedication to work seems to have finally paid off in one respect; in 2000 Lau won the Hong Kong Film Award for his work in Running Out of Time. In 2004, he won the prestigious Golden Horse Award for his performance in Infernal Affairs III, the sequel to the popular Infernal Affairs. Western audiences may also be familiar with his performance in the House of Flying Daggers.

His singing career reached stellar status in 1990 with the release of the album entitled Would It Be Possible, and his subsequent releases only solidified his status as a marketable singer. [5] For that song, he would win his first 1990 RTHK Top 10 Gold Songs Awards. He would then win at least one RTHK award category every year consecutively until the year 2007. From Jade Solid Gold Top 10 Awards, he has won the “Most Popular Hong Kong Male Artist” award 7 times and the “Asia Pacific Most Popular Hong Kong Male Artist” award 15 times.

He also entered into Guinness World Records for “Most Awards Won By A Cantopop Male Artist”. By April 2000, he had already won a total unprecedented 292 awards. Andy’s success did not come easily. He is known most by insiders for his hard work and drive. Catching some sleep in his car between the midst of recording an album and making a movie is not uncommon for the singer-actor. Yet, Andy managed to excel in both games. As an actor, Andy never settled for two-bit roles or stereotypical characters who only excelled in kung fu.

As a singer, Andy never seemed to be satisfied with status quo. Through the two-plus decades that Andy gave to the entertainment world, he persevered, he advanced, and he conquered. In a race to be the best of everything, Andy is the only one crossing the finish line. Andy Lau is an exemplary person. He is multi-talented actor, comedian, and even singer who has come a long way. His past amazes me and his diligence touched me. In my mind, Andy Lau is the role model which is why I admire him.

Amy Winehouse and Adele are the two Englishwomen that have dominated  the UK music industry in the past few years and their impact on the global scene has made them equally memorable and inspiring. They stamped British music forever through their vintage looks but more so through their powerful voices and distinct genres. Winehouse and Adele are both white girls who owe a debt to black soul music.

The distinction between them is emphasized more so through their best works, the albums ( Winehouse’s ” Back to Black” and Adele’s ” 19″) that forever transitioned them from London’s Brit art school performers(where they were alumni)to successful artists. Without a doubt, the albums these artists created are considered great achievements of our era and the most complex masterpieces of our time. They reflect these ladies’ heartbreak due to failed relationships through a mesmerizing but rich sound topped by a distinct musical and lyrical style.

Adele’s album is simple and clean, less menacing whereas Amy’s is a little slight more edgy and memorable. The album “19” encompasses a bright acoustic-guitar chime, with a lullaby twinkle of plush strings and Adele’s mesmerizing singing tone, honest lyrics, jazz and soul influences evokes Amy’s. Adele’s delivery is accomplished through a more delicate bluesy tone whereas Amy’s is represented by a brick house jazzy expressiveness far beyond our time. Adele is simpler lyrically and occasionally even soppy and somehow redundant lyrically, she doesn’t have the mature poetic heritage that Amy does.

Talented writers and composers these two muses beautifully show through their lyrics a deep attachment to the lost love and the disappointments that follow its course. “Back to Black” sounds emotionally and musically true. All eleven songs seem like great lost classics from the 60s : “Rehab” has many shades of Motown and contemporary twists, “Me and Mr. Jones” belongs to the swing era of the 60s and  “Loving Is A Losing Game” is a stunning soul ballad with a vintage finish.

Winehouse’s songs are snappily written with a mix of bitterly caustic lyrics and finger popping tunes, then delivered in a voice that alternates sexy smouldering with dismissive contempt. In the song “You know I’m No Good”, she’s unapologetic about her unfaithfulness but she can also be witty, as on “Me & Mrs Jones” when she berates a boyfriend with “You made me miss the Slick Rick gig”. Some will find Adele rigidly old-fashioned with influences (Etta James, Billie Holiday) from another age and her album truly shows that forgotten era.

Amy’s  influence of girl groups from the 50s  and early 60s is plain: plinky keyboards, parpy brass, trebly guitar. A cursory listen to” 19″may lead us to conclude that Adele has not just a voice but an appearance way in excess of her years. The same can be said about Winehouse except she’s  more daring not just appearance wise but vocally and  lyrically as well and through her writings she evokes more depth. The music poures out of Amy a stream of weathered, seasoned phrases, seemingly without effort and “Back to Black”, is a more soulful and stripped album than Adele’s.

Strong one moment then fragile the next, ” 19″  is an album that is dominated by highlights dripping with beauty and class. On the other hand  “Back to Black” is flawless and classic and represents the artist’s true masterpiece. It’s not that “Back to Black” is better as an overall album but besides being a door opener for many artists its appearance on the British scene was necessary so we can have Adele’s “19”. British singer Adele has credited Winehouse’s success in the USA and more so for making her journey smoother. Winehouse reacquainted an audience with a long forgotten genre by overcoming the vintage aspect.

After the release of “Back to Black”, record companies sought out artists with a similar sound but also fearless and experimental female musicians. Winehouse revitalized  British music forever and influenced British female artists like Adele, Duffy, Emeli  Sande, Misha B. , Jessie J. , Paloma Faith and Florence Welch. These musicians can all be traced back to Winehouse in terms of attitude, musical styles and fashion. Adele’s voice caresses and inspires and she sings with unabashed passion about a kind of pain we can all recognize.

Amy’s voice on the other side is full of soul and characterized by a sultry sound and she delivers amazingly strong and timeless performances that once heard can never be forgotten. Songs like ” Me and Mr. Jones” and “Tears Dry On Their Own” really show her capability to seamlessly go from soul to jazz and back to soul all the while evoking that spirit that is essential in emphasizing her sophisticated and thrilling musical style. Different as they seem – in the way they evolved musically and vocally- these two divas have much in common.

Under everything else they both achieved success at an early age through their mutual passion for music and their indisputable talent. Their originality and soulful mannerism is clearly evoked in their albums. Amy and Adele didn’t just pave the road for new British artists but have beautifully  reinstated  love as a main theme of our musical era through their deep songs. Two Grammy winners, with retro contemporary sounds they had forever changed people’s  outlook on music and will remain the most acclaimed musical game changers of our century.

John Sargent was one of the most prominent portrait painters during the late nineteenth and early twentieth centuries.  Sargent was born in Italy to American parents that moved constantly throughout his childhood.  Perhaps painting portraits allowed him to get close to individuals since he did not during his childhood.   There is no denying that Sargent was observant in the physical details as well as the details of the subject’s personality because the subjects look as if they are ready to step out of the painting and join the world of the living.  This is especially true of Lady Agnew of Lochnaw painted in eighteen ninety-three.

The subject of the painting Lady Agnew of Lochnaw is Gertrude Vernon, the wife of Andrew Noel Agnew.  He commissioned the painting soon after he inherited the barony in France.  In the painting, Lady Agnew seems to be staring out into the eyes of the viewer and even though she is in a relaxed pose, she is dressed formally.  From her intense gaze, one can tell that Lady Agnew is a strong person who is not afraid to look someone straight in the eye.

Blue green silk fabric was used for the background in the painting.  Even though Sargent uses more green near the shadows, blue is the predominant color.  At first glance one does not notice the tiny peach and white flowers that are scattered throughout the fabric.  However, they lend an elegant quality to the fabric because they give an oriental look to the silk which also comes from the orient.

It is also expensive so it makes a statement of wealth.  Sargent achieves the texture of silk in the background with his use of lights and darks which shows quality of his talent.  The blue green color also compliments the soft white chiffon dress with the sheer sleeves.  The lilac colored satin sash blends with the faint hint of pink used in the peach flowers.  The lightness of the color of Lady Agnew’s dress gives an ironic contrast of freedom and innocence.

The Chair in which Lady Agnew is sitting is reminiscent of the furnishings of Marie Antoinette which is symbolic of her and her husband’s new titles.  The wood of the chair is painted in a cream and gold colored French provincial style.  The elegance of the furniture is displayed in the light cream background with light blue and deep mauve colored flowers giving the fabric the style of country French.  The cream of the chair contrast the white of the dress, but the blue and pink still bring the colors together by complimenting the lilac sash.

Lady Agnew wears very little jewelry, but the pieces she has chosen are sophisticated.  Around her neck she wears a deep rose colored undefined cameo necklace suspended from a gold chain.  The cameo is encircled with jewels that appear to be diamonds.  Again the wealth of the Agnews is displayed with the quality of the jewelry.

She also wears a wide yet delicate gold bracelet on the wrist that is slightly draped over the arm of the chair.  The gold in the bracelet blends so well with the colors of the chair that it is barely noticeable.  The understatement of the jewelry symbolizes the taste of the titled Agnews.

When one gazes on a John Sargent portrait, such as Lady Agnew of Lochnaw, it is easy to see how he was such a renowned artist in this area.  The realistic portraits and his use of color brought to life those who sat before him.  Sargent could also present the subject’s social status of his subject without being ostentatious.

References

1. Sargent, J. (1893).  Lady Agnew of Lochnaw.
2. Wallace, N. (2005) Lady Agnew of Lochnaw.  JSS Virtual Gallery. Retrieved April 29, 2008 from http://www.jssgallery.org/Paintings/Lady_Agnew.htm