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Opinion: Popular Music as a Cultural Artifact A

Over the decades Christy has developed tremendous song craft bringing acute emotional intelligence and dramatic intensity to Agtifact and melody. His version of The Auld Triangle has the echo of the prison corridors and is haunted with hungry feeling. When it comes to haunting voices I know of no combination of writer and actor to equal Samuel Beckett and Jack MacGowran.

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This gives me the opportunity for Populwr listening and reading without, immediately, thinking about turning those experiences into a Jukebox Post. Today I feature two exquisite shorter poems which demonstrate his technical accomplishment and plangent imagination. Their knickers are made of crepe-de-chine, their shoes are made of python, Their halls are lined with tiger rugs and their walls with head of bison. Traditional Irish music demands far more than mere instrumental virtuosity from its practitioners. What is demanded is cultural and spiritual engagement with the spirit of the music combined with deep listening to fellow musicians. Paul Brady has featured here several times before as befits a master musician, songwriter, singer and performer. Arty McGlynn, who sadly died The New Imperial, will be less well known to those who are not Irish music aficionados.

Arty, who Popular Music as a Cultural Artifact A saw grace the stage many tines with Van Morrison, was by universal acclaim the premier Artkfact in the traditional music world. He seemed always able to find exactly the right parts to play both as a soloist and as a supportive accompanist. Magnificent as that version remains I always wished the acoustic version below had been officially issued. Sometimes a session opens up glorious musical vistas undreamed of before the first note was launched into the innocent air.

If you ever find Popular Music as a Cultural Artifact A at such a session find yourself a good seat and settle in for the evening and let the magic do its work. Yet, as his poems attest, imaginatively and emotionally he has always drawn nurture and inspiration from his Irish roots. There is an affecting spareness Culrural reticence in tone which may owe much to his immersion in classical and medieval poetry. And the whole business Neither here nor there, and therefore home.

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Well here in the South Downs March did indeed come in like a Lion. Still, we hunkered down, turned the Hi Fi high and the lights down low and emerged blinking into the revelation of a Artiafct day. When the wren landed on Michael his grandmother soberly told him that this was a sign he was going to be a Poet.

Michael Hartnett heard and responded full heartedly to his call and the rich harvest of his works demonstrate that he was indeed chosen.]