Reb Shlomo

Source Wikipedia

Shlomo Carlebach (Hebrew: שלמה קרליבך‎), known as Reb Shlomo to his followers (14 January 1925 – 20 October 1994), was a Jewish rabbi, religious teacher, composer, and singer who was known as “The Singing Rabbi” during his lifetime. Although his roots lay in traditional Orthodox yeshivot, he branched out to create his own style combining Hasidic Judaism, warmth and personal interaction, public concerts, and song-filled synagogue services. At various times he lived in Manhattan, San Francisco, Toronto and Moshav Mevo Modi’im, Israel.

Carlebach is considered by many to be the foremost Jewish religious songwriter of the 20th century.[1][2] In a career that spanned 40 years, he composed thousands of melodies and recorded more than 25 albums that continue to have widespread popularity and appeal. His influence also continues to this day in “Carlebach minyanim” and Jewish religious gatherings in many cities and remote pristine areas around the globe.

Carlebach was also considered a pioneer of the Baal teshuva movement (“returnees to Judaism”), encouraging disenchanted Jewish youth to re-embrace their heritage, using his special style of enlightened teaching, and his melodies, songs, and highly inspiring story telling.

Music Career

Carlebach began writing songs at the end of the 1950s, primarily based on verses from the Tanakh or the Siddur set to his own music. Although he composed thousands of songs, he could not read musical notes. Many of his soulful renderings of Torah verses became standards in the wider Jewish community, including Am Yisrael Chai (“[The] Nation [of] Israel Lives”—composed on behalf of the plight of Soviet Jewry in the mid-1960s), Pitchu Li (“Open [for] Me [the Gates of Righteousness]”) and Borchi Nafshi (“[May] My Soul Bless [God]”).

The New York Times reported in its obituary of Carlebach that his singing career began in Greenwich Village, where he met Bob Dylan, Pete Seeger and other folk singers who encouraged his career, and helped him get a spot at the Berkeley Folk Festival in 1966.[3] But Carlebach was actually recording well before this and was invited to the festival by one of its organizers after she heard a recording of Carlebach.[9]

After his appearance at the Berkeley Folk Festival he decided to remain in the San Francisco Bay Area to reach out to what he called “lost Jewish souls”—runaways and drug-addicted youth. His local followers opened a center called the House of Love and Prayer in the Inner Richmond district of San Francisco, to reach out to disaffected youth with song and dance and communal gatherings. He became known as “The Singing Rabbi.” Through his infectious music and his innate caring many Jews feel that he inspired and reconnected thousands of Jewish youngsters and adults, otherwise lost to Judaism.

Some Carlebach melodies were entered in Israel’s annual Hasidic Song Festival.[10] In 1969, his song Ve’haer Eneinu, sung by the Shlosharim won first prize. The Hasidic festivals were a yearly event that helped to popularize his music. He also produced albums with a more liturgical sound. Some of the musicians he worked with during this period added a psychedelic tinge and a wider range of backup instrumentation. Carlebach now spent much of his time in Israel, living in Moshav Me’or Modi’im.

Carlebach’s songs were characterized by relatively short melodies and traditional lyrics. His catchy new tunes were easy to learn and became part of the prayer services in many synagogues around the world.[10]

Returning to New York City, Carlebach also became known for his stories and Hasidic teachings. As part of his performances he spoke of inspirational subjects, rooted in Hasidism and Kabbalah. Some of his teachings have been published by his students and appear alongside his recorded songs. Carlebach spread the teachings of Chabad, Breslov, and popularized the writings of, among others, the Rebbe of Ishbitz, Mordechai Yosef Leiner, and Rebbe Kalonymus Kalman Shapira of Piasetzno.

Carlebach became the Rabbi of the Carlebach Shul on West 79th Street. He continued to perform regularly at concerts, and to record various albums of his original melodies.

The Story Teller

The Material World Charitable Foundation (MWF) is a charitable organisation founded by English musician George Harrison in April 1973. Its launch coincided with the release of Harrison’s album Living in the Material World and came about in reaction to the taxation issues that had hindered his 1971–72 aid project for refugees of the Bangladesh Liberation War. Harrison assigned his publishing royalties from nine of the eleven songs on Living in the Material World, including the hit single “Give Me Love (Give Me Peace on Earth)”, to the foundation, in perpetuity.

The MWF’s purpose is to donate to various causes, and promote diverse artistic endeavours and philosophies. Its first project in the latter regard was sponsoring a 1974 revue of Indian classical music – the Music Festival from India – led by Ravi Shankar and featuring world music pioneers such as Shivkumar Sharma, Hariprasad Chaurasia, L. Subramaniam and Sultan Khan. A year after Harrison’s death, proceeds from the 2002 Concert for George, along with accompanying album and film releases, went to the foundation for dispersal to appropriate charities. The Material World Charitable Foundation continues to operate under the objectives outlined by Harrison in 1974, funded by income from his donated copyrights.

Source:
http://en.wikipedia.org/wiki/Material_World_Charitable_Foundation
Retrieved on 1/26/15

The Concert for George was held at the Royal Albert Hall in London on 29 November 2002 as a memorial to George Harrison on the first anniversary of his death.[1] The event was organized by Harrison’s widow, Olivia, and son, Dhani, and arranged under the musical direction of Eric Clapton and Jeff Lynne. The profits from the event went to the Material World Charitable Foundation

“Isn’t It A Pity” is a song by George Harrison from his 1970 solo album All Things Must Pass. It appears in two variations there: one the well-known, seven-minute version; the other a reprise, as the original album’s penultimate track (excluding the Apple Jam bonus disc), known as “Isn’t It A Pity (Version Two)”. The song was written in 1966, but despite the popularity and success it would subsequently achieve, both for Harrison and for artists who have covered it, “Isn’t It A Pity” was rejected for inclusion on releases by the Beatles. A big anthemic ballad and one of George Harrison’s most celebrated songs, it has been described as the emotional and musical centrepiece of All Things Must Pass and “a poignant reflection on The Beatles’ coarse ending”. Despite its relative antiquity by 1970, the song’s lyrics lent themselves perfectly to the themes of spiritual salvation and friendship that define All Things Must Pass, being consistent with the karmic subject matter of much of the album. Harrison later said of the track: “‘Isn’t It A Pity’ is about whenever a relationship hits a down point… It was a chance to realise that if I felt somebody had let me down, then there’s a good chance I was letting someone else down”. The verse-one lines “How we take each other’s love without thinking any more / Forgetting to give back…” have been acknowledged as a precursor to Paul McCartney’s parting couplet — “And in the end, the love you take / Is equal to the love you make” — in the Beatles’ Abbey Road song “The End”.

Source:
https://en.wikipedia.org/?title=Ofra_Haza

Ofra Haza (Hebrew: עפרה חזה‎, Arabic: عوفرة حازة‎; November 19, 1957 – February 23, 2000) was an Israeli singer, actress and international recording artist. Her voice has been described as a “tender” mezzo-soprano.

Inspired by a love of her Yemenite and Hebrew culture, her music quickly spread to a wider Middle Eastern audience, somehow bridging the divide between Israel and the Arab countries. As her career progressed, Haza was able to switch between traditional and more commercial singing styles without jeopardizing her credibility. Her music fused elements of Eastern and Western instrumentation, orchestration and dance-beat. She became successful in Europe and the Americas; during her singing career, she earned many platinum and gold discs.

Her major international breakthrough came in the wake of the album Shirei Teiman (Yemenite songs), which she recorded in 1984. The album consisted of songs that Haza had heard in childhood, using arrangements that combined authentic Middle Eastern percussion with classical instruments. Further recognition came with the single “Im Nin’alu”, taken from the album Shaday (1988), which won the New Music Award for Best International Album of the Year.[4] The song topped the Eurochart for two weeks in June that year and was on heavy rotation on MTV channels across the continent. In the annals of classical hip-hop this song would be extensively re-released, re-mixed and sampled, for example on Coldcut’s remix of Eric B. & Rakim’s “Paid in Full”. The single made only a brief appearance in the UK top 40 singles chart, but became a dance floor favorite across Europe and the USA, topping the German charts for nine weeks. Subsequent singles were also given the dance-beat / MTV-style video treatment, most notably, Galbi, Daw Da Hiya and Mata Hari, but none quite matched the runaway success of her first hit. Im Nin’alu would go on to be featured on an in-game radio playlist of the video game Grand Theft Auto: Liberty City Stories, released in 2005 and featured on Panjabi MC’s album “Indian Timing” in 2009.

Haza also received critical acclaim for the albums Fifty Gates of Wisdom (1988), Desert Wind (1989), Kirya (1992), Ofra Haza (1997) and for her collection of children’s songs, L’Yeladim (1982).

In 1992, Kirya (co-produced by Don Was) received a Grammy nomination.

In 1994, Haza released her first Hebrew album in seven years, Kol Haneshama (The Whole Soul). Though not an initial chart success, the album produced one of her biggest hits to date, Le’orech Hayam (Along The Sea). The song did not have any substantial chart success upon its release to radio but became an anthem after Haza performed it on the assembly in memorial to deceased Prime Minister Yitzhak Rabin, a week after he was assassinated. Radio stations around the country started playing it and people took notice. Its lyrics became even more symbolic following Haza’s own death in 2000.

On 15 July 1997, Haza married businessman Doron Ashkenazi. They had no children together. Ashkenazi died of a suspected drug overdose after Haza’s death, on 7 April 2001, leaving a daughter from his previous marriage and a 14-year-old adopted son Shai Ashkenazi.

Ofra Haza’s grave in Yarkon Cemetery
Ofra Haza died on 23 February 2000 at the age of 42, of AIDS-related pneumonia. While the fact of her HIV infection is now generally acknowledged, the decision by the major Israeli newspaper Ha’aretz to report about it shortly after her death caused controversy in Israel.

After Haza’s death was announced, Israeli radio stations played non-stop retrospectives of her music and then Prime Minister Ehud Barak praised her work as a cultural emissary, commenting that she also represented the Israeli success story — “Ofra emerged from the Hatikvah slums to reach the peak of Israeli culture. She has left a mark on us all”.

The disclosure that Haza had died due to an AIDS-related illness added another layer to the public mourning. The fact that a star with a reputation for clean living could be stricken caused shock among fans, debate about the media’s potential invasion of her privacy, and speculation about how she had become infected. Immediately after her death, the media placed blame on her husband for giving her the disease. Haza’s manager Bezalel Aloni also claimed in his book that Haza’s infection occurred during sex with her husband. As reported indirectly some years later, her husband had said that she became infected due to a blood transfusion in a Turkish hospital following a miscarriage.

She is buried in the Artists section of Yarkon Cemetery in Petah Tikva near Tel Aviv.

MY FAVORITE SONGS

Here are a few of my favorite songs by Ofra:

The second one is symbolic of Ofra’s love and desire to see peace between Arabs and Jews in the Middle East. We can all learn from her:

I am spotlighting Israel Izzy because his soft sweet voice is so peaceful and comforting and creates a very serene meditation place for me.

I have taught my Autistic students to sing these beautiful words while listening to his music. The words are so meaningful and are also very synonymous with the deeper meaning of what One World Blue believes in and stands for, a world of peace, health, happiness and love for all inhabitants and wildlife of our planet.

We are working to create a better world, one in which there is no more war or fighting but only one of peace. A world that is truly somewhere over the rainbow. Thank you Israel for your spirit and love and your contribution to making this Planet a better one. You are truly missed.

With Love,

Iris Pirchesky

Co-Founder One World Blue, LLC

Director of Animal Welfare and Protection

Biography of Israel:

Israel “Iz” Kaʻanoʻi Kamakawiwoʻole (Hawaiian pronunciation: [kəˌmɐkəˌvivoˈʔole]) translation: “The Fearless Eyed”; May 20, 1959 – June 26, 1997), also called Bruddah Iz (Brother Iz), was a Hawaiian musician, entertainer, and sovereignty activist.

His voice became famous outside Hawaii when his album Facing Future was released in 1993. His medley of “Somewhere over the Rainbow/What a Wonderful World” was subsequently featured in several films, television programs, and television commercials.

Through his skillful ukulele playing and incorporation of other genres (such as jazz and reggae), Kamakawiwoʻole remains a very strong influence on Hawaiian music.[1]

Kamakawiwoʻole was born at Kuakini Hospital in Honolulu to Henry Kaleialoha Naniwa Kamakawiwoʻole, Jr., and Evangeline Leinani Kamakawiwoʻole. The notable Hawaiian musician Moe Keale was his uncle. He was raised in the community of Kaimuki, where his parents had met and married. He began playing music with his older brother Skippy and cousin Allen Thornton at the age of 11, being exposed to the music of Hawaiian entertainers of the time such as Peter Moon, Palani Vaughn, and Don Ho, who frequented the establishment where Kamakawiwoʻole’s parents worked. Hawaiian musician Del Beazley spoke of the first time he heard Israel play, when, while playing for a graduation party, the whole room fell silent on hearing him.[2] Israel continued his path as his brother Skippy entered the Army in 1971 and cousin Allen parted ways in 1976 for the mainland.

Somewhere Over The Rainbow / What A Wonderful World

In his early teens, he studied at Upward Bound (UB) of the University of Hawaii at Hilo and his family moved to Mākaha. There he met Louis “Moon” Kauakahi, Sam Gray, and Jerome Koko.[3] Together with his brother Skippy they formed the Makaha Sons of Niʻihau. A part of the Hawaiian Renaissance, this talented Hawaiian band’s blend of contemporary and traditional styles gained in popularity as they toured Hawaii and the continental United States, releasing fifteen successful albums. Israel’s aim was to make music that stayed true to the typical sound of traditional Hawaiian music. During that time period, the songs that many people associated with Hawaii, typically, weren’t traditional sounding songs.

Source:
http://en.wikipedia.org/wiki/Israel_Kamakawiwo%CA%BBole. Retrieved on December 25th 2014.