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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.