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Throat singing is an ancient vocal technique. It originates from indigenous cultures like the Tuvan, Inuit, and Mongolian traditions. This technique has recently captured the imagination of global audiences in unexpected ways. This unique art form is characterized by its ability to produce multiple pitches simultaneously. It has transcended its cultural roots. It has become a powerful tool for reimagining modern and classic songs. In this article, we’ll explore how these covers celebrate the depth of throat singing while introducing its magic to new audiences, reshaping how we think about both the technique and the songs themselves. What is Throat Singing? Throat Singing Covers are a broad and beautiful genre of cover songs.  According to the Encyclopedia Britannica , Throat singing is “a range of  singing  styles.” In these styles, a single vocalist sounds more than one pitch simultaneously. They achieve this by reinforcing certain harmonics ( overtones  and undertones) of the fundamental pitch. In some styles, harmonic melodies are sounded above a fundamental vocal  drone.” Throat singing was organically called overtone singing in Western literature. Then it was later called throat-singing  (a translation of the  Mongolian  term  höömei ).  It is a beautiful singing style. This style shows the versatility and range of the human voice. It also reflects our love and admiration of variety. “Throat-singing necessitates activating different combinations of muscles to manipulate the  resonating chambers of the vocal tract under sustained pressurized airflow from the stomach and chest. As with operatic singing, the technique requires years of training to master,” reads the Britannica Encyclopedia. “Every time that we use our voice, we have a fundamental frequency,” Aaron Johnson, a speech and language pathologist at New York University’s Voice Center explains to PRI that throat singers have an amazing grasp of the sounds produced and further intensifying those sounds. “They’re making adjustments within the tube above the larynx, a little above the vocal folds, which is the back of the throat and the space in the mouth. And by adjusting the lips and the height of the larynx, which is where the vocal folds are, and changing the tongue position, they can then resonate and amplify that harmonic, which then again sounds as a separate pitch that’s happening.” It’s a style of singing that’s used throughout the world. It’s prevalent in different cultures, including  Mongolia ,  Russia  (the republics of  Khakassia ,  Tyva ,  Altay , and  Buryatia ), South Africa ,  Canada ,  China ,  Inner Mongolia,  and  Tibet. Variations of Throat Singing Each of them has its own variations, styles and traditions.  Western Mongolia styles are identified by specific body parts. These parts are manipulated for the pitch and timbre of the throat singing. Examples include the throat, palate, and tongue. Western Khalkha throat singing uses rather deep bass without a distinct melody.  Playlist of Throat Singing Covers Across the world, this genre of music has been revived by younger generations. Older generations are also bringing the traditions forward again. There are fantastic covers that combine the traditions of throat singing with modern songs. “Numb” originally by Linkin Park, Covered by KUULAR This cover of Linkin Park’s “Numb” is a tribute to each member of the band and specifically Chester Bennington. This song incorporates aspects of Tuvan throat singing. It highlights the power of Kuular’s voice. It also emphasizes the strength of Linkin Park’s lyrics! “Game of Thrones” Originally from the HBO Series Game of Thrones, Nomadic metal cover by Tengger Cavalry Official Combining  Central Asian and Mongolian folk music with metal, Tengger Cavalry Official has created a new genre called Nomadic Metal! Taking the popular theme song to Game Of Thrones and presenting it as Nomadic Metal . It’s a chilling and beautifully haunting cover! “Silver for Monsters” Originally from Witcher 3 Original Soundtrack , Covered by Akdeniz Erbaş Coming from  The Witcher  franchise, this is an amazing cover of “ Silver for Monsters “. If you haven’t listened to the original, there’s the link! Using dombıra and throat singing, Akdeniz Erbaş brings a new level of magic to this magical franchise. “Firestarter” Originally by Prodigy an acoustic cover by Ra Djan Brought to you by Ra Djan , this cover of “Firestarter” is leading more into the grunge side of throat singing.  The original by Prodigy was quite edgy. Adding in Ra Djan’s throat singing added a whole new level of edge! Djan performed this cover to honor Keith Flint. He was the vocalist of Prodigy and sadly passed away due to suicide last spring. “ Run to the Hills ” Originally by Iron Maiden, Covered by Tanya Tagaq and Damian Abraham Combining Tanya Tagaq and Damian Abraham ‘s amazing vocals into one single cover seems like it’s too good to be true. Trust me, it’s even better than you can imagine. Tanya Tagaq is a Canadian Inuk throat singer from Cambridge Bay, Nunavut. Damian Abraham is the punk vocalist for the band Fucked Up . Together, they make this Iron Maiden cover of “Run To The Hills” beyond amazing. It’s dark, energetic and hauntingly beautiful! Final Thoughts By infusing modern melodies with the primal, resonant tones of throat singing, artists bridge cultural and musical divides. They create works that are both rooted in history and forward-looking. Throat singing continues to inspire cross-cultural collaboration and experimentation. Its resurgence not only preserves a rich heritage but also presents it on a global stage. Let us know what you think in the comments below!!!

Switching Styles is bringing forward some Star Wars tunes. This is for our lovingly nerdy readers, so please be prepared for some space puns. We introduce you to the metal Star Wars cover band Galactic Empire. Introducing Galactic Empire Bringing you the orders from the Empire itself with metal beauty, Galactic Empire is a metal band made up of Bass Commander (bass), Red Guard (guitar), Dark Vader (lead guitar), Kyle Ren (guitar), and Boba Sett (drums). Together, they made a sound that’s out of this world. It all started in 2015 as a mere gag for an opening band. Over the past few years, it’s become much more than a gag. “These instruments are crude but should be adequate to shred some faces as we journey across the galaxy. We have been doubling our efforts to complete our debut full-length album in time for the Emperor’s arrival. If you are not part of the Rebel Alliance or a traitor, buy our single on iTunes and prepare to succumb to the Dark Side upon our album’s release,” says Dark Vader of the Galactic Empire. Performing classic pieces from the iconic soundtrack of the Star Wars films, the Galactic Empire brings musical tribute to the works written by John Williams . Williams is a world-renowned composer, conductor and pianist with over six decades of experience. He is widely known as one of the greatest film composers of all time, contributing music to the Star Wars Franchise, Jurassic World, The BFG, Harry Potter, Indiana Jones, and so much more. Williams is one of a kind with a rather old-school mentality. “I work very much in what some would consider old school, in front of the keyboard with pencil and paper. The piano is my favourite tool. Over the decades, there has been so much amazing technological change in the music business, but I’ve been so busy I’ve never retooled,” Explains Williams. Galactic Empire Collaborations Galactic Empire has done some fabulous collaborations with other bands. They have toured throughout the world and with a great range of bands. While touring in the winter of 2018, they opened for Mac Sabbath. During BabyMetal’s Japan tour in 2018, the Galactic Empire was invited as a special guest. Now those concerts would have been amazing to see!! While touring in the winter of 2018, they opened for Mac Sabbath. During BabyMetal’s Japan tour in 2018, the Galactic Empire was invited as a special guest. But there’s still time to see Galactic Empire in concert. During 2020 and 2021, they are heading to a galaxy near you with their tour of starry goodness in the fight between the light and dark sides. Reviews from earlier concerts indeed speak up for the Empire. Regardless of your obligations to the light side, this is not a show you want to miss. “I was really happy to see these guys on their first tour. The stage props and costumes were really well done. Above all, the musical arrangement was amazing, and the set list was totally rad. They made the 8-year-old Star Wars fanatic child and a 22-year-old metalhead in me party at the same time. 10/10 will see them the next time I can,” comments Iman Haque. The Star Wars Themed Band Here are some of their famous covers for your listening pleasure! Feel free to find their tunes on iTunes as well. “The Imperial March” “The Rise of Shredi” “Duel of the Fates” “Star Wars Theme” “March of the Resistance” The Emperor wishes everyone a great holiday season and a Happy New Year! Where do you want to see us in 2020? Photo Credit: Bob McCoy pic.twitter.com/JOhjeWBYsy — Galactic Empire Official (@GalacticEmpire8) December 26, 2019 Comment below your thoughts, and as always, may the force be with you!

“ Hakuna-Matata ” is a phrase in Swahili from East Africa meaning “No trouble” or No worries”. This has found its way into pop culture by way of Walt Disney. First used in Disney’s film (1994) and its 2019 remake with a song based around the phrase. Now it’s used as a common day phrase for its exact translation – no worries. Directed by Jon Favreau, he chose to take a new direction from the originals animated film to a live-action film. Taking a different approach to the film came forward in several ways. From Disney Live-Action, Favreau brings forward an all-new “The Lion King” as the audience journeys to the African savanna where a future king overcomes betrayal and tragedy to become king on his rightful place on Pride Rock. Donald Glover ,  Seth Rogen , director  Jon Favreau , and more of his   cast discuss how their portrayals of cherished characters still break new creative ground. Even the trailer and advertising for the new film were rather different than the original. In one promotional video, they present Hakuna Matata in different languages. Although the main phrase “Hakuna Matata” stays in the original Swahili, the rest of the lyrics are within different languages. It’s a way for the film to present itself with an international audience as the base phrase’s intention has no limitations or bias. Everyone can and should enjoy no worries. Billy Eichner  and  Seth Rogen who play Timone and Pumba in the new 2019 film have taken a new spin to the characters and thus to the character’s hit song. Singing these hit songs were nerve-wracking for both of them. When asked “What is it like singing such recognizable songs?” by Rebecca Rubin of Variety , this is how they responded. “ It’s fun because you grow up with them. There was a certain exercise in my head of not being too familiar with the original version. Your first instinct is, “I’ll go listen to the original version and remind myself of what it was like.” The instinct that served me better was to not do that specifically and really trust that Jon would guide me to do all the things that he thought were necessary in order to make the song hit,” said Seth Rogen. “The songs were probably one of the more intimidating parts to record in terms of having to walk this fine line of nodding to the original and certain elements of the original performances that people just love and would be disappointed not to hear again, but also finding ways to make it our own. Especially “Hakuna Matata” — that song is ingrained in people’s heads. Once you get past the first few takes, you start to fall into your own rhythm. Eventually, the anxiety wears off, but that’s a big one to take on,” said Billy Eichner. This isn’t the first time Switching Styles has looked at Hakuna Matata in different forms. Check out some more Lion King covers ! We hope that helped take your worries away! Let us know what you think in the comments below!!

Switching Styles is here to bring you some musical inspiration for your health; Dancing. It’s simple, but Dancing is a very versatile and entertaining way to get the entire family moving. There are dances and dance moves for every body type, age range, mobility level and skill level. “Both music and exercise help prevent and alleviate disease. Fusing the two may have even greater benefits than either alone,” explains Harvard’s Women’s Health Watch. Exercise is good for you. It’s something that we all know. Moving around is beneficial for every aspect of your body and mind. There’s an immense amount of research proving and exploring the connection in-depth. The World Health Organization ( WHO ) explains that a lack of physical exercise increases the risk for noncommunicable diseases (NCDs). These include stroke, diabetes, cancer, and obesity. Physical activity includes “bodily movement produced by skeletal muscles that require energy expenditure,” which is a pretty broad description. Photo Taken by Dmitriy Protsenko Dancing is accessible to everybody. It’s a way to connect to your body, music, and other people. It just depends on what your goals are. But we know that there are so many benefits of Dancing—cognitive, physical, and social—that it merits consideration by everybody,” says Dr. Lauren Elson, a former professional dancer specializing in sports and rehabilitation medicine. Photo by Mikhail Nilov on Dancing isn’t limited to a specific style or dance tradition, as shown by Jan Burkhardt and Cathy Brennan’s research published in Arts & Health. “Three of the six studies showing improvements in cardiovascular fitness were aerobic dance interventions; however, notably the other three involved different dance forms. Aerobic dance was developed specifically to provide an aerobic workout and improve fitness; however, the other dance forms such as African dance, Hip Hop and Balinese dance have a range of social, cultural and artistic functions and yet still showed significant improvements in cardiovascular fitness. This may indicate that a range of dance forms can improve cardiovascular fitness.” Burkhardt and Brennan published their paper, “The Effects of recreational dance Interventions on the health and well-being of children and young people: A systematic review,” to highlight the benefits of Dancing. The research concludes that there is a positive correlation between Dancing and health. This is just the beginning of the research. Countless researchers are connecting the dots between health and dance. Cynthia Quiroga Murcia, Gunter Kreutz, Stephen Clift & Stephan Bongard have researched the health benefits of Dancing, bringing it forward in an academic paper , “Shall we dance? An exploration of the perceived benefits of dancing on well-being” that looked at the benefit of dancing within musical environments to fill in the holes of previous research. Georgios Sivvas, Sofia Batsiou, Zarifi Vasoglou, And Dafni-Anastasia Filippou published “Dance Contribution In Health Promotion” in the Journal of Physical Education & Sport, finding that Dancing helps to preserve and improve human health both physically and mentally. Research explores different ages and nationalities to expand into niche research topics. Burkhardt and Brennan’s analysis looks explicitly at how Dancing benefits youth. As well, WHO suggests dancing specifically for younger age groups. Although Dancing is seen as something primarily done by younger people, youth are not the only ones that benefit. Older demographics have increased risks for health issues. Min Jeong Kim, and Chul Won Lee, have researched the benefits of dancing in middle-aged Korean women with significant psychological, physical, and social benefits. This demographic was chosen specifically because of the impacts of this age range on women, increasing their vulnerability to mental and physical health concerns. The women in the study specifically enjoyed line dancing, and “with their serious leisure experience of line dancing as a background, various health benefits were stated in detail. The research participants mentioned psychological, physical, and social benefits,” states the paper. Jonathan Skinner continues to look at older folks, another vulnerable demographic, and the impacts of Dancing. His findings concluded that there are social, psychological and health benefits of social Dancing among older citizens. A paper published in The New England Journal of Medicine corroborates Skinner’s research but specifically researches the benefits of dancing for dementia patients. Although looking at leisure activities in general, the researchers found that Dancing was the only physical leisure activity associated with a lower risk of dementia. Other leisure activities connected with lower dementia rates were reading, playing board games, and playing musical instruments. Digging deeper into the connection between dementia and Dancing, Debbie Duignan, Lynne Hedley, and Rachael Milverton published a paper in Nursing Times that found that in patients with dementia, dance therapy limited the agitation of patients. Dementia is a specifically highly researched area. There have been many debates about using some atypical antipsychotic drugs in managing madness in dementia care. Much research has also been done on psychosocial interventions, including dance therapy. Photo Taken by Sylvie Burr Health Benefits of Dancing Photo by Michael Zittel on Of the research compiled in this essay, dancing has countless benefits. Decrease anxiety, stress, Reducing inflammation Lowered risk for weight gain and obesity Improve muscular and cardiorespiratory fitness; Improve bone and functional health; Reduce the risk of mental illness such as depression, anxiety, and dementia, Improve symptoms of mental illness. Reduce the risk of hypertension, coronary heart disease, stroke, diabetes, and various types of cancer. Reduce the risk of falls as well as hip or vertebral fractures; They are fundamental to energy balance and weight control. “Physical inactivity is a major public health issue in which dance could have an important role to play, “comments Burkhardt and Brennan, “Physical activity is an important factor affecting cardiovascular and all-cause mortality.” In conclusion, the decade’s research shows that Dancing is a beneficial exercise regardless of circumstances. The benefits are not only physical but mental, emotional, and social. Take your health and happiness into your own hands or feet as possible! References Burkhardt, J. And Brennan, C., 2012. The Effects of Recreational Dance Interventions on The Health and Well-Being of Children and Young People: A Systematic Review. Arts & Health , 4(2), Pp. 148-161. Duignan, D., Hedley, L. and Milverton, R., 2009. Exploring dance as a therapy for symptoms and social interaction in a dementia care unit.  Harvard Women’s Health Watch , 2016. Let’s Dance! How Rhythmic Motion Can Improve Your Health. 23(10), Pp.-7. Kim, M. And Lee, C., 2016. Health Benefits of Dancing Activity Among Korean Middle-Aged Women .  International Journal of Qualitative Studies on Health and Well-Being , 11(1), P. 31215. Quiroga Murcia, C., Kreutz, G., Clift, S. and Bongard, S., 2010. Shall we dance? An exploration of the perceived benefits of dancing on well-being. , 2(2), pp.149-163. Sivvas, G., Batsiou, S., Vasoglou, Z. And Filippou, D., 2015. Dance Contribution in Health Promotion.  Journal of Physical Education and Sport , 2015(03). Skinner, J., 2013. Social Dancing for Successful Ageing: Models for Health, Happiness and Social Inclusion.  Anthropology & Aging , 34(1), Pp. 18-29. Verghese, J., Lipton, R., Katz, M., Hall, C., Derby, C., Kuslansky, G., Ambrose, A., Sliwinski, M. and Buschke, H., 2003. Leisure Activities and the Risk of Dementia. , 348(25), pp.2508-2516. Photo by Marcus Aurelius on

The  COVID-19 virus is a pandemic spreading worldwide. For more information, please read updates from official health organizations such as  WHO ,  Health Canada , and the  CDC . Your Facebook feed means well for the most part but may not be correct. Do be aware of the troubles of Misinformation. Read below for some COVID-19 remixes . This infographic is available through Health Canada. It’s scary and intimidating, but that’s not the only thing happening in the world right now. We’ve been through crises time and time again. We’ve got this. But you may not know that human beings are still human: caring, loving, passionate, and creative. Many artists are taking this time as inspiration to create music about the COVID-19 virus. It’s poignant. Remixes are about taking something and making it something completely new. That’s what these remix artists are doing — turning the Covid-19 crisis into an inspiration of art. Here are remixes inspired by the Coronavirus to bring positivity to the world and your music. “Ken Copeland Wind of God Remix” by WTFBrahh Bringing you a Pastor Kenneth Copeland COVID-19 Remix is WTFBrahh . This remix is a beat that would be amazing in a rave (separately or together once the quarantine is over). For a bit of background to this remix, Paster Kenneth Copeland is an American televangelist. Here’s the original video where Copeland discusses the power of God and Christianity to destroy the virus. “In the Name of Jesus, standing in the office of the prophet of God, I execute judgment on you, COVID-19. I execute judgment on you, satan, you destroyer, you killer. You get out. I break your power. You get off this nation. I demand judgment on you,” quotes Copeland . “Donald Trump – CHY CHY CHYNA!!” by  Laugh Out Loud “Donald Trump – CHY CHY CHYNA!!” by  Laugh out Loud remixes Trump’s comments about COVID-19 and its origins in China. This remix brings up the concerns of racism against Asians without good reason. Granted, there isn’t a good reason for racism or any discrimination.  Many news sources have noted the increase in xenophobia and discrimination using the coronavirus as an excuse. Lauren Aratani from The Guardian writes , “Across the US, Chinese Americans, and other Asians, are increasingly living in fear as the corona virus spreads across the country amid racial prejudice that the outbreak is somehow the fault of China. It is a fear grounded in racism but also promoted by the White House as Donald Trump – and his close advisers – insist on calling it “the Chinese virus.” Suyin Haynes of Time magazine writes , “Since the outbreak of coronavirus, which was first officially reported to the World Health Organization by Chinese authorities in Wuhan on Dec. 31, several accounts  of racism and xenophobia have been reported and documented on social media. While some governments and  politicians have denounced such incidents related to the outbreak, others think much more could be done to show support for Chinese communities worldwide.” Remember this remix and remember that everyone is dealing with the same problems more or less during this outbreak, regardless of who they are. “StayHome Remix”  by Dave Wave and Tedros Adhanom The WHO director reminds you to stay home and stay safe.  Working together is the only way to get through this. Working together is how human beings have survived up until this point. As Tedros Adhanom said , ” Let hope be the antidote to fear, let solidarity be the antidote to blame, let our shared humanity be the antidote to our shared threat…we are all in this together, and we can only succeed together.” “Cardi B ‘Coronavirus (Sh*t Is Real!)” by DJ iMarkkeyz Cardi B ‘Coronavirus (Sh*t Is Real!)’  DJ iMarkkeyz’ s remix is of Cardi B’s comments on the Coronavirus. It’s  a hopping beat for dancing in quarantine. The original video of Cardi B was posted on her Instagram to highlight her thoughts and concerns about the coronavirus. View this post on Instagram A post shared by Cardi B (@iamcardib) With 29,331,516 views on this Instagram post alone, it’s no wonder that remixers picked it up. With the content and the talent, DJ iMarkkeyz’s remix skyrocketed the way it did. This remix has become a viral sensation with worldwide coverage and over 1,449,272 views. Trump New Hoax Remix Video”  by Remix Maniacs Coronavirus (Trump New Hoax Remix Video) , remixed by  Remix Maniacs, has a more political feel,  with Trump’s comments on the virus being a democratic hoax. Take that as you will. The creator commented, “In this ever-evolving time, we wanted to provide a little comedic relief to the situation. We have to remember to try and laugh and smile when times are tough. As the nation deals with this Pandemic, Music has always been a powerful way to bring people together. Stay Home, Wash Your Hands, Be safe, and we love y’all!” Coronavirus Remix by Rifti Beats Coronavirus Remix (COVID-19 Lofi Hip Hop) brought forward by Rifti Beats. This is a Lofi remix to bring some chill to all of the political content of these remixes. This is not a specific remix, as some of the others were, but instead looks at the whole pandemic. The voices of the coronavirus, plus the harsh dry coughs, bring forward the solemn seriousness of the virus itself. This is a time to come together (separately in self-isolation) and support one another (from a safe social distance). Remember to be safe and enjoy these Covid-19 Remixes!

Flakron has created quite an audience on YouTube. His beats have over 3 million views. He has nearly 25 thousand subscribers to his channel. You’ve heard his music here before in the “ Snake Jazz ” article. YouTube has provided a great platform for sharing his beats and music with his audience. The internet has given a huge opportunity for him to not only share his music but learn new things about creating music itself. His music career began in 2012, but his passion for music began much earlier. He started making beats when he was only 10 years old. He drew inspiration from the 90s and early 2000s old-school rap. Listening to the beats of other musicians, he knew that was something he wanted to do. Here’s an interview between Dylanna Fisher of Switching Styles and Flakron . How did you get started in music? I was about ten years old when I started making beats. I heard some music and thought “I want to do that too”. How long have you been a musician? For about 13-14 years What was the music genre that inspired you? Hip-hop/rap music. What does music mean to you? Everything. It’s therapy. It’s a universal language. How would you describe your sound? It’s very varied. I don’t have a human voice over my music which must be compensated for. Therefore, the beat can’t be a simple loop. Instead, I try to make a “journey”. Who are your musical influences? Primarily my musical influence comes from the 90s and early 00′ old school rap, like Rakim, Big L, Cormega, Gang Starr, Masta Ace, DMX, and Eminem. My producer influences are Scott Storch, Dr. Dre and Apollo Brown. I also listen to a lot of 80s music like Michael Jackson, Phil Collins, Sting, George Michael, Kool and the Gang, etc. Why did you start on YouTube? I wanted to share the music with my friends and at that time (10 years ago), there wasn’t any other available platform. What’s been the response from your audience? Mostly positive. I don’t check my comments as often as I did, because one bad comment can ruin 1000 positives. How do you think YouTube functions as a platform for musicians? I think it’s a good platform to spread the music. But they make their rules stricter every year and I think that many musicians that aren’t already famous will change platforms. How do other platforms for music compare to YouTube? I’m not so active on other platforms except for YouTube, but I’ve heard that SoundCloud is supposed to be good for musicians. How do you feel about the internet in the music business? In this day and age, it’s never been easier to make and spread music. When I started, I could barely find any tutorial on how to make music. Not to mention that you had to have CDs because YouTube didn’t exist. So, in conclusion, it has made it easier. How has the internet affected your music career? I don’t think it has affected it very much, but I haven’t focused so much to build up a brand. I just want to have fun and put out my music. Whether it gets 1 view or 1 million isn’t so important. What are your thoughts on copyright? It’s both good and bad that it exists. For example, my YouTube channel doesn’t make any money. Just because I have used something in some video that isn’t mine, they decided to shut down all revenue. I get that, but in the meantime why not just stop the revenue for that specific video? It’s good that it exists because it protects the original owners. But they have made it very strict. If that continues, I wouldn’t be able to do this interview just because it wouldn’t be possible for me to upload Snake Jazz which is sampled. What suggestions would you make to YouTube to make it easier for musicians? It’s a tough question… But maybe change their rules on copyright. For example, instead of shutting down revenue for the whole channel, they can shut it down for one specific video that uses copyright material. Why do remixes in particular? I don’t do remixes only, but I think it’s a fun thing to do. It also becomes competitive: “Who can do the best remix?”. How do they tend to compare to the originals? I try to make them as different as possible. But original is original, it’s always better. What is the typical process of creating a remix? I always chop it up and just play around on my keyboard until I find something that I like. That lays the ground for my beat. What do you think about collaboration? I don’t have any experience with it, but it is always cool to see some people come together and create something. What are some of your fondest memories throughout your music career? When I got my keyboard for my birthday. Then I know that I had to invest myself. Another memory is when some local artists wrote to me, and he thought my beats are good. Where do you see yourself in 10 years? I don’t see myself in the music business, or making a living through music. Just doing what I am doing today – putting music out for fun. What advice would you give to musicians just starting on YouTube? Be consistent. If you have a goal with your music, pursue it. Final Thoughts Flakron views music as therapeutic and a universal language, aiming to create a rich auditory journey without vocal elements. He started on YouTube to share his work with friends and appreciates its role in distributing music, although he notes stricter rules have emerged. Copyright issues affect his channel’s monetization, and he suggests that revenue loss should target specific videos instead of entire channels. Flakron plans to continue creating music for enjoyment rather than as a career. Let me know what you think below and who you want to see interviewed next! Photo by David Bartus on

Rubber Chicken Covers. Yes, rubber chickens. Oh, Happy April Fools Day, by the way! Woodley Wonder Works took Rubber Chicken on Flickr. Rubber Chickens Rubber chickens are a prop typically used in comedy. Historically, their origins are a bit mysterious, as nobody really knows for sure how they started. There are many ideas about how they came about, but not much specific evidence. One of the most common thoughts is that rubber chickens started with medieval jesters. Is that really where they all started? In the blog Modern Farmer , Andy Wright  writes an article about the origins of rubber chickens. Lawrence E. Mintz is the professor emeritus of the Department of American Studies at the University of Maryland and an editorial board member of Humor: International Journal of Humor Research. In an interview, Mintz supposes that the rubber chicken originated in medieval comedy when jesters would use readily available props, including chicken corpses. Although that’s rather a morbid beginning for comedy, it’s plausible. The Medieval ages were the source of some messed-up things. It’s been backed up by The Rubber Chicken Museum The Rubber Chicken Museum agrees, saying it can trace its origin to medieval jesters. You read that right. In Seattle, there has been a rubber chicken museum located in the Archie Mcphee store since 2018. They boast, “As the home to the world’s largest rubber chicken and the world’s smallest rubber chicken, you’ll stand slack-jawed in awe in front of our display of plastic poultry.” take your picture next to the world’s largest rubber chicken! The exhibit even features an academic essay by renowned rubber chicken expert Kirk Demarais that brings forth the historical context of the rubber chicken. And you thought this article was going to be all kinds of silly, not academic! Mintz continues to say that it was not the medieval jester stage that brought the rubber chicken into the spotlight but burlesque performances. Comedians “baggy pants” comedians would smack each other with the chickens. Mintz explains that it was a pretty rudimentary, “not just the comedy part of it but the striptease and all of that” Wright even suggests that the rubber prop could even be supposed to be dirty or even phallic. “I suppose it’s a possibility,” says Mintz, sounding doubtful. “Especially considering the body cavities in the chicken. But I never really thought about it that way.” Wright also interviewed Dwight Blocker Bowers, an entertainment curator at the Smithsonian’s National Museum of American History . Bowers suggests that it could be a variation of slapstick comedy. The rubber chicken makes a rather loud, obnoxious noise—jarring and in your face. “Vaudeville thrived on absurd situations,” says Bowers. “Physical comedy was used at the time for an audience of many different ethnic types, and it didn’t depend on dialogue.” “It’s kind of like, why do people still like The Three Stooges?” says Mintz, “It’s almost because it’s defiant. It’s brutally witless and has no art to it. and it’s in your face. ‘I’m going to laugh at this whether you like it. yes, I know it’s not sophisticated.’” Rubber chickens have been used in a range of comedy acts. They are used in burlesque shows, stand-up comedy, television shows, cartoons, and Science. Did you know that a rubber chicken was in space?? Even a rubber chicken made it to space in the spring of 2012 . A group of high school students in Bishop, California, launched a rubber chicken loaded with sensors to measure the radiation of an intense radiation storm—the strongest since 2003. The chicken that was launched was not any normal chicken but Camilla, the mascot of NASA’s Solar Dynamics Observatory. The helium balloon popped at the apex of the flight on March 10, 2012. Credit: Earth to Sky-Bishop CA During her flight, she flew into one of the strongest proton storms in years, which included over 50 solar flares. When she launched, the satellites orbiting Earth reported a huge count of protons, which were 30,000 times the normal amount. Examples of YouTube’s Rubber Chicken Comedy Though its main aspect is comedy, here are some internet examples, because who doesn’t love YouTube videos with Rubber chickens? Don’t worry the Rubber Chicken cover songs are coming soon. Rubber Chicken Cover Songs Although they’re meant for comedy, that’s not all they’re used for. Many musicians have taken to using them as an instrument. This creates a genre of music covers made from rubber chickens. Yes, you did read that correctly. And yes, I do have a list of Rubber Chicken cover songs. BigMarvel The Simulator Big Marvel has quite a few chicken covers, including “Havana,” originally by Camila Cabello, “Shape of You,” originally by Ed Sheeran, and “Into the Unknown” from Frozen 2. Serious and sly, he dominates YouTube with his Rubber Chicken Covers. And they’re all pretty fantastic. This one is a cover of “Afric, a” originally by Toto. It features a rubber chicken and an actual chicken. The actual chicken does not seem impressed with him. Chicken Fla Of course, because it’s been such a popular song to cover, we needed to provide a cover of “Bad Guy” by Billie Eilish. Chicken Fla brings forth the chicken flavour!  This Rubber Chicken Cover, as odd as it is, is a great addition to your everyday music playlist. Imagine the surprise on people’s faces as you get handed the aux cord! RayDay’s For more giggles, please check out RayDay’s use of this cover for the epic fight scene in Thor Ragnarok. Here’s some rubber chicken Lil Nas X cover for all you country lovers. You may not think you need it, but here’s a rubber chicken cover of “Old Town Road. Who knew a rubber chicken had a country swagger? Franco Muñoz Franco Muñoz’s Rubber Chicken Cover of “Despacito” slows it down for you lovers out there. Sweet and loving in a chicken cover doesn’t sound like it should work, but by golly, it does! It’s amazing how well this song works for a Robber Chickenn cover. I’m sure that’s exactly what Luis Fonsi thought when creating this song. Chiccles Here’s a YMCA Rubber Chicken Cover to get your blood pumping with some dancing. It’s also a chicken cover because that’s what this article is all about. Thanks to Chiccles , the internet has another Rubber chicken cove,r and it’s beautiful. I hope this topic of Rubber Chicken Covers wasn’t too fowl for you! Let me know what you think in the comments before you fly away!!

Named IFPI’s top artist of 2019, Taylor Swift continues to be a voice for the heart and all its various emotions. Her Lover album was released in August of 2019, with a resounding favourite being the track “Me” by Taylor Swift! Taylor Swift’s Album Lover was released in August of 2019 “Three singles were released off the  Lover  album last year:  ME! , featuring Brendon Urie of Panic! at the Disco;  You Need To Calm Down , and the title track,  Lover .  ME! , the first release from the album, opened at number one on the global Spotify charts,” reads an IFPI press release. These are rather popular hits from the album. However, there is speculation on the top tracks from the album (as there always is, regardless of the album or artist). According to the LA Times, the album’s top 5 songs are “Cruel Summer,” “Soon You’ll Get Better,” “Cornelia Street,” “Lover,” and “Paper Rings.” This song broke several records, including the most significant jump in the  Hot 100 history. It jumped 98 spots in a single week. It peaked at #2 in the USA and Canada and #3 in the UK Singles Chart. Do you notice that “Me!” wasn’t on the tip-top of that list regardless of being the album’s lead single? “Me!” is extremely catchy. It returns to a more pop and poppy era of Taylor. That isn’t a good thing for some critics. Los Angeles Times’ review is not so promising about the single and say, “Devoted Swift fans know that her albums’ lead singles are often red herrings, and thankfully that turned out to be the case again with the wise and tender “Lover,” which nonetheless announced itself back in April with this excruciatingly childish marching-band jam. Nix it from your customized “Lover” playlist and forget that one of pop’s smartest lyricists ever rhymed “I’m the only one of me” with “Baby, that’s the fun of me.” However, they aren’t the only ones to criticize or compare the song to “Shake It Off,” one of Taylor Swift’s more annoying, catchy songs. Pitchfork does the same thing. They agree that Taylor Swift is a skilled musician whose best work is entwined in “its heartfelt vulnerability and goofy humour, in simple wisdom that showed her to be empathetic and hopelessly romantic.”” However, “Me!” is described as “a showcase for the worst and weakest aspects of Swift’s work, the syrupy kitsch and occasional over-reliance on wordless vocal fillers… “ME!” is two steps away from a corporate jingle, innocuous feel-good music in an airtight clamshell package.” Me! is the lead single of Taylor Swift’s 2019 Album Lover The Atlantic compares it to others within the pop genre but only the worst of the worst, saying, “Taylor Swift’s ‘ME!’ Is Everything Wrong With Pop. The star’s first single since  Reputation has almost none of the elements that once made her interesting, but it does have a dolphin screech for a chorus.” Cover Songs of Covering “Me” by Taylor Swift Let’s see who can do it better. We’re looking at these cover songs to see if cover artists can take something that reviewers do not so much loathe but something quite close to that word and make it more palatable. Of course, the lyrics don’t change, but the music, style and sound do. Here are 10 of them, and we’ll let you decide. Acoustic cover by Landon Austin and Maddy Newton . Cover by J.Fla Acoustic Cover by Jonah Baker Piano Cover by Tanner Townsend Cover by Twenty One Two Acoustic Cover in a Costco by Tyler Ward and Karis Cover by Madilyn Cover by Anthem Lights Cover by Sapphire and Jamie Cover by RoadTrip TV What do you think of these covers compared to the original by the original Taylor Swift?

Walking through a bustling shopping hub like West Edmonton Mall, with its more than 40 women’s clothing stores, it’s easy to assume there’s something for everyone. Yet, until recently, only one store catered specifically to plus-size fashion. In 2016, Torrid, a retailer dedicated to plus-size clothing, opened locations at Kingsway and West Edmonton Mall, marking a turning point for local shoppers. “It really blows my mind that we live in a world where most women would technically be considered plus-size,” says Dolly Monroe, photographer, model, and body positivity blogger. “But the options for us are so limited compared to what’s available to those who are considered straight-sized.” Photo by RDNE Stock project on Monroe’s words highlight a long-standing disparity in the fashion industry—a stark lack of options for plus-size women despite their significant representation in the population. With February celebrated as Body Positivity Month, it’s the perfect time to discuss how far plus-size fashion has come, the challenges that remain, and the importance of inclusive representation. The Evolution of Plus-Size Fashion “For years, the options were outdated or uninspiring,” says Torrid employee Glenda Cartwright. “When you think of Penningtons, you think of your grandma shopping. Torrid, on the other hand, caters to a younger audience.” Cartwright, who is 24, notes the frustration of shopping for clothes that align with her personal tastes. “It’s so hard to find something that fits my style—until now. Torrid offers modern, chic, and even edgy designs that feel inclusive and fresh.” Photo by MART PRODUCTION on Torrid serves as a sibling company to Hot Topic, which influences its unique aesthetic. “You can definitely see the Hot Topic flavor,” Cartwright adds, “but it’s more about contemporary fashion with a touch of edge rather than a focus on pop culture.” Representation in Fashion: Real People, Real Impact One of the most striking features of Torrid’s advertising is its commitment to authenticity. “Here’s our product on real people,” Cartwright says. “These models look like people you see on the street. It’s refreshing and empowering.” This approach aligns with a growing movement in the fashion world to represent women as they are—diverse, vibrant, and unapologetically themselves. Monroe highlights the significance of this shift by pointing to figures like Tess Holliday, the designer of MLBM at Penningtons. Holliday has made waves in mainstream media by celebrating plus-size beauty and challenging societal norms. “She’s normalizing plus-size bodies and making it acceptable to be sexy and fat,” Monroe explains. “Her work paves the way for others to feel confident in their own skin.” Cartwright echoes this sentiment. “We’re finally acknowledging that plus-size women are not a monolith. Some are edgy, others prefer classic styles, and they all deserve clothes that make them feel good. We’re moving away from hiding behind baggy clothes and embracing individuality.” Diversity as a Cornerstone of Fashion Fashion, at its best, reflects the diversity of its audience. As Monroe aptly puts it, “We come in all shapes, sizes, colors, with different fashion styles.” Stores like Torrid, Penningtons, Old Navy, and Bloom Chic are stepping up to meet the demand for greater inclusivity. These brands are breaking down outdated stereotypes and challenging the notion that plus-size clothing must be limited to muumuus and sweatpants. “It’s not just grandma’s clothes anymore,” Cartwright says. “It’s empowering and stylish, and it reflects the real world—a diverse culture where people are not carbon copies of one another.” Embracing the Future of Inclusive Fashion The strides made in plus-size fashion are inspiring, but there is still more to do. Representation matters not only in the clothes available but also in the models who wear them, the advertisements that promote them, and the voices behind the designs. Brands that truly listen to their audiences and embrace diversity are paving the way for a brighter, more inclusive future. “Wanna Love My Body”, A Parody of  the Spice Girl’s “Wanna Be my Lover” by  The Honest Body Project “It’s not about your waist” originally by Natty Valencia cover by  Angela Medilo “All About That Bass” A Parody of Meghan Trainer’s “All About That Bass” by  Julianne M Body positivity is for everyone that has a body. You matter regardless of height, weight, age, size, or anything like that. So, as we celebrate Body Positivity Month, consider the brands that resonate with you. Which fashion empires help you feel seen, confident, and celebrated? Share your favorites and join the conversation—because everyone deserves to feel beautiful, no matter their size.

Switching Styles is bringing you Koto Covers. Cover songs are original compositions that are altered in some way, often by changing bands, genres, or instruments. In this case, these songs have been covered on the Koto. Introducing Koto The Koto, which is also known as kin, is the official instrument of Japan. This string instrument, usually made of paulownia or Kiri wood, consists of 13 silk strings and is approximately 190 cm or 74 inches long. As a zither, its strings are of the same length as its soundboard. Other types of zithers include the Alpine Scheitholt, Lyre, Lute, Viol, and Hammered Dulcimer. The Koto, a Japanese stringed instrument, drew inspiration from the Chinese guzheng with its initial five strings. As time passed, the number of strings on the Koto increased to 12 and later expanded to 13. During the early Nara period (710–784), the Koto made its way to Japan. The Koto has 12 or 13 strings made of silk, whereas its cousin, the Guzheng, has 21 metal strings. Originally, Koto was a generic term used for Japanese stringed instruments during the Nara period. However, as years went by, many different names for diverse instruments grew to be. The Koto that we know today would be unrecognizable to the people of the Nara period. The Koto has evolved over time, and it is now a prominent instrument in traditional Japanese music. The modern Koto comes from gakusō, which is primarily used in Japanese court music. The performer kneels or sits on the floor while playing the Koto, even in live concerts. Its soft and enchanting sound is beautiful, as you can hear below. “The is a unique Japanese musical instrument. It has a history in Japan of over 1200 years and today does much to represent Japan’s traditional past,” writes Henry Johnson. Koto Cover Songs Musicians such as June Kuramoto ,  Reiko Obata ,  Elizabeth Falconer , and Yukiko Matsuyama bring the Koto to modern music. However, they’re not the only musicians who provide koto music in a contemporary context. Cover musicians like the ones below do precisely that. TRiECHOES feat. DJ Shota ‘s cover of ‘Shape of You’ originally by Ed Sheeran Shaku8kozan ‘s cover of ‘Telephone’ originally by Lady Gaga Fernando Neves ‘s cover of Sadness and Sorrow Originally from Naruto Sources Used Encyclopedia Britannica. (2020). . [online] “Hugo’s window on the world of Chinese Zheng.” Chime. Leiden: European Foundation for Chinese Music Research. 16–17: 242. 2005. Johnson, Henry (1996). “A Koto” by Any Other name: Exploring Japanese Systems of Musical Instrument Classification”. Asian Music. 49: 38–64. Johnson, Henry (2004). . Amsterdam: Hotei Publ. Landis, Brendan (2008) Koto [Photograph] Newstead Montegrade, Boston, Massachusetts: Flickr

Shout out to Winspear for providing tickets for me to enjoy the event and for sponsoring Switching Styles’ very first ticket contest! An Enchanting Halloween at the Winspear: Music Meets Spooky Magic Walking into the Winspear’s Halloween event shattered any preconceived notions that live music might be dull. From the moment guests stepped into the venue, they were immersed in a world of eerie enchantment. Skulls and black lace draped the tables, while dim lighting cast mysterious shadows across the front lobby. The decor evoked an ambiance perfectly suited for Halloween—both sophisticated and spine-chilling. A Thrilling Pre-Party to Set the Stage Before the main event, the Winspear transformed into the ultimate Halloween pre-party. Guests were greeted by stilt walkers towering above them, their elaborate costumes blending whimsy with a dash of terror. The stilt walkers, courtesy of the National Stiltwalkers of Canada, didn’t just pose for photos but mingled among the crowd, guiding attendees toward the theater doors when the film started. Their sheer height and uncanny grace brought an air of fantasy, making everyone feel like they had stepped into a Tim Burton-inspired dreamscape. The pre-party also featured an impressive lineup of entertainment, including a selfie wall for capturing Instagram-worthy moments and a DJ set by the energetic DJ Kwake. Guests danced to pulsating beats, while enjoying curated cocktails by Strathcona Spirits and Rig Hand Distillery. The drinks not only added to the festivities but were served by costumed bartenders who truly embraced the spooky theme. Costumes, of course, played a central role. Staff members delighted attendees with their creative outfits. A towering “rare steak” checked tickets, while a clown straight out of a horror film served popcorn. Meanwhile, a playful witch-like Bo-Peep offered desserts, and a nurse mixed drinks that seemed like they could double as potions. Guests also embraced the Halloween spirit. Their costumes ranged from classic vampires to quirky interpretations like Ned Flanders from The Simpsons . The mingling of professional staff and attendees in costume made the pre-party feel like an immersive, interactive experience. Bianca Million Ushers in the Main Event While the pre-party was an undeniable hit, it merely set the stage for the night’s true highlight. As the clock struck 8 p.m., CTV’s Bianca Million, dazzling as “Hostess Barbie,” took to the stage to kick off the main event. Her introduction was theatrical. Fog rolled across the stage. Eerie red lighting illuminated the fog, bathing the room in a ghostly glow. Million’s dynamic presence energized the audience. Her playful nods to Halloween added excitement. This set the tone for what was to come. The Hands of Orlac is a  black-and-white silent film  from the 1920s.  Dennis James describes this thriller film as a “deliciously twisted thriller that blends Grand Guignol ecstasies with the German Expressionism”. The film’s premise (for those that haven’t seen it) is a story following the aftermath of a tragic accident where Paul Orlac, a pianist, lost his hands. They were quickly replaced with the recently executed murderer, vascular.  The rest of the film is Orlac’s struggle with his demons and the demons of his new hands in a kind of Freudian discussion. Psychoanalysis and Freud’s research were popular discussion topics when the film was produced. “Made in Vienna, the hotbed of psychoanalysis, this 1924 Austrian bubbles over with sexual innuendo and Freudian imagery,” describes Dennis James, “If you’re scared of Sigmund Freud , you’re going to be in a panic.” Sigmund Freud, an Austrian neurologist, and founder of Dennis James, an organist and historical music preservationist, is a master of reviving bygone musical traditions. Partnering with Michael Tsalka, an award-winning pianist and early keyboard performer, the duo transforms silent film screenings into multisensory experiences. This partnership, which they call Duo Filmharmonia, represents a seamless blend of musicology, historical preservation, and cinematic artistry. Silent films, contrary to their name, were never truly silent. A hallmark of early cinema was the live musical accompaniment that enriched the storytelling and deepened emotional resonance. Duo Filmharmonia brought this tradition to life with stunning authenticity. Dennis James and Michael Tsalka featured in a recent performance that captivated audiences. Their dedication to preserving the integrity of silent-era filmmaking is not merely an artistic endeavor but a cultural mission. A Unique Blend of Tradition and Innovation Duo Filmharmonia’s approach is both reverent and innovative. While many silent film exhibitions today favor flashy, modern scores, James and Tsalka are committed to recreating the authentic soundtracks envisioned by the original filmmakers. Their loyalty to these historical details goes beyond nostalgia. It’s about offering audiences an experience that mirrors what viewers of the silent era would have felt. Dennis James explains, “Movies were never silent. Silent films were accompanied by music designed to emphasize the story and evoke emotion. Our mission is to revive these works of art authentically, transcending the transient trends of modern interpretations.” Their efforts have taken them across the globe, performing at prestigious venues such as the Mozarteum in Salzburg, Austria, and the Elbphilharmonie in Hamburg, Germany. Whether scoring Janice Meredith with colonial American music or Silent Hamlet with compositions by the sons of J.S. Bach, Duo Filmharmonia brings historical depth to their projects. This particular event marked the second performance of their specially crafted score for The Hands of Orlac , a classic silent horror film directed by Robert Wiene. The hauntingly beautiful score, developed just this summer, complemented the eerie narrative with uncanny precision. The musicians’ first run-through of this arrangement occurred only hours before their public performance, a testament to their incredible artistry and chemistry. Immersing Audiences in Authentic Silent Film What sets Duo Filmharmonia apart is their ability to immerse modern audiences in the silent film era’s aesthetic. This experience isn’t merely auditory—it’s deeply visceral. The resonant tones of the organ and the delicate interplay of the piano filled the concert hall, transforming the event into a dynamic interplay of sight, sound, and emotion. During high-tension scenes, the music would pause entirely, leaving the audience in profound silence. This deliberate quiet heightened suspense, allowing the viewers to feel the gravity of each moment and even hear their own heartbeats in anticipation. Such techniques underscored the emotional depth of the film, amplifying its psychological impact. The organ, with its deep and resonant sound, proved a fitting partner to Wiene’s chilling visuals. In one of the film’s most striking parallels, Michael Tsalka felt a deep connection to Paul Orlac, the protagonist and a concert pianist. This bond lent a unique authenticity to his performance. Tsalka’s mastery of his craft echoed the character’s own journey, adding layers of realism and emotional weight to the experience. Bridging Past and Present Dennis James and Michael Tsalka’s work is more than a performance; it is a preservation of cultural history. They champion an art form that, while often considered outdated, has enduring relevance. Duo Filmharmonia carefully reconstructs period-appropriate scores. This ensures that these films can be appreciated in the same spirit as when they were first created. The evening’s performance was a testament to the duo’s passion and skill. They brought history to life, reminding audiences that the past can inform and inspire the present. In doing so, they not only honored the legacy of silent films but also reinvigorated it, showing that these works are far from forgotten relics—they are timeless pieces of art. For those fortunate enough to witness this remarkable event, the music and visuals of The Hands of Orlac provided an unforgettable experience. It served as a bridge between eras. Duo Filmharmonia didn’t just accompany the film; they elevated it, creating a cinematic event that resonated on every level.

It all started when Dennis James was young. But it didn’t begin with the organ instead it was something altogether smaller. The “Stomach Piano” or accordion was the first instrument he ever played. It was the “local instrument of choice for budding musicians in Cleveland, Ohio in 1957”. Floren (left) with Welk (center) performing in 1969 Myron Floren was a television show accordion player, who played on The Lawrence Welk Show between 1950 and 1980. Floren inspired a young 6-year-old Dennis James with a love for music. This inspiration became reality when Hames passed by a pawn shop with an accordion in the window. His parents bought it for him as a birthday present and his lessons started immediately afterwards. Junior high school changed it, as it does most things. There was a moment of realization that maybe the accordion was not the coolest instrument. He recognized that “none of my classmates wanted to hear my renditions of Lady of Spain complete with bellows shake.” Shifting to the pipe organ at the age of 12 has since been a consistent part of his life. This change from accordion to the organ was overall a benefit to both James’s career and his audience. Looking back, he admits that he probably wouldn’t have stayed with music and instead pursued another interest namely oil painting. Instead of Dennis James the oil painter, he is currently known internationally as a professional organist and a historic preservationist. Dennis James performs Richard A. Whiting’s “Hooray for Hollywood” at Allen Organs’ Octave Hall. In the summer of 1969, he watched his first silent film with live accompaniment by a professional theatre pipe organist, Gaylord Cater. During Cater’s major tour at the time, he performed at the Tower Theatre’s Wurlitzer organ in Upper Darby, Pennsylvania. The accompanied film is the action-packed drama “The Mark of Zorro” starring Douglas Fairbanks. His accompanied score was created using several published theatre organ generics used in the 1920s with his own “inimitable improvisation cascades”. Thinking back to that day, James remembers, “It was a sold-out house and I remember eagerly turning to my dad at the end, being thoroughly impressed by the cheers and standing ovation from the sellout crowd, and saying to him those fateful words; ‘I can do that!’ To this day, as a sort of tribute to Gaylord Carter, I build my own score around Gaylord’s work, preserving about 20% of his efforts encased in my own historical revival work.” The main genre he preserves is silent films. Silent film accompanists used music in the original showings of the films. This means that silent films weren’t entirely silent. Accompanists ranged from a single pianist to a small orchestra either with composed scores or improvisation. James creates his performed works faithfully preserving the original scores. His scores use the same style and methods as the original silent film accompaniments throughout the 1890s and 1930s. At the time, film studios released enough for cinemas to have a variety of films and to change their showings several times a week. Having a fully composed, published, and rehearsed instrumental ensemble for each film was not feasible. It would take too much time that the studios and the cinemas simply didn’t have. The solution was to create a score within each cinema. Each theatre musician built libraries of music. This included a huge array of styles; classical music, current tunes, folk songs, foxtrots, hymns, marches, one-steps, two-steps. Organized by key, and emotional content, these were repurposed towards the scoring of the film. If there was a chase scene, the musician would modulate into a different key, usually d minor. Thus they would construct a sequence of chase music with allegros, hurries and agitatos. The same goes for other emotions such as love or joy, or despair. The musician would go through the library and find music that matches the emotional cue. “It was this carefully tailored assembly kind of music scoring technique that was heard both from the solo keyboard players in the theatres and on an expanded scale, existing right along with through-composed newly composed scorings for fully rehearsed instrumental ensembles,” James explains. Using either the published original scores or compilation scoring guides (guides sent along with the film intended for assisting with cues), he creates a score true to the original as opposed to a historical revival. “There is this remarkable flow that happens where I’m looking at the screen and reading my carefully prepared and rehearsed music that causes the music to come out as a continuously synchronous emotion sequence matching the visuals like a perfectly fit glove on a hand,” describes James. However, it’s more than just creating a score and presenting it. It’s a performance. There are visual real-time cues from the audience’s reaction and the film itself that need to be taken into account. This results in a kind of “fully-synchronous spontaneity”. Working with professionals in the field such as Lee Erwin, Gaylord Carter and Dr. C. A. J. Parmentier, has provided James with the ability to improvise when need be.“I’m not even conscious of what the added expressive choices are in the real-time of performance having now been continually doing this for over fifty years.” He explains. His first silent film score debut came about during the peak of the Vietnam War protest era, this was a time with a real need and chance for some tension relief. Dennis James provided it with his silent film scoring debut. As a sophomore at the university, James had access to the new Schantz-built concert pipe organ within the school’s 3,800 seat I. U. Auditorium. The film he chose was “phantom of the opera” just in time for Halloween. James collaborated with New York based silent film organist Lee Erwin to create the score for the accompaniment. as well, a fellow student conducted the local Bloomington Symphony Orchestra. Leading up to the big debut, James took the time to print and hand stamp 400 tickets. This film lends itself to clever marketing with the phrase ‘The Phantom is Coming!’ littering the campus on posters, hung notes from trees, chalked announcements on empty classrooms’ chalkboards, stickers on toilet seat covers, and so much more. It was all counting down to Halloween, all counting down the big debut. Only 40 tickets were sold in advance but over 4,000 people showed up at the doors. Wearing a mask and a cape from the university’s theatre department, James went on stage and performed his newly composed score to thousands of people. “The energy of the occasion was so great, and I was so inspired, I almost immediately abandoned my carefully prepared composition to improvise something ever so much more appropriate to that event on the spot. Quite the thrilling way to begin what has turned out to be a full-length career.” That was Jame’s first silent film accompaniment, but it was not the last. He’s travelled around the world performing live music for silent films, opera performances, as well as a range of concerts including the Metropolitan Opera in New York, Hollywood film scorings, Lincoln Center’s Mostly Mozart Festival, and the Tanglewood Festival with the Boston Symphony Orchestra. Dennis James performing ‘Butterflies in the Rain’ to demonstrate the organ in the beautifully restored Missouri Theatre in Columbia, Missouri, at the 2012 Blind Boone Ragtime Festival. With over five decades of experience, James has seen the appeal that silent films. It’s a sense of marvel, of fascination for recreating something a century old. When asked about the impact of music on film, James referenced a quote that best outlines his sentiments. “Mocked, ignored, the victim of a massive cultural disinformation campaign that insisted these movies were too primitive to take seriously, silent film has managed to outwit history. Not only is there a phoenix-like rebirth of interest in the medium, but the films themselves and the artifacts surrounding them are constantly coming to light in rich and unexpected ways. To be seen to their best advantage, however, silent films should be experienced, as they were in the medium’s glory days, with live musical accompaniment. To understand what makes silent film so special, the central place of music can’t be avoided. The live music enhances what we see, bringing us inside the film.” “Silent films and their soaring music are rediscovered” by Kenneth Turan, from the LA Times This appeal comes from the authenticity of it, both in a historical and a cultural aspect. When he performs, he wants it to be accurate to the original. James explains that this is the way that silent films are meant to be experienced exactly as it was seen a century ago, “If one loves movies as do most moviegoers today, seeing and hearing, them as they were originally intended to be experienced simply should not be missed.”