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l’amour c’est pour rien karaoke
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Enrico Macias
Gaston Ghrenassia (born 11 December 1938), known by his stage name Enrico Macias French pronunciation: [ɛn.ʁi.ko.ma’sjas], is a French singer, songwriter and musician of Algerian Jewish descent. He is popular throughout the world and has travelled extensively for fifty years, from the early 1960s to the present.
He was born to a Sephardic Algerian Jewish family in Constantine, Algeria, and played the guitar from childhood. His father, Sylvain Ghrenassia (1914–2004),[1] was a violinist in an orchestra that played primarily malouf, Andalo-Arabic music. Gaston started playing with the Cheikh Raymond Leyris Orchestra at age 15. Enrico macias lamour cest pour rien karaoke
He pursued a career as a school teacher, but continued practicing the guitar. In 1961, the Algerian War of Independence was raging, and the situation became untenable for the Jewish and European residents of Constantine. Of immense effect on Gaston Ghrenassia was the assassination in 1961 of his father-in-law and musician Cheikh Raymond Leyris by the National Liberation Front (FLN), which appears to have been due to his opposition to the independence of Algeria from France.[3] Gaston left Algeria with his wife, Suzy, on 29 July 1961, eleven months before the end of the Algerian War of Independence, and went into exile in mainland France. He has not been permitted to return to Algeria ever since.[4]
First living in Argenteuil, he eventually moved to Paris, where he decided to pursue a career in music. At first he tried translating into French the malouf numbers which he already knew. Later on, he developed a new French repertoire that he performed in cafés and cabarets. He remained, though, a popular interpreter of Arab-Andalusian music and Judeo-Arab songs in France.
He adopted the stage name Enrico Macias and made his first recording in 1962 after a meeting with Raymond Bernard of Pathé. The result was the recording of “Adieu mon pays” which he had composed for his beloved Algeria on the boat on his way to France. He appeared on French television and became an overnight sensation. This led to a first tour in 1963 as a second act with Paola and Billy Bridge. His daughter, Jocya, was also born that year. Enrico macias l’amour c’est pour rien karaoke
In spring 1964, he opened for Les Compagnons de la chanson at the Paris Olympia and then undertook a successful tour of the Middle East, performing with great success in Israel, Greece and Turkey, especially in the latter where he still has a huge following. In Turkey, many of his songs were translated and interpreted by Turkish artists. In 1965, he was awarded the Prix Vincent Scotto, and the following year he sang before 120,000 people at the Dinamo Stadium in Moscow, performing concerts in more than 40 other Soviet cities. He also toured Japan and recorded titles in Spanish and Italian and was popular in both countries. Enrico macias l’amour c’est pour rien karaoke
His American debut, at a sold-out Carnegie Hall concert, took place on 17 February 1968. He continued to tour the United States, singing in Chicago, Dallas and Los Angeles. In Quebec, Canada he was warmly welcomed as a francophone artist. Enrico macias lamour cest pour rien karaoke
In 1971, he returned to the Paris Olympia, then went to the Royal Albert Hall in London, and back to Japan, Canada, Italy and Spain. A second US tour culminated in a concert at Carnegie Hall in 1972. In 1974, he gave ten shows at the Uris Theater on Broadway, and also at the Olympia for the sixth time since his debut. Enrico macias l’amour c’est pour rien karaoke
He toured France and went twice to Israel in 1976 and 1978. He was invited to Egypt by the Egyptian President Anwar El Sadat to sing for peace. This came after Macias had been banned from Arab countries for many years, despite keeping his popularity with Arab and ethnic audiences in the Middle East and North Africa. In Egypt, he sang in front of 20,000 people at the foot of the Pyramids. After Sadat’s assassination, he wrote a song dedicated to the late president entitled “Un berger vient de tomber”.
In 1988, he had a big hit with “Zingarella”, particularly in Israel and Turkey upon his tour in both countries in addition to South Korea. Enrico macias l’amour c’est pour rien karaoke
In April 1992, he tried acting in a play adapted from English, called Quelle Nuit. He also had a role as a local judge in the French TV film Monsieur Molina. Enrico macias lamour cest pour rien karaoke
Of great popularity were his 1960s Oriental-influenced songs like “J’ai quitté mon pays”, “Les filles de mon pays”, “L’Oriental”, “Entre l’orient et l’occident” and tribute songs like “Le violon de mon père” (to his father), and “Mon chanteur préferé” (a tribute to his father-in-law Cheikh Raymond).
He was also popular with the French interpretation of “‘Oh guitare, guitare” and the Spanish versions of “El Porompompero” and “Solenzara”. Enrico macias lamour cest pour rien karaoke
Big French hits include “Paris, tu m’as pris dans tes bras”, “La femme de mon ami”, “Non je n’ai pas oublié”, “La France de mon enfance”, “Les gens du nord” and “Les filles de mon pays”.
He has sung in many languages including French, Italian, Spanish, Hebrew, Turkish, Greek, English, Armenian, Arabic and many of its dialects, and recently in Yiddish.
In 1965 he was awarded the Prix Vincent Scotto.
He received a gold disc in 1976 for “Mélisa”. Enrico macias l’amour c’est pour rien karaoke
He was named Singer of Peace by UN Secretary-General Kurt Waldheim in 1980 after he donated the proceeds of his single “Malheur à celui qui blesse un enfant” to the Unicef
In 1997, Kofi Annan named him Roving Ambassador for Peace and the Defence of Children.
Collaborations Enrico macias l’amour c’est pour rien karaoke
He has collaborated with tons of artists, and his songs have been interpreted in many languages.
He sang “Melisa”, “Je t’apprendrai l’amour”, “Un grand amour” and “On s’embrasse et on oublie” as a duet with internationally famous Turkish singer Ajda Pekkan and they released a live album called “A L’Olympia” together in 1976. Enrico macias lamour cest pour rien karaoke
In 1991, he had a duet with Ginni Gallan entitled “Un amour, une amie”.
In 2003, he sang “Koum Tara” with Cheb Mami featured in the latter’s album Du Sud au Nord and again a live version, this time on Cheb Mami’s 2004 album Live au Grand Rex”‘
In Turkey, many artists have interpreted his songs with Turkish lyrics including Ajda Pekkan, Başar Tamer, Berkant, Engin Evin, Ferdi Özbeğen, Gökben, Gönül Yazar, Hümeyra, İhsan Kayral, Juanito, Kamuran Akkor, Mavi Çocuklar, Nilüfer, Ömür Göksel, Selçuk Ural, Semiramis Pekkan, Seyyal Taner, Sezer Güvenirgil, Sibel Egemen, Tanju Okan, Yeliz Enrico macias lamour cest pour rien karaoke
Controversies Enrico macias lamour cest pour rien karaoke
His decision to try to play concerts in Algeria resulted in huge controversy. After the cancellation of a proposed tour in Algeria in 2000, he wrote a book Mon Algérie (Editions Plon in October 2001) marketed as a “veritable love story between one man and his homeland”.
On 14 February 2007, he announced his support of Nicolas Sarkozy for the French presidential elections. He confirmed his political convictions of the political left, but said he could not support the Socialist candidate Ségolène Royal, although he would have supported Laurent Fabius or Dominique Strauss-Kahn if they had been the candidates. Enrico macias lamour cest pour rien karaoke
He attempted again unsuccessfully to visit Algeria in November 2007 accompanying French president Nicolas Sarkozy, but was faced with fierce resistance from several Algerian organizations and individuals, including Algerian Prime Minister Abdelaziz Belkhadem, due to his support of Israel. He has never been permitted to return to Algeria since he left in 1961.
Pop music is a genre of popular music that originated in its modern form in the Western world during the 1950s and 1960s[not verified in body] as a softer alternative to rock and roll. The terms “popular music” and “pop music” are often used interchangeably, although the former describes all music that is popular and includes many styles. “Pop” and “rock” were synonymous terms until the late 1960s, when they were increasingly used in opposition from each other. Enrico macias l’amour c’est pour rien karaoke Enrico macias lamour cest pour rien karaoke
Although pop music is seen as just the singles charts, it is not the sum of all chart music. Pop music is eclectic, and often borrows elements from other styles such as urban, dance, rock, Latin, and country; nonetheless, there are core elements that define pop music. Identifying factors include generally short to medium-length songs written in a basic format (often the verse-chorus structure), as well as the common use of repeated choruses, melodic tunes, and hooks.
David Hatch and Stephen Millward define pop music as “a body of music which is distinguishable from popular, jazz, and folk musics”.According to Pete Seeger, pop music is “professional music which draws upon both folk music and fine arts music”. Although pop music is seen as just the singles charts, it is not the sum of all chart music. The music charts contain songs from a variety of sources, including classical, jazz, rock, and novelty songs. Pop music, as a genre, is seen as existing and developing separately. Thus “pop music” may be used to describe a distinct genre, aimed at a youth market, often characterized as a softer alternative to rock and roll. Musicologist Allan Moore surmises that the term “pop music” itself may have originated from Pop art. Additionally, it’s important to note that pop music is always evolving, which means that the definition of pop music can change, too. It’s also important to be cognizant of the distinction between pop music and popular music. According to The New Grove Dictionary Of Music and Musicians, popular music is defined as “the music since industrialization in the 1800’s that is most in line with the tastes and interests of the urban middle class.”
The Oxford Dictionary of Music states that the term “pop” refers to music performed by such artists as the Rolling Stones (pictured here in a 2006 performance) Enrico macias lamour cest pour rien karaoke
The term “pop song” was first recorded as being used in 1926, in the sense of a piece of music “having popular appeal”.However,[editorializing] the term was in mainstream use[not in citation given] at least ten years earlier. Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country, blues and hillbilly music. Enrico macias lamour cest pour rien karaoke
According to the website of The New Grove Dictionary of Music and Musicians, called Grove Music Online, the term “pop music” “originated in Britain in the mid-1950s as a description for rock and roll and the new youth music styles that it influenced”. The Oxford Dictionary of Music states that while pop’s “earlier meaning meant concerts appealing to a wide audience … since the late 1950s, however, pop has had the special meaning of non-classical mus[ic], usually in the form of songs, performed by such artists as the Beatles, the Rolling Stones, ABBA, etc”. Grove Music Online also states that “… in the early 1960s [the term] ‘pop music’ competed terminologically with beat music [in England], while in the USA its coverage overlapped (as it still does) with that of ‘rock and roll'”.
From about 1967, the term was increasingly used in opposition to the term rock music, a division that gave generic significance to both terms.Whereas rock aspired to authenticity and an expansion of the possibilities of popular music, pop was more commercial, ephemeral and accessible. According to British musicologist Simon Frith, pop music is produced “as a matter of enterprise not art”, is “designed to appeal to everyone” and “doesn’t come from any particular place or mark off any particular taste”. It is “not driven by any significant ambition except profit and commercial reward … and, in musical terms, it is essentially conservative”. It is, “provided from on high (by record companies, radio programmers, and concert promoters) rather than being made from below … Pop is not a do-it-yourself music but is professionally produced and packaged”.
, “You’ve Lost That Lovin’ Feelin'” ranks as the most frequently played song in US radio history, described by music writers Nick Logan and Bob Woffinden as “the ultimate pop record”.
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According to Frith, characteristics of pop music include an aim of appealing to a general audience, rather than to a particular sub-culture or ideology, and an emphasis on craftsmanship rather than formal “artistic” qualities.[6] Music scholar Timothy Warner said it typically has an emphasis on recording, production, and technology, rather than live performance; a tendency to reflect existing trends rather than progressive developments; and aims to encourage dancing or uses dance-oriented rhythms. Enrico macias lamour cest pour rien karaoke
The main medium of pop music is the song, often between two and a half and three and a half minutes in length, generally marked by a consistent and noticeable rhythmic element, a mainstream style and a simple traditional structure. Common variants include the verse-chorus form and the thirty-two-bar form, with a focus on melodies and catchy hooks, and a chorus that contrasts melodically, rhythmically and harmonically with the verse. The beat and the melodies tend to be simple, with limited harmonic accompaniment. The lyrics of modern pop songs typically focus on simple themes – often love and romantic relationships – although there are notable exceptions.
Harmony and chord progressions in pop music are often “that of classical European tonality, only more simple-minded.” Clich?s include the barbershop quartet-style harmony (i.e. ii – V – I) and blues scale-influenced harmony. There was a lessening of the influence of traditional views of the circle of fifths between the mid-1950s and the late 1970s, including less predominance for the dominant function.
Throughout its development, pop music has absorbed influences from most other genres of popular music. Early pop music drew on the sentimental ballad for its form, gained its use of vocal harmonies from gospel and soul music, instrumentation from jazz, country, and rock music, orchestration from classical music, tempo from dance music, backing from electronic music, rhythmic elements from hip-hop music, and has recently[when?] appropriated spoken passages from rap. According to Robert Christgau in 2014, pop music worldwide is permeated by electronic dance music.
A Scientific Reports study that examined over 464,000 recordings of popular music recorded between 1955 and 2010 found less variety in pitch progressions, growing average loudness levels, less diverse instrumentation and recording techniques, and less timbral variety, which declined after reaching a peak in the 1960s. Scientific American’s John Matson reported that this “seems to support the popular anecdotal observation that pop music of yore was better, or at least more varied, than today’s top-40 stuff.” Enrico macias l’amour c’est pour rien karaoke
Left, Michael Jackson in 1984; right, Madonna in 2008
In the 1940s improved microphone design allowed a more intimate singing style and ten or twenty years later inexpensive and more durable 45 r.p.m. records for singles “revolutionized the manner in which pop has been disseminated” and helped to move pop music to ‘a record/radio/film star system’. Another technological change was the widespread availability of television in the 1950s; with televised performances, “pop stars had to have a visual presence”.In the 1960s, the introduction of inexpensive, portable transistor radios meant that teenagers could listen to music outside of the home.Multi-track recording (from the 1960s); and digital sampling (from the 1980s) have also been utilized as methods for the creation and elaboration of pop music. By the early 1980s, the promotion of pop music had been greatly affected by the rise of music television channels like MTV, which “favoured those artists such as Michael Jackson and Madonna who had a strong visual appeal”.
The latter half of the 20th-century included a large-scale trend in American culture in which the boundaries between art and pop music were increasingly blurred.[27] Between 1950 and 1970, there was a debate of pop versus art.[28] Since then, certain music publications have embraced its legitimacy. According to Popmatters’ Robert Loss: “There’s a strong argument for the ‘rockist’ mode in music criticism—that it exists, and that it’s harmful—and poptimism has positioned itself as a corrective, an antidote. … In general the Old Guard of rock critics and journalists is depicted as a bunch of bricklayers for the foundations of the Rock and Roll Hall of Fame. True in part, which is to say, false. Like film studies, rock criticism of the late ‘60s and the ‘70s was an attempt to make popular music worthy of study; it was poptimism before its day.”
The story of pop music is largely the story of the intertwining pop culture of the United States and the United Kingdom in the postwar era. Enrico macias l’amour c’est pour rien karaoke
Pop music has been dominated by the American and (from the mid-1960s) British music industries, whose influence has made pop music something of an international monoculture, but most regions and countries have their own form of pop music, sometimes producing local versions of wider trends, and lending them local characteristics. Some of these trends (for example Europop) have had a significant impact of the development of the genre. Enrico macias lamour cest pour rien karaoke
According to Grove Music Online, “Western-derived pop styles, whether coexisting with or marginalizing distinctively local genres, have spread throughout the world and have come to constitute stylistic common denominators in global commercial music cultures”. Some non-Western countries, such as Japan, have developed a thriving pop music industry, most of which is devoted to Western-style pop, has for several years produced a greater quantity of music of everywhere except the USA. The spread of Western-style pop music has been interpreted variously as representing processes of Americanization, homogenization, modernization, creative appropriation, cultural imperialism, and/or a more general process of