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Freedom 515 - Ohio

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Hudson Martin
Hudson Martin

Ballads Of The Exodus High Quality

GOLAN HEIGHTS, Israel, June 29, 2021 /PRNewswire/ -- On the heels of the acclaimed documentary series 'Covenant and Controversy' and 'Sheep Among Wolves,' FAI STUDIOS' tenth feature film shatters the mold and recreates the Book of Exodus and life of Moses as they have never been seen or heard before: through the imagination of a dying boy and the ballads of his father.

Ballads of the Exodus

The original soundtrack and score of BALLADS OF THE EXODUS was written in the Golan Heights, composed and produced in Warsaw, Poland, and features some of the most talented musicians around the world today, including renowned Israeli artists and members of Kanye West's Sunday Service Choir. Visionary producer Pawel Bzim Zarecki composed what is nothing short of a groundbreaking achievement. With COVID-19 restrictions hindering normal production practices, Zarecki scored, produced, and engineered three-and-a-half hours of music by collaborating remotely with artists all around the world. The music genres of the ballads that undergird the weaving storylines of the film are as diverse and eclectic as the international collective of singers and musicians who contributed to them. From sweeping orchestral arrangements to classic reggae, from Americana folk ballads to heavy industrial rock, from aggressive rap to rapturous Gospel choirs, each ballad draws from a different musical heritage and opens up new ways of considering the implications of the story of the life of Moses. The album is sure to be recognized as a watershed in Christian music.

Dinadan wishes to be a minstrel, but that's not an acceptable occupation for a nobleman's son. Especially when his older brother Tristram is a legendary knight, out doing grand knightly things in the world. But when Dinadan gets knighted in a hurry he sets out to find great exploits to turn into heroic ballads. What he finds is the difference between true knights and merely grand ones, between tragedy and stupidity.

Francis James Child brought together narrative ballads from printed and manuscript sources for his collection English and Scottish Popular Ballads. Fellow American Bertrand Harris Bronson undertook an ambitious project to gather versions of those ballads which had survived in the oral tradition since the publication of the Child collection.

This ballad begins: 'In Genesis the world was made by God's creative hand; / In Exodus the Hebrews marched to gain the Promised Land. / Leviticus contains the law - holy, and just, and good; / Numbers records the tribes enrolled - all sons of Abraham?s blood.' The sheet was published by L. Macartney at the The Poet?s Box, 184 Overgate, Dundee. Its date of publication is not included.This is a summary of some of the principal events in the books of the Bible, laid out chronologically and in verse form. All sixty-six books are mentioned, and the ballad is divided into two verses echoing the division of the Bible into the Old and New Testaments. The ballad was probably written as an act of devotion, but also perhaps as a way to help Christians remember the names, events and sequence of the books of the Bible. In the nineteenth century, when this broadside was published, adults and children were expected by many Christian churches to have a comprehensive Biblical knowledge.Broadsides are single sheets of paper, printed on one side, to be read unfolded. They carried public information such as proclamations as well as ballads and news of the day. Cheaply available, they were sold on the streets by pedlars and chapmen. Broadsides offer a valuable insight into many aspects of the society they were published in, and the National Library of Scotland holds over 250,000 of them.

While some larger systems may be able to handle a loss of employees, rural hospitals can be substantially affected by such an exodus, Alan Morgan, CEO of the National Rural Health Association, told USA Today.

The Okie migration brought the dialects, denominations, politics, and attitudes of the Southern Plains to California, where they persist in places like Bakersfield. Although the Okie experience is best described in Steinbeck's works, it also affected popular culture in diverse musical genres, including the ballads of social radical Woody Guthrie, which inspired urban folk and rock music, as well as infusions into country music in the steely, apolitical, bumpkin sound of Buck Owens and the melancholy, oppressed-yet-patriotic ballads of Merle Haggard. Separated by ideology and a generation, both Guthrie and Haggard painted in their lyrics the imagery of a cruel, decadent California and a righteous, nostalgic Oklahoma. That image lasts in the regional meanings of "Okie": a California insult and an endearing nickname in the Southern Great Plains.

Action is present in the ballad, but there is a definite lack of connection between character and action in the ballad. The action is not motivated by character as it is in more formal narrative. This can be clearly seen simply by listening to and studying closely a number of ballads.

This tendency on the part of ballads to concentrate on climactic action is really the contribution of the folk and the effect of the nature of the oral tradition on ballad style and form. For ballads, like all folk art, are things of growth. In their earliest forms ballads may well have told detailed stories. But as they are recreated by the folk, the slower, less dramatic elements are dropped and only the moment of drama remains.

Up to now I have been discussing what constitutes a ballad and its relation to literature. In terms of studying the ballad within a folklore context it would also be appropriate to discuss what ballads are about and how they originated.

As an example of this mobility, two major highways link the Delta with northern industrial areas such as Chicago. These highways constitute one of the three major migration routes which blacks have followed in their exodus from the South. Along these highways thousands of families have left Mississippi in search of better jobs and homes. During the period between 1955 and 1960, 60% of the nonwhite migrants to Chicago were from the South, and three-quarters of this group were Mississippi-born. Though the Delta is physically defined, its inhabitants are highly mobile and it is this mobility that exerts a powerful influence on the culture of the area and its folklore. 041b061a72


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