World
Jon Batiste's 'Beethoven Blues' transforms classical works into unique blues and gospel renditions
NEW YORK (AP) — When Grammy-award winner Jon Batiste was a kid, say, 9 or 10 years old, he moved between musical worlds — participating in local, classical piano competitions by day, then “gigging in night haunts in the heart of New Orleans.”
Free from the rigidity of genre, but also a dedicated student of it, his tastes wove into one another. He’d find himself transforming canonized classical works into blues or gospel songs, injecting them with the style-agnostic soulfulness he’s become known for. On Nov. 15, Batiste will release his first ever album of solo piano work, a collection of similar compositions.
Titled “Beethoven Blues (Batiste Piano Series, Vol. 1),” across 11 tracks, Batiste collaborates, in a way, with Beethoven, reimagining the German pianist’s instantly recognizable works into something fluid, extending across musical histories. Kicking off with the lead single “Für Elise-Batiste,” with its simple intro known the world over as one of the first pieces of music beginners learn on piano, he morphs the song into ebullient blues.
“My private practice has always been kind of in reverence to, of course, but also to demystify the mythology around these composers,” he told The Associated Press in an interview ahead of Wednesday’s album release announcement.
The album was written through a process called “spontaneous composition,” which he views as a lost art in classical music. It’s extemporization; Batiste sits at the piano and interpolates Beethoven’s masterpieces to make them his own.
“The approach is to think about, if I were both in conversation with Beethoven, but also if Beethoven himself were here today, and he was sitting at the piano, what would the approach be?” he explained. “And blending both, you know, my approach to artistry and creativity and what my imagined approach of how a contemporary Beethoven would approach these works.”
There is a division, he said, in a popular understanding of music where “pristine and preserved and European” genres are viewed as more valuable than “something that’s Black and sweaty and improvisational.” This album, like most of his work, disrupts the assumption.
Contrary to what many might think, Batiste said that Beethoven’s rhythms are African. “On a basic technical level, he’s doing the thing that African music ingenuity brought to the world, which is he’s playing in both a two meter and a three meter at once, almost all the time. He’s playing in two different time signatures at once, almost exclusively,” he said.
“When you hear a drum circle, you know, the African diasporic tradition of playing in time together, you’re hearing multiple different meters happening at once,” he continued. “In general, he’s layering all of the practice of classical music and symphonic music with this deeply African rhythmic practice, so it’s sophisticated.”
“Beethoven Blues” honors that complexity. “I’m deeply repelled by the classism and the culture system that we’ve set up that degrades some and elevates others. And ultimately the main thing that I’m drawn in by is how excellence transcends race,” he said.
When these songs are performed live, given their spontaneous nature, they will never sound exactly like they do on record, and no two sets will be the same. “If you were to come and see me perform these works 10 times in a row, you’d hear not only a new version of Beethoven, but you would also get a completely new concert of Beethoven,” he said.
“Beethoven Blues” is the first in a piano series — just how many will there be, and over what time frame, and what they will look like? Well, he’s keeping his options open.
“The themes of the piano series are going to be based on, you know, whatever is timely for me in that moment of my development, whatever I’m exploring in terms of my artistry. It could be another series based on a composer,” he said.
“Or it could be something completely different.”
World
EU ministers water down proposal on child sexual abuse
A proposal on combatting child sexual abuse has been watered down by some EU justice ministers, with others expressing their regret at certain elements of the proposal being removed entirely.
With the development of new technologies, sexual abuse of children has seen a rise in Europe.
The EU is therefore looking to update its directive on combatting the sexual abuse and sexual exploitation of children, which dates back to 2011.
However, the EU Commission’s initial proposal has been watered down by the justice ministers of several EU countries. Seven Member States, which include Belgium, Finland and Ireland, expressed their regret at the removal of certain parts of the proposal.
“We deeply regret that the majority of Member States were unable to support a more ambitious approach aimed at ensuring that children who have reached the age of sexual consent receive the strongest and most comprehensive legal protection possible against unwanted sexual acts,” they wrote in a press release.
Key issues remained unaddressed
Isaline Wittorski, EU regional coordinator at child rights organisation ECPAT International, is particularly concerned regarding Member States’ opposition to the extension of the limitation period for pursuing child sexual abuse cases.
She also regrets that “grooming” – the process by which an adult intentionally approaches minors and manipulates them for sexual purposes – for children who have reached the age of sexual consent was not addressed by the Council.
“The Member States expressly refused to recognise in the text that a child in a state of shock or intoxication cannot be considered to have consented to sexual abuse”, she adds.
Harmonisation of penalties
The Commission’s proposal aims to harmonise the definition of sexual violence against minors and penalties within the EU.
It will also update criminal law in order to criminalise the rape of children broadcast live on the internet, as well as the possession and exchange of paedophile manuals and child abuse deepfakes.
MEPs, for their part, should support a more ambitious directive. Birgit Sippel, a German MEP (S&D), is calling for longer limitation periods.
“Many children who have been abused take years or even decades before they dare to go to court or to a police station. So this is a very important step that is missing from the current directive,” the MEP told Euronews.
“Unfortunately, what I see is that the Council is watering down almost everything that could improve the current directive. It will therefore be very important for the EU Parliament to maintain a very strong position and force the Council to go further and not limit itself to the current directive,” she added.
The proposal’s text can still be amended. After a vote by MEPs, negotiations will take place between the EU Commission, the European Council and the European Parliament.
It is estimated that one in five children in Europe is a victim of some form of sexual violence.
In 2022 alone, there were 1.5 million reports of child sexual abuse in the EU.
Ministers also failed to reach agreement on another regulatory text aimed at combatting the sexual abuse of children online, which aims to force platforms to detect and remove content depicting sexual violence against minors. This proposal caused a clash between children’s rights defenders and privacy protection lobbies.
World
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World
Christmas trees in Germany were decorated with apples instead of ornaments in the 1600s for 'Adam and Eve Day'
The choosing and decorating of a Christmas tree to display during the holiday season is a beloved tradition with a long history.
Today, Christmas trees are often decorated with an array of ornaments, including glass ones, homemade creations, candy canes, tinsel and sparkling lights, but that was not always the case. There was a time in history when Christmas trees were adorned with edible items, including apples, to commemorate the feast of Adam and Eve on Dec. 24.
Germany is credited with starting the tradition of the Christmas tree, according to History.com, with 16th century records telling of Christians bringing trees into their homes for the holiday.
PRESIDENT FRANKLIN D. ROOSEVELT SOLD CHRISTMAS TREES TO LOCAL RESIDENTS ON HIS OWN ESTATE IN THE 1930S
The Christmas tree has evolved over time, especially in the way in which it is decorated.
In the 1600s, it was typical for a Christmas tree to be decorated using apples, according to the National Christmas Tree Association.
The feast of Adam and Eve, held on Dec. 24, was honored by a “Paradise Play,” which told the story of Adam and Eve.
The play featured a “Paradise Tree,” according to the website, The Catholic Company, which was decorated with apples.
HOW TO SAY ‘MERRY CHRISTMAS’ IN 10 LANGUAGES TO FRIENDS AROUND THE WORLD
It was popular in Germany to set up “Paradise Trees” in homes, according to several sources, including Britannica and CatholicProfiles.org.
Then, in the 1700s, evergreen tips were hung from the ceilings of homes, also decorated with apples as well as gilded nuts and red paper strips, according to the National Christmas Tree Association.
It was not until the 1800s that the Christmas tree made its way to the United States by German settlers, according to the source.
At this time, Christmas trees were not the large displays they are now, and they simply sat atop a table, per the National Christmas Tree Association.
Then, in the mid-1800s, trees began to sell commercially in the U.S. By the late 1800s, glass ornaments became a common decoration for the Christmas tree, according to the National Christmas Tree Association.
Today, every family has their own traditions and preferences when it comes to decorating the Christmas tree.
Some go with a very complimentary design, sticking to a single or couple of colors. Others opt for a mix-matched arrangement, combining homemade ornaments with more classic ones, as well as colorful lights, ribbon and more.
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