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While thousands of people want to find criminal records from San Diego every year, there are also many individuals who are searching for San Diego Court Records. Federal, state & local governments used to keep this information private, but these public records are now available online. Using the link below, you can perform a free preliminary search of court records for anyone from San Diego. If you find the record(s) that you are looking for, it often costs less than $40 to get access to the full report. If you are serious about finding court information from San Diego, click on the link below to start searching San Diego Court Records today:

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Among the many acts billed for the Coachella Music Festival is the Kills, and the U.K. band’s performance in Indio, Calif. kicks off a 22-city tour that will span the U.S. and conclude May 21 in Pamona, Calif. The bluesy punk duo is comprised of vocalist/guitarist VV, aka Alison Mosshart (formerly of Florida punk outfit Discount), and drummer/guitarist/vocalist Hotel, aka Jamie Hince. The pair came together after Discount disbanded in 2000 when VV and London-based musician Hotel first began swapping demos through the mail. Eventually VV jumped the pond and they began writing together while on the same side of the Atlantic.

The Kills released an eponymous demo in the spring of 2001 and received rave reviews from TapeOp Magazine and other critics. The pair then contributed “Restaurant Blouse” to 5 Rue Christine’s compilation If the Twenty-First Century Did Not Exist It Would Be Necessary to Invent It in 2002, just before their debut EP, Black Rooster, arrived via Dim Mak that summer. The Kills took a break from recording their debut LP to play gigs at the London and Glasgow LadyFests and support Le Tigre on tour in addition to touring the U.S. for eight weeks solo. Upon returning to London, VV and Hotel finished recording and their debut full-length, Keep On Your Mean Side, was released by Rough Trade in spring 2003. Two years later the Kills released their sophomore album, No Wow, and their third full-length, Midnight Bloom surfaced in 2008.

The Kills’ upcoming tour is in support of Midnight Bloom, while the duo will also be promoting songs from their upcoming Black Balloon EP, which is slated for an April 14 release date in the States (March 23 elsewhere). The Kills, who have toured with the Black Keys and the Raconteurs in recent months, are expected to make stops in Tucson, Boulder, Dallas, Austin, Atlanta, Philadelphia, Washington, D.C., Brooklyn, Boston, Montreal, Toronto, Chicago, Detroit, Minneapolis and more. The Kills will be in good company at Coachella, as the bill boasts fellow Brits Paul McCartney and Amy Winehouse as headliners. Coachella will be McCartney’s maiden American festival appearance, while Winehouse made an appearance back in 2007, when her star was first rising (and had yet to be overshadowed by her turbulent personal life.)

Other big names set to hit Coachella’s usual Empire Polo Field location in Indio, Calif. April 17-19 are the Killers, the Cure, Morrissey, Leonard Cohen, the Yeah Yeah Yeahs and My Bloody Valentine, who were set to play the festival last year but backed out as they were freshly reunited and didn’t feel ready for such a high-profile gig. Once again, the Coachella lineup features artists from the indie rock and dance/electronica camps. Indie rockers the Hold Steady, the Black Keys, Band of Horses and Fleet Foxes will perform along with electronic acts Girl Talk, Thievery Corporation, the Crystal Method and MSTRKRF. Among the Coachella newbies are Vivian Girls, Lykke Li, White Lies and Cage the Elephant. Check out http://www.stubhub.com/Coachella-music-festival-tickets for Coachella Music Festival tickets before they’re all gone!

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The public talent show began humbly enough: when Opportunity Knocks bounded from radio to ITV in 1956 winners were selected by postal vote. Aahh, it all seems rather quaint now doesn’t it? Of course, this lead, eventually, to votes being cast by premium phone lines, a system, some 25 years later, still in use.

Though the format of modern day programmes like X Factor or I’d Do Anything is similar to its televisual ancestors like Opp. Knocks or The Gong Show it differs in one vital aspect: which is, of course, that these shows offer a ‘career’ as a prize. The winners of X Factor are landed with recording contracts and album deals; in I’d Do Anything they are handed a lead role in a real West End show.

With the livelihoods of producers, directors and co-stars riding on the aptitude of the winners, one may legitimately find themselves wondering: what if the public get it wrong?

After all, the public record at choosing stars is less than, well, shall we say exemplary? Michelle McManus was dropped by her record company 19 Entertainment a year and a half after winning Pop Idol. Steve Brookstein on the other hand, lasted only eight months with Sony BMG after winning X Factor before he was dropped into obscurity.

Then, of course, there are different motives behind peoples’ votes. The Eurovision Song Contest, for example, is rife with accusations of ethnic and political bias. At the close of this year’s competition in Belgrade, the Russian act Dima Bilan emerged triumphant with 272 points. As many critics have pointed out though, Russia received the maximum 12 points from most of the former Soviet states. Estonia, Latvia, Lithuania, Ukraine, Belarus and Armenia all chose the Russian entry as the winner. Even esteemed Eurovision pundit Terry Wogan remarked, as the result was being announced, that “This is no longer a music contest”

Herein, it seems, lies the problem: if you allow the public to choose, you must accept their choice, motives and all. You cannot expect a collective of millions of people to value the same things equally and, if they want to vote (or indeed, not vote) for certain competitors for political or social or ethnic reasons, then you cannot stop them.

And this problem is not just confined to popular culture. Carol Levine expands the conflict of art and democracy in her book Provoking Democracy: Why we Need the Arts. She describes art as ‘democracy’s friendly enemy’ prodding and provoking its shortfalls. Democracy and art then, it would seem, may not be the cosiest of bedfellows.

Allowing the public to help mould their celebrities whether they be novelty variety acts or West End starlets is certainly very popular but is it very helpful? In this digital age of rocketing bandwith and countless content streaming services, our choice of entertainment has never been paralleled; but has this improved matters? With phone in talent shows and public contests we certainly have unfettered access, but whether that is access to great art or great spectacle is still up for debate.

Double Oscar-winning music composer A R Rahman embarked on his much awaited ‘Jai Ho’ concert from October 11 here. Allah Rakha Rahman is an Indian film composer, record producer, musician and singer. His film scoring career began in theearly 1990s. He has won thirteen Filmfare Awards, four National Film Awards, a BAFTA Award, a Golden Globe and two Academy Awards. Working in India’s various film industries, international cinema and theatre, by 2003, Rahman, in a career spanning over a decade, has sold more than 100 million records of his film scores and soundtracks worldwide, and sold over 200 million cassettes, making him one of the world’s all-time top selling recording artists. This is the first time that Rahman performed in Chennai after bagging the Academy Awards for his musical score in Danny Boyle’s Slumdog Millionaire.

Rahman told reporters before the concert that he was really looking forward to it. `This year there is more focus on conducting Indian concerts and starting from Chennai, it will go on,` Rahman added. The composer said the concert would have a mix of songs including tracks from his upcoming Bollywood film, `Blue`. Though he has been promoting his son Alim, who wants to become a playback singer, the six-year-old did not participate in the concert. The A.R Rahman concert on October 11th exceeded all expectations and believe us -the expectations were high!

The crowd was extremely enthusiastic and vociferous at times though a common complaint was poor crowd management. One of the highlights of the evening was when Rahman sang the song `Jiya se Jiya` from a crane. Most of the crowd was on its feet swaying to the beat with him. Later during the night Rahman played the piano and sang some beautiful love songs. Singer Hariharan joined him on stage for a touching rendition of the song `Tamizha tamizha` which had most of the crowd on its feet while swaying the Indian flag.

Rashid Ali who sang the peppy number `Kabhi Kabhi Aditi` dedicated the song to the Aditi’s in the crowd. During the show, the religious heads from three religions gave Rahman Holy water from Jerusalem, The Ganges and Mecca to signify oneness. After this little ceremony Rahman handed over the keys of the flats which were constructed by Marg at the Marg Swarnabhoomi Township to the flat owners.

Rahman had saved the best for the last. With songs like `Azeemo shaan shahenshah` and `Veerapandiya kottayille` which were followed by a mind-blowing solo by Sivamani coming towards the tail end of the concert. When Rahman sang the highly spiritual song `Khwaja mere khwaja` the stage bathed in in green light.There was so much devotion and sincerity in his voice that the crowd was instantly quietened.

Chitra as usual wowed the crowd with the song `Jiya jale` which was accompanied by fire dancers. The finale of the show with songs like the much awaited `Jai Ho` and `Vande Mataram` had the crowd in a frenzy of delight and were definitely well worth the wait.

Balloons, lights, the stars, the gentle breeze and Rahman’s wonderful music all conspired to make the evening a truly magical one for his fans.

 

I used to tell people I met on airplanes or at parties that I wrote about jazz for a living. Once they got past wondering just what type of “living” that amounted to, they’d smile and say, “I love jazz,” then pause, adding, “But I don’t know that much about it.”

They were leery, thrown off by chart-and-graph references to jazz’s development — stuff like how ’40s swing begat ’50s bebop, which gave rise to ’60s free-jazz and all that. As if there was a textbook (well, actually some critic friends of mine are writing one, but that’s another story) and there might be a test, you know. Not to mention the political squabbles: why swing was king or bop the thing or how ’70s fusion killed it all.

Or maybe they’d been put off by all that technical talk: flatted fifths and extended chords and the numbers behind swing’s rhythmic propulsion — like it was rocket science or something.

Then there’s the cult aspect: those older guys bending and swaying at the back of the club, making like Jewish elders swaying to an fro at temple, or the generalized bowing down before deities such as Louis Armstrong and Charlie Parker and John Coltrane (not to mention the infighting about just who deserves saintly status).

Thing is, jazz isn’t any of that — and is all that. Appreciation requires no previous knowledge, yet continued listening offers all constant enrichment. The technical aspects of jazz’s musical achievements have both the beauty and complexity of higher math: And the music has genuine religious heft, owing to both time-honored spiritual traditions and in-the-moment meditative thought.

I can’t give you a 12-best list, or tell you that what follows tells the story in full. But the following list expresses lineages of thought, instrumental technique, rhythmic ideas and group conception. The dots are easy to connect, the names clearly indicated and the sounds unforgettable.

And this list is like those sponge toys that, placed in water, magically grow overnight. Listen, and you’ll find expansive knowledge easily absorbed, not to mention natural links to many more artists and recordings.

Listen Hot Fives And Sevens

Artist: Louis Armstrong

Release Date: 1925

To tell the story of jazz without Louis Armstrong up top is to cut off the head of the living organism that is jazz. Armstrong was a giant of a trumpeter, he was an influential singer and perhaps most important, he transformed jazz from a strictly instrumental music into a complicated blend of solo and ensemble sound. In that sense, nearly all the 20th century jazz that followed flowed from the innovation of these recordings. Over the course of these sessions, you can hear the transformation in process, from traditional New Orleans collective style to a different blend, with the clarion call of Armstrong’s horn pointing the way.

Listen The Art Tatum Solo Masterpieces Volume 1

Artist: Art Tatum

Release Date: 2001

Any one edition drawn from this eight-CD set will do. And any one is enough to give a sense of the enormity of Tatum’s genius and its far-reaching effects on all the music that followed. Tatum simply played more piano — got more out the instrument — than any other musician. He was a direct link from the whorehouse piano men to the classical soloist. Here, late in life, he plays song after song and, beginning with “Too Marvelous for Words,” he builds each one into a concerto of melody, harmonics, and improvisation that set the bar high and establish the logic for much of modern jazz.

Listen The Carnegie Hall Concerts: January 1943

Artist: Duke Ellington

Release Date: 1943

Little in jazz compares with the majesty, finesse, integrity and spark of Duke Ellington’s bands during the ’40s. It was a moment when jazz straddled two functions as it never will again: it was popular music, reflective of the nation’s heart and mind, and artistic revolution, charting new waters. In Ellington, as perhaps in no musician other than Louis Armstrong, jazz had a leader who understood both drives. It was a dream of Ellington’s to play Carnegie Hall, and it anticipated the Lincoln Center achievements of Wynton Marsalis today. This recording contains both shorter tunes (marvelous miniatures of great scope) and Ellington’s more ambitious, longer-form work “Black, Brown, and Beige.” There are stellar solo statements by players including saxophonists Ben Webster and Johnny Hodges, but really, it’s the brilliant cohesion of the full band and Ellington’s overall vision that makes this music timeless.

Listen Tomorrow Is The Question

Artist: Ornette Coleman

Release Date: 1959

Ornette Coleman’s music has always leaned on tradition — listen to some Charlie Parker and you’ll hear echoes of it here — distilled into something new and pointed straight toward the future, or curled up like a quizzical phrase. Here, Coleman’s title begs both ideas. And the music announced his pianoless quartet setup: the harmonics of chord changes alone would no longer confine Coleman’s music, replaced by his own personal science bent on liberation. The way Coleman and trumpeter Don Cherry shadow each other’s lines and exchange ideas, the process sounds closer to pure joy than hard science. Nearly a half-century later, it still sounds fresh.

Listen Alone In San Francisco

Artist: Thelonious Monk

Release Date: 1959

The hippest, most addictive thing I got turned onto in college was Monk’s music. I’d never heard anything like it, and it opened up a whole new idea for me of how the piano could sound and of what music could do: his compositions, his every arpeggio or tone cluster, contained math, R&B, Abstract Expressionism and slapstick humor. I went on to discover a world of jazz musicians, all touched directly or indirectly by Monk, but none who sounded quite like him. And though Monk recorded quite a few notable albums leading stellar bands, though his music led others to play with a special insight and cohesion, it’s Monk alone at the piano that I crave: Straight, no chaser. Here, early in his career, by himself, Monk transforms San Francisco’s Fugazi Hall with the unique architecture of his piano playing. This isn’t what all of jazz sounds like: It’s what the world of jazz after Monk looks like.

Listen Bill Evans Trio: Sunday At The Village Vanguard

Artist: Bill Evans

Release Date: 1961

There’s plenty of religious, folkloric and literary evidence to support the idea that three is a magical number: Bill Evans’s trio might be jazz’s mightiest argument for that case. Evans was one of jazz’s most lyrical pianists, and he’s at his best here. But it’s the nature of this trio that elevates most of all: neither Evans nor bassist Scott LaFaro nor drummer Paul Motian stick to customary roles. And in the three-pointed cheese slice of a room that is the Village Vanguard (the closest thing to sacred space remaining in jazz today) the music takes on a prayer-like quality.

Listen Live Trane: The European Tours

Artist: John Coltrane

Release Date: 1961

By 1961, Coltrane’s soloing style — the free flow through chord changes and scale-based improvisations that critic Ira Gitler dubbed “sheets of sound” — was his signature. His band concept was similarly bent on expanding boundaries and explosive energy. Coltrane may have laid down some of jazz’s most memorable studio sessions, but there’s really nothing like him caught live. These tracks, drawn from a three-LP set, find him in two powerful contexts over the course of four years: in a 1961 quintet including Eric Dolphy on alto sax, flute and clarinet; and fronting his classic quartet at concerts in 1963 and 1965. The fire and especially the communion between Coltrane and drummer Elvin Jones on the later material is a thing to behold.

Listen Spiritual Unity

Artist: Albert Ayler

Release Date: 1964

The first release on Bernard Stollman’s ESP label, this is the session that pushed Albert Ayler to the forefront of jazz’s avant garde. He remains a touchstone for any open-minded musician wishing to explore the sonic possibilities of a given instrument, to exploit the aggregate effect of any small group and to mine the spiritual heft of musical expression. To some, the arsenal of sounds Ayler coaxed from his saxophone — screams, squeals, wails, honks and a mile-wide vibrato when he felt like it — represented newfound contortions of sound; to others, they harked back to early jazz evocations, like Sidney Bechet’s soprano sax. Ayler’s appeal anticipates the current axis that connects punk rockers to free jazz: He took the simplest of song structures and turned them into the most complex of visceral splatters. His “Ghosts,” here rendered in two versions, will truly haunt you.

Listen Afro-Cuban Jazz Moods

Artist: Dizzy Gillespie And Machito

Release Date: 1975

Back when I edited a jazz magazine, I’d find regular annoyance with writers who thought Latin jazz was a tiny sidebar to American jazz. Jazz is many stories, a central one being the African Diaspora. The music of Latin America, South America and the Caribbean are cousins to American music (and they contain some rhythmic secrets we’ve forgotten, I’d say). Cuba in particular has a special musical relationship with the United States, and trumpeter Dizzy Gillespie was one among jazz’s ranks who honored that truth with depth and style. Though Dizzy made his Big Cuban Bang decades earlier, this 1975 session finds him with the famed band of Frank “Machito” Grillo, featuring the great Cuban trumpeter Mario Bauzá. Composer/arranger Chico O’Farrill’s “Oro, Incienso y Mirra” is as modern a fusion of cross-cultural ideas as you’ll hear today.

Listen Raining On The Moon

Artist: William Parker

Release Date: 2002

Born in 1955 [ck], William Parker is just a bit older than the music we know as free jazz. Some say that that musical revolution is dead: They’re wrong. The most vital life signs are found on Manhattan’s Lower East Side, and at the center of this scene is the loud, insistent sound of Parker’s bass. He is something of a father figure, dispensing life lessons as well as musical wisdom, much like legendary bandleaders Duke Ellington, Art Blakey and Charles Mingus. Among Parker’s many bands is the quartet he leads here (with Leena Conquest adding soulful vocals). Among the deep connections he shares is the one you can feel powerfully throughout this music, with drummer Hamid Drake.

Eversince the cancellation of his reality series Being Bobby Brown on the Bravo network, Bobby Brown 80′s teen pop idol and 90′s top selling R&B pop star has been on a downward spiral. The reality show that was supposed to re-engergize his career gave us more insight into a person that we the viewing public liked less and less with each episode. His explanations for the way of things were lame and at times utterly ridiculous but we tuned in for who doesn’t like to see a train wreck. It gives me no pleasure to say such things for I always did respect the talent of this man and felt had he stayed on course he would have turned into our generations greatest entertainers. But just like any Behind the Music story his own demons got in the way as he tripped up on the ladder of success and came tumbling down til he hit the ground with a great big thud! Such a shame for a man who had thus far beaten the odds coming out of a tough neighborhood to go on to be part of the biggest black teen pop sensation of the 80′s New Edition and on to even greater solo success.

Roxbury a project in Boston was the birthplace of Bobby Brown living in a crowded apartment with six other siblings. Friends of his who lived close by Ralph Tresvant, Michael Bivins, and Ronnie Devoe teamed up with the Michal Bell he knephew of star producer Maurice Starr (also the producer of New Kids on the Block also from Boston) to form New Edition. Everyone knows that this group went on to astounding success as they were the only black teen group of the time making records and having success. This really hadn’t been done since the success of the Jackson 5 in the early 70′s and they tapped a market that hadn’t been filled since then. Well after that New Edition was the first of the boy-band phenomena and years later others would follow (New Kids on the Block, the Backstreet Boys, N’Sync, Dreamstreet, Jagged Edge, Jodeci, Dru Hill, etc., etc.). But Bobby didn’t stay to long for he had issues with the money and how he and the others were being paid.

Striking out on his own Bobby resurfaced a few years later with his first solo EP called King of Stage. It was a modest hit yielding a couple of hit singles on the R&B charts which allowed him to stay on his label to do another record. His next EP Don’t Be Cruel set him up as a bona fide star! That cd yielded six top ten hits, a national tour, and a gig singing the theme song of the second long anticipated sequel to the movie Ghostbusters. Around this time he and his girlfriend Whitney Houston got married and everything seemed well in the life of Bobby Brown. That’s when it all started to go wrong.

I’m not going to speculate that marriage was bad for Bobby and I’m not going to say Whitney didn’t contribute to some of his problems. What I will say though is that all married couples have problems period, and he didn’t deal well with his. Being a celebrity is a tough gig but it has its perks especially for men getting attention from the ladies. It’s a hard temptation to resist and Bobby didn’t. Then there are more negative things like drugs for it seems drug-dealers key in on celebrities to be their suppliers for narcotics. Why drugs are such a desirable item for celebrities I don’t know but Bobby Brown wasn’t the only one doing them. But he was one of them continually getting caught and it should have been evident to him that they were watching him much closer than others so he needed to stop. He didn’t though. And then the tax troubles, yes another celebrity who doesn’t seem to know that when it comes to paying your taxes Uncle Sam shows no favoratism except to big multinational corporations with paid lobbyists on the books of which Bobby Brown wasn’t in that category.

It’s hard to say exactly where everything went wrong but all we know is that it did go wrong and he immediately started pointing the finger at his wife instead of taking responsibility for his own actions. His claim that she got him hooked on drugs is asinine at best and more than ridiculous for in order for that to happen she would have put the gun to his head and make him take them right? And then spewing so-called ‘family’ secrets about Whitney’s lesbian affair with a friend of long ago? So who is he to judge father of eight kids out of wedlock only one while married? Then too who’s business is it anyway about who Whitney slept with (allegedly now) before she MARRIED him? I guess he learned his lesson though for after Whitney’s Oprah Winfrey interview everyone expected him to come out swinging! I was surprised to see that he didn’t.

Maybe age has played a part in his decision to make an intelligent comment (he said he and Whitney were partly to blame for the break-up but he wished her well) or maybe that new business savvy manager/girlfriend/babymama of his knew the hate he incurred with his baseless accusations and steered him clear of it. I don’t know what it was but I’m glad he didn’t. I’m glad because it’s been very sad to me to see a man with so much talent and promise blew it all. He had the world in the palm of his hand and could have gone on to be the next King of pop or even greater. We all make mistakes but at some point he quit even trying losing his record contract, stopped touring, basically stopped working and became a kept man by his wife and expected everyone to respect him. No Bobby it doesn’t work that way for you, me, or any other man who wants to call himself such. But I will say I do have more respect for him now. He’s out working again touring with New Edition and trying to put together plans for a new CD and being productive again. I hope though in all this time he’s had time to reflect and realise that his problem years were not the fault of anyone but were a result of him, Being Bobby Brown.

Search Omaha Criminal Records and Omaha Court Records online now! Omaha Records – Omaha Criminal / Court Records

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If you are looking to find criminal record information about anyone from Omaha, you need to perform a free preliminary search using the link above. Over the past few years, Omaha Criminal Records have become available on the internet – you can find accurate criminal records for any man or woman in Omaha by doing a quick online search. When you find the criminal record that you are looking for, you can get full access to that information for less than $30, which is a great deal in this terrible economy. Don’t wait, use the link below (or above) to start finding criminal records from Omaha now:

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While thousands of people want to find criminal records from Omaha every year, there are also many individuals who are searching for Omaha Court Records. Federal, state & local governments used to keep this information private, but these public records are now available online. Using the link below, you can perform a free preliminary search of court records for anyone from Omaha. If you find the record(s) that you are looking for, it often costs less than $40 to get access to the full report. If you are serious about finding court information from Omaha, click on the link below to start searching Omaha Court Records today:

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Energetic. Raw. Powerful. Melodic. Intense. Rock.

These are words that have been used to describe Algren, a fresh rock band from Chicago that has burst onto the local music scene with their unique blend of introspective lyrics, searing guitar riffs, grooving rhythms and dynamic songwriting.

Algren hit the ground running in late 2006, quickly building a strong repertoire of hard/indie rock songs. Known for their inspiringly energetic sets, Algren has played gigs at numerous Chicagoland bars and clubs throughout 2007 and 2008, including highlight performances at Double Door, Cubby Bear, Elbo Room, and the Downers Grove Heritage Fest. The band is quickly building up a devoted fan base with the help of various media outlets, such as Q101, 97.9 The Loop, Fearless Radio, the Red Eye, Rock Chicago on CANTV-19, and The Local Tourist. Algren is also a member of Chicago Noise Machine, the consortium of local bands that also includes A Birdsong Valentine, Bullet Called Life, Echoson, Heavy the Fall, Lucid Ground, Reverie, 72 Hours, and Simplistic Urge.

All four members are dedicated and driven musicians, performers, and promoters looking to make a name for themselves in the regional and national market while performing the music they love. The group recorded a new song, “Morning” last February and looks to record a full-length album for a spring 2009 release.

Upon the new release Algren will be searching for gigs to play at and asking fans to request clubs they would like to see them play. It’s up to the general public and their fan base to follow Algren and support their touring schedule. It would be a great effort for their fans to get out of the house to see them play live. For those of you who love live music will not be dissappointed by the tight sound of Algren.

Keep an ear out for this indie band because they just might be heading to your town for a show and you wouldn’t want to miss them.

More information can be found at http:newjuke.com/algren

 

Aretha Franklin tickets are now available and can be bought or sold online at Stubhub.com.

The influence of Aretha Franklin on popular music is impossible to deny. She was big, bold and beautiful, with a mountain of a voice. When Aretha opened her mouth, everyone listened. She was a strong female and black figurehead in popular culture at a time when friction between races was growing, and the racism of America was being confronted.

Born Aretha Louise Franklin in Memphis, TN in 1942, she grew up signing in a Detroit church of her father, who was a reverend. Along with her sisters, she displayed a tremendous amount of talent, and the passion she brought with her to the stage stirred the soul of anyone who listened to her. Her first recordings were made at age 14.

As she grew older, she joined Columbia Records, struggling to find success on the charts. Many fans don’t care for her Columbia period, as the label tried to spin her as more of a pop artist than a gospel singer, which she was clearly predisposed to. Fortunately, she persevered through this period and found her niche in the gospel world.

In the ‘60s, she began recording with Muscle Shoals, and made a name for herself by unleashing her powerful, intensely passionate voice. The raw joy of worship that was expressed during church services was contagious, and when people heard her on the radio, they couldn’t keep from tapping their feet. Eventually, people began to see her as a symbol as well as a performer. She wasn’t just a recording artist, she was the voice of black America, proud and unrestrained by the bonds of the past. This came at a crucial time, when the conversation about civil rights and segregation was creating considerable friction throughout the country.

Even in other countries, Franklin’s voice impressed music listeners. She remains a critically influential voice today—and thankfully she’s still touring. As long as she does, you can bet Aretha Franklin tickets will be in demand.