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David Byrne Support: Tune-Yards Mon. September 17 | Doors: 7PM | Show: 8PM Tickets on sale Fri. March 9, 10AM My Biography I was born in Dumbarton, Scotland. It was what was called a breech birth … which often means butt first … which was probably exceedingly difficult for my mother and may have been indicative of a bad attitude on my part. I was there, but I don’t remember. My parents had what was called a mixed marriage, which made life difficult. And there was little work in Scotland in those years. We moved to Canada on a boat, the QE2, when I was very young and after some years in Hamilton, the family moved to Baltimore, where I had my primary and secondary education. I loved art class and was asked to leave the school choir. I played guitar in a band with some friends; I think Ricky Brewster was the singer. At a high school battle of the bands, a rival band pulled the plug on us. We lost the contest. I wanted to be able to study both art and engineering—as I saw creativity in both areas—but that didn’t seem possible, so I went to art school in Baltimore and Rhode Island. There I encountered people with backgrounds very different than mine. Very different class, cultural, and economic backgrounds. This was all new and hard to understand at first. I made music at the same time I was at art school, but not having training, I never considered it as a career. For a while I wore old suits and had a beard—local children in Baltimore asked if I was “one of those people who didn’t ride in cars.” I hitchhiked around the U.S., stayed on a commune and busked for money … but eventually I came back East, discovered I could write songs, and with some friends we played at art school events and parties. I moved to NY with some wild art-related ideas—one was a sort of rating system for the arts influenced by the books on cybernetics and systems theory that I was reading. I reconnected with my friends and we auditioned at a local club playing our own songs. A handful of people liked us, and so we stuck to it and surprisingly soon we were playing our music all over the world. I still do this from time to time, it’s hugely enjoyable. I have been lucky to be able to do these things. Though music took up much of my time for many years, I eventually went back to re-engage with the visual side of things—directing some films and making picture books, art, and installations. I lived in L.A. for a while but now spend most of my time in NY. I began riding a bicycle as a way of getting around, and I wrote a book using those experiences as a way to talk about the things I saw. I made some custom bike racks for NY, for BAM, and for Stanford University. We need places to lock up. I then wrote a book about music, or rather the contexts that shape and affect music. I love working with other people. Though there are sometimes forks in the road, for the most part the convoluted path is worth it as together collaborators often end up somewhere neither expected. I wrote two musicals about powerful women—Imelda Marcos and Joan of Arc. When it works, a song can express a character’s inner feelings in ways that go beyond words. Songs help us understand things in a different way. There have been collaborations with Robert Wilson, Twyla Tharp, St. Vincent, Fatboy Slim, De La Soul, and Brian Eno. Recently I conceived and presented a show that brought together ten musical acts and ten colorguard teams. Now I’ve made a record that just has my name on it but is also the result of the contributions of many other people. I suspect that like me it is asking what are we like, what do we want, and what are we looking for. David Byrne
evenko présente David Byrne avec/with tune-yards Portes: 19h00 - Spectacle: 20h00 68$ - 197,50$ Mise en vente: 6 avril 2018 à 10h Prix lors de l’achat à la billetterie / Des frais de manutention peuvent s’appliquer lors de l’achat en ligne. ----------------------------------------------------------------------------- Doors: 7:00pm - Show: 8:00pm $68 - $197,50 On Sale: April 6 at 10am Prices for box office purchase / Handling fees may apply for online purchase
Jedinečný koncert Davida Kollera na terase hradu Špilberk. POZOR: Kapacita je omezená! Předkapela: Supertesla Cena v předprodeji 450 Kč / na místě 550 Kč. https://goout.net/cs/listky/david-koller/senc/
On sale Friday 19th January at 10am
Beyond this, the full range of possible interpretations is available. The late John Bright, in his History of Israel (1981), takes Samuel at face value. Donald B. Redford, however, sees all reconstructions from biblical sources for the United Monarchy period as examples of "academic wishful thinking". Thomas L. Thompson rejects the historicity of the biblical narrative: "The history of Palestine and of its peoples is very different from the Bible's narratives, whatever political claims to the contrary may be. An independent history of Judea during the Iron I and Iron II periods has little room for historicizing readings of the stories of I-II Samuel and I Kings." Amihai Mazar however, concludes that based on recent archeological findings, like those in City of David, Khirbet Qeiyafa, Tel Dan, Tel Rehov, Khirbet en-Nahas and others "the deconstruction of United Monarchy and the devaluation of Judah as a state in 9th century is unacceptable interpretation of available historic data". According to Mazar, based on archeological evidences, the United Monarchy can be described as a "state in development".
The authors and editors of Samuel and Chronicles did not aim to record history, but to promote David's reign as inevitable and desirable, and for this reason there is little about David that is concrete and undisputed. The archaeological evidence indicates that in the 10th century BCE, the time of David, Judah was sparsely inhabited and Jerusalem was no more than a small village; over the following century it slowly evolved from a highland chiefdom to a kingdom, but always overshadowed by the older and more powerful kingdom of Israel to the north. The biblical evidence likewise indicates that David's Judah was something less than a full-fledged monarchy: it often calls him negid, for Example, meaning "prince" or "chief", rather than melek, meaning "king"; the biblical David sets up none of the complex bureaucracy that a kingdom needs (even his army is made up of volunteers), and his followers are largely related to him and from his small home-area around Hebron.
The Tel Dan Stele, an inscribed stone erected by a king of Damascus in the late 9th/early 8th centuries BCE to commemorate his victory over two enemy kings, contains the phrase ביתדוד, bytdwd, which most scholars translate as "House of David". Other scholars, such as Anson Rainey have challenged this reading, but it is likely that this is a reference to a dynasty of the Kingdom of Judah which traced its ancestry to a founder named David. The Mesha Stele from Moab, dating from approximately the same period, may also contain the name David in two places, although this is less certain than the mention in the Tel Dan inscription.
David (Arabic داود, Dāwūd) is a highly important figure in Islam as one of the major Prophets sent by God to guide the Israelites. David is mentioned several times in the Quran, often with his son Solomon. The actual Arabic equivalent to the Hebrew Davīd is Dawūd. In the Qur'an: David killed Goliath (2:251), a giant soldier in the Philistine army. When David killed Goliath, God granted him kingship and wisdom and enforced it (38:20). David was made God's "vicegerent on earth" (38:26) and God further gave David sound judgment (21:78; 37:21–24, 26) as well as the Psalms, regarded as books of Divine wisdom (4:163; 17:55). The birds and mountains united with David in uttering praise to God (21:79; 34:10; 38:18), while God made iron soft for David (34:10), God also instructed David in the art of fashioning chain-mail out of iron (21:80); an indication of the first use of Wrought iron, this knowledge gave David a major advantage over his bronze and cast iron-armed opponents, not to mention the cultural and economic impact. Together with Solomon, David gave judgment in a case of damage to the fields (21:78) and David judged the matter between two disputants in his prayer chamber (38:21–23). Since there is no mention in the Qur'an of the wrong David did to Uriah nor any reference to Bathsheba, Muslims reject this narrative.
Critical Bible scholarship holds that the biblical account of David's rise to power is a political apology—an answer to contemporary charges against him, of his involvement in murders and regicide.
For a considerable period, starting in the 15th century and continuing until the 19th, French playing card manufacturers assigned to each of the court cards names taken from history or mythology. In this context, the King of Spades was often known as "David".
The Book of Samuel calls David a skillful harp (lyre) player and "the sweet psalmist of Israel." Yet, while almost half of the Psalms are headed "A Psalm of David" (also translated as "to David" or "for David") and tradition identifies several with specific events in David’s life (e.g., Psalms 3, 7, 18, 34, 51, 52, 54, 56, 57, 59, 60, 63 and 142), the headings are late additions and no psalm can be attributed to David with certainty.