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Painting, Acrylic on Canvas
Size: 40 W x 80 H x 1.5 D in
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Now the King told the boogie men You have to let that raga drop The oil down the desert way Has been shakin' to the top The Sheik he drove his Cadillac He went a cruisin' down the ville The Muezzin was a standing On the radiator grille The Sharif don't like it Rockin' the Casbah Rockin' the Casbah The Sharif don't like it Rockin' the Casbah Rockin' the Casbah By order of the Prophet We ban that boogie sound Degenerate the faithful With that crazy Casbah sound But the Bedouin they brought out The electric camel drum The local guitar picker Got his guitar picking thumb As soon as the Sharif had cleared the square They began to wail The Sharif don't like it Rockin' the Casbah Rockin' the Casbah The Sharif don't like it Rockin' the Casbah Rockin' the Casbah Now over at the temple Oh, they really pack 'em in The in crowd say it's cool To dig this chanting thing But as the wind changed direction Then the temple band took five The crowd caught a whiff Of that crazy Casbah jive The Sharif don't like it Rockin' the Casbah Rockin' the Casbah The Sharif don't like it Rockin' the Casbah Rockin' the Casbah The King called up his jet fighters He said you better earn your pay Drop your bombs between the Minarets Down the Casbah way As soon as the Sharif was chauffeured outta there The jet pilots tuned to the cockpit radio blare As soon as the Sharif was outta their hair The jet pilots wailed The Sharif don't like it Rockin' the Casbah Rockin' the Casbah The Sharif don't like it Rockin' the Casbah Rockin' the Casbah The Sharif don't like it He thinks it's not kosher Rockin' the Casbah Rockin' the Casbah The Sharif don't like it Fundamentally he can't take it Rockin' the Casbah Rockin' the Casbah The Sharif don't like it You know he really hates it Rockin' the Casbah Rockin' the Casbah The Sharif don't like it ‘Rock the Casbah’ by The Clash Songwriters: Mellor John / Jones Michael Geoffrey / Headon Nicholas Bowen "Rock the Casbah" is a song by the English punk rock band The Clash, released in 1982. The song was released as the second single from their fifth album, Combat Rock. It reached number eight on the Billboard Hot 100 chart in the US (their second and last top 40 and only top 10 single in the United States) and, along with the track "Mustapha Dance", it also reached number eight on the dance chart. "Rock the Casbah" was musically written by the band's drummer Topper Headon, based on a piano part that he had been toying with. Finding himself in the studio without his three bandmates, Headon progressively taped the drum, piano and bass parts, recording the bulk of the song's musical instrumentation himself. This origin makes "Rock the Casbah" different from the majority of Clash songs, which tended to originate with music written by the Joe Strummer–Mick Jones songwriting partnership. Upon entering the studio to hear Headon's recording, the other Clash members were impressed with his creation, stating that they felt the musical track was essentially complete. From this point, relatively minor overdubs were added, such as guitars and percussion. However, Strummer was not impressed by the page of suggested lyrics that Headon gave him. According to Clash guitar technician Digby Cleaver, they were "a soppy set of lyrics about how much he missed his girlfriend". "Strummer just took one look at these words and said, 'How incredibly interesting!', screwed the piece of paper into a ball and chucked it backwards over his head." Strummer had been developing a set of lyrical ideas that he was looking to match with an appropriate tune. Before hearing Headon's music, Strummer had already come up with the phrases "rock the casbah" and "you'll have to let that raga drop" as lyrical ideas that he was considering for future songs. After hearing Headon's music, Strummer went into the studio's toilets and wrote lyrics to match the song's melody. The version of the song on Combat Rock, as well as many other Clash compilations, features an electronic sound effect beginning at the 1:52-minute point of the song. This noise is a monophonic version of the song "Dixie". The sound effect source was generated by the alarm from a digital wristwatch that Mick Jones owned, and was intentionally added to the recording by Jones. Joe Strummer had been toying with the phrase "rock the casbah" prior to hearing Topper Headon's musical track that would form the basis of the song. This phrase had originated during a jam session with Strummer's violinist friend Tymon Dogg. Dogg began playing Eastern scales with his violin and Strummer started shouting "rock the casbah!" Not hearing Strummer properly, Dogg thought that Strummer had been shouting at him to "stop, you cadger!" Further inspiration for the lyrics of "Rock the Casbah" originated from Strummer observing the band's manager Bernie Rhodes moaning about The Clash's increasing tendency to perform lengthy songs. Rhodes asked the band facetiously "does everything have to be as long as this rāga?" (referring to the Indian musical style known for its length and complexity). Strummer later returned to his room at the Iroquois Hotel in New York City and wrote the opening lines to the song: "The King told the boogie-men 'you have to let that rāga drop.'" The song gives a fabulist account of a ban on Western rock music by an Arab king. The lyrics describe the king's efforts to stop his population from listening to this music, such as ordering his military's jet fighters to bomb any people in violation of the ban. The pilots ignore the orders, and instead play rock music on their cockpit radios. The population then proceed to "rock the casbah" by dancing to the music. This scenario was inspired by the ban on Western music in Iran after the 1979 Islamic Revolution. The song's lyrics feature various Arabic, Hebrew, Turkish, and Sanskrit loan-words, such as "sharif", "bedouin", "sheikh", "kosher", "rāga", "muezzin", "minaret", and "casbah”. Combat Rock is the fifth studio album by the English rock band the Clash. It was released on 14 May 1982 through CBS Records. In the United Kingdom, the album charted at number 2, spending 23 weeks in the UK charts and peaked at number 7 in the United States, spending 61 weeks on the chart. Combat Rock is the group's best-selling album, being certified double platinum in the United States. It contains two of the Clash's most popular songs, the singles "Rock the Casbah" and "Should I Stay or Should I Go". Combat Rock is the last Clash album featuring the classic lineup. The Clash were an English rock band formed in London in 1976 as a key player in the original wave of British punk rock. They also contributed to the post-punk and new wave movements that emerged in the wake of punk and employed elements of a variety of genres including reggae, dub, funk, ska, and rockabilly. For most of their recording career, the Clash consisted of lead vocalist and rhythm guitarist Joe Strummer, lead guitarist and vocalist Mick Jones, bassist Paul Simonon, and drummer Nicky "Topper" Headon. Headon left the group in 1982 and internal friction led to Jones' departure the following year. The group continued with new members, but finally disbanded in early 1986. The Clash achieved commercial success in the United Kingdom with the release of their self-titled debut album, The Clash, in 1977. Their third album, London Calling, released in the UK in December 1979, earned them popularity in the United States when it was released there the following month. It was declared the best album of the 1980s a decade later by Rolling Stone. In 1982, they reached new heights of success with the release of Combat Rock, which spawned the US top 10 hit "Rock the Casbah", helping the album to achieve a 2× Platinum certification there. A final album, Cut the Crap, was released in 1985. In January 2003, shortly after the death of Joe Strummer, the band—including original drummer Terry Chimes—were inducted into the Rock and Roll Hall of Fame. In 2004, Rolling Stone ranked the Clash number 28 on its list of the "100 Greatest Artists of All Time”. Source: Wikipedia
Painting:Acrylic on Canvas
Original:One-of-a-kind Artwork
Size:40 W x 80 H x 1.5 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Crate
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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I’m (I am?) a self-taught artist, originally from the north suburbs of Chicago (also known as John Hughes' America). Born in 1984, I started painting in 2017 and began to take it somewhat seriously in 2019. I currently reside in rural Montana and live a secluded life with my three dogs - Pebbles (a.k.a. Jaws, Brandy, Fang), Bam Bam (a.k.a. Scrat, Dinki-Di, Trash Panda, Dug), and Mystique (a.k.a. Lady), and five cats - Burglekutt (a.k.a. Ghostmouse Makah), Vohnkar! (a.k.a. Storm Shadow, Grogu), Falkor (a.k.a. Moro, The Mummy's Kryptonite, Wendigo, BFC), Nibbler (a.k.a. Cobblepot), and Meegosh (a.k.a. Lenny). Part of the preface to the 'Complete Works of Emily Dickinson helps sum me up as a person and an artist: "The verses of Emily Dickinson belong emphatically to what Emerson long since called ‘the Poetry of the Portfolio,’ something produced absolutely without the thought of publication, and solely by way of expression of the writer's own mind. Such verse must inevitably forfeit whatever advantage lies in the discipline of public criticism and the enforced conformity to accepted ways. On the other hand, it may often gain something through the habit of freedom and unconventional utterance of daring thoughts. In the case of the present author, there was no choice in the matter; she must write thus, or not at all. A recluse by temperament and habit, literally spending years without settling her foot beyond the doorstep, and many more years during which her walks were strictly limited to her father's grounds, she habitually concealed her mind, like her person, from all but a few friends; and it was with great difficulty that she was persuaded to print during her lifetime, three or four poems. Yet she wrote verses in great abundance; and though brought curiosity indifferent to all conventional rules, had yet a rigorous literary standard of her own, and often altered a word many times to suit an ear which had its own tenacious fastidiousness." -Thomas Wentworth Higginson "Not bad... you say this is your first lesson?" "Yes, but my father was an *art collector*, so…"
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