The Identified Vintage Chinese Music Record Found In Indonesia

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

The Chinese Export Record label to Indonesia

A.PRE WORLD WAR II

1.EAGLE MARK (SOUCHOU-ZHOUCHOU SERENADE)

PAGODA V 3912a

 

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Here’s a beautiful and hypnotic Teochew Opera on the obscure Tiger label. Teochew is a Chinese dialect from the Guangdong region of Southern China. The Teochew music bears more resemblance to Southeast Asian music than other Chinese opera forms, especially the Peking opera (in fact, this was recorded in Thailand according to one of our readers, see comments for further info). This record is a great example of the measured rhythm and clear melody of the Teochew style, with little of the wild percussive effects of the Peking style. During the 18th-20th centuries there was much emigration from Guangdong into Thailand, Malaysia, Singapore and elsewhere in the region and a healthy Teochew Opera scene existed in those places until recently.

ORIENTAL RECORDS

January 12, 2008, 2:31 pm
Filed under: cantonese opera | Tags: , ,

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I had a request for some more Bai Ju Rong, the amazing Cantonese singer featured below on the Clipper label. Here he is on the obscure Oriental Records label.

>ORIENTAL 5028a

 
 
 

 

THE CHINESE YANGQIN

 

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Here’s an excellent recording on the Odeon label featuring the Yangqin, a Chinese hammered dulcimer. The hammered dulcimer is used all over the world; Santur in India, Santoor in Perisa, Santouri in Turkey and Greece and various forms of the Cymbalom used throughout Eastern Europe. The Yangqin is a common instrument in Cantonese “Silk and Bamboo”, a form of folk playing that is closely related to Chinese Opera. I think this may be the only record I have that features the instrument.

The Odeon label included many different forms of Chinese Opera from all over the country. This one, I believe, was recorded in Hong Kong.

>ODEON 206019a

 
 
 

 

Bai Ju Rong

 

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Bai Ju Rong, aka Bak Keui Wing (1892-1974) is one of my favorite singers. He was trained as a youth in the role of Xiaosheng, one of the subtypes of the main male role known as Sheng. Xiaosheng roles were handsome young men involved in various romantic intrigues and adventures. Bai Ju Rong went on to be thought of as the “Xiaosheng King” and made a major impact on Cantonese opera in the 1920′s. He re-defined almost every aspect of the performance; most importantly he switched from using the archaic “Official Cantonese (which many could not understand) to using vernacular language. He also changed the singing from an affected high voice to a natural, flowing “true voice” and made his mark on the use of gestures and melodic recitation.He started losing his sight and eventually had to quite performing. By 1948 he was reduced to singing in the street. Amazingly, he made a comeback and was again very successful. In 1958 he became principal of the Guangdong Opera School.This is part one of four.

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4)Fujian Amoy Opera Record

 

Amoy is in the Southeastern province of Fujian, across the strait from Taiwan. The language and culture are closely related to that of Taiwan. Here’s an Amoy Opera instrumental on a label I’ve never seen before. The name of the label translates as something like “Country Love Company”, or maybe more accurately “Patriotsim”, as one commentor has noted below . The music sounds very much like Taiwanese Opera (coming soon in a future post).

>Ai-Guo (Patriotic) 5318a

 
 
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Here’s an interesting one on Regal. Chinese opera was usually released in the form of a 2, 3 or 4 record series to accommodate the lengthy lyrics. The music tends to be very similar on each side of these series, often with subtle variations or key shifts. Such is the case with this 2 record series, of which this is the third part. The first three sides are almost musically identical except part 3 introduces some amazing sliding and tremolo. Not only is this effect not on the other songs in this series, I’ve never heard it on any other Chinese record!

I’m not too sure about the history of Regal, but it’s obviously a subsidiary of Pathe at the time of this release.

REGAL 50002C

 
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Welcome back, Dear Reader, for another dose of of exceedingly obscure Chinese Opera. This time we have an example of Amoy Opera on the His Master’s Voice label. Amoy (aka Hokkien) is a language/dialect from the Southern Chinese province of Fujian, which neighbors the Guangdong province, the origin of our last posting of Teochew Opera. Amoy is directly across the strait from Taiwan and the language and music are basically the same. Like the Teochew people, the Fujian people emigrated to many parts of Southeast Asia, taking their music and language with them. Forms of this opera style are still popular in the region today.

i HAVE JUST FOUND NEW COLLECTION IN OCTOBER 2011, AND i WILL COMPARE WITTH THE COLECTION WHICH i HAVW FOUND VIA GOOGLE EXP-LORATIONS, i HOPE CHINE NATIVE AND COLLATECTORS WILL HELP ME TO TRANLATE AND SEND ME MORE IN INFO VIA COMMR4NT THANK YOU(DR IWAN NOTE)

 

 

 

 

 

The Chinese  traditional Wedding Music Record(Singapore Pagoda  record,info from Haji Maji)

 

Here’s another Pagoda recorded in Singapore, this one in 1938. It features traditional Chinese wedding music played by a seroni ensemble. The typical ensemble consists of seroni (a shwam-like oboe known as suona in China), swilin (bamboo flute) and percussion; a small drum, cymbals and gong. Usually this type of music is used to accompany the bride while she is carried in a sedan and throughout other parts of the wedding. The piece heard on this record is labeled “Siew-Tow”, the most important part of the ceremony when the vows are taken.
A seroni ensemble is also used for funerals and other rituals.

Immigrants from southern China began moving to Malaysia and Indonesia as early as the 15th century. The British later encouraged Chinese immigration to the Straights Settlements in the the 19th and 20th centuries. Chinese, speaking several different dialects, quickly established themselves as traders throughout the region, as in other parts of Southeast Asia.

The label is hard to read, but it says:

Seroni
lagu Siew-Tow

>Pagoda V3905a (mx-7753 GD)

 

B.AFTER WORLD WAR II

1. THE KINGDOM AND THE BEAUTY SUNG BY

TSIN TING AND KIAN HUNG

Tsin Ting Kiang Hung 33 rpm 10″ Record Pathe CPA 169

 
 
Item condition:
 
 
Price: US $30.00

 

1a.

 Ting (centre) with guest stars (from left) Zhuang and Mohan

Ting (centre) with guest stars (from left) Zhuang and Mohan

LEGENDARY veteran Chinese singer and playback artiste Tsin Ting, who has entertained fans for over 50 years, will be performing in a charity concert
at Genting Arena of Stars on Saturday.

Tsin, a native of Szechuan, arrived in Hong Kong as a teenager in 1949. She made a living as a night club singer and on radio shows. In 1953, she was invited to join a seven-month tour of Malaya and Singapore with a group of actors and singers.


Upon returning to Hong Kong, Tsin made her first recording, a Cantonese version of One Day When We Were Young.


As a playback artiste, she has lent her vocals to many of Shaw Brothers’ opera movies from the 1950s to the 1960s, notably The Love Eternal, where she sang for Betty Loh Ti, the lead actress, in her role as Zhu Ying Dai.

The pathos in her song, along with Loh Ti’s excellent acting, moved viewers to tears. Tsin left Shaw Brothers Studio as a contract singer in 1970 but continued recording albums with EMI in the 1970s, Wing Hung in the 1980s, and Polygram in the 1990s.


Tsin stood in as singer for a countless number of leading ladies. In the 1950s, she sang for Lucille Yu Min, Lee Li Hwa, Lin Dai, Betty Loh Ti, Jeanette Lin Tsui, Helen Li Mei and in the 1960s, for Ivy Ling Po, Li Ching, Lily Ho, Jenny Hu, Margaret Tu Chuan and Cheng Pei Pei, to name a few.


In 2000, Tsin made a remarkable career comeback with a sold-out concert at the Hong Kong Coliseum with Liu Yun, Tsui Ping and Wu Yingyin.

She repeated the feat a year later in a concert with Liu Wu and Billie Tam.


In 2006, Tsin performed a famous Bai Guang classic as guest singer at Donald Cheung’s concert. Hong Kong audiences saw Tsin in 2008 at a series of sell-out solo concerts at Star Hall and in 2009, at the 10,000-seater Hong Kong Coliseum.

 

Tsin Ting Live Charity Concert In Genting is at 8pm. Tickets: RM80 — RM480. Guest artistes are Mohan and Zhuang Xue Zhong.

 

 

pathe record Miss Yao Lee

 

Miss Yao lee info

Yao Lee

 
Yao Lee
Chinese name 姚莉
Pinyin Yáo Lì (Mandarin)
Jyutping jiu4 lei6 (Cantonese)
Birth name Yáo Xiùyún (姚秀雲)
Origin Republic of China
Born 1922 (age 88–89)
Republic of China
Occupation Singer
Genre(s) Mandopop, shidaiqu
Instrument(s) Singing
Label(s) Pathé / EMI
Years active 1930s — 1970s

Yao Lee, also credited as Yiu Lei and Miss Hue Lee, was a Chinese singer from the 1930s to the 1970s and sister of Yao Min. By the 1940s, she became one of the Seven great singing stars.[1]

Contents

 Biography

Born Yáo Xiùyún (姚秀雲) and rasied in Shanghai, Yao began performing on the radio in 1935 at the tender age of 13. When she was 14, she recorded her first single with Yan Hua (嚴華) called “Xin xiao fang niu” (新小放牛). She was signed to Pathé Records.

She married Huang Baoluo (黃保羅) in 1947 and ceased performing on stage to devote time to her family. Following the Communist seizure of power in China in 1949, popular music was considered ideologically suspect[2] and Yao fled to Hong Kong in 1950 to continue her singing career there. In addition to releasing hit records, beginning in 1955 with the film 桃花江 (Peach Blossom River), she often acted as a playback singer for movie superstars. Many of the featured songs would also become popular. She stopped singing in 1967 upon the death of her brother but took an executive position with EMI Music Hong Kong in 1969. In 1970, she returned to performing and travelled to Taiwan to perform there for the first time and sought unsuccessfully to sign Teresa Teng to EMI for the Hong Kong market. She retired officially in 1975 but remained supportive of singers such as Wakin Chau.

 Career

During the 1930s and 40s, Yao Lee’s high, soft singing style was typical of Chinese popular music of the time. She performed numerous popular standards, such as Wishing You Happiness and Prosperity (恭喜恭喜), “I Can’t Have Your Love” (得不到你的愛情), and “By the Suzhou River” (蘇州河邊) with her brother Yao Min, arguably the best-known Chinese pop songwriter of the shidaiqu era.[3] She is famous for her 1940 version of Rose, Rose, I Love You (玫瑰玫瑰我愛你), later recorded by Frankie Laine in the United States with English lyrics. (Her version was also released in the US and the United Kingdom credited to “Miss Hue Lee”). Yao was known as “the Silver Voice” (銀嗓子) alluding to fellow Shanghai singer Zhou Xuan, who was known as “the Golden Voice” (金嗓子).

With increasing Western influence in the region after World War II and her move to Hong Kong, Yao Lee’s singing changed. She was introduced to more Western popular music and became an admirer of American singer Patti Page whom she emulated by lowering her voice and incorporating some vocal mannerisms. As a result, Yao is sometimes called “Hong Kong’s Patti Page.” One of her biggest ’50s records was “The Spring Breeze Kisses My Face” (春風吻上我的臉).

Yao was extremely prolific with over 400 gramophone records attributed to her.

References

  1. ^ Baidu. Bai Guang. Retrieved on 2007-04-28.
  2. ^ Panorama of Musical Creation: Vocal Music at China Culture Information Net
  3. ^ Wakinchau. Golden days of Yao Li 流金歲月-姚莉 玫瑰 玫瑰我愛你. Retrieved on 2007-04-26.

 

 

 

(2)ZHOU XUAN AND BAI GUANG

Zhou Xuan ZHOU XUAN AND BAI GUANG

Archetypal songstress of Mandarin cinema Zhou Xuan (1920–1957) is best remembered for her performance in the classic Street Angel 1937. In her popular Hong Kong production Song of a Songstress 1948 (dir: Fang Peilin), she performs ‘Songstress of the world’ (‘Tianya genü’), which became her signature song. Tragically, her final years were spent in a Mainland mental hospital, where her death was possibly suicide. Many of her songs are still popular today; one features in the soundtrack of Wong Kar-wai’s In the Mood for Love 2000 (see Mirror Cities: Fascination and Nostalgia). Launching her singing career at 22, Bai Guang (1920–1999) quickly became a successful singer–actress in Japanese-occupied Shanghai, and then, like Zhou Xuan, her star continued to rise in Hong Kong after the war. Bai was known as the most sultry and sensuous of the songstress stars, nicknamed both ‘Standard Alto’ for her low voice and ‘Bewitching Beauty of all Ages’ for her enduring stage appeal. In Songs in the Rainy Nights 1950 (dir: Li Ying), she plays a country girl who moves to Hong Kong and achieves success as a nightclub singer, while her cousin works more respectably in a factory.

Production<br />
still from Street Angel (Malu Tianshi) 1937 / Image<br />
courtesy: China Film Archive, Beijing” border=”0″ /></td>
<td valign=Street Angel (Malu Tianshi) 1937 All ages
2.00pm Saturday 24 March
/ Cinema A / Live electronic subtitling35MM, 86 MINS, B. & W., MONO, CHINA, MANDARIN / DIRECTOR/SCRIPT: YUAN MUZHI / ORIGINAL STORY (NOVEL): MONCKTON HOFFE / CINEMATOGRAPHY: WU YINXIAN / CAST: ZHAO DAN, ZHOU XUAN, WEI HELING, ZHAO HUISHEN, WANG JITING, QIAN QIANLI, YUAN SHAOMEI, LIN JINYU / PRODUCTION COMPANY: MINGXING (STAR) FILM COMPANY / PRINT SOURCE/RIGHTS: CHINA FILM ARCHIVEHong (Zhou Xuan) and her sister Yun live in a desperately poor part of Shanghai, having fled Manchuria after the Japanese invasion. Yun works as a prostitute to support them, while Hong sings in the streets with her tutor, who one day decides to sell her to a gangster. Friends from her neighbourhood help her to escape. Love-struck trumpeter Chen Xiaoping (Zhao Dan) takes her to live in another part of the city but her sister is found by gangsters and tragedy ensues. It is diva Zhou Xuan’s most celebrated role. A classic of the Shanghai cinema, the film is said to have been inspired by the 1928 Frank Borzage film of the same name as it features dramatic lighting and Soviet-style editing techniques. Director and scriptwriter Yuan Muzhi joined the Chinese Communist Party (CCP) in 1940 and established the Northeast Film Studio in the same year, after the CCP took over Manchurian Motion Pictures. In 1949, after the creation of the People’s Republic of China, he was chosen to head the Film Bureau in the Ministry of Culture.
Production still from Night Inn (Ye<br />
Dian) 1947 / Image courtesy: China Film Archive, Beijing” border=”0″ /></td>
<td valign=Night Inn (Ye Dian) 1947 / Cinema A35MM, 107 MINS, B. & W., MONO, CHINA, MANDARIN (ENGLISH SUBTITLES) / DIRECTOR: HUANG ZUOLIN / SCRIPT: KE LING / ORIGINAL STORY (PLAY): MAXIM GORKY / CINEMATOGRAPHY: ZHUANG YUANJUN, XU QI / CAST: WEIWEI, ZHOU XUAN, ZHANG FA, SHI HUI, TONG ZANGLING / PRODUCTION COMPANY: WENHUA FILM COMPANY / PRINT SOURCE/RIGHTS: CHINA FILM ARCHIVEThe occupants of an inn owned by the ruthless and unpleasant Mr and Mrs Wen include a petty thief, a street vendor, a prostitute, a garbage collector and a street performer. Mr Wen demands rent payment from a sick tenant, while Mrs Wen plots to manipulate the thief into murdering her husband. Night Inn is an adaptation of Maxim Gorky’s play The Lower Depths: Scenes from Russian Life, first produced in Moscow in 1902 by Konstantin Stanislavski. Gorky’s play shows the relationships among the working-class tenants of a boarding house and explores whether it is better to live happily with illusions or to grasp the full, often miserable truth. Jean Renoir adapted the play in Les Bas Fonds 1936 and Akira Kurosawa transposed it to Edo-period Japan in Donzoko (The Lower Depths) 1957.
Production still from Orioles Banished from the Flowers (Huawai Liuying) Orioles Banished from the Flowers (Huawai Liuying) 1948  / Cinema A / Live electronic subtitling35MM, 84 MINS, B. & W., MONO, HONG KONG, MANDARIN / DIRECTOR: FANG PEILIN / PRODUCER: XIE BINGJUN / SCRIPT: HONG MO / CINEMATOGRAPHY: CAO JINYUN / EDITORS: SHEN YUQI, CAO SANNONG / ART DIRECTION: YI GUANGFU, YAN SHI / SOUND: SUN BINGYUN / MUSIC: CHEN GEXIN / LYRICS: CHEN DIEYI / CAST: ZHOU XUAN, YAN HUA, LÜ YUKUN, LI LULING, HU XIAOFENG / PRODUCTION COMPANY: DAZHONGHUA / PRINT SOURCE: HONG KONG FILM ARCHIVE / RIGHTS: KONG CHIAO FILM COMPANYA situation comedy involving an accidental trip to Shanghai, Orioles Banished from the Flowers features extraordinary passages of music and images with songs from Zhou Xuan who plays Zhou Ying, a young girl with a gift for singing,. Her singing disturbs the tutoring sessions that university student Ding Qiushi (Yan Hua) gives her neighbours. When they finally meet they fall in love and only quarrel when Ying wants to help Qiushi financially. When Ying runs away and hides in the neighbour’s car, she ends up in a compromising situation. After early work in set design, Fang Peilin began directing in 1936. Remaining in Shanghai during the Japanese occupation, he made successful musicals and continued in this vein in Hong Kong after the war. He died in a plane crash when travelling to Shanghai.
Production still Song of a Songstress (Genü zhi Ge) Song of a Songstress (Genü zhi Ge) 1948 / Cinema A / Live electronic subtitling 35MM, 93 MINS, B. & W., MONO, HONG KONG, MANDARIN / DIRECTOR: FANG PEILIN / PRODUCER: XIE BINGJUN / SCRIPT: WU TIEYI / CINEMATOGRAPHY: CAO JINYUN / EDITORS: SHEN YUQI, CAO NONGPING / ART DIRECTION: YI GUANGFU / SOUND: SUN JINGHAI / MUSIC: CHEN GEXIN / LYRICS: CHEN DIEYI / CAST: ZHOU XUAN, WANG HAO, MENG NA, WEI PENGFEI, GU YELU / PRODUCTION COMPANY: QIDONG FLM COMPANY / PRINT SOURCE: HONG KONG FILM ARCHIVE / RIGHTS: KONG CHIAO FILM COMPANY Fang Peilin’s last film, Song of a Songstress, is also his best known. Cabaret singer Zhu Lan (Zhou Xuan) is pursued by arrogant playboy Ye Chunhua (Wang Hao) but she is in love with an impoverished painter, Fang Zhiwei (Gu Yelu), and resists Chunhua’s advances. Zhu Lan puts herself fatally in Chunhua’s debt when she asks him to find a job for Zhiwei. The climactic sequence uses parallel editing to heighten the pathos and tension; as Zhu Lan sings in a nightclub revenge is enacted for past wrongs. The tone is light and entertaining but balances elements of melodrama in Zhu Lan’s tragic past and romantic life and in the final dramatic revelations. ‘Songstress of the world’ (‘Tianya genü’), which Zhou Xuan performs here, is her best known song.
  Flower Street (Hua Jie) 1950 / Cinema A / Live electronic subtitling35MM, 70 MINS, B. & W., MONO, HONG KONG, MANDARIN / DIRECTOR: YUE FENG / PRODUCER: SHEN TIANYIN / SCRIPT: TAO QIN / CINEMATOGRAPHY: DONG SHAOYONG / EDITOR: WANG ZHAOXI / ART DIRECTION: BAO TIANMING / MUSIC: LI HOUXIANG / CAST: ZHOU XUAN, YAN JUN, GONG QIUXIA, HAN FEI, LUO LAN / PRODUCTION COMPANY: GREAT WALL PICTURES CORPORATION / PRINT SOURCE: CENTRE DE DOCUMENTATION DU CINÉMA CHINOIS / SCREENING FORMAT: BETACAM SPFlower Street follows the fortunes of a family of performers in Shanghai from the 1920s through the Japanese occupation and the war. Xiao Hulu (Yan Jun) is a storyteller at the Triumph House, a tea house in Flower Street; his wife Bai Lanhua (Luo Lan) sings in the same establishment and his mother sells flowers in the street to help make ends meet. Little Taiping (Zhou Xuan) will follow her mother to become a singer, but not before the family has been torn apart by war in the panic of bombardment and evacuation. Further hardships are in store, even when they manage to reunite, with Taiping wooed by a local crook and Xiao Hulu beaten up when he takes liberties with propaganda songs during a performance for the Japanese. Great actors and a superb script from Tao Qin, as well as six songs from Zhou Xuan, make this a memorable slice of Shanghai amid tumultuous events, and a tender portrait of family ties. The film was re-released in 1952 following the news of Zhou Xuan’s attempted suicide early that year.

 

Production<br />
still from Songs in the Rainy Nights (Yuye Gesheng) 1950<br />
/ Image courtesy: Chinese Taipei Film Archive, Taiwan,<br />
and Hong Kong Film Archive, Hong Kong” border=”0″ /></td>
<td valign=Songs in the Rainy Nights (Yuye Gesheng) 1950 / Cinema A16MM, 101 MINS, B. & W., MONO, HONG KONG, MANDARIN (ENGLISH SUBTITLES) / DIRECTOR: LI YING / PRODUCER: ZHANG SHANKUN / SCRIPT: SU CHENG / CINEMATOGRAPHY: WANG JIANHAN / EDITOR: SHEN YUQI / ART DIRECTION: LI HANXIANG / SOUND: GUO QIANG (KWOK KEUNG) / MUSIC: SITU RONG / SONGS: LI MING, YAO MIN / CAST: BAI GUANG, YAN HUA, LAN YINGYING, YOU GUANGZHAO, QUI PING / PRODUCTION COMPANY: FAR EAST MOTION PICTURE COMPANY / PRINT SOURCE/RIGHTS: CHINESE TAIPEI FILM ARCHIVESongs in the Rainy Nights follows the fate of Ah Qiao (Bai Guang) and Ah Yu (Lan Yingying), two sisters who move to Hong Kong to find work. Their cousin sings in a dance hall and Ah Qiao decides to follow in her footsteps, taking the stage name of ‘Hong Hong’ and appearing as the ‘Beauty of the Southern Kingdom’. Attracting many suitors, she soon becomes the mistress of wealthy manager Ma (You Guangzhao). Ah Yu finds work in a factory and meets up with Ah Bing, who comes from the same village and is a handyman at the dance hall. Ma leaves Ah Qiao after he discovers she is having an affair with Taipan Feng (Yan Hua), then tragedy strikes when Ah Qiao is crippled in an accident and only Ah Yu and Ah Bing stand by her. Songs in the Rainy Nights was Li Ying’s first Hong Kong film. For a few days after the film’s release at the Roxy and Liberty Theatres in Hong Kong, Bai Guang appeared on stage accompanied by the Far East Music Band.

(3)Yao Su Rong

 

 (sometimes Yao Su Yong) was born in 1946. Her breakthrough came in 1969, with the title track to the movie “今天不回家” (Today I Won’t Come Home).

That one song swept her into fame, the song being sung by young and old alike, securing her a much-coveted Hong Kong record deal with 海山 (Haishan Records), selling 600,000 copies.

Before that, she’d been singing songs for a while, a minor hit being a Mandarin-language rewrite of a Japanese popular song, “負心的人” (Cruel-Hearted Lover). No longer would she have to worry about success — instantly, she was selling out shows and getting invited to concerts all across the Mandarin-speaking world.

At the height of her popularity in the late sixties/early seventies, it is said that one Hong Kong nightclub owner offered her 60,000HKD for a month’s worth of performances (now about USD$7600 or over $10,000 Canadian dollars — I don’t know how much it was really worth then). A ridiculous amount even by today’s standards, it was even more extravagant back then, when the highest-paid Hong Kong singer was earning only about 10,000HKD a MONTH.

Audiences said what set her apart was her complete immersion into the emotion of her songs. Most of her songs are sentimental love ballads, wistful, nostalgic melodies, and her entire composure and movements would reflect the mood of her music. She often cried as she sang on stage.

However, there is a mark of controversy that stains her career. Though seemingly trivial now, it was enough to drive her to retirement.

Certainly, her catalog is extensive, with over 200 recorded songs. However, during the most intense period of martial law in Taiwan (basically, 1949 until 1975, when Chiang Kai-Shek died), 80 of her songs were banned, supposedly for stirring up unhealthy morals amongst the youth (too many sentimental songs about love would drive the population to immorality!) and being too depressing (for a happy nation is a strong nation, and who could be sad under a government as well-run as the ROC?).

On August 18th, 1969, Yao Su Yong sang at a packed crowd in Kaohsiung, southern Taiwan. The audience was crazy about her, cheering madly every time she appeared on stage, and pleaded and begged her to sing some of her banned songs. Initially, she declined as politely as she could, saying that she was not permitted to perform those songs, and that she hoped the audience would forgive her. However, the requests wouldn’t stop, and eventually, she sang “負心的人”, hoping the popular appeal of her song would override any official censorship.

Unfortunately, the police guards stationed at the theater didn’t agree. They called her offstage and questioned her, asking her to record her playlist and make an official confession. Failing to produce a playlist, her singer’s license was revoked, “leaving no door or window” open. Since she was no longer allowed to perform in Taiwan, she turned to Hong Kong and Southeast Asia to continue her career.

Now, she lives a quiet life in Singapore. Though Taiwan officially invited her to perform at the 1998 Golden Horse Film Festival (the biggest movie event of the island, government sanctioned), she politely declined, saying that now that her life was peaceful and stable, she preferred to remain out of the limelight. However, her legacy lives on. “Jin Tian Bu Hui Jia”, the movie, was remade in 1996, but still used her original song. Her records continue to be very popular, and her status in the annals of Chinese oldies divas is well-secured.

(4)Chinese Folk song

THE END@ COPYRIGHT Dr IWANSUWANDY 2011

The Legend George De Fretes Music Record

 

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

Fontana Record,Krontjong Nusantara,

by

George de Fretes

 George Fretes
 

 

George Fretes (Bandung (Dutch East Indies), December 23, 1921 – Torrance (California), November 19, 1981) was a Dutch (of Malayan origin) steel guitarist, singer and composer.

The Fretes was born from the marriage of military KNIL Anton Balthasar de Fretes Tersemas and Carolina. As a child he played on bottles of water and listened to the radio to hear music as it was Hoopi Sol, a famous Hawaiian guitarist from the 30s and 40s of last century.

In 1936 won the Fretes with the “Hawaiian Little Boys” (with Vic Spangenberg, Hans de Water, Leo Cress and Guus Shrine) with its first prize, an incentive in a Hawaiian Competition in Batavia. For the first prize he did not qualify because the average age of just fourteen years the band was therefore out of competition to be participated. It gave the “Hawaiian Little Boys” is a performance for NIROM, the Dutch East Indies Radio Broadcasting.

Joyce Aubrey gaat zingen bij het ensemble The Royal Hawaiian Minstrels en Suara Istana o.l.v. haar ex- echtgenoot George de Fretes. Hij is als verstekeling aan boord van de Johan van Barneveldt in de zomer van 1958 naar Nederland gekomen. De kleine Wanda wordt bij de optredens betrokken als hula danseres en bespeelster van percussie instrumenten. Later is zij ook als zangeres actief.

George de Fretes en Suara Istana - Tuney Tunes feb. 1959
Uit de TUNEY TUNES van februari 1959
vlnr: Bill Toma – Joyce Aubrey – Wanda – George de Fretes – Eddie Scipio Blume – Fred Hoogduin

When he was sixteen formed the Fretes the Royal Hawaiian Quintet, which also starred brother Arie. With the now famous Fretes composition Royal Hawaiian Hula won a competition in 1937.

In the spring of 1938 he was on another show in Surabaya voted “Champion of the Archipelago” with his band, which has since been renamed The Royal Hawaiian Minstrels. Under this name provides the band 67 years later still shows.

In Dutch East Indies were the Royal Hawaiian Minstrels until the outbreak of World War II the most popular and most expensive pay band. During the war it was forbidden to play Hawaiian music and changed its name to Suara Istana (voice of the palace) and played successfully krontjong Music.

After the war, their success was so great that it resulted in the fact that the group broke down and sometimes in two places at once occurred. The core were the brothers George, John, Peter and Arie, supplemented with cousin Tony, and the solid Bram Titaley singer Aubrey Joyce (then wife of George), supplemented by other musicians.

Early 50’s divorced George Joyce with their daughter Wanda left for the Netherlands. George came in 1958 as a stowaway on the Johan van Oldebarneveldt with him and his fame had traveled ahead in January for the Winter Producer of Phonogram telegraphed ahead to the ship under contract that he would like to have. On September 1, 1958 George joined the Fretes for the first time in Utrecht, Netherlands, on one day records for traders. In the newly formed Royal Hawaiian Minstrels played alongside George also include Bill Thoma, Wim van der Beek and sang Joyce Aubrey. It was so successful that he was a few weeks later, his own radio show at the AVRO and had the Christmas of 1958 was seen with his own TV show. (The Dutch television existed at that time from a transmitter in black / white exceptions). Tickling the strings he had heard such a difficult song he played blindfolded.

His arrival in the Netherlands caused quite a stir since his student Rudi Wairata – previously the Netherlands had come – though his numbers had been stolen and the plate put in his Amboina Serenaders, where the Fretes wife Joyce Aubrey’s hard singer had been . The judge Rudi exposed as impostor and a long time he could not occur in the Netherlands.

George Fretes was a musical genius. He composed dozens of songs, played many instruments include: trumpet, saxophone, guitar, violin, but was a champion on the steel guitar. His musical oeuvre spans less than 65 LPs.

His business, he could hardly settle well and he was by all and sundry in the Dutch music cheated. The interest in Hawaiian music disappeared early 60s but the influence of George was huge on so-called Indo-rock musicians.

In 1966 he made a tour with the Tielman Brothers, who he knew from India, Germany, Switzerland and Scandinavia. Also in that year he made an LP with the German orchestra of Frank Valdor before the Netherlands for good and to turn his back to the United States to leave.

From 1969 to 1981 he lived in Los Angeles where he was on 19 November of that year would die from a heart attack. He was buried next to his idol Sol Hoopi and they have the same bronze plaque on the grave because George had long ago surpassed his idol and they had room for him beside Sol Hoopi made.

The Royal Hawaiian Minstrels after the death of George just moved on. There was a group of that name in the United States with his brother John in the Netherlands with his brother Peter and his son Roy Fretes, each year at the Pasar Malam in The Hague to play. Wanda was the daughter Fretes sixties well known in the Netherlands as a teen singer. They made records in the Netherlands and Germany and also sang regularly at her father’s band, where they participate in Indonesia, Japan and Hawaii occurred.

 
the end @ copyright Dr Iwan suwandy 2011

The Gesang Popular song Bengawan Solo Historic Collections

MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

                PENDIRI DAN PENEMU

  THE FOUNDER

      Dr IWAN SUWANDY, MHA

    BUNGA IDOLA PENEMU : BUNGA KERAJAAN MING SERUNAI( CHRYSANTHENUM)

  

                       

                    

              DMRC SHOWROOM

(Driwan Music Record Cybermuseum)

SHOWCASE :

 

The Indonesian Song Begawan Solo Music record History

(Sejarah rekaman Lagu Bengawan solo ciptaan Gesang  )

 

 
Gesang Gesang or full Martohartono (born in Surakarta, Central Java, October 1, 1917 – died in Surakarta, Central Java, May 20, 2010 at age 92 years) is a singer and songwriter from Indonesia. Known as the “maestro keroncong Indonesia,” he became famous through the song Solo creations, which is famous in Asia, especially in Indonesia and Japan. The song ‘Solo’ creations  in 1940 and have been translated into at least 13 languages ​​(including English, Chinese, and Japanese)
Gesang lived in at No. 5 Village Road Bedoyo Kemlayan, Serengan, Solo with nephew and his family, having previously lived in his house Perumnas Palur granting the Governor of Central Java in 1980 for 20 years. He has split with his wife in 1962. Selepasnya, choosing to live alone. He never had children.
Gesang at first was not a songwriter. Formerly, he was just a singer of songs for the event keroncong and just a little party in the city of Solo. She has also created a few songs, such as the World Wheel Keroncong, Keroncong the Orphanage, and Sweep Hand, during World War II. Unfortunately, three songs is not received from the public.As a form of appreciation for his services towards the development of music keroncong, in 1983 founded the Japanese Garden near the Solo Gesang. Management of the park was funded by the Fund Gesang, an institution founded for Gesang in Japan.In 2007, Gesdang hospitalized PKU Solo and prostate surgery. In January 2010, Gesang was hospitalized again, not long after Gesang home.Furthermore, Gesang was hospitalized Wednesday, May 13 due to respiratory and urinary infections womb. Sunday, May 16 RSU Solo Gesang entered ICU because of a decrease in blood pressure. Tuesday, May 18 Gesang rumored dead, but the news was wrong.Songs creation Gesang

* Solo
* Red Bridge
* Farewell (the Indonesian version was popularized by Broery Pesulima)
* Hat Mount
* Ali-ali
* Andheng-andheng
* Fade
* Tales
* Handkerchief
* World Peace
* The Orphanage
* Nusul
* Newsletters
* Wheel World
* Great Wall
* Seto Ohashi
* Pandanwangi
* Impenku
* Pearl Necklace
* Young Adult
* Borobudur
* Tirtonadi
* Sandhang Food
* Handkerchief-

 
 
original info
 
Gesang atau lengkapnya Gesang Martohartono (lahir di Surakarta, Jawa Tengah, 1 Oktober 1917 – meninggal di Surakarta, Jawa Tengah, 20 Mei 2010 pada umur 92 tahun) adalah seorang penyanyi dan pencipta lagu asal Indonesia. Dikenal sebagai “maestro keroncong Indonesia,” ia terkenal lewat lagu Bengawan Solo ciptaannya, yang terkenal di Asia, terutama di Indonesia dan Jepang. Lagu ‘Bengawan Solo’ ciptaannya telah diterjemahkan kedalam, setidaknya, 13 bahasa (termasuk bahasa Inggris, bahasa Tionghoa, dan bahasa Jepang)

Gesang tinggal di di Jalan Bedoyo Nomor 5 Kelurahan Kemlayan, Serengan, Solo bersama keponakan dan keluarganya, setelah sebelumnya tinggal di rumahnya Perumnas Palur pemberian Gubernur Jawa Tengah tahun 1980 selama 20 tahun. Ia telah berpisah dengan istrinya tahun 1962. Selepasnya, memilih untuk hidup sendiri. Ia tak mempunyai anak.

Gesang pada awalnya bukanlah seorang pencipta lagu. Dulu, ia hanya seorang penyanyi lagu-lagu keroncong untuk acara dan pesta kecil-kecilan saja di kota Solo. Ia juga pernah menciptakan beberapa lagu, seperti; Keroncong Roda Dunia, Keroncong si Piatu, dan Sapu Tangan, pada masa perang dunia II. Sayangnya, ketiga lagu ini kurang mendapat sambutan dari masyarakat.

Sebagai bentuk penghargaan atas jasanya terhadap perkembangan musik keroncong, pada tahun 1983 Jepang mendirikan Taman Gesang di dekat Bengawan Solo. Pengelolaan taman ini didanai oleh Dana Gesang, sebuah lembaga yang didirikan untuk Gesang di Jepang.

Tahun 2007, Gesdang dirawat di rumah sakit PKU Solo dan menjalani operasi prostat. Di Januari 2010, Gesang masuk rumah sakit kembali, tak lama kemudian Gesang pulang.

Selanjutnya, Gesang masuk rumah sakit Rabu 13 Mei karena gangguan pernafasan dan infeksi kandungan kemih. Minggu, 16 Mei Gesang masuk ICU RSU Solo karena mengalami penurunan tekanan darah. Selasa, 18 Mei Gesang digosipkan meninggal dunia, akan tetapi kabar tersebut ternyata salah.

Lagu-lagu ciptaan Gesang

* Bengawan Solo
* Jembatan Merah
* Pamitan (versi bahasa Indonesia dipopulerkan oleh Broery Pesulima)
* Caping Gunung
* Ali-ali
* Andheng-andheng
* Luntur
* Dongengan
* Saputangan
* Dunia Berdamai
* Si Piatu
* Nusul
* Nawala
* Roda Dunia
* Tembok Besar
* Seto Ohashi
* Pandanwangi
* Impenku
* Kalung Mutiara
* Pemuda Dewasa
* Borobudur
* Tirtonadi
* Sandhang Pangan
* Kacu-kacu

 Frame One :

The Bengawan Solo (Gesang) Record Collections(Dr Iwan Collections)

 

1.Before World War Two

 1)His Master Voice record

His Master Voice Record sing by Che Sutinah, Bagawan solo and Sapu Tangan,(this HMS record may be in 1940 when this song was created by Gesang but  no Gesang Name writen as the composer,why I donnot undertand ,che sutinah my be from Singapore or Malaya,please comment and more info,tghis record found in Indonesia-Dr Iwan note)

 

2)Bengawan solo music Record Hawaiians Kilima

BY KILIMA HAWAIANS

The Mena Moeria Minstrels

“BINTANG SINAR”

phillips Record

Indonesia Popular song BENGAWAN SOLO AND OTHER INDONESIAN POPULAR SONG :Kole-kole,Toean , Njonja,Ajoen-ajoen,Buka Pintoe, Ole sioh,Bintang sinar,Ladju-ladju,Ombak putih,Mooi Eiland Ambon,Si Patokaan,Limbe-limbe,Angin berbisik.

 

 

 HAWAIIANS KILIMA 

 BY RUDI WAIRATA
Rudi Wairata 1929-1981
FIRST ERA 1929 – 1981

 SECOND ERA 1929 – 1981

 2.After World War Two

1)Sri Rejeki,Rudi Pirngadie  with His Tetap Segar Orchestra, Down The Riverside Of Indonesia In Krontjong Beat .

Side one : Sungai Deli, Sungai Tjiliwung, Tjitarum Disenja Raja,Ditepi Sungai Seraju,Bengawan Solo.

2. Foreign Countries Record

1) Japanese record

2) Suppraphon Ceskoslovakia Record(for the first time report by Dr iwan S,)

at this records also another indonesian song O laka Laka, goro-goro ne and gula gula santan , please the collectors who have this record  or another countries ‘s record please report ,thanks from Dr iwan)

 3).Other Countries Record

Frame Two: The Bengawan solo record label(  Bengawan Solo, eksplorasi google)

Solo songs copyright
 Gesang MARTOHARTONO world is an artist who was born in Indonesia. Gesang creation songs have been translated into various languages ​​including, English, Mandarin and Japanese. To avoid the occurrence of claiming the work of other countries, such as claiming the song “Solo” by some Dutch citizens recently, record companies Partiwi Music Publishers (PMP) has been taking care of creation of songs royalties, amounting to 44 Gesang title track to the Directorate General of Intellectual Property Rights Department of Justice and Human Rights. All songs Gesang the patent certificate, has been published since September 25, 2009.

Based on information from Andy Hutadjulu, General Manager of PMP in Solo, Gesang songs also had plagiarized by the country of Malaysia, “1960 Years ago, one of the songs are very well-known Gesang creation of ‘Solo’ ve traced by Malaysia with the title track ‘ Main Cello ‘, “said Andy Hutadjulu, Friday, May 21, 2010.

“Rhythm, tone and tempo of the song with the song ‘Solo’, it’s just a poem and its title changed,” said Andy Hutadjulu, General Manager of PMP in Solo, Friday, May 21, 2010.

Andy said, polemical work Gesang song plagiarism by Malaysia recently completed when President Sukarno, when it intervened directly.

Bung Karno deliberately invited the Malaysian side at an event at the Senayan sports competitions. “There song Solo Gesang also played and watched it immediately.”

By looking at it, Malaysia has acknowledged, that the song was the work Gesang, musicians Indonesia, “said Andy.

Other Gesang song creation entitled ‘Sweep Hand’ is also almost claimed by Malaysia, to serve as the national anthem.

“But it is so copied the Malaysian national anthem at last, the song ‘Light of the Moon’,” he said.

After the patent, it is expected there will be no longer claim the songs Gesang.
All of that song was certified as a work Gesang patents. So it has been legally recognized. “If there are parties who claim that the song was his creation merupakaan Gesang it can not, because it’s against the law,” said Andy.

Until now, PMP is managing the 3,000 title track of about 92 musicians. Songs that are managed under the label PMP, among other things, the song To you work Kusbini Affairs, Yen Ing Tawang Ana Lintang Andjar Any late work, Ampar-Banana works Ampar Hamiedhan AC and other songs from musicians Indonesia.

Before he died, Gesang just received royalties from the PMP, dated May 5, 2010. Royalties earned by Gesang of the month from July to December there were about Rp 21,788,852. [*]

Sources: Viva News

Related Posts
AMI Award Never To Gesang
Ask Gesang 3 Song Written Keroncong
Maestro Keroncong Martohartono Gesang (1917-2010)
Nidji Solo Song Will Bring to America
2.The composer Gesang
1). Kroncong Bengawan solo song creation Gesang, sung by Waljinah
 

Waljinah is one the most famous and beloved singers of traditional Javanese, ESPECIALLY for her song “Walang snicker” which made her very popular Among the Javanese. She also has made some Collaborations with top Indonesian artists Such as Didi Kempot, Gesang, Puspa point and so on. Her Voice is Heard on the radio daily and Appearances She makes numerous television. She has recorded over 1500 different songs, with a repertoire ranging from traditional singing with gamelan, popular songs, kroncong and Various other styles. Hear more from Waljinah at the fantastically eye popping Madrotter

Gesang Martohartono (born 1 October 1917) is a renowned Indonesian singer-songwriter from central Java, and composer of the song Solo, a tune the which has Become famous throughout Indonesia, Japan and much of Asia, and the which is almost synonymous with the kroncong style of Javanese music. He is most commonly known simply as Gesang.

2.The Biography of Gesang.
Gesang
 
Background
Born October 1, 1917
Template: Dutch flag Surakarta, Surakarta Kasunanan, Dutch East Indies
Died May 20, 2010 (age 92 years)
Template: Flag Indonesia Surakarta, Indonesia
Genre Keroncong
Singer jobs
Songwriter
Instruments Vocals

Gesang Gesang or full Martohartono (born in Surakarta, Central Java, October 1, 1917 – died in Surakarta, Central Java, May 20, 2010 at age 92 years) is a singer and songwriter from Indonesia. Known as the “maestro keroncong Indonesia,” he became famous through the song Solo creations, which is famous in Asia, especially in Indonesia and Japan. The song ‘Solo’ creations have been translated into at least 13 languages ​​(including English, Chinese, and Japanese)

Table of contents
1 Song Solo
2nd Life
3 Songs creation Gesang
 
 

 Solo Song
This song was created in 1940, when he beusia 23 years. Gesang young when it was sitting on the edge of the Solo River, he is always amazed by the river, was inspired to create a song. This song creation process takes about 6 months.

Solo song also has its own popularity abroad, especially in Japan. Solo was used in one of the Japanese movies. [1]

Life
Gesang lived in at No. 5 Village Road Bedoyo Kemlayan, Serengan, Solo with nephew and his family, having previously lived in his house Perumnas Palur granting the Governor of Central Java in 1980 for 20 years. He has split with his wife in 1962. Selepasnya, choosing to live alone. He never had children.

Gesang at first was not a songwriter. Formerly, he was just a singer of songs for the event keroncong and just a little party in the city of Solo. She has also created a few songs, such as the World Wheel Keroncong, Keroncong the Orphanage, and Sweep Hand, during World War II. Unfortunately, three songs is not received from the public.

As a form of appreciation for his services towards the development of music keroncong, in 1983 founded the Japanese Garden near the Solo Gesang. Management of the park was funded by the Fund Gesang, an institution founded for Gesang in Japan.

Gesang had reportedly died on May 18, 2010 after his health reportedly deteriorating. [2]

Gesang was rushed to hospital due to his health declined on Wednesday (19/05/2010). Furthermore, Gesang be treated in the ICU since Sunday (16 / 5) because of his health continued to decline. Hospitals to form a team to handle health consisting of five different specialists. Until finally he died on Thursday (20/05/2010) At 18:10 in the Hospital PKU Muhammadiyah Surakarta. [3]

 Songs creation Gesang
Solo
Red Bridge
Farewell (the Indonesian version was popularized by Broery Pesulima)
Caping Mount
Ali-ali
Andheng-andheng
Fade
Myth
Handkerchief
World Peace
The Orphanage
Nusul
Newsletters
Wheel World
Great Wall
Seto Ohashi
Pandanwangi
Impenku
Pearl Necklace
Youth Adult
Borobudur
Tirtonadi
Food Sandhang
-Handkerchief handkerchief

 
 
 
 
 
 
 
 
 
 
 
 

original

1.Penyanyi Indonesia

1)Waljinah

2)Gordon Tobing

 2.Foreign Countries

 a.Jepanese

the styler 

b.Hongkong

1) Rebecca Pan

Rebecca Pan Di-hua (潘迪華, 潘迪华; also Poon Tik-wah, Pan Wan Ching) is a Chinese actress and singer.

She was born in Shanghai. She moved to Hong Kong in 1949. Her singing career began in 1957. One of her songs, which she recorded when she was 18, is played briefly in In the Mood for Love — the English version of an Indonesian folk song, “Bengawan Solo“.

2) Francis Yip

Frances Yip

Frances Yip
Chinese name 葉麗儀 (Traditional)
Chinese name 叶丽仪 (Simplified)
Pinyin ye4 li4 yi2 (Mandarin)
Jyutping jip6 lai6 ji4 (Cantonese)
Ancestry [Southern Chinese from Guangzhou)
Origin Hong Kong
Born January 1, 1947 (1947-01-01) (age 64)
Central, Hong Kong Island, Hong Kong
Occupation Singer
Genre(s) Cantopop
Instrument(s) Singing
Voice type(s) Cathy Sharon (Jakarta, Indonesia)
Label(s) [EMI)
Years active 1969 – present
Awards
This is a Chinese name; the family name is Yip.

Frances Yip Lai-yee is a Hong Kong Cantopop singer. She is best known for performing many of the theme songs for television series produced by TVB in the 1980s and early 1990s.

born on 22 Oct 1947, Frances is of Hakka ancestry, Yip hit international fame with her signature tune, The Bund from the TVB drama of the same title. Before her success, she tributed songs in her earlier albums originally performed by singers such as Adam Cheng, Roman Tam and Jenny Tseng.

In her 41-year career, Yip has released more than 80 albums, mostly of songs in American English, Indonesian, Malay, Mexican Spanish, Japanese, Tagalog, Cantonese and Mandarin. She has performed on television, and in films, concerts and cabarets in more than 30 countries on five continents. Yip is fluent in both Chinese (Cantonese and Mandarin) and English. She recently overcame breast cancer

3).Mona Fong

 

Mona Fong

Mona Fong Yat Wah
(Mona, Lady Shaw)
Chinese name 方逸華 (Traditional)
Chinese name 方逸华 (Simplified)
Pinyin fāng yì huá (Mandarin)
Jyutping fong1 jat6 waa6 (Cantonese)
Birth name Li Meng-Lan (李夢蘭)
Ancestry Guangdong
Origin  Hong Kong
Born 1934 (age 76–77)
Shanghai, Republic of China
Other name(s) 方夢華
Occupation general manager, production manager, film and television producer
Spouse(s) Run Run Shaw (1997-)
Parents Fong Man Lo

Mona Fong Yat Wah, Lady Shaw is a Hong Kong film and television producer and production manager. A Cantonese born in Shanghai, Mona achieved fame as one of the most popular nightclub singers and recording artists in Singapore and Hong Kong in the 1950s. She often sang English covers of top hits of the time. She is currently the Deputy Chairman and General Manager of Shaw Brothers Studio and Television Broadcasts Limited (TVB). She is also the second wife of renowned media mogul Sir Run Run Shaw.

To date, Fong has produced over a hundred films since 1977, the latest of which was Drunken Monkey in 2002.[1] Effective 1 January 2009, she was appointed General Manager of TVB.[2]

 4)The list of bengawan solo Record(Daftar Koleski Rekaman Musik Lagu Bengawan Solo)

Bengawan Solo Songs (83 music files)
 
01 lagukeroncong gesang bengawan solo
file type:mp3

   

02

gesang bengawan solo

file type:mp3

 

 

 

03

bengawan solo klantink

file type:mp3

 

 

 

04

putri ayu ft lius dan klanting bengawan solo

file type:mp3

 

 

 

05

keroncong bengawan solo

file type:mp3

 

 

 

06

tantowi yahya bengawan solo

file type:mp3

 

 

07

02 bengawan solo

file type:mp3

 

 

 

08

keroncong bengawan solo sundari soekotjonew

file type:mp3

 

 

09

01 hetty koes endang keroncong bengawan solo

file type:mp3

 

 

10

gesang bengawan solo

file type:mp3

 

 

 

 

 83 different bengawan solo songs.  Bengawan Solo’s latest album is In the Mood for Love (2000 Film) which is released on 2000-11-06 .

Frame Three:

The Composer Gesang and his Song Bengawan Solo History

1. The Song Bengawan solo

 

1)Hak cipta lagu Bengawan Solo

 GESANG MARTOHARTONO adalah seniman dunia yang lahir di Indonesia. Lagu-lagu ciptaan Gesang telah diterjemahkan ke berbagai bahasa di antaranya, Inggris, Mandarin dan Jepang. Untuk menghindari terjadinya pengklaiman karya dari negara lain, seperti pengklaiman lagu “Bengawan Solo” oleh beberapa warga Belanda baru-baru ini, perusahaan rekaman Penerbit Musik Partiwi (PMP) telah mengurus royalti lagu-lagu ciptaan Gesang yang berjumlah 44 judul lagu ke Direktorat Jendral HAKI Departemen Hukum dan Hak Asasi Manusia. Semua sertifikat paten lagu Gesang tersebut, sudah terbit sejak 25 September 2009.

Berdasarkan keterangan dari Andy Hutadjulu, General Manager PMP di Solo, lagu-lagu Gesang juga sempat dijiplak oleh negara Malaysia, “Tahun 1960 lalu, salah satu lagu ciptaan Gesang  yang sangat terkenal, yakni ‘Bengawan Solo’ pernah dijiplak oleh Malaysia dengan judul lagu ‘Main Cello’,” kata Andy Hutadjulu, Jumat, 21 Mei 2010.

“Irama, nada dan tempo lagu tersebut sama dengan lagu ‘Bengawan Solo’, hanya saja syair dan judulnya yang diubah,” kata Andy Hutadjulu, General Manager PMP di Solo, Jumat, 21 Mei 2010.

Andy mengungkapkan, polemik penjiplakan lagu karya Gesang  oleh  Malaysia baru selesai ketika Presiden Soekarno, kala itu turun tangan langsung.

Bung Karno sengaja mengundang pihak Malaysia di sebuah acara perlombaan olahraga di Senayan. “Di situ lagu Bengawan Solo dimainkan dan Gesang juga menyaksikannya langsung.”

Dengan melihat itu, Malaysia baru mengakui, kalau lagu itu adalah karya Gesang, musisi Indonesia,” kata Andy.

Lagu ciptaan Gesang lainnya yang berjudul ‘Sapu Tangan’ juga nyaris diklaim oleh Malaysia, untuk dijadikan lagu kebangsaan.

“Tetapi yang jadi ditiru sebagai lagu kebangsaan Malaysia akhirnya, lagu ‘Terang Bulan’,” katanya.

Setelah paten, diharapkan tak akan ada lagi klaim lagu-lagu Gesang.
Semua lagu itu sudah bersertifikat hak paten sebagai karya Gesang. Jadi secara hukum sudah diakui. “Jika ada pihak-pihak yang mengaku bahwa lagu Gesang itu merupakaan ciptaannya sudah tidak bisa, karena itu melanggar hukum,” ujar Andy.

Hingga saat ini, PMP sudah mengelola sebanyak 3.000 judul lagu dari sekitar 92 musisi. Lagu-lagu yang dikelola di bawah label PMP, di antaranya, lagu Bagimu Negeri karya Kusbini, Yen Ing Tawang Ana Lintang karya almarhum Andjar Any, Ampar-Ampar Pisang karya Hamiedhan A.C. dan lagu-lagu lain dari musisi Indonesia.

Sebelum meninggal, Gesang baru saja menerima royalti dari PMP, tanggal 5 Mei 2010. Royalti yang didapatkan oleh Gesang dari bulan Juli-Desember ada sekitar Rp 21.788.852.  [*]

Sumber: Viva News

Tulisan Terkait

2.The composer Gesang

1).Lagu Kroncong Bengawan solo ciptaan gesang,dinyanyikan oleh Waljinah

 

Waljinah is one the most famous and beloved Javanese traditional singers, especially for her song “Walang Kekek” which made her very popular among the javanese. She also has made some collaborations with top Indonesian artists such as Didi Kempot, Gesang, Titik Puspa and so on. Her voice is heard on the radio daily and she makes numerous television appearances. She has recorded over 1500 different songs, with a repertoire ranging from traditional singing with gamelan, popular songs, kroncong and various other styles. hear more from Waljinah at the fantastically eye popping Madrotter

Gesang Martohartono (born 1 October 1917) is a renowned Indonesian singer-songwriter from central Java, and composer of the song Bengawan Solo, a tune which has become famous throughout Indonesia, Japan and much of Asia, and which is almost synonymous with the kroncong style of Javanese music. He is most commonly known simply as Gesang.

2.The Biography of Gesang.

Gesang
Gesang
Latar belakang
Lahir 1 Oktober 1917
Templat:Bendera belanda Surakarta, Kasunanan Surakarta, Hindia Belanda
Meninggal 20 Mei 2010 (Umur 92 tahun)
Templat:Bendera indonesia Surakarta, Indonesia
Jenis Musik Keroncong
Pekerjaan Penyanyi
Pencipta lagu
Instrumen Vokal

Gesang atau lengkapnya Gesang Martohartono (lahir di Surakarta, Jawa Tengah, 1 Oktober 1917 – meninggal di Surakarta, Jawa Tengah, 20 Mei 2010 pada umur 92 tahun) adalah seorang penyanyi dan pencipta lagu asal Indonesia. Dikenal sebagai “maestro keroncong Indonesia,” ia terkenal lewat lagu Bengawan Solo ciptaannya, yang terkenal di Asia, terutama di Indonesia dan Jepang. Lagu ‘Bengawan Solo’ ciptaannya telah diterjemahkan kedalam, setidaknya, 13 bahasa (termasuk bahasa Inggris, bahasa Tionghoa, dan bahasa Jepang)

Daftar isi

 

 Lagu Bengawan Solo

Lagu ini diciptakan pada tahun 1940, ketika ia beusia 23 tahun. Gesang muda ketika itu sedang duduk di tepi Bengawan Solo, ia yang selalu kagum dengan sungai tersebut, terinspirasi untuk menciptakan sebuah lagu. Proses penciptaan lagu ini memakan waktu sekitar 6 bulan.

Lagu Bengawan Solo juga memiliki popularitas tersendiri di luar negeri, terutama di Jepang. Bengawan Solo sempat digunakan dalam salah satu film layar lebar Jepang.[1]

Kehidupan

Gesang tinggal di di Jalan Bedoyo Nomor 5 Kelurahan Kemlayan, Serengan, Solo bersama keponakan dan keluarganya, setelah sebelumnya tinggal di rumahnya Perumnas Palur pemberian Gubernur Jawa Tengah tahun 1980 selama 20 tahun. Ia telah berpisah dengan istrinya tahun 1962. Selepasnya, memilih untuk hidup sendiri. Ia tak mempunyai anak.

Gesang pada awalnya bukanlah seorang pencipta lagu. Dulu, ia hanya seorang penyanyi lagu-lagu keroncong untuk acara dan pesta kecil-kecilan saja di kota Solo. Ia juga pernah menciptakan beberapa lagu, seperti; Keroncong Roda Dunia, Keroncong si Piatu, dan Sapu Tangan, pada masa perang dunia II. Sayangnya, ketiga lagu ini kurang mendapat sambutan dari masyarakat.

Sebagai bentuk penghargaan atas jasanya terhadap perkembangan musik keroncong, pada tahun 1983 Jepang mendirikan Taman Gesang di dekat Bengawan Solo. Pengelolaan taman ini didanai oleh Dana Gesang, sebuah lembaga yang didirikan untuk Gesang di Jepang.

Gesang sempat dikabarkan meninggal dunia pada tanggal 18 Mei 2010 setelah kesehatannya dilaporkan memburuk.[2]

Gesang dilarikan ke rumah sakit akibat kesehatannya menurun pada Rabu (19/05/2010). Selanjutnya, Gesang harus dirawat di ruang ICU sejak Minggu (16/5) karena kesehatannya terus menurun. Rumah sakit membentuk sebuah tim untuk menangani kesehatan yang terdiri dari lima dokter spesialis yang berbeda. Hingga akhirnya beliau meninggal pada hari Kamis (20/05/2010) Pukul 18:10 di Rumah Sakit PKU Muhammadiyah Surakarta.[3]

 Lagu-lagu ciptaan Gesang

  • Bengawan Solo
  • Jembatan Merah
  • Pamitan (versi bahasa Indonesia dipopulerkan oleh Broery Pesulima)
  • Caping Gunung
  • Ali-ali
  • Andheng-andheng
  • Luntur
  • Dongengan
  • Saputangan
  • Dunia Berdamai
  • Si Piatu
  • Nusul
  • Nawala
  • Roda Dunia
  • Tembok Besar
  • Seto Ohashi
  • Pandanwangi
  • Impenku
  • Kalung Mutiara
  • Pemuda Dewasa
  • Borobudur
  • Tirtonadi
  • Sandhang Pangan
  • Kacu-kacu

the end @ Copyright Dr Iwan Suwandy 2011

The Vintage Legend Hawaiians KILIMA Record Collections

 

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom

THE VINTAGE INDONESIA POPULAR SONG

BY KILIMA HAWAIANS

The Mena Moeria Minstrels

“BINTANG SINAR”

phillips Record

Indonesia Popular song

Kole-kole,Toean dan Njonja,Ajoen-ajoen,Buka Pintoe, Ole sioh,Bintang sinar,Ladju-ladju,Ombak putih,Mooi Eiland Ambon,Si Patokaan,Bengawan solo,Limbe-limbe,Angin berbisik.

other Kilima Hawaiaans record (google explorations)

  RUDI WAIRATA
Rudi Wairata 1929-1981
1929 – 1981 1929 – 1981
The Mena Moeria Minstrels – The Amboina Serenaders The Mena Moeria Minstrels – The Amboina Serena Suppose

biografie biography

1929 1929

Diederich Gijsbrecht Christo ‘Rudi’ Wairata wordt op 25 december 1929 geboren in Ternate (Halmaheira eilanden in de Molukse archipel) als zoon van Andries Egbert Wairata en Anthoinetta Cornelia Meulenaar. Diederich Gijsbrecht Christo ‘Rudi’ Wairata on December 25, 1929 born in Ternate (Halmaheira islands in the Moluccan islands), the son of Andries Egbert Wairata and Cornelia Anthoinetta Meule To.

Vader Wairata leidt een zangkoor en zijn oudste broer speelt in een hawaiianband. Father Wairata leads a choir and his oldest brother plays in a hawaiian band.

1939 1939

Op zijn tiende verjaardag krijgt Rudi een hawaiianplaat van Sol Hoopii en een van Andy Iona . On its tenth anniversary Rudi gets a hawaiian plate Sol Hoopii and one of Andy Iona.

hoopii.jpg (10112 bytes)
SOL HOOPII SOL HOOPII

1940 1940

Rudi bouwt zijn ukele om tot een hawaiiangitaartje en oefent met een potlood. Rudi construira ukele to a hawaiian guitar and performs with a pencil.

De familie Wairata is ondertussen naar Djokja verhuist en zijn vader stuurt hem daar op pianoles. The family Wairata has moved to Djokja and his father sends him on piano.

1942 1942

Als twaalfjarige vervangt Rudi zijn broer tijdens een optreden voor Radio VERAL. Het is een succesvol optreden en Rudi gaat voortaan de hawaiiangitaar in het ensemble bespelen. As a twelve year old replaces Rudi his brother during a performance for Radio generalized. It is a successful action and Rudi is now the hawaiian guitar in the ensemble playing. Zijn broer schakelt over op gitaar. His brother switches on guitar.

1943 19431950 1950 Rudi treedt vaak op tijdens bruiloften en partijen. Rudi is common at weddings and parties. Samen met onder andere Ruben Rumahlewang speelt hij bij het ensemble Mena Moeria (een oude strijdkreet; letterlijk mena = voor en moeria = achter ) in Jogjakarta en Batavia. Together with other Ruben Rumahlewang he plays in the ensemble Moeria Mena (an old battle cry, literally menagement = = moeria and rear) in Jogjakarta and Batavia. Rudi ontmoet ook George de Fretes en krijgt les van hem. Rudi also met George de Fretes and had lessons from him.De groep is regelmatig te beluisteren via de NIROM (Nederlands Indische Radio Omroep) The group is regularly heard by NIROM (English Indian Radio Broadcasting)
1951 1951

Vader Wairata heeft een beurs voor een muziekstudie voor zijn zoon Rudi op het Koninklijk Conservatorium in Den Haag geregeld. Father Wairata has a scholarship to study music for his son Rudi at the Royal Conservatory in Den Haag regularly.

Zijn in Nederland wonende oom haalde hem vrijwel direct over om in Nederland een hawaiianband te beginnen. His uncle living in the Netherlands took him almost directly in the Netherlands to start a hawaiian band. Dat worden de Mena Moeria Minstrels . That the Mena Moeria Minstrels. Op 16 oktober 1951 winnen ze de voorronde van het SAHIN-concours (SAHIN staat voor Stichting Amateur Hawaiianensembles In Nederland ) in het Amsterdamse Bellevue . On October 16, 1951 they won the preliminary round of the Competition Sahin (Sahin Foundation for Hawaiian Amateur ensembles in the Netherlands) in Amsterdam Bellevue. De bezetting bestaat dan uit: Rudi Wairata, Ming Luhulima, Charlie Kuipers, Pariury en Patty . The occupation exists from: Rudi Wairata, Ming Luhulima, Charlie Kuipers, Pariury and Patty. Ook de finale op 15 december 1951in de hal van de Snijbloemenveiling in Honselersdijk winnen ze met vlag en wimpel. The finale on 15 December 1951in the hall of the cut flowers in Honselersdijk Auction they won with flying colors.

1952 1952

Zangeres Joyce Aubrey , de ex- vrouw van George de Fretes , sluit zich na haar komst naar Nederland aan bij The Mena Moeria Minstrels . Joop Sahanaya , een neef van Rudi Wairata, gaat gitaar spelen in het ensemble. Singer Aubrey Joyce, the former wife of George de Fretes, quit after coming to the Netherlands at The Mena Moeria Minstrels. Sahanaya Joop, a nephew of Wairata Rudi is playing guitar in the ensemble.

De groep heeft veel succes met huladanseressen in hun show. The group has a lot of success with huladanseressen in their show.

1953 1953

The Mena Moeria Minstrels krijgen een platencontract bij platenmaatschappij Dureco NV (Dutch Record Company). The Mena Moeria Minstrels get a record contract with record company Dureco NV (Dutch Record Company). Op maandag 2 februari 1953 (daags na de watersnoodramp ) worden de eerste opnamen gemaakt in de studio gevestigd in het Bavohuis in Amsterdam-Oost. On Monday, Feb 2, 1953 (the day after the flood disaster), the first recordings made in studio located in the Bavo House in Amsterdam-Oost. Hun 78-toeren platen worden uitgebracht op het Omega label. Guus Jansen is hun labelmanager. Their 78-rpm records to be released on the Omega label. Guus Jansen their label manager.

The Mena Moeria Minstrels
THE MENA MOERIA MINSTRELS THE MENA MOERIA Minstrels
vlnr: Jack Salakory – Rudi Wairata – Joyce Aubrey – Ming Luhulima – Joop Sahanaya From left to right: Jack Salakory – Rudi Wairata – Joyce Aubrey – Ming Luhulima – Joop Sahanaya

Speciaal voor het krontjong repertoire en het vertolken van Molukse en Indische liedjes treedt de groep ook op onder de naam The Amboina Serenaders . Especially for krontjong repertoire and interpreting of Moluccan and Indian songs will the group under the name The Amboina Serena club. Op het RCA label (toen vertegenwoordigd door Dureco – zij brengen ook de eerste platen van Elvis Presley in Nederland op de markt) worden de opnamen van de Amboina Serenaders uitgebracht. Peter Bronkhorst is hiervan de labelmanager. At the RCA label (then represented by Dureco – they put the first record of Elvis Presley in the Netherlands on the market) are the images of Amboina Serena Suppose given. Peter Bronkhorst is the label manager. In de studio wordt een vibrafonist aan de bezetting toegevoegd. The studio is a vibraphonist added to the occupation.

1954 1954

 

http://translate_p_data/3mVCtIKeuSZwZ2Vqd.swf
Video clip KAIWAHU MARCH (78 toeren plaat) met foto’s en 2 Hawaiian video filmpjes (Dailymotion) Video clip KAIWAHU MARCH (78 rpm disc) with pictures and video clips Hawaiian 2 (Dailymotion)

1955 1955

 

The Mena Moeria Minstrels
THE MENA MOERIA MINSTRELS – 1e EP op Omega 145.506 THE MENA MOERIA Minstrel – 1st EP on Omega 145506

 

1956 1956 The Amboina Serenaders scoren een grote hit met Ik Wil Klappermelk Met Suiker , dat door de Nederlandse componist en tekstdichter Pierre Wijnnobel is geschreven. The Amboina Serena club scored a big hit with I Want coconut milk with sugar, by the Dutch composer and poet Pierre Wine Nobel text is written. Met voortreffelijke zang van Joyce Aubrey en Lou Lima (= Ming Luhulima) With excellent vocals by Joyce and Lou Aubrey Lima(= Ming Luhulima)

Joyce Aubrey in the Tuney Tunes of January 1957
JOYCE AUBREY in de Tuney Tunes van januari 1957 Joyce Aubrey in the Tuney Tunes of January 1957

Rudi Wairata en zijn Mena Moeria Minstrels nemen een zeer geslaagde versie op van Moon Mullican ‘s hit Honolulu Rock-A Roll-A. Een mix van hawaiianmuziek met rock-‘n-roll. Rudi Wairata and Mena Moeria Minstrels take a very successful version of Moon Mullican’s hit Honolulu Rock-A Roll-A. A mix of hawaiian music with rock-‘n-roll.

1957 1957 Er ontstaat onenigheid in de groep. There is disagreement in the group. Rudi Wairata verlaat de groep. Rudi Wairata leave the group. Hij maakt met een nieuwe formatie platen voor het RCA label (nu bij Inelco) onder de naam Rudi Wairata & The Hawaiian Minstrels en Rudi Wairata & The Serenaders . He created a new formation for the RCA record label (now Inelco) under the name Rudi Wairata & The Hawaiian Minstrels and Rudi Wairata & The Serena club.Ming Luhulima wordt de nieuwe leider van The Mena Moeria Minstrels – The Amboina Serenaders. Luhulima Ming is the new leader of The Mena Moeria Minstrels – The Serena Amboina club.Rudi Wairata neemt met zijn Ensemble The Hawaiian Minstrels het nummer Rock And Roll And Breezes (RCA) op. Rudi Wairata takes his Ensemble The Hawaiian Minstrels the song Rock And Roll And Breezes (RCA) on. Het wordt door sommigen beschouwd als de allereerste Indo-Rock opname. It is regarded by some as the first ever Indo-Rock recording. De muziek is van Wairata zelf en de tekst is geschreven en wordt gezongen door Charlie Kuipers . The music is Wairata itself and the text is written and sung by Charlie Kuipers.

The Mena Moeria Minstrels - The Amboina Serena led Suppose Ming Luhulima
THE MENA MOERIA MINSTRELS – THE AMBOINA SERENADERS olv Ming Luhulima THE MENA MOERIA Minstrels – THE SERENA Amboina RS led Ming Luhulima
vlnr: Joop Sahanaya – steeler? From left to right: Joop Sahanaya – steeler? – Jack Salakory – Joyce Aubrey – Ming Luhulima – Jack Salakory – Joyce Aubrey – Ming Luhulima

1958 1958 Rudi Wairata gaat met een hawaiianband in België werken. Rudi Wairata with a hawaiian band in Belgium. Tijdens de Wereldtentoonstelling Expo ’58 in Brussel speelt hij in de Hawaiian Village (onderdeel van het attractiepark) samen met Mike Anoi (Guus ‘broer’ Arends) . During the Expo’58 World Exhibition in Brussels he plays in the Hawaiian Village (part of the park) with Mike Anoi (Guus’ brother ‘Arends). Als pauze-act spelen The Tielman Brothers in de Hawaiian Village zich met hun wervelende rock-‘n-roll show in de kijker. If break-act play The Tielman Brothers at the Hawaiian Village with their whirlwind rock-‘n-roll show in the viewer. Tijdens een grote brand gaan hun instrumenten, maar ook die van Rudi Wairata verloren. During a major fire to their instruments, but also that of Rudi Wairata lost.The Mena Moeria Minstrels – The Amboina Serenaders vallen uiteen nadat Joyce Aubrey in de zomer van 1958 zich aansluit bij The Royal Hawaiian Minstrels – Suara Istana olv haar ex- echtgenoot George de Fretes . The Mena Moeria Minstrels – The Serena Amboina club cover after Joyce Aubrey in the summer of 1958, joins The Royal Hawaiian Minstrels – Suara Istana led her ex-husband George de Fretes. Hij is als verstekeling aan boord van de Johan Barneveldt naar Nederland gekomen. He is a stowaway aboard the Johan Barneveldt come to the Netherlands.Ming Luhulima richt zijn eigen krontjong-ensemble Pantja Warna op. Ming Luhulima address its own krontjong ensemble Pantja Warna on.
1959 1959 Rudi gaat steelgitaar spelen bij de Kilima Hawaiians . Rudi is steelgitaar play in Kilima Hawaiian. Daarvoor heeft Broer Arends hun vertrokken steeler Theo Ehrlicher tijdens een korte periode opgevolgd, maar dat is geen succes geworden. This has left their brother Arends steeler Theo Ehrlicher during a brief period followed, but that is not success. Nog vóór Rudi is ook aan George de Fretes is gevraagd of hij bij de Kilima Hawaiians wil komen spelen. Even before Rudi is also the George Freteswas asked whether he wants to Kilima Hawaiian play. Hij gaat niet op het verzoek in. He is not on the request.

The Kilima Hawaiian with Rudi Wairata
THE KILIMA HAWAIIANS met RUDI WAIRATA THE HAWAIIAN Kilima with RUDI WAIRATA

Bill Kilima and his Cowboys
BILL  KILIMA AND HIS COWBOYS met RUDI WAIRATA BILL AND HIS COWBOYS Kilima with RUDI WAIRATA

 

1960 1960

Het blad Romance brengt een speciale EP van Rudi Wairata & De Kilima Hawaiians uit. The magazine Romance brings a special EP & Rudi Wairata The Kilima Hawaiian off. Hierop is een zeer swingende en rockende versie van Steel Guitar Rag als Steel Guitar Rock te beluisteren. This is a very swinging and rocking version of Steel Guitar Rag Steel Guitar Rock as to listen.

Rudi Wairata & The Kilima Hawaiian
DE KILIMA HAWAIIANS – ROMANCE EP THE HAWAIIAN Kilima – ROMANCE EP
vlnr: Wim van Herpen – Rudi Wairata – Mary Buysman – Bill Buysman From left to right: Wim van Herpen – Rudi Wairata – Mary Buysman – Bill Buysman

Tijdens een tournee van de Kilima Hawaiians in Duitsland blijft Wairata achter en gaat voor de Amerikanen spelen. During a tour of the Kilima Hawaiian Wairata remains behind in Germany and the Americans play.

1961 19611969 1969 De gouden jaren van de hawaiianmuziek zijn voorbij. The golden years of the hawaiian music are over. Het interessante werk in grote shows wordt steeds minder. The interesting work in big shows is always less. Alleen in de amusementssector in de horeca is nog wat te verdienen. Rudi is ook actief op cruiseschepen. Only in the entertainment sector in the trade is still something to earn. Rudi is also active on cruise ships. In Wiesbaden runt hij nog een tijdje een theaterbureau en zo af en toe krijgt Rudi Wairata nog de gelegenheid om een LP op te nemen. In Wiesbaden he still runs a theater while a desk and every now and then Rudi Wairata will have the opportunity to LP as well. Internationaal presenteert Rudi zich nu als Rudy. International Rudi presents itself now as Rudy. Verder gebruikt hij ook artiestennamen als Sam Letto en Roy Moana Furthermore, he also artiestennamen as Sam and Roy letto MoanaIn de periode 1962-1963 neemt Rudi Wairata in Duitsland nog een aantal platen op voor het 777 label. In the period 1962-1963 is Rudi Wairata in Germany a number of plates for the 777 label. Zijn begeleidingsgroep heeft dan de naam The Hawaiian Boys . His begeleidingsgroep than the name The Boys Hawaiian. In 1966 wordt hij in Duitsland gesignaleerd met The Waikiki Islanders , hij bespeeld dan een pedal steelgitaar. In 1966 he reported in Germany with The Waikiki Islanders, he played a pedal steelgitaar.
1970 19701980 1980 Rudi richt de groep Rudy Wairata & The Oriëntal Four op. Rudi, the group Wairata Rudy & The Oriental Four op. Hij speelt nog regelmatig in Duitsland. He still plays regularly in Germany. Van de groep verschijnt ook een LP op MFP(EMI) onder de titel The Magic Of The Oriënt. Rudi heeft voor het album ook een cover van Once van The Hurricane Rollers , de allereerste Indo-Rock compositie uit 1959 van Rob Boekholt , opgenomen. The group also appears on an LP MFP (EMI) under the title The Magic Of The Orient. Rudi on the album including a cover of Once by The Hurricane Rollers, the first ever Indo-rock composition from 1959 Rob Boekholt included.In het midden van de jaren zeventig is Rudi actief bij de groep Suara Nusantara , ook bekend onder de naam The Nusantara Serenaders met Boet Manuhutu, David Nanuru en zangeres Liszy. Van dit ensemble verschijnt in 1976 een LP op EMI en tevens een album van Rudi samen met steeler Frans van Oirschot . In the middle of the seventies Rudi is active in the group Suara Nusantara, also known under the name The Nusantara Serena club with fines Manu Hutu, David Nanuru and singer Liszy. From this ensemble appears in a 1976 LP on EMI and also an album by Rudi steeler with Frans van Oirschot. De Tilburger Van Oirschot is ooit in 1948 begonnen met zijn eigen hawaiianensembles The Aloma Hawaiians, The Malua Hawaiians en The Honolulu Strings (1950). The Tilburger Van Oirschot has ever started in 1948 with his own ensembles hawaiian Aloma The Hawaiian, The Malua Hawaiian and The Honolulu Strings (1950).Historisch is de ontmoeting te noemen in 1978 tussen Rudi Wairata en George de Fretes op de zolder (ingericht als hawaiianmuziek-museum) van Gerard Dillen in Haarlem. Historically, the meeting called in 1978 between George and Rudi Wairata the Fretes in the attic (if equipped hawaiian music museum) Gerard Dillen in Haarlem. Dillen heeft in 1959 de International Fanclub Hawaii Calls opgericht. Dillen in 1959 the International Fanclub Hawaii Calls established. Hij geeft het maandblad Sound of Hawaii uit en organiseerd hawaiianshows. He gave the monthly Sound of Hawaii and hawaiian organized shows.Onder de naam Roy Moana wordt in 1978 een LP uitgebracht op GIP/Dureco met als titel Good Old Hawaii . Under the name Roy Moana is an LP released in 1978 on BIP / Dureco, entitled Good Old Hawaii. In de bezetting spelen Victor Gout (gitaar), Mieke Gout (ukelele), Henk Hensing (bas), André Spin (drums) en Ronnie Watti (zang) In the occupation play Gout Victor (guitar), Mieke Gout (ukelele), Henk Hensing (bass), Andre Spin (drums) and Ronnie Watti (vocals)Rudy Wairata & his New Polynesians is waarschijnlijk de allerlaatste formatie waar Rudi een LP ( It’s Aloha Time ) mee opneemt voor het Delta label. Rudy Wairata & his New Polynesian is probably the very formation of a Rudi LP (It’s Aloha Time) to record for the Delta label. 
1981 1981 Rudi Wairata overlijdt op 15 juli 1981 in Rotterdam, hij is dan slechts 51 jaar oud. Rudi Wairata dies on July 15, 1981 in Rotterdam, he is only 51 years old.
2006 2006 (p) Piet Muys (juni  2006) (p) Piet Muys (June 2006) mail

  • Speciale dank gaat uit naar: Special thanks go to:
    Riny Bade Riny Bade
    Hans de Raaij Hans de Raaij
    Peter Riethof † Peter Riethof †
    Bert Bossink Bert Bossink
  • Bronnen: Sources:
    Boek Haring & Hawaii (Lutgard Mutsaers 1992) Book Herring & Hawaii (Lutgard Mutsaers 1992)
    Rudy Wairata is still tickling the strings (Moesson 15-10-1980, Ralph Boekholt) Rudy Wairata is still tickling the strings (15-10-1980 monsoon, Ralph Boekholt)

aloha

 

Kilima Hawaiians

Kilima Hawaiians is a Dutch band, which got started by Bill Buysman in 1934 as “Kilima Hawaiian Trio”. In 1936 he was joined by his wife Mary Buysman. They had their first recordings in 1941, which made them already quite successful in a very short time. In 1942 bass player Wim van Herpen joined the trio and the band changed name to “The Kilima Hawaiians”. Under this new setting they had their greatest moments of success, during the late 1940s and 1950s. They got back into the picture in the late 1960s when they were exclusively signed by CBS/Artone. In the meantime some new artists joined the band and some band members left and were replaced by new people. Their last release with original work came out in the 1970s. Afterwards only compilation albums with previously recorded material got released

the kilima hawaiians – aloha

 
format : casette
label : atlantic records indonesia/atlantic tara ltd.
tahun : -
      album : aloha
comment,ayo kita ber aloha ria,ala musik hawaii…
di album ini ada 2 group musikSIDE A1.pearl harbour march
2.the manukuli songs
3.sweet hawaiaan chimes
4.the one rose that left in my heart
5.on linger longer island
6.under the tropical moon
7.hano hano molokai
8.oh i’ll dream about hawaii
9.twilight in hawaii
10.aloha waikiki shoreSIDE B1.lei aloha lei makamae
2.aloha once more
3.dreams of aloha
‘the leilani beach group’
4.the king of holiday island
5.two white seagulls
6.song of the island
7.blue hawaii
8.pagan love song
9.honolulu bewitched
10.leino kaiulani (george de fretes)
 
THE BIOGRAPHY OF KILIMA  HAWAIIANS RECORD
The Mena Moeria Minstrels
 
RUDI WAIRATA
Rudi Wairata 1929-1981
1929 – 1981 1929 – 1981
The Mena Moeria Minstrels – The Amboina Serenaders The Mena Moeria Minstrels – The Serena Amboina Supposebiography biography

1929 1929 Diederich Gijsbrecht Christo ‘Rudi’ Wairata on December 25, 1929 born in Ternate (Halmahera islands in the Maluku archipelago), the son of Andries and Egbert Wairata Anthoinetta Cornelia Meulenaar. Diederich Gijsbrecht Christo ‘Rudi’ Wairata on December 25, 1929 born in Ternate (Halmahera islands in the Moluccan islands), the son of Andrew and Cornelia Egbert Wairata Anthoinetta Meule To.

Wairata father leads a choir and his older brother plays in a Hawaiian band. Wairata father leads a choir and his oldest brother plays in a Hawaiian band.
 
1939 1939 On his tenth birthday, Rudi Hawaiian plate of Sol Hoopii and Andy Iona. On its tenth anniversary Rudi gets a Hawaiian plate Sol Hoopii and one or Andy Iona.

SOL SOL Hoopii Hoopii
 
1940 1940 Rudi builds his ukele into a Hawaiian guitar and performs with a pencil. Rudi construira ukele to a Hawaiian guitar and Performs with a pencil.

The family moved to Yogya Wairata has now and his father sends him on piano lessons. The family has moved to Yogya Wairata and his father sends him on piano.
 
1942 1942 As a twelve year old replaces Rudi his brother during a gig for Radio VERAL. It was a successful performance and Rudi is now the Hawaiian guitar in the ensemble playing. As a twelve year old Rudi Replaces His brother constantly a performance for Radio generalized. It was a successful action and Rudi is now the Hawaiian guitar in the ensemble playing. His brother switches to guitar. His brother on guitar switches.
 
1943 19431950 1950 Rudi often performs at weddings and parties. Rudi is common at weddings and parties. Teamed up with Ruben Rumahlewang he plays with the ensemble Mena Moeria (an old battle cry, literally mena = front and rear moeria =) in Jogjakarta and Batavia. Together with other Reuben Rumahlewang he plays in the ensemble Moeria Mena (an old battle cry, literally mena = = moeria agement and rear) in Yogyakarta and Batavia. Rudi also met George Fretes and will be taught by him. Rudi Also with George and had lessons from the Fretes him.De group is regularly heard on the NIROM (Dutch Indies Radio Broadcasting) The group is regularly heard by NIROM (English Indian Radio Broadcasting)
1951 1951 Father Wairata has a scholarship to study music with his son Rudy at the Royal Conservatory in The Hague regularly. Wairata Father Has A scholarship to study music for His son Rudy at the Royal Conservatory in The Hague regularly.

His uncle took him in the Netherlands living in Netherlands almost immediately on a Hawaiian band. His uncle living in the Netherlands firing him almost directly in the Netherlands to start a hawaiian band. That the Mena Moeria Minstrels. That the Mena Moeria Minstrels. On October 16, 1951 they won the first round of the competition, Sahin (Sahin Foundation stands for Hawaiian Amateur ensembles in the Netherlands) in Amsterdam Bellevue. On October 16, 1951 They won the preliminary round of the Competition Sahin (Sahin Foundation for Hawaiian Amateur ensembles in the Netherlands) in Amsterdam Bellevue. The occupation consists of: Rudi Wairata, Ming Luhulima, Charlie Kuipers, Pariury and Patty. The occupation exists from Rudi Wairata, Ming Luhulima, Charlie Kuipers, Pariury and Patty. The final on 15 December 1951in the Hall of Flowers in Honselersdijk Auction they won with flying colors. The final on 15 December 1951in the hall of the cut flowers in Honselersdijk They won with flying colors Auction.
 
1952 1952 Joyce Aubrey Singer, the former wife of George Fretes, quit after her arrival in the Netherlands at The Mena Moeria Minstrels. Joop Sahanaya, a cousin of Rudi Wairata, is playing guitar in the ensemble. Singer Aubrey Joyce, the former wife of George Fretes, quit after coming to the Netherlands at The Mena Moeria Minstrels. Sahanaya Joop, a nephew or Wairata Rudi is playing guitar in the ensemble.

The group is very successful with huladanseressen in their show. The Group Has A lot of success with huladanseressen In Their show.
 
1953 1953 The Mena Moeria Minstrels get a recording contract with record company Dureco NV (Dutch record company). The Mena Moeria Minstrels get a record contract with record company Dureco NV (Dutch record company). On Monday, February 2, 1953 (the day after the flood), the first recordings made in studio located in the Bavo House in East Amsterdam. On Monday, February 2, 1953 (the day after the flood disaster), the first recordings made in studio located in the Bavo House in East Amsterdam. Their 78-rpm records to be released on the Omega label. Guus Jansen is their label manager. Their 78-rpm records to be released on the Omega label. Their label manager Guus Jansen.

The Kilima Hawaiian with Rudi Wairata
THE MENA MOERIA Minstrel THE MENA MOERIA Minstrels
Left to right: Jack Salakory – Rudi Wairata – Joyce Aubrey – Ming Luhulima – Joop Sahanaya From Left to Right: Jack Salakory – Rudi Wairata – Joyce Aubrey – Ming Luhulima – Joop Sahanaya

Especially for krontjong repertoire and voicing Moluccan Indian songs and the group also acts as The Amboina Serenaders. Especially for krontjong repertoire and interpreting or Moluccan and Indian songs Will the group under the name the club Amboyna Serena. On the RCA label (then represented by Dureco – it means the first recording of Elvis Presley in the Netherlands on the market), the recordings of Amboina Serenaders released. Peter Bronkhorst this is the label manager. At the RCA label (then represented by Dureco – They put the first record or Elvis Presley in the Netherlands on the market) are the images of Amboina Serena Suppose Given. Peter Bronkhorst is the label manager. In the studio, a vibraphonist added to the occupation. The studio is a vibraphonist added to the occupation.
 
1954 1954

http://translate_p_data/3mVCtIKeuSZwZ2Vqd.swf

MARCH KAIWAHU video clip (78 rpm record) with photos and two videos Hawaiian (Dailymotion) Video Clip KAIWAHU MARCH (78 rpm disc) with pictures and video clips Hawaiian 2 (Dailymotion)
 
1955 1955

THE MENA MOERIA Minstrel – 1st EP 145,506 Omega THE MENA MOERIA Minstrel – 1st EP on Omega 145506

 
 
The Amboina Serenaders 1956 1956 scoring a huge hit with I Want Coconut milk, by the Dutch composer and lyricist Pierre Nobel Wine was written. The Amboina Serena Club scored a big hit with coconut milk with sugar I Want, by the Dutch poet and composer Pierre Wine Nobel text is written. With outstanding vocals of Joyce and Lou Aubrey Lima (Ming Luhulima =) With excellent vocals by Joyce and Lou Aubrey Lima (Ming Luhulima =)

JOYCE Aubrey in Tuney Tunes of January 1957 at the Joyce Aubrey Tuney Tunes of January 1957

Rudi and his Wairata Mena Moeria Minstrels take a very successful version of Moon Mullican’s hit Honolulu Rock A Roll-A. A mix of Hawaiian music with rock and roll. Rudi Wairata and Mena Moeria Minstrels take a very successful version of Moon Mullican’s hit Honolulu Rock-A Roll-A. A mix of Hawaiian music with rock ‘n’ roll.
 
1957 1957 There is disagreement in the group. There is disagreement in the group. Rudi Wairata leave the group. Rudi Wairata leave the group. He creates a new formation for the RCA record label (now at Inelco) under the name Rudi Wairata & The Hawaiian Minstrels and Rudi Wairata & The Serenaders. He created a new formation for the RCA record label (now Inelco) under the particular Rudi Wairata & The Hawaiian Minstrels and Rudi Wairata club.Ming Luhulima & The Serena is the new leader of The Mena Moeria Minstrels – The Amboina Serenaders. Luhulima Ming is the new leader of The Mena Moeria Minstrels – The Serena Amboyna club.Rudi Wairata notes with his ensemble The Hawaiian Minstrels the song Rock And Roll And Breezes (RCA) on. Rudi takes Wairata His Orchestra The Hawaiian Minstrels the song Rock And Roll And Breezes (RCA) on. It is considered by some as the first Indo-rock record. Regarded by some as it is the first ever Indo-rock recording. The music is Wairata itself and the text is written and sung by Charlie Kuipers. The music is Wairata Itself And The text is written and sung by Charlie Kuipers.

THE MENA MOERIA Minstrel – THE Amboina Serenaders led by Ming Luhulima THE MENA MOERIA Minstrels – THE SERENA Amboyna RS Ming led Luhulima
Left to right: Joop Sahanaya – Steeler? From left to right: Jake Sahanaya – Steeler? – Jack Salakory – Joyce Aubrey – Ming Luhulima – Jack Salakory – Joyce Aubrey – Ming Luhulima
 
1958 1958 Rudi Wairata go with a Hawaiian band in Belgium. Rudi Wairata with a Hawaiian band in Belgium. During the World Expo ’58 in Brussels, he plays in the Hawaiian Village (part of the park) with Mike Anoi (Guus ‘brother’ Arends). During the World Exhibition in Brussels Expo’58 he plays in the Hawaiian Village (part of the park) with Mike Anoi (Guus ‘brother’ Arends). If break-act play The Tielman Brothers at the Hawaiian Village with their swirling rock n roll show in the spotlight. If break-act play The Tielman Brothers at the Hawaiian Village with Their whirlwind rock ‘n’ roll show in the viewer. During a major fire to their instruments, but also that of Rudi Wairata lost. During a major fire to Their instruments, but Rudi and Also That Wairata lost.The Mena Moeria Minstrels – The Amboina Serenaders fall after Aubrey Joyce in the summer of 1958, joining The Royal Hawaiian Minstrels – Suara Istana directed by her ex-husband George The Fretes. The Mena Moeria Minstrels – The Serena Amboyna club cover after Aubrey Joyce in the summer of 1958, joins The Royal Hawaiian Minstrels – Suara Istana led her ex-husband George Fretes. He is a stowaway aboard the John Barneveldt to the Netherlands. He is a Stowaway aboard the John Barneveldt come to the Netherlands.Ming Luhulima directed his own ensemble krontjong Pantja Warna on. Ming Luhulima address its own ensemble krontjong Pantja Warna on.
1959 1959 Rudi is playing steel guitar at the Kilima Hawaiians. Rudi is on steel guitar in Hawaiian Kilima. Prior to that, Brother Theo Arends their left Steeler Ehrlicher during a brief period followed, but it was not a success. This has left Their brother Theo Arends Steeler Ehrlicher consistently followed a letter period, but That is not success. Even before Rudi is also the George Fretes asked whether he wants to come and play the Kilima Hawaiians. Just before Rudi’s Also The George Freteswas asked whether he wants to play Kilima Hawaiian. He does not take up the invitation. He is not on the request.

THE Kilima Hawaiians with WAIRATA RUDI RUDI THE HAWAIIAN Kilima with WAIRATA

BILL AND HIS COWBOYS Kilima with RUDI WAIRATA BILL AND HIS COWBOYS Kilima with RUDI WAIRATA

 
 
1960 1960 The magazine brings a special Romance EP Wairata & Rudi De Kilima Hawaiians out. The magazine Romance Bring a special EP & Rudi Wairata The Kilima Hawaiian off. This is a very swinging and rocking version of Steel Guitar Rag Steel Guitar Rock and listen. This is a very swinging and rocking version of Steel Guitar Rag Steel Guitar Rock shaft to listen.

THE Kilima Hawaiians – THE HAWAIIAN ROMANCE EP Kilima – ROMANCE EP
left to right: Wim van Herpen – Rudi Wairata – Mary Buysman – Bill Buysman From Left to Right: Wim van Herpen – Rudi Wairata – Mary Buysman – Bill Buysman

During a tour of the Kilima Hawaiians Wairata in Germany remains behind and goes for the Americans play. During a tour of the Kilima Hawaiian Wairata Remains behind in Germany and the Americans play.
 
1961 19611969 1969 The Golden Years of Hawaiian music are over. The golden years of the Hawaiian music are about. The interesting work in major shows are becoming fewer. The interesting work in big shows is always less. Only in the entertainment sector in the hospitality industry is still some money. Rudi is also active on cruise ships. Only in the entertainment industry in the trade is still something to earn. Also Rudi is active on cruise ships. Wiesbaden for a while he runs a theatrical agency and occasionally gets Rudi Wairata have the opportunity to record an LP. Wiesbaden he still runs a theater while a desk and every now and then have the opportunity Rudi Wairata willing to LP as well. International Rudi presents itself now as Rudy. International Rudi now presents Itself as Rudy. Furthermore, he also uses stage names like Sam and Roy Letto Moana Further More, huh Also artist names as Sam and Roy letto MoanaIn the period 1962-1963 in Germany Wairata Rudi takes a number of records for the 777 label. In the period 1962-1963 in Germany, Rudi Wairata a number of plates for the 777 label. His support group has called The Boys Hawaiian. His support group than the notably The Boys Hawaiian. In 1966 he was spotted in Germany with The Waikiki Islanders, he played pedal steel guitar than one. In 1966 he reported in Germany with The Waikiki Islanders, pedal steel guitar he Played a.
1970 19701980 1980 Rudi, the group Wairata Rudy & The Oriental Four on. Rudi, the group Wairata Rudy & The Oriental Four on. He still plays regularly in Germany. He still plays regularly in Germany. The group also appears on an LP MFP (EMI) as The Magic Of The Orient. Rudi has a cover of the album Once by The Hurricane Rollers, the first Indo-rock composition from 1959 by Rob Boekholt included. The Group Also Appears On an LP MFP (EMI) under the title The Magic Of The Orient. Rudi on the album Including a cover of Once by The Hurricane Rollers, the first ever Indo-rock composition from 1959 Rob Boekholt included.In the mid-seventies, Rudi active in the group Suara Nusantara, also known as The Nusantara Serenaders with Boet Manuhutu, and singer David Nanuru Liszy. Of this ensemble appears in a 1976 LP on EMI and also with an album by Steeler Rudi Frans van Oirschot. In the middle of the seventies Rudi is active in the group Suara Nusantara, also known under the name the club with fines Nusantara Serena Manuhutu, and singer David Nanuru Liszy. From this ensemble Appears in a 1976 LP on EMI And Also an album by Steeler Rudi with Frans van Oirschot. From Tilburg Van Oirschot was ever in 1948 started his own ensembles Hawaiian Aloma The Hawaiians, The Malua Honolulu Hawaiians and The Strings (1950). The Tilburger Van Oirschot HAS ever started in 1948 with His Own Hawaiian ensembles Aloma The Hawaiian, The Malua Hawaiian Honolulu & The Strings (1950). Historically, the meeting called in 1978 between George and Rudi Wairata Fretes in the attic (organized as hawaiian music museum) by Gerard Dillen in Haarlem. Historically, the meeting called in 1978 Between George and Rudi Wairata the Fretes in the attic (if Equipped hawaiian music museum) Gerard Dillen in Haarlem. Dillen in 1959 founded the International Fanclub Hawaii Calls. Dillen in 1959, the International Fanclub Established Hawaii Calls. He gives the monthly Sound of Hawaii and Hawaiian-organized shows. Hey cool the monthly Sound of Hawaii and Hawaiian Organized shows.Onder named Roy Moana is a 1978 LP released on GIP / Dureco titled Good Old Hawaii. Under the particular Roy Moana is an LP released in 1978 on GDP / Dureco, Entitled Good Old Hawaii. Gout in the cast playing Victor (guitar), Mieke Gout (ukulele), Henk Hensing (bass), Andre Spider (drums) and Ronnie Watti (vocals) in the occupation on Gout Victor (guitar), Mieke Gout (ukulele), Henk Hensing (bass), Andre Spider (drums) and Ronnie Watti (vocals) Rudy & his New Wairata Polynesian is probably the last band that Rudi LP (It’s Aloha Time) it takes for the Delta label. Rudy & his New Wairata Polynesian is Probably the very formation of a Rudi LP (It’s Aloha Time) to record for the Delta label.
 
 
1981 1981 Rudi Wairata dies on July 15, 1981 in Rotterdam, he is only 51 years old. Rudi Wairata dies on July 15, 1981 in Rotterdam, he is only 51 years old.
2006 2006 (p) Piet Muys (June 2006) (p) Piet Muys (June 2006)
Special thanks to: Special thanks go to:
Riny Bade Bade Riny
Hans de Raaij Hans de Raaij
Peter Peter Riethof Riethof † †
Bert Bert Bossink Bossink
Sources: Sources:
Hawaii Book & Herring (Lutgard Mutsaers 1992) Herring Book & Hawaii (Lutgard Mutsaers 1992)
Rudy Wairata is still tickling the strings (15/10/1980 monsoon, Ralph Boekholt) Wairata Rudy is still tickling the strings (10/15/1980 monsoon, Ralph Boekholt)

 

 
the end @ copyright Dr iwan suwandy 2011

The Vintage Miss Riboet Orion and Ce Momo Latiff Music Record

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

The Singapore Legend Singer Ce Momo (Latiff)

The music record from singapore  had told me that one of the player  of Mist Riboet Orion when played at Singapore, still live there ,his name Momo latief, two days ago i found the music record of Ce Momo, I think the same singer,please  comment and corections.

His Master Voice record

Singer : Ce Momo

Song:1. Rayuan Pulau Kelapa 2.Pulau Bali

the information of Miss riboet Orion Record and Momo Latief

new info from Mr Azmosa Singapore that one of Dardanella Singer and comedian still stayed  at singapore until now ,her name Momo Latiff or Momo Makarim and still alive age 88 years old, please read mr Azoma comment in Indonesian Languguae :

Regards, Mr Iwan.

I’m from Singapore and was very impressed with the collection of Mr. Iwan, particularly about the history of art as a collection of Miss Riboet Orion and the Dardanelles. Both these sets are quite popular in Singapore and Malaya in the 1930s. One expert on collection of the Dardanelles had been living in Singapore and became a famous artist in sisni since 194oan. He is Momo Latiff derived from Batavia, and is now 88 years old.

Momo Latif has become one of the Balinese dancers Dancers in a collection of the Dardanelles. After the Dardanelles divided  in the mid-1930s, he has entered a collection of nobles who headed by Raden Sudiro. On the one offering held in Melaka, Raden has told Momo that  Syarikat Shaw Brothers films in Singapore want to take Momo as a heroine in a film titled Mask Shaitan published in 1939. Momo then have recording vote in 1941 along with the singing lagu2 HMV Sakura Flower, the Banyan Tree and the island of Bali.

Azmosa

 
 
 
 

 

 
 
 
 
 
 

original info

Salam, Pak Iwan.

Saya berasal dari Singapura dan sangat kagum dengan koleksi Pak Iwan, terutama sekali tentang sejarah kumpulan seni seperti Miss Riboet Orion dan Dardanella. Kedua-dua kumpulan ini memang cukup popular di Singapura dan Malaya pada tahun 1930an. Salah satu ahli kumpulan Dardanella telah menetap di Singapura dan menjadi seorang seniwati yang terkenal di sisni sejak tahun 194oan . Beliau adalah Momo Latiff yang berasal dari Batavia dan kini berusia 88 tahun.

Momo Latif telah menjadi salah seorang penari Bali Dancers dalam kumpulan Dardanella. Selepas Dardanella berpecah pada pertengahan tahun 1930an, beliau telah memasuki kumpulan bangsawan yg di ketuai oleh Raden Sudiro. Pada satu persembahan yang di adakan di Melaka, Raden telah memberitahu kepada Momo bahawa Syarikat filem Shaw Brothers di Singapura ingin mengambil Momo sebagai heroine dalam filem yg berjudul Topeng Shaitan di terbitkan pada tahun 1939. Momo kemudian telah merakamkan suara pada tahun 1941 bersama HMV dengan nyanyian lagu2 Bunga Sakura, Pohon Beringin dan Pulau Bali.

Azmosa

.Pre world war two (Before 1942.)

KRONCONG STAMBOEL

Miss Riboet Oreon, Germany BEKA RECORDS ,song Tionghoa ethnic song and Arabic ethnic song Jasidi with kroncong Stamboel style.

The Information of The first Indonesian singer record Miss Riboet from google exploration.

1) Kisah singkat Miss Riboet Orion

a)versi satu

a) Miss Riboet Orion ‘s short story(Kisah singkat Miss Riboet Orion)

(a)The First Version(versi satu)

   

Iklan Dardanella.(Dardanella operate label promotion)

Two biggest native Indonesian operates were deveoloped in 1925 and 1926 were Miss Riboet Orion and Dardanella (Dua perkumpulan besar sandiwara berdiri pada 1925 dan 1926, Miss Riboet Orion dan Dardanella).

Keduanya merajai dunia sandiwara kala itu. Mereka dikenal terutama karena pemain-pemainnya yang piawai berperan di atas panggung, cerita-ceritanya yang realis, dan punya seorang pemimpin kharismatik.

Kedua perkumpulan ini dikenal sebagai pembenih sandiwara modern Indonesia. Mereka merombak beberapa tradisi yang telah lazim pada masa stambul, bangsawan, dan opera, seperti: membuat pembagian episode yang lebih ringkas dari stambul, menghapuskan adegan perkenalan para tokoh sebelum bermain, menghilangkan selingan nyanyian atau tarian di tengah adegan, menghapus kebiasaan memainkan sebuah lakon hanya dalam satu malam pertunjukan, dan objek cerita sudah mulai berupa cerita-cerita asli, bukan dari hikayat-hikayat lama atau cerita-cerita yang diambil dari film-film terkenal (Oemarjati, 1971: 30-31). Rombongan sandiwara ini juga mulai menggunakan naskah untuk diperankan di atas pentas, menggunakan panggung pementasan, serta mulai mengenal peran seseorang yang mirip sutradara (pada masa itu lazim disebut programma meester, peran ini dimainkan oleh pemimpin perkumpulan).

The Orion Operete Inc founder at Batavia(now jakarta) by Tio Tek Djiwn yunior, the primadona is Niss Riboet (later Married wir Mr Tio) and Mr Tio also played the swords,specialized as the robery of the women in the opera of Juanita veza written by Antoinette de Vega, after that this opretee becaem famous ad Miss Riboet Orion(Perkumpulan sandiwara Orion berdiri di Batavia pada 1925. Rombongan sandiwara ini didirikan serta dipimpin oleh Tio Tek Djien Junior. Tio merupakan seorang terpelajar pertama yang menekuni secara serius kesenian sandiwara modern. Dia lulusan sekolah dagang Batavia. Primadona mereka adalah Miss Riboet. Selain sebagai istri Tio, Riboet juga terkenal dengan permainan pedangnya. Ia sangat menonjol ketika memerankan seorang perampok perempuan dalam lakon Juanita de Vega karya Antoinette de Zerna. Selanjutnya perkumpulan ini terkenal dengan nama Miss Riboet Orion (Sumardjo, 2004: 115).

This Operete becaem more famous after came in The Journalist Njoo Cheong Seng and his wife Fifi Young ,during this time tje operate created a  imaginative story, then Nyo became the Tios best man which had the duty the story ,his succes with Saijah, R,soemiati,and Singapore at night(Perkumpulan ini semakin mengibarkan bendera ketenarannya setelah masuk seorang wartawan bernama Njoo Cheong Seng dan istrinya Fifi Young. Setelah masuknya Njoo Cheong Seng dan Fifi Young, perkumpulan ini meninggalkan cerita-cerita khayalan yang pada masa stambul dan bangsawan lazim untuk dibawakan ke panggung (Pane, 1953: 9). Kemudian Njoo Cheong Seng menjadi tangan kanan Tio Tek Djien dan bertugas sebagai penulis lakon pada perkumpulan ini dan menghasilkan cerita-cerita, seperti Saidjah, R.A. Soemiatie, Barisan Tengkorak, dan Singapore After Midnight.)

Pertunjukan Dardanella

Di tengah kepopuleran Miss Riboet Orion, berdiri perkumpulan sandiwara Dardanella di Sidoarjo pada 21 Juni 1926. Sebagaimana Miss Riboet Orion, Dardanella juga telah melakukan perubahan besar pada dunia sandiwara.

Dardanella founded by A.Piedro ,the russian man with name Willy Kilimanof. In 1929 starting show at Batavia based on the storyfrom best film like Robinhood,the amsk of Zorro,three musketters, the Black pirates, the Thieve of Baghdad,Sheik of Arabia,the graaf of Monte Cristo,vero, and the rose pf Yesterday. But at the second show Dardanella shown the Indonesia native story like Annie van Mendoet,Lily van tjikampek,the Rose of Tjikemabng based on the Indonesian Stories (Dardanella didirikan oleh A. Piedro, seorang Rusia yang bernama asli Willy Klimanoff (Ramadhan KH, 1984: 5cool. Pada 1929, untuk pertamakalinya Dardanella mengadakan pertunjukan di Batavia. Mulanya lakon-lakon yang dimainkan adalah cerita-cerita berdasarkan film-film yang sedang ramai dibicarakan orang, seperti Robin Hood, The Mask of Zorro, The Three Musketeers, The Black Pirates, The Thief of Baghdad, Roses of Yesterday, The Sheik of Arabia, Vera, dan Graaf de Monte Christo (Ramadhan KH, 1984: 74). Namun pada kunjungan keduanya di Batavia, mereka menghadirkan cerita mengenai kehidupan di Indonesia, seperti Annie van Mendoet, Lilie van Tjikampek, dan De Roos van Tjikembang. Cerita-cerita ini disebut dengan Indische Roman, yaitu cerita-cerita yang mengambil inspirasinya dari kehidupan Indonesia, dikarang dalam bahasa Belanda (Brahim, 1968: 116).

At the same time ,a journalis Andjar asmara also join the Dardanella and he bacame the Bes man of Peidro lika njo , he writthe the story Dr Samsi, Haida,Tjang,perantaian 88 dan Si bongkok like the huncthman of Notredam, Dardanella had the big five actors, Tan Tjeng Bok,Miss Dja, Mis Riboet II, Ferry Kock and Astaman (Pada tahun yang sama, seorang wartawan dari majalah Doenia Film, bernama Andjar Asmara, ikut masuk ke dalam perkumpulan ini, dan meninggalkan pekerjaannya sebagai wartawan di majalah tersebut. Seperti halnya Njoo Cheong Seng di Miss Riboet Orion, Andjar kemudian juga menjadi tangan kanan Piedro, dan bertugas sebagai penulis naskah perkumpulan. Andjar Asmara menulis beberapa naskah, seperti Dr. Samsi, Si Bongkok, Haida, Tjang, dan Perantaian 99 (Tzu You dalam Sin Po, 1939: 12). Dardanella juga terkenal dengan pemain-pemainnya yang piawai memegang peranan dalam setiap pertunjukan. Para pemain ini terkenal dengan sebutan The Big Five. Anggota Perkumpulan Dardanella yang disebut The Big Five yaitu, Ferry Kock, Miss Dja, Tan Tjeng Bok, Riboet II, dan Astaman (Tzu You dalam Sin Po, 1939: 11-12).

The rivalrity between Miss Riboet Oreon and dardanella at Bavaia begun in 1931, starting about the name of Miss Riboet which Mr Tio sue to the court and win,   dardanela must used the name Miss riboet II  (Persaingan untuk meraih perhatian publik antara Miss Riboet Orion dengan Dardanella terjadi di Batavia pada tahun 1931. Sebenarnya persaingan Miss Riboet Orion dengan Dardanella sudah mulai terlihat ketika dua perkumpulan ini memperebutkan “pengakuan nama” dari salah satu pemainnya, yaitu Riboet. Dalam dua perkumpulan ini ada satu pemain yang namanya sama. Ketika itu Dardanella yang sedang bermain di Surabaya, didatangi dan dituntut oleh Tio Tek Djien, pemimpin Miss Riboet Orion, karena Dardanella mempergunakan nama Riboet juga untuk seorang pemainnya. Tio berkata kepada Piedro, “Kami tidak senang Tuan mempergunakan nama yang sama, nama Riboet juga untuk pemain Tuan…kami menyampaikan gugatan, Miss Riboet hanya ada satu dan dia sekarang sedang bermain di Batavia”. Akhir dari perseteruan ini adalah mengalahnya Piedro kepada Tio dan merubah nama Riboet yang ada di Dardanella menjadi Riboet II (Ramadhan KH, 1982: 72).

Memang lazim terjadi persaingan antarperkumpulan sandiwara, terutama di kota besar seperti Batavia. Sebelum persaingan dengan Dardanella, Miss Riboet Orion juga pernah bersaingan dengan Dahlia Opera, pimpinan Tengkoe Katan dari Medan, persaingan ini berakhir dengan kemenangan pihak Orion (Tzu You dalam Sin Po, 1939: 11). Wujud dari persaingan antara Miss Riboet Orion dan Dardanella ini adalah pecahnya perang reklame. Dardanella memajukan Dr. Samsi sebagai lakon andalan mereka, sedangkan Miss Riboet Orion dengan Gagak Solo. Dalam persaingan ini, Dardanella mengandalkan A. Piedro, Andjar Asmara, dan Tan Tjeng Bok, sedangkan Miss Riboet Orion mengandalkan Tio Tek Djien, Njoo Cheong Seng, dan A. Boellaard van Tuijl, sebagai pemimpinnya (Tzu You dalam Sin Po, 1939: 12). Kedua wartawan dalam perkumpulan-perkumpulan itu bekerja dan memutar otak untuk membuat reklame propaganda yang, sedapat-dapatnya, memengaruhi pikiran publik.

At least Miss Riboet Orion off in 1934 and gave the authority to Dardanella , and their writer Njoo Cheong Seng and fifi Young moved to dardanella(Akhirnya Miss Riboet Orion harus menyerah kepada Dardanella. Riwayat Perkumpulan Sandiwara Miss Riboet Orion berakhir pada 1934, ketika penulis naskah mereka Njoo Cheong Seng dan Fifi Young, pindah ke Dardanella.)

Then dardanella became famous with the new actors like Ratna asmara, Bachtiar Effendy,Fify young and an american from guam Henry L Duarte (Dardanella menjadi semakin besar dengan hadirnya anggota-anggota baru seperti Ratna Asmara, Bachtiar Effendi, Fifi Young, dan Henry L. Duarte (seorang Amerika yang dilahirkan di Guam). Dalam Dardanella juga berkumpul tiga penulis lakon ternama, seperti A. Piedro, Andjar Asmara, dan Njoo Cheong Seng, di samping itu, perkumpulan ini diperkuat oleh permainan luar biasa dari bintang-bintang panggungnya seperti Miss Dja, Ferry Kock, Tan Tjeng Bok, Astaman, dan Riboet II.)

In 1935, Dardanella madse the tour to Siam,Burma. Ceylon,India,tibet ,the tour was called The Orient’s Tour with native dancer like wayang golek, Pencak Minangkabau,wayang golek,bali jagger, papua dancer and Ambon song (Pada 1935, Piedro memutuskan untuk mengadakan perjalanan ke Siam, Burma, Sri Lanka, India, dan Tibet, untuk memperkenalkan pertunjukan-pertunjukan mereka. Perjalanan ini disebut Tour d’Orient. Dalam perjalanan itu tidak dipentaskan sandiwara, melainkan tari-tarian Indonesia seperti Serimpi, Bedoyo, Golek, Jangger, Durga, Penca Minangkabau, Keroncong, Penca Sunda, Nyanyian Ambon, dan tari-tarian Papua (Tzu You dalam Sin Po, 1939: 13).

Tour de Orient qwere the last tour of Dardanella before the world war two, then dismish(Tour d’Orient adalah perjalanan terakhir Dardanella. Setelah perjalanan itu Dardanella pecah. Dan kisah dua raksasa sandiwara ini pun berakhir…)

I have the tax fee of Padang city gouverment about the dardanella and Dwi Dja tours, during japanese occupation 1943-1844, I think the Japanesi Millitary occupation gouverment, used this show for political campaign(Dr iwan S)

(b)versi dua (from david ,Haji Maji web blog)

MISS RIBOET (INDONESIA)

Miss Riboet was the first huge star of recording in Indonesia and the Malay peninsula.  She was the lead actress of the Orion theatrical company, a tooneel troupe which was founded in 1925 in Batavia (Jakarta). In fact, she was so popular that by the time recording engineer Max Birkhahan made this recording in 1926 she already had her own series of “Miss Riboet Records.”

The label declares this a “Stamboel” recording, a western influenced genre of song that evolved out of the Indonesian theater known as ”komedie stamboel.”
Komedie stamboel was a form of musical theater that started in the city of Surabaya in 1891 and quickly became a craze throughout Indonesia. At first, it featured plays of arabesque fantasy (Stamboel = Istanbul), mainly tales from the Arabian Nights, with Ali Baba being a favorite standard. The plays were sung and included musical numbers as in a western musical, using mostly western instruments. They were also influenced by Parsi theater. There is an excellent book by Matthew Isaac Cohen that gives an extremely detailed account of the origin of Komedie Stamboel.

But by the mid-20s, when Miss Riboet began recording, komedie stamboel had already given way to the Malay theatrical form called bangsawan, and eventually tooneel, a more realistic form.
Apparently komedie stamboel had developed a somewhat unsavory reputation that led in part to it’s demise, some troupe leaders were accused of doubling as pimps for the actresses!
The music was often labeled as “Stamboel” on record, regardless of whether it was a stamboel, fox trot, tango, krontjong or traditional piece, such as this Javanese poetical form called Pangkoer Pelaoet .

Beka B. 15099-II

Thanks to Matthew Isaac Cohen for noticing that I had mistaken Miss Riboet II for the real thing in my previous post.

 
 

 

 

 

MISS RIBOET (INDONESIA)

 

Miss Riboet was the first huge star of recording in Indonesia and the Malay peninsula.  She was the lead actress of the Orion theatrical company, a tooneel troupe which was founded in 1925 in Batavia (Jakarta). In fact, she was so popular that by the time recording engineer Max Birkhahan made this recording in 1926 she already had her own series of “Miss Riboet Records.”

The label declares this a “Stamboel” recording, a western influenced genre of song that evolved out of the Indonesian theater known as ”komedie stamboel.”
Komedie stamboel was a form of musical theater that started in the city of Surabaya in 1891 and quickly became a craze throughout Indonesia. At first, it featured plays of arabesque fantasy (Stamboel = Istanbul), mainly tales from the Arabian Nights, with Ali Baba being a favorite standard. The plays were sung and included musical numbers as in a western musical, using mostly western instruments. They were also influenced by Parsi theater. There is an excellent book by Matthew Isaac Cohen that gives an extremely detailed account of the origin of Komedie Stamboel.

By the mid-20s, when Miss Riboet began recording, komedie stamboel had already given way to the Malay theatrical form called bangsawan, and eventually tooneel, a more realistic form.
Apparently komedie stamboel had developed a somewhat unsavory reputation that led in part to it’s demise, some troupe leaders were accused of doubling as pimps for the actresses!
The music was often labeled as “Stamboel” on record, regardless of whether it was a stamboel, fox trot, tango, krontjong or traditional piece, such as this Javanese poetical form called Pankgkur.

>Beka B. 15099-II

(c)Version Two_versi dua

http://img.photobucket.com/albums/v188/missriboet/missdjadanmissriboet1932.jpg*

Two major theatrical association founded in 1925 and 1926, Miss Riboet Orion and the Dardanelles. Both dominated the theatrical world at that time. They are known primarily for the players who expertly plays on stage, his stories are realist, and have a charismatic leader.

Both clubs are known as pembenih revue Indonesia. They break down some of the traditions that have been prevalent in the opera, nobility, and operas, such as: making a more compact distribution of episodes of the opera, to abolish the introduction scene of the characters before the play, eliminating the distraction singing or dancing in the middle of the scene, removing a habit to play a play only in a single night performances, and objects of the story has begun to form the original stories, instead of the old saga-saga or stories taken from famous movies (Oemarjati, 1971: 30-31). Theatrical troupe has also started using a script to starring on stage, using the stage performances, as well as getting to know someone who is similar to the role of director (at that time commonly called Programma Meester, this role is played by the leaders of associations).

Orion standing repertory in Batavia in 1925. Theatrical troupe was founded and is led by Tio Tek Djien Junior. Tio is the first scholar to pursue a serious art revue. He graduated from trade school in Batavia. They are the belle of Miss Riboet. Aside from being a wife of Tio, Riboet also famous for its game sword. He was very prominent when playing a female burglar in the play Juanita de Vega’s Antoinette de Zerna. Furthermore, this association known by the name of Miss Riboet Orion (Sumardjo, 2004: 115).

Society is increasingly raising the flag of his fame after entering a journalist named Njoo Cheong Seng and his wife Fifi Young. After the entry of Njoo Cheong Seng and Fifi Young, the association left the fantasy stories are at the opera and nobles brought to the stage common to (Pane, 1953: 9). Then Njoo Cheong Seng became Tio Tek Djien right hand and served as a scriptwriter on this association and produce stories, such as Saidjah, RA Soemiatie, Rows of skulls, and the Singapore After Midnight.

Amid the popularity of Miss Riboet Orion, standing repertory Dardanelles in Sidoarjo on June 21, 1926. As Miss Riboet Orion, the Dardanelles has also made major changes in the theatrical world. Dardanelles was founded by A. Piedro, a Russian whose real name is Willy Klimanoff (Ramadhan KH, 1984: 58). In 1929, for the first time performing in Batavia Dardanelles. At first play-act plays are stories based on movies that are busy talking people, like Robin Hood, The Mask of Zorro, The Three Musketeers, The Black Pirates, The Thief of Baghdad, Roses of Yesterday, The Sheik of Arabia , Vera, and Graaf de Monte Christo (Ramadhan KH, 1984: 74). But on his second visit in Batavia, they present a story about life in Indonesia, such as Annie van Mendoet, Lilie Tjikampek van, and De Roos van Tjikembang. These stories are called Indische Roman, namely the stories that take inspiration from the life of Indonesia, was composed in Dutch (Brahim, 1968: 116).

That same year, a journalist from the magazine Film Doenia, named Andjar Asmara, go in this society, and left his job as a journalist in the magazine. Like Miss Njoo Cheong Seng Riboet Orion, Andjar then also become Piedro right hand, and served as a script writer associations. Andjar Asmara write some scripts, such as Dr. Samsi, The Hunchback, Haida, Tjang, and Perantaian 99 (You in Sin Tzu Po, 1939: 12). Dardanelles is also famous for the players who expertly plays a role in each show. These players are known as the Big Five. Association members Dardanelles called The Big Five namely, Ferry Kock, Miss Dja, Tan Tjeng Bok, Riboet II, and Astaman (You in Sin Tzu Po, 1939: 11-12).

Competition to gain public attention between Miss Riboet Orion with the Dardanelles occurred in Batavia in 1931. Actual competition with the Dardanelles Miss Riboet Orion is starting to look when the two clubs are fighting over “name recognition” of one of his players, namely Riboet. In this group there are two players whose name is the same one. When the Dardanelles that was playing in Surabaya, approached and demanded by Tio Tek Djien, leader of the Miss Riboet Orion, because of the Dardanelles Riboet also use the name for a player. Tio said to Piedro, “We’re not happy sir use the same name, a name also for the players Riboet sir … we deliver the lawsuit, Miss Riboet there’s only one and he is now being played at Batavia”. The end of this feud is mengalahnya Piedro to Tio and Riboet rename that is in the Dardanelles into Riboet II (Ramadhan KH, 1982: 72).

It is not uncommon antarperkumpulan theatrical competition, especially in big cities such as Batavia. Before the competition with the Dardanelles, Miss Riboet Orion has also been competing with Dahlia Opera, led Tengkoe Katan from Medan, the competition ended with the victory of the Orion (You in Sin Tzu Po, 1939: 11). Existence of competition between Miss Riboet Orion and the Dardanelles is the outbreak of war billboard. Dr. Dardanelles advance. Samsi as their flagship play, while Miss Riboet Orion with Crow Solo. In this competition, relying Dardanelles A. Piedro, Andjar Asmara, and Tan Tjeng Bok, while Miss Riboet Orion rely Tio Tek Djien, Njoo Seng Cheong, and A. Boellaard van Tuijl, as its leader (You in Sin Tzu Po, 1939: 12). The two journalists in associations that work and rack my brain to make propaganda billboards that, wherever possible, influence the public mind.

Finally Miss Riboet Orion should be surrendered to the Dardanelles. Theatre Historical Society Miss Riboet Orion ended in 1934, when the script writers they Njoo Cheong Seng and Fifi Young, moved into the Dardanelles.

Dardanelles became greater with the presence of new members like Ratna Asmara, Bachtiar Effendi, Fifi Young, and Henry L. Duarte (an American who was born in Guam). In the Dardanelles also assembled three renowned scriptwriter, such as A. Piedro, Andjar Asmara, and Njoo Seng Cheong, in addition, the association is reinforced by the outstanding play of the stars of the stage as Miss Dja, Ferry Kock, Tan Tjeng Bok, Astaman, and Riboet II.

In 1935, Piedro decided to journey to Siam, Burma, Sri Lanka, India, and Tibet, to introduce their performances. This trip is called the Tour d’Orient. In the course of the play was not staged, but dances like Serimpi Indonesia, Bedoyo, Golek, Jangger, Durga, Disabled Minangkabau, Keroncong, Disabled Sunda, Ambon song, and dance of Papua (You in Sin Tzu Po, 1939: 13) .

Tour d’Orient is the last trip Dardanelles. After the trip was broken Dardanelles. And the story of two giants of this farce came to an end …

b) Miss Riboet theater’s Oreon (1925)

c) It is easy to guess the excitement Caused by the upcoming event in the island.And yet, life went on as usual: Miss Riboet – a popular actress and singer backthen – performing on stage garnering applause and favorable reviews in the island’s journals, cigarette advertisements and beauty cream, the automobile andthe new man – The Sportsman – coaxed out of the tennis and golf worlds by TheWorld of fashion … putting Singapore on the movie map with his filmBring’em Back Alive. Not to mention Wheeler and Woolsey, a pair of British comedians, who, in Their Day, were the resource persons more popular than Laurel and Hardy. Much excitement was Caused whenthe much-loved Charlie Chaplin and his brother arrived in Singapore in 1932 on Their Way to the Dutch Indies. Certainly, the Hollywood connection is created the image of ‘Cesspool of the East’ for Singapore. Singapore was the object of Fascination for movie-makers, writers, travelers, the real Kings and Queens or theones populating the screens of the newest art.c) on 25 November 1950 Indonesia with a group of stars including Fifi Young (film performer Zoebaida) and Miss Riboet Rawit. comes in singapore. (new info from Mr. Azmosa Singapore That one of the Dardanelles Singer and comedian still stayed at singapore until now, her name or Momo Momo Latiff Makarim still alive and age 88 years old, please read mr Azoma comment in Indonesian Languguae:

Regards, Mr Iwan.

I’m from Singapore and was very impressed with the collection of Mr. Iwan, particularly about the history of art as a collection of Miss Riboet Orion and the Dardanelles. Both these sets are quite popular in Singapore and Malaya in the 1930s. One expert on collection of the Dardanelles had been living in Singapore and became a famous artist in sisni since 194oan. He is Momo Latiff derived from Batavia, and is now 88 years old.

Momo Latif has become one of the Balinese dancers Dancers in a collection of the Dardanelles. After the Dardanelles berpecah in the mid-1930s, he has entered a collection of nobles who headed by Raden Sudiro. On the one offering held in Melaka, Raden has told Momo bahawa Syarikat Shaw Brothers films in Singapore want to take Momo as a heroine in a film titled Mask Shaitan published in 1939. Momo then have merakamkan vote in 1941 along with the singing lagu2 HMV Sakura Flower, the Banyan Tree and the island of Bali.

Azmosa
Singapore-thanks Mr. Iwan S. azoma from dr)

The Short Story of Mis Riboet Husband (HUSBAND TALE MISS RIBOET) IOP TEK HONG

Tion was the Mr. Richman, he Had the record label and shop produnctions (IOP TEK HONG Sumai RIBOET MISS IS a wealthy merchant, he has a firm sale gramohone and black plate.)

That he produced an ad beside yhe batavia Postcard Pictures, look below some sample illustration (Besides, he also produces a picture postcard town of batavia, look at some of the collection of Tio Tek Hong and illustration of Majallah Kiekies Landen van Java folk and below); 

TTH_1045_800w512h.jpgUitgave : Tio Tek Hong, Weltevreden (Batavia). No. 1045

Topeng is a style or genre of masked dance and theatre, with music : West Java. We see here a Betawi (Batavia, now Jakarta) group. A search for the expression will turn up wikipedia and other sources; this is pretty good : Henry Spiller, “Topeng Betawi: The Sounds of Bodies Moving”.   Asian Theatre Journal 16:2 (1999) : 260-267   (accessed 28 January 09)

.
 

TTH_1046_800w510h.jpgUitgave : Tio Tek Hong, Weltevreden (Batavia). No. 1046

Woman may be same as in preceding Topeng card.
 
 

photo, no source information. Another view of Molenvliet Canal, Batavia here; more can be found by searching in the Dutch Atlas of Mutual Heritage (AMH).
 

TTH_1114_800w507h.jpgUitgave : Tio Tek Hong, Weltevreden, “Special Depot of Java postcards.” No. 1114. Obverse bears message to a Mr. C. Inouye, c/o Mitsui Bussan, Osaka, Japan. Postage stamp (and cancellation date) missing.
 
 

Miss Riboet and her arabic song Jasidi

Chassidic Song (jasidi), with video recorded at the Western Wall in Jerusalem, and … 5:27 Add to Added to queue In Jerusalem songArabic by badermansour.

Lagu Jasidi berasal dari Arab dan seirng dinyanyikan brthubungan dengan dinding barat dari Jerusalem,salah satunyayang terkenal oleh penyanyi Bader mansour, berdasarkan fakta piringan hitam diatas,ternyata Miss riboet telah menyanyikan lagu yang populer saat itu.

Miss Riboet and her Tionghoa ethnic song Djihong(no info about this song)

Who have the Miss Riboet music record with Kroncong stamboel song please comment and add the info via comment,thanks you very much.

I have just found information about Mr Riboet Orion Kroncong song produced by BEKA record from Google exploration :

BEKA RECORD
B 15652, Miss Riboet, Krontjong Dardanella, 1940-an
B 15761, Herlaut, Beka Krontjong, 1940-an
27850, De Indie Krontjong, 1940-an

Please help me with more info,thanks verymuch

versi ke-3(version three)

kelompok Sandiwara Miss Riboet Orion dan Dardanella 1925 hingga Fasisme di Panggung Sandiwara jaman JEPANG 1942

 
kelompok Sandiwara Miss Riboet Orion dan Dardanella 1925 hingga Fasisme di Panggung Sandiwara jaman JEPANG 1942TEATER MODERN JATIM, PANGGUNG SANDIWARA HINGGA KE SANDIWARA DARDANELLA 
 

Sandiwara panggung tidak bisa lepas dari sejarh film di Hindia, selain wayang, Sandiwara panggung sangat di gemari disini. Bebarapa panggung tradisional hingga adaptasi dari eropha, India, China sampai ke hal Wayang. Tetapi kalangan Belanda lebih suka sandiwara panggung dari pada wayang. Memang sejarah wayang diciptakan untuk propaganda seorang raja seperti yang dikisahkan oleh cerita wayang, sehingga rakyat yakin raja mereka seperti tokoh wayang tersebut titisan dewa dan sangat memiliki kekuatan yang luar biasa.

Oranbg Belanda banyak yang main dalam sandiwara ini, termasuk juga kelompok sandiwara bangsa China yang lama di Hindia. Bebarapa sandiwara yang terkenal adalah Opera Srie Permata, komedi Stamboel, Miss Riboet Orion dan Dardanella.

Sandiwara panggung ini ceritanya beragam, mulai dari kisah HIndia dan orang Belanda totok, atau pun Indo, dan yang populer saat itu dari luar negeri. Sandiwara ini kerapkali diiringi oleh musik-musik, nyanyian dan tarian yang khas, terutama musik keroncong, sunda, melayu, hingga india dan Eropha. Yang nantinya mereka akan terjun dalam Film dan beberapa menjadi pembuat film/bisnis film.

Telah satu abad lebih masyarakat Jatim telah mengenal teater modern. Akan tetapi, masyarakat Jatim juga para kreator teater-nya gagal mempertahankan tradisi teater modern yang telah dibangun sejak tahun 1891 oleh August Maheiu dengan nama Komedi Stamboel dan kemudian dilanjutkan dengan Dardanella pada tahun 1926.
Dardanella semula bernama The Malay Opera yang diprakarsai oleh Willy Klimanoff, anak pemain sirkus terkemuka A. Klimanoff kelahiran Rusia. Willy Klimanoff hijrah ke Indonesia sepeninggalan ayahnya. Dengan penguasaan teknik akrobatik Willy Klimanoff mendapat pekerjaan di Komedi Stamboel, kemudian mengganti namanya dengan A. Pedro.
Dalam bentuk pertunjukan atau infra strukturnya, A. Pedro banyak melakukan perombakan secara revolusioner sebagaimana sistem pertunjukan yang telah terkonsep oleh Komedi Stamboel dalam tradisi lakon dan tonilnya. Pedro melakukan perombakan radikal tradisi komedi bangsawan pendahulunya. Jika dalam Komedi Stamboel diantara pergantian adegan diisi atau diselingi dengan tarian-tarian dan lelucon untuk kepentingan hiburan, maka A. Pedro menghilangkan nuansa-nuansa lelucon dan tarian. Dardanella lebih menfokuskan pada bentuk pertunjukan drama murni. Dardanella mementingkan esensi dramatik, kekuatan cerita dan permainan aktor-aktornya, meskipun selingan tarian tetap ada namun masih berada dalam satu keutuhan pementasan, dengan lain kata, tari-tarian menjadi bagian dari alur cerita dan adegan.
Pengaruh Dardanella terhadap perkembangan teater modern Indonesia sangat besar. Seiring dengan kemajuan dardanella banyak bermunculan teater-teater lain yang diprakarsai oleh bekas sri panggung dan anggota dardanella sendiri. Seperti Bolero, Orion yang didirikan Miss ribort, dan Tjahaya Timoer yang didirikan Andjar Asmara. Andjar Asmara sewaktu menjadi anggota Dardanella menjabat sebagai tangan kanan A. Pedro. Andjar Asmara juga melakukan perombakan dalam sistem managerial dan sistem modernisasi dalam teknik tata panggung. Bahkan dampak dari kemajuan Dardanella sampai ke Jakarta, dengan didirikannya “teater Maya” yang diketuai oleh Usmar Ismail pada tanggal 27 Mei 1944.

Munculnya teater-teater kecil tersebut sebagai antitesis dari keberhasilan Dardanella dan juga sebagai proses eksperimental terhadap tema dan bentuk pementasan yang konvensional.

TUNTUTAN SEJARAH

 
Komedi Stamboel dan Dardanella yang lahir di Jawa Timur yakni Surabaya dan Sidoarjo merupakan pelopor gerakan pementasan teater modern di Indonesia, bahkan secara tidak langsung memberikan dampak yang begitu besar terhadap teater di tanahair nantinya.Semangat modernitas yang dibangun oleh Dardanella terlihat dalam setiap pertunjukannnya telah memakai scrip atau naskah, pengadaan properti, kostum, make-up, juga melakukan pementasan yang utuh, artinya, teater Dardanella menghilangkan konvensi-konvensi lelucon dan tarian-tarian yang memberikan kesenangan lebih pada penonton. Dardanella melalui A. Pedro dan Andjar Asmara telah melakukan sistem manajerial pertunjukan secara profesional yang merupakan supra struktural dari suartu pertunjukan. Hal ini yang merupakan ciri dari teater modern dengan semangat realisme.Realisme yang dimaksud ialah melihat peristiwa sehari-hari yang dialami setiap saat (ilusi kenyataan), sebuah pementasan bukan bukanlah sekedar menyajikan cerita, tetapi ada pesonanya, yakni yang seakan-akan bersungguh-sungguh, suatu permainan yang menimbulkan rangsangan pikiran bahwa yang terjadi di panggung bisa pula terjadi pada penonton. Konsepsi estetika realisme yakni semangat impresionis. Tidak tidak menggubris lagi pesan-pesan sejarah, kitab suci, tetapi langsung memberikan kesan tentang persoalan-persoalan pokok-nya. Konsepsi realisme ingin menohok konsepsi romantisisme yang cenderung menjadikan kehidupan seperti mimpi. Dalam hal ini peentasan Dardanella tidak lagi menampilkan epos-ramayana yang merupakan model pementasan tradisional, akan tetapi Dardanella lebih banyak memainkan naskah-naskah yang sedang terjadi pada masyarakat sekitar. Misalnya dengan mementaskan naskah Nyai Dasima dan Kalibrantasi.Dardanella dengan demikian sadar akan posisi dan konteks sosial dalam masyarakatnya, Dardanella mengapresiasi material dan mengekspresikan kultur lokal dengan perspektif modern.Sedangkan pada dekade dewasa ini, kreator dan pekerja seni teater Jatim telah gagal mewarisi dan mempertahankan tradisi teater modern yang telah dibangun Komedi Stamboel dan Dardanella. Kegagalan pekerja teater Jatim lebih pada sikap kritis, mentalitas, spirit dan intelektualitas. Artinya, pekerja teater Jatim bersifat sebagai pekerja bukannya seseorang atau kelompok yang memiliki daya pikir kritis terhadap fenomena kultural, kepekaan terhadap konteks sosial dibelakang teks realitas.Dalam beberapa pertunjukan terakhir teater-teater Jatim di Surabaya, pekerja teater Jatim mengesampingkan problematik perspektif kritis massa. Pertunjukan teater Jatim hanya bersifat momentum, temporal dan gegabah mencermati fenomena sosialnya. Dalam hal ini, pekerja teater Jatim khusunya Surabaya tidak mempertimbangkan kebutuhan-kebutuhan mental masyarakatnya. Sebagaimana kita ketahui bahwa Surabaya merupakan kota ‘metropolis’ dimana kriminalitas, kekerasan, urban, ketimpangan sosial, tata kota, pendidikan, perdagangan dsb, adalah suatu problematik yang sering kali dijumpai. Dengan lain kata, pertunjukan-pertunjukan yang ditampilkan pekerja teater Jatim kurang kritis mengklarifikasi problematik. Eksperimentasi dan eksplorasi yang dilakukan para pekerja teater Jatim lebih pada bentuk belaka, tidak menyentuh esensi dan fenomena masyarakatnya atau dengan lain kata minimnya proses kontenplatif, bukannya bermewah-mewah dengan bentuk pertunjukan, baik secara infra stuktural maupun supra strukturalnya, namun minim ide dan gagasan serta gagal menyampaikan dan mengkomunikasikan kegelisahan kultural Jatimnya.

Fenomena yang tak kalah memalukan pekerja teater Jatim ialah, para kritikus teater Indonesia, seperti Jim Lim, Zaini KM, Umar Kayam, Putu Wijaya, Nano Riantiarno, Rendra, Afrizal Malna, Bagdi Sumanto, Hanindawan, Nursahid, Sapardi Djoko Damono, Gunawan moehammad dll dalam beberapa tulisan, pembabagan, referensi-referensi dan data tentang teater modern Indonesia, Surabaya dan Jatim pada umumnya tidak pernah dicatat keberadaannya. Entah karena secara kualitas teater Jatim tidas layak, atau memang di Jatim tidak ada kritikus teater yang berkualitas sehingga dapat mengangkat nama teater Jatim. Secara logika sederhana, seharusnya teater modern Indonesia maju dan terus berkembang di Jatim, dimana pewarisan tradisi teater modern pertama kali diletakkan, bukannya di Solo, Bandung, Yogyakarta dan Jakarta.
Mari kita pikirkan bersama-sama.

Sepenggal Kisah Miss Riboet Orion dan Dardanella

 

 

Dua perkumpulan besar sandiwara berdiri pada 1925 dan 1926, Miss Riboet Orion dan Dardanella. Keduanya merajai dunia sandiwara kala itu. Mereka dikenal terutama karena pemain-pemainnya yang piawai berperan di atas panggung, cerita-ceritanya yang realis, dan punya seorang pemimpin kharismatik.
 

Kedua perkumpulan ini dikenal sebagai pembenih sandiwara modern Indonesia. Mereka merombak beberapa tradisi yang telah lazim pada masa stambul, bangsawan, dan opera, seperti: membuat pembagian episode yang lebih ringkas dari stambul, menghapuskan adegan perkenalan para tokoh sebelum bermain, menghilangkan selingan nyanyian atau tarian di tengah adegan, menghapus kebiasaan memainkan sebuah lakon hanya dalam satu malam pertunjukan, dan objek cerita sudah mulai berupa cerita-cerita asli, bukan dari hikayat-hikayat lama atau cerita-cerita yang diambil dari film-film terkenal (Oemarjati, 1971: 30-31). Rombongan sandiwara ini juga mulai menggunakan naskah untuk diperankan di atas pentas, menggunakan panggung pementasan, serta mulai mengenal peran seseorang yang mirip sutradara (pada masa itu lazim disebut programma meester, peran ini dimainkan oleh pemimpin perkumpulan).

 

Perkumpulan sandiwara Orion berdiri di Batavia pada 1925. Rombongan sandiwara ini didirikan serta dipimpin oleh Tio Tek Djien Junior. Tio merupakan seorang terpelajar pertama yang menekuni secara serius kesenian sandiwara modern. Dia lulusan sekolah dagang Batavia. Primadona mereka adalah Miss Riboet. Selain sebagai istri Tio, Riboet juga terkenal dengan permainan pedangnya. Ia sangat menonjol ketika memerankan seorang perampok perempuan dalam lakon Juanita de Vega karya Antoinette de Zerna. Selanjutnya perkumpulan ini terkenal dengan nama Miss Riboet Orion (Sumardjo, 2004: 115).

 

Perkumpulan ini semakin mengibarkan bendera ketenarannya setelah masuk seorang wartawan bernama Njoo Cheong Seng dan istrinya Fifi Young. Setelah masuknya Njoo Cheong Seng dan Fifi Young, perkumpulan ini meninggalkan cerita-cerita khayalan yang pada masa stambul dan bangsawan lazim untuk dibawakan ke panggung (Pane, 1953: 9). Kemudian Njoo Cheong Seng menjadi tangan kanan Tio Tek Djien dan bertugas sebagai penulis lakon pada perkumpulan ini dan menghasilkan cerita-cerita, seperti Saidjah, R.A. Soemiatie, Barisan Tengkorak, dan Singapore After Midnight.

 

Di tengah kepopuleran Miss Riboet Orion, berdiri perkumpulan sandiwara Dardanella di Sidoarjo pada 21 Juni 1926. Sebagaimana Miss Riboet Orion, Dardanella juga telah melakukan perubahan besar pada dunia sandiwara. Dardanella didirikan oleh A. Piedro, seorang Rusia yang bernama asli Willy Klimanoff (Ramadhan KH, 1984: 58). Pada 1929, untuk pertamakalinya Dardanella mengadakan pertunjukan di Batavia. Mulanya lakon-lakon yang dimainkan adalah cerita-cerita berdasarkan film-film yang sedang ramai dibicarakan orang, seperti Robin Hood, The Mask of Zorro, The Three Musketeers, The Black Pirates, The Thief of Baghdad, Roses of Yesterday, The Sheik of Arabia, Vera, dan Graaf de Monte Christo (Ramadhan KH, 1984: 74). Namun pada kunjungan keduanya di Batavia, mereka menghadirkan cerita mengenai kehidupan di Indonesia, seperti Annie van Mendoet, Lilie van Tjikampek, dan De Roos van Tjikembang. Cerita-cerita ini disebut dengan Indische Roman, yaitu cerita-cerita yang mengambil inspirasinya dari kehidupan Indonesia, dikarang dalam bahasa Belanda (Brahim, 1968: 116).

 

Pada tahun yang sama, seorang wartawan dari majalah Doenia Film, bernama Andjar Asmara, ikut masuk ke dalam perkumpulan ini, dan meninggalkan pekerjaannya sebagai wartawan di majalah tersebut. Seperti halnya Njoo Cheong Seng di Miss Riboet Orion, Andjar kemudian juga menjadi tangan kanan Piedro, dan bertugas sebagai penulis naskah perkumpulan. Andjar Asmara menulis beberapa naskah, seperti Dr. Samsi, Si Bongkok, Haida, Tjang, dan Perantaian 99 (Tzu You dalam Sin Po, 1939: 12). Dardanella juga terkenal dengan pemain-pemainnya yang piawai memegang peranan dalam setiap pertunjukan. Para pemain ini terkenal dengan sebutan The Big Five. Anggota Perkumpulan Dardanella yang disebut The Big Five yaitu, Ferry Kock, Miss Dja, Tan Tjeng Bok, Riboet II, dan Astaman (Tzu You dalam Sin Po, 1939: 11-12).

 

Persaingan untuk meraih perhatian publik antara Miss Riboet Orion dengan Dardanella terjadi di Batavia pada tahun 1931. Sebenarnya persaingan Miss Riboet Orion dengan Dardanella sudah mulai terlihat ketika dua perkumpulan ini memperebutkan “pengakuan nama” dari salah satu pemainnya, yaitu Riboet. Dalam dua perkumpulan ini ada satu pemain yang namanya sama. Ketika itu Dardanella yang sedang bermain di Surabaya, didatangi dan dituntut oleh Tio Tek Djien, pemimpin Miss Riboet Orion, karena Dardanella mempergunakan nama Riboet juga untuk seorang pemainnya. Tio berkata kepada Piedro, “Kami tidak senang Tuan mempergunakan nama yang sama, nama Riboet juga untuk pemain Tuan…kami menyampaikan gugatan, Miss Riboet hanya ada satu dan dia sekarang sedang bermain di Batavia”. Akhir dari perseteruan ini adalah mengalahnya Piedro kepada Tio dan merubah nama Riboet yang ada di Dardanella menjadi Riboet II (Ramadhan KH, 1982: 72).

 

Memang lazim terjadi persaingan antarperkumpulan sandiwara, terutama di kota besar seperti Batavia. Sebelum persaingan dengan Dardanella, Miss Riboet Orion juga pernah bersaingan dengan Dahlia Opera, pimpinan Tengkoe Katan dari Medan, persaingan ini berakhir dengan kemenangan pihak Orion (Tzu You dalam Sin Po, 1939: 11). Wujud dari persaingan antara Miss Riboet Orion dan Dardanella ini adalah pecahnya perang reklame. Dardanella memajukan Dr. Samsi sebagai lakon andalan mereka, sedangkan Miss Riboet Orion dengan Gagak Solo. Dalam persaingan ini, Dardanella mengandalkan A. Piedro, Andjar Asmara, dan Tan Tjeng Bok, sedangkan Miss Riboet Orion mengandalkan Tio Tek Djien, Njoo Cheong Seng, dan A. Boellaard van Tuijl, sebagai pemimpinnya (Tzu You dalam Sin Po, 1939: 12). Kedua wartawan dalam perkumpulan-perkumpulan itu bekerja dan memutar otak untuk membuat reklame propaganda yang, sedapat-dapatnya, memengaruhi pikiran publik.

 

Akhirnya Miss Riboet Orion harus menyerah kepada Dardanella. Riwayat Perkumpulan Sandiwara Miss Riboet Orion berakhir pada 1934, ketika penulis naskah mereka Njoo Cheong Seng dan Fifi Young, pindah ke Dardanella.

 

Dardanella menjadi semakin besar dengan hadirnya anggota-anggota baru seperti Ratna Asmara, Bachtiar Effendi, Fifi Young, dan Henry L. Duarte (seorang Amerika yang dilahirkan di Guam). Dalam Dardanella juga berkumpul tiga penulis lakon ternama, seperti A. Piedro, Andjar Asmara, dan Njoo Cheong Seng, di samping itu, perkumpulan ini diperkuat oleh permainan luar biasa dari bintang-bintang panggungnya seperti Miss Dja, Ferry Kock, Tan Tjeng Bok, Astaman, dan Riboet II.

 

Pada 1935, Piedro memutuskan untuk mengadakan perjalanan ke Siam, Burma, Sri Lanka, India, dan Tibet, untuk memperkenalkan pertunjukan-pertunjukan mereka. Perjalanan ini disebut Tour d’Orient. Dalam perjalanan itu tidak dipentaskan sandiwara, melainkan tari-tarian Indonesia seperti Serimpi, Bedoyo, Golek, Jangger, Durga, Penca Minangkabau, Keroncong, Penca Sunda, Nyanyian Ambon, dan tari-tarian Papua (Tzu You dalam Sin Po, 1939: 13).

the end @ copyright Dr Iwan suwandy 2011

The Malaysia Legend Singer Salamh Ismael(Salomah)

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

The Malaysia legend singer Salmah Ismael Music Record

Parlopone Malay record

singer: Salmah Ismael

Song: 1.Lengang Kangkong Baru(P.Ramlee) 2.Sekapor sirih seulas pinag(P.Ramlee)  from film Semerah Padi

Orchestra :Osman Achmad

vintage Picture collections

Puan Sri Salmah binti Ismail or better known as Saloma (22 January 1935 – 25 April 1983) was a Malaysian singer and film actress. She was the third wife of the film actor, director, singer, and songwriter Tan Sri P. Ramlee.

Saloma died on 25 April 1983 at Assunta Hospital, Petaling Jaya, Selangor, Malaysia. She was buried at Jalan Ampang Muslim Cemetery, Kuala Lumpur next to the grave of her husband

 

 I Love Saloma!

 

Saloma
 
Puan Sri Datin Amar Salmah binti Ismail,AMN or better known as Saloma (22 January 1935 – 25 April 1983) was a Malaysian film actress and singer.
 She was the third wife of the film actor, director, singer, and songwriter Tan Sri P. Ramlee. Saloma atau nama sebenarnya ialah Salmah Ismail (22 Januari 1935 – 25 April 1983) dilahirkan di Pasir Panjang, Singapura. Beliau mula menyanyi pada usia tujuh tahun dan menjadi penyanyi profesional pada usia belasan tahun. Pada awalnya, beliau mengasah bakat bersama Orkes Fajar Murni pimpinan Yusof Osman
 

Biography

.

 
Salmah Ismail
 

Puan Sri Datin Amar Salmah binti Ismail,AMN or better known as Saloma (22 January 1935 – 25 April 1983) was a Malaysian film actress and singer. She was the third wife of the film actor, director, singer, and songwriter Tan Sri P. Ramlee.

Biography

Salmah was born on 22 January 1935 at Pasir Panjang, Singapore. Coming from a family with artistic leanings (both her sisters Mimi Loma and Mariani were famous actresses on their own right), she displayed histrionic talents of her own as a singer at weddings and family events at 13. As she became more well-known in Singapore she joined the Panca Sitara Group, a band of musicians under the leadership of P. Ramlee. Around this time she also sang with the Kalung Senandung Group at Radio Singapura and entertained acting offers in musical films of the era, usually playing P.Ramlee’s love interest and/or the village ingenué.

Legend has it that her stage name was coined by Run Run Shaw of Shaw Bros when the film Salome which starred Rita Hayworth hit the box office. Other opinions favored the story that the name was given to her by her future husband P. Ramlee. They were married in 1961 and were widely regarded as the first true power couple of the Malaysian film industry. Apart from her artistry, Saloma was also famous as a screen beauty: her hourglass figure, magnificent hairdos and iconic kebaya dresses were copied by young ladies of the 60’s.

the end @ copyright Dr Iwan suwandy 2011

The Vintage china Music record Found in indonesia

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

The Vintage  China Music record found in Indonesia

A.PRE WORLD WAR II

1.EAGLE MARK (SOUCHOU-ZHOUCHOU SERENADE)

2.UNIDENTIFIED COLUMBIA RECORD(PLEASE NATIVE COLLECTORS HELP TO TRANSLATE AND  GIVE MORE INFO)

PAGODA V 3912a

 

tigersleeve.jpg

tiger_1048d.jpg

Here’s a beautiful and hypnotic Teochew Opera on the obscure Tiger label. Teochew is a Chinese dialect from the Guangdong region of Southern China. The Teochew music bears more resemblance to Southeast Asian music than other Chinese opera forms, especially the Peking opera (in fact, this was recorded in Thailand according to one of our readers, see comments for further info). This record is a great example of the measured rhythm and clear melody of the Teochew style, with little of the wild percussive effects of the Peking style. During the 18th-20th centuries there was much emigration from Guangdong into Thailand, Malaysia, Singapore and elsewhere in the region and a healthy Teochew Opera scene existed in those places until recently.

TIGER

I have just finding the Old Record with  peacock bird mark, but I connaot Identified please native collectors help me to translate.

4)Fujian Amoy Opera Record

 

Amoy is in the Southeastern province of Fujian, across the strait from Taiwan. The language and culture are closely related to that of Taiwan. Here’s an Amoy Opera instrumental on a label I’ve never seen before. The name of the label translates as something like “Country Love Company”, or maybe more accurately “Patriotsim”, as one commentor has noted below . The music sounds very much like Taiwanese Opera (coming soon in a future post).

>Ai-Guo (Patriotic) 5318a

 
 
regal50002c.jpg

Here’s an interesting one on Regal. Chinese opera was usually released in the form of a 2, 3 or 4 record series to accommodate the lengthy lyrics. The music tends to be very similar on each side of these series, often with subtle variations or key shifts. Such is the case with this 2 record series, of which this is the third part. The first three sides are almost musically identical except part 3 introduces some amazing sliding and tremolo. Not only is this effect not on the other songs in this series, I’ve never heard it on any other Chinese record!

I’m not too sure about the history of Regal, but it’s obviously a subsidiary of Pathe at the time of this release.

REGAL 50002C

 
hmv24_12941label.jpg

hmv24_12941.jpg

Welcome back, Dear Reader, for another dose of of exceedingly obscure Chinese Opera. This time we have an example of Amoy Opera on the His Master’s Voice label. Amoy (aka Hokkien) is a language/dialect from the Southern Chinese province of Fujian, which neighbors the Guangdong province, the origin of our last posting of Teochew Opera. Amoy is directly across the strait from Taiwan and the language and music are basically the same. Like the Teochew people, the Fujian people emigrated to many parts of Southeast Asia, taking their music and language with them. Forms of this opera style are still popular in the region today.

My friend Bakelite found a old china roster record sing by Zhou,not all roster were peiping opera.

compare with my fried collection(Mr Bakelite) below

Zhou Xuan (周璇) – The flower on my chest (襟上一朵花)

Zhou Xuan – The flower on my chest

he bought this 78 rpm record in 2008 in the antique market of Chengdu, in China. This sweet jazzy stuff was performed in the early 40′s by famous Chinese actress and singer Zhou Xuan , who was one of the most popular artist in the last years of the pre-communist era in China. I like this mix of western instruments and a typical Chinese voice, a style which was especially popular in western-influenced Shanghai at that time.

Zhou Xuan

 
 

 

Zhou Xuan
Chinese name 周璇
Pinyin Zhōu Xuán (Mandarin)
Birth name Su Pu (蘇璞)
Origin China
Born August 1, 1918(1918-08-01) or 1920
Changzhou, Jiangsu, Republic of China
Died September 22, 1957(1957-09-22)
Shanghai, China
Occupation Singer, Actress
Genre(s) Shidaiqu, Mandopop
Instrument(s) Singing
Years active 1935-1953

Zhou Xuan (August 1, 1918(1918-08-01) or 1920 – September 22, 1957(1957-09-22)) was a popular Chinese singer and film actress. By the 1940s, she had become one of China’s seven great singing stars.[1] She is probably the most well-known of the seven, as she had a concurrent movie career until 1953.

 

 Biography

Zhou was born Su Pu (蘇璞), but was separated from her natural parents at a young age and raised by adoptive parents. She spent her entire life searching for her biological parents but her parentage was never established until after her death.[2]

According to later family research, a relative who was an opium addict took her at the age of 3 to another city and sold her to a family named Wang, who named her Wang Xiaohong. She was later adopted by a family named Zhou, changing her name to Zhou Xiaohong.[3]

At the age of 13 she took Zhou Xuan as her stage name, ‘Xuan’ () meaning beautiful jade in Chinese.

 Career

In 1932, Zhou began acting as a member of the Bright Moonlight Song and Dance Troupe. She later achieved stardom in 1937 in Street Angel (馬路天使), when director Yuan Muzhi cast her as one of the leads as a singing girl.

The “Golden Voice” (金嗓子) was Zhou’s nickname to commend her singing talents after a singing competition in Shanghai, where she came in second.[1] Zhou rapidly became the most famous and marketable popular singer in the gramophone era up to her death, singing many famous tunes from her own movies. Her light but eminently musical voice captured the hearts of millions of Chinese of her time.

Between 1946 and 1950, she often went to Hong Kong to make films such as “All-Consuming Love” (長相思), “Hua wai liu ying” (花外流鶯), “Qinggong mishi” (清宮秘史), and “Rainbow Song” (彩虹曲). After introducing “Shanghai Nights” (夜上海) in 1949, Zhou returned to Shanghai. She spent the next few years in and out of mental institutions owing to frequent breakdowns. Through the years, Zhou led a complicated and unhappy life marked by her failed marriages, illegitimate children, and suicide attempts.

Having made a total of 43 movies, her favourite film was always Street Angel. This contained two theme songs: “Four Seasons Song” (四季歌) and “The Wandering Songstress” (天涯歌女), which enjoyed long-lasting popularity.[3]

Death

In 1957 she died in Shanghai in a mental asylum at the age of 39 during the Anti-Rightist Movement.[4] A possible cause of death may be encephalitis following a nervous breakdown.

Zhou Xuan was survived by 2 sons, Zhou Wen[5] and Zhou Wei, born of different fathers. According to Zhou Wen’s biography, the younger son, Zhou Wei, was the son of Tang Di (唐棣), while the father of Zhou Wen is unknown.

Zhou Wei currently lives in Toronto performing at times in the TTC subways, and participating in various musical projects, including teaching. He is known as a flautist.[6][7] He has two daughters, both musicians. The elder of the two, Zhou Xiaoxuan, is a classical pianist trained at Concordia University[disambiguation needed] and now living in Beijing.

Adaptations

 
 
 
A 1940s shidaiqu mandopop arrangement by Zhou Xuan.

.

To this day, Zhou Xuan’s songs still remain a staple in many Golden Oldies collections in Mandarin popular music.

There have been 2 biographies written by Zhou Xuan’s surviving family members. The book My Mother Zhou Xuan (我的媽媽周璇) was written by Zhou Wei and his wife Chang Jing (常晶); while a later book, Zhou Xuan Diary (周璇日記), was written by Zhou Wen.

 Biography controversy

After Zhou Wen’s biography was published, Zhou Wei accused Zhou Wen for altering Zhou Xuan’s diary and copying the contents in an attempt to mislead readers into distorting the image of Zhou Xuan. The rebuttal also revealed that Zhou Wen had hated Zhou Wei since youth. Zhou Wen was sent for adoption after birth, followed by alleged dark influences. Zhou Wei then legally inherited Zhou Xuan’s wealth over Zhou Wen.[8]

Television

An adaptation of the life of Zhou Xuan was TVB‘s Song Bird in 1989, starring Nadia Chan as Zhou Xuan and Leon Lai as her lover. In this series, Xuan’s songs were re-written in Cantonese and sung by Chan. She sang the duets with Lai in the program while under the limits of Crown Records (娛樂唱片). Deric Wan replaced Lai’s vocals on the soundtrack album.[citation needed]

Another adaptation, based on Zhou Wei’s biography, is the Chinese serial titled Zhou Xuan (周璇), starring Cecilia Cheung. This version of the story was accused by Zhou Wei as a false representation of Zhou Xuan and damaging to the reputation of the Zhou family.[9]

Filmography

Zhouxuan.jpg

  • 狂歡之夜 (1935)
  • Street Angel (馬路天使, 1937)
  • 西廂記 (1940)
  • 孟麗君 (1940)
  • Dream of the Red Chamber 红楼梦 (1944)
  • Night Inn 夜店 (1947)
  • 長相思 (1947)
  • 清宮秘史 (1948)
  • 花外流鶯 (1948)
  • 歌女之歌 (1948)
  • 莫負青春 (1949)
  • 花街 (1950)

 References

 

i HAVE JUST FOUND NEW COLLECTION IN OCTOBER 2011, AND i WILL COMPARE WITTH THE COLECTION WHICH i HAVW FOUND VIA GOOGLE EXP-LORATIONS, i HOPE CHINE NATIVE AND COLLATECTORS WILL HELP ME TO TRANLATE AND SEND ME MORE IN INFO VIA COMMR4NT THANK YOU(DR IWAN NOTE)

a.His Master Voice record

 

b.people and star record(?)

c, Columbia record

 

The Chinese  traditional Wedding Music Record(Singapore Pagoda  record,info from Haji Maji)

 

Here’s another Pagoda recorded in Singapore, this one in 1938. It features traditional Chinese wedding music played by a seroni ensemble. The typical ensemble consists of seroni (a shwam-like oboe known as suona in China), swilin (bamboo flute) and percussion; a small drum, cymbals and gong. Usually this type of music is used to accompany the bride while she is carried in a sedan and throughout other parts of the wedding. The piece heard on this record is labeled “Siew-Tow”, the most important part of the ceremony when the vows are taken.
A seroni ensemble is also used for funerals and other rituals.

Immigrants from southern China began moving to Malaysia and Indonesia as early as the 15th century. The British later encouraged Chinese immigration to the Straights Settlements in the the 19th and 20th centuries. Chinese, speaking several different dialects, quickly established themselves as traders throughout the region, as in other parts of Southeast Asia.

The label is hard to read, but it says:

Seroni
lagu Siew-Tow

>Pagoda V3905a (mx-7753 GD)

B.AFTER WORLD WAR II

(1)pathe record Miss Yao Lee

 

Miss Yao lee info

Yao Lee

 
Yao Lee
Chinese name 姚莉
Pinyin Yáo Lì (Mandarin)
Jyutping jiu4 lei6 (Cantonese)
Birth name Yáo Xiùyún (姚秀雲)
Origin Republic of China
Born 1922 (age 88–89)
Republic of China
Occupation Singer
Genre(s) Mandopop, shidaiqu
Instrument(s) Singing
Label(s) Pathé / EMI
Years active 1930s — 1970s

Yao Lee, also credited as Yiu Lei and Miss Hue Lee, was a Chinese singer from the 1930s to the 1970s and sister of Yao Min. By the 1940s, she became one of the Seven great singing stars.[1]

Contents

 Biography

Born Yáo Xiùyún (姚秀雲) and rasied in Shanghai, Yao began performing on the radio in 1935 at the tender age of 13. When she was 14, she recorded her first single with Yan Hua (嚴華) called “Xin xiao fang niu” (新小放牛). She was signed to Pathé Records.

She married Huang Baoluo (黃保羅) in 1947 and ceased performing on stage to devote time to her family. Following the Communist seizure of power in China in 1949, popular music was considered ideologically suspect[2] and Yao fled to Hong Kong in 1950 to continue her singing career there. In addition to releasing hit records, beginning in 1955 with the film 桃花江 (Peach Blossom River), she often acted as a playback singer for movie superstars. Many of the featured songs would also become popular. She stopped singing in 1967 upon the death of her brother but took an executive position with EMI Music Hong Kong in 1969. In 1970, she returned to performing and travelled to Taiwan to perform there for the first time and sought unsuccessfully to sign Teresa Teng to EMI for the Hong Kong market. She retired officially in 1975 but remained supportive of singers such as Wakin Chau.

 Career

During the 1930s and 40s, Yao Lee’s high, soft singing style was typical of Chinese popular music of the time. She performed numerous popular standards, such as Wishing You Happiness and Prosperity (恭喜恭喜), “I Can’t Have Your Love” (得不到你的愛情), and “By the Suzhou River” (蘇州河邊) with her brother Yao Min, arguably the best-known Chinese pop songwriter of the shidaiqu era.[3] She is famous for her 1940 version of Rose, Rose, I Love You (玫瑰玫瑰我愛你), later recorded by Frankie Laine in the United States with English lyrics. (Her version was also released in the US and the United Kingdom credited to “Miss Hue Lee”). Yao was known as “the Silver Voice” (銀嗓子) alluding to fellow Shanghai singer Zhou Xuan, who was known as “the Golden Voice” (金嗓子).

With increasing Western influence in the region after World War II and her move to Hong Kong, Yao Lee’s singing changed. She was introduced to more Western popular music and became an admirer of American singer Patti Page whom she emulated by lowering her voice and incorporating some vocal mannerisms. As a result, Yao is sometimes called “Hong Kong’s Patti Page.” One of her biggest ’50s records was “The Spring Breeze Kisses My Face” (春風吻上我的臉).

Yao was extremely prolific with over 400 gramophone records attributed to her.

References

  1. ^ Baidu. Bai Guang. Retrieved on 2007-04-28.
  2. ^ Panorama of Musical Creation: Vocal Music at China Culture Information Net
  3. ^ Wakinchau. Golden days of Yao Li 流金歲月-姚莉 玫瑰 玫瑰我愛你. Retrieved on 2007-04-26.

 

 

 

(2)Yao Su Rong

 

 (sometimes Yao Su Yong) was born in 1946. Her breakthrough came in 1969, with the title track to the movie “今天不回家” (Today I Won’t Come Home).

That one song swept her into fame, the song being sung by young and old alike, securing her a much-coveted Hong Kong record deal with 海山 (Haishan Records), selling 600,000 copies.

Before that, she’d been singing songs for a while, a minor hit being a Mandarin-language rewrite of a Japanese popular song, “負心的人” (Cruel-Hearted Lover). No longer would she have to worry about success — instantly, she was selling out shows and getting invited to concerts all across the Mandarin-speaking world.

At the height of her popularity in the late sixties/early seventies, it is said that one Hong Kong nightclub owner offered her 60,000HKD for a month’s worth of performances (now about USD$7600 or over $10,000 Canadian dollars — I don’t know how much it was really worth then). A ridiculous amount even by today’s standards, it was even more extravagant back then, when the highest-paid Hong Kong singer was earning only about 10,000HKD a MONTH.

Audiences said what set her apart was her complete immersion into the emotion of her songs. Most of her songs are sentimental love ballads, wistful, nostalgic melodies, and her entire composure and movements would reflect the mood of her music. She often cried as she sang on stage.

However, there is a mark of controversy that stains her career. Though seemingly trivial now, it was enough to drive her to retirement.

Certainly, her catalog is extensive, with over 200 recorded songs. However, during the most intense period of martial law in Taiwan (basically, 1949 until 1975, when Chiang Kai-Shek died), 80 of her songs were banned, supposedly for stirring up unhealthy morals amongst the youth (too many sentimental songs about love would drive the population to immorality!) and being too depressing (for a happy nation is a strong nation, and who could be sad under a government as well-run as the ROC?).

On August 18th, 1969, Yao Su Yong sang at a packed crowd in Kaohsiung, southern Taiwan. The audience was crazy about her, cheering madly every time she appeared on stage, and pleaded and begged her to sing some of her banned songs. Initially, she declined as politely as she could, saying that she was not permitted to perform those songs, and that she hoped the audience would forgive her. However, the requests wouldn’t stop, and eventually, she sang “負心的人”, hoping the popular appeal of her song would override any official censorship.

Unfortunately, the police guards stationed at the theater didn’t agree. They called her offstage and questioned her, asking her to record her playlist and make an official confession. Failing to produce a playlist, her singer’s license was revoked, “leaving no door or window” open. Since she was no longer allowed to perform in Taiwan, she turned to Hong Kong and Southeast Asia to continue her career.

Now, she lives a quiet life in Singapore. Though Taiwan officially invited her to perform at the 1998 Golden Horse Film Festival (the biggest movie event of the island, government sanctioned), she politely declined, saying that now that her life was peaceful and stable, she preferred to remain out of the limelight. However, her legacy lives on. “Jin Tian Bu Hui Jia”, the movie, was remade in 1996, but still used her original song. Her records continue to be very popular, and her status in the annals of Chinese oldies divas is well-secured.

(3)unidentified record

(4)Unidentified

(5)Unidentified (comedian?)

(4)Chinese Folk song

THE END@ COPYRIGHT Dr IWANSUWANDY 2011