Sarky mouradian biography of williams

  • Sarkis Mouradian was born in 1931 in Beirut, and was already involved in music in his teens, writing songs and even making a couple of recordings for the.
  • Sarky Mouradian was a director and writer, known for Sons of Sassoun (1975), Promise of Love (1978) and Alicia (2002).
  • His parents were of European ancestry and were both teachers.

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    ANKARA, Turkey (A.W.)—On April 24, as genocide commemoration events were being held one after the other in different locations in Istanbul, a groundbreaking two-day conference on the Armenian Genocide began at the Princess Hotel in Ankara.

    The conference, organized by the Ankara Freedom of Thought Initiative, was held under tight security measures. The hall was thoroughly searched on both mornings by policemen and security dogs; metal detectors were installed at the ingång of the hotel; and all members of the audience had to be cleared by the organizers before entering. Unlike the commemoration events in Istanbul, however, no counter-demonstrations were allowed to materialize.

    The conference attracted around 200 attendees, mostly activists and intellectuals who support genocide recognition. Among the prominent names from Turkey were Ismail Besikci, Baskin Oran, Sevan Nishanian, Ragip Zarakolu, Temel Demirer, and Sait Cetinoglu.

    Besikci was the first in Turkey to write books

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    In Memoriam: Sarky Mouradian, father of Armenian-American Television, Pop Music

    Filmmaker, Music Impresario

    Mouradian’s first film was “Baghdasar Aghpar” (1965), based on Hagop Baronian’s 1886 comedy. A favorite of the Armenian stage, the story is a satire on marriage and divorce in the Armenian community. The film, in black and white, features the music of Mouradian’s own “Hye Tones” orchestra including the title song Baghdasar Aghpar and a sequence where a female Armenian nightclub singer performs the well-known kef song “Gneeguh” backed bygd oud and dumbeg musicians.

    The music of the Hye Tones represented a unique place in Armenian-American popular music. Coming before the pop music explosion of the 70s and 80s, but composed of then-recent immigrants, their music shows influences from the style played by East Coast bands as well as the more Continental European tastes of the newcomers, the Eastern Armenian flavor of LA’s large “Russahye” community, and Mouradian’s own songw

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    by David Welky

    From Film QuarterlySpring 2006: Volume 59, No. 3

    Motion pictures play a significant role in determining how people around the world perceive their own and other societies. Governments have therefore been sensitive to cinematic portrayals of their countries and are quick to complain when they feel that a movie treats their citizens poorly. An example of this occurred in 2002, when Canadian-Armenian writer-director Atom Egoyan released Ararat, a fictional depiction of efforts to make a movie about the 1914 massacre of Armenians in the Turkish city of Van. Egoyan supplemented this film-within-a-film structure with subplots that considered the tragedy’s effects on future generations and pondered the relationship between history and memory. It was the first major picture to examine the Turkish genocide of one-and-a-half million Armenians during World War I.1

    Turkey had long insisted that there was no organized campaign to eradicate Armenians and strongly opp

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