Two Biddy Music Download
Traful Stakelbeck
Music Health Alliance offers FREE healthcare advocacy, mental health care, and senior care support for the music community across the nation - because no one should have to go it alone. Our mission is to #HealTheMusic by providing safe and confidential guidance to access programs and services that protect, direct, and connect recording artists, songwriters, engineers, and other music industry professionals with medical and financial solutions.
In Nashville, Nikki has worked directly with and advocated for individuals and families trying to access coverage and care under the Affordable Care Act (ACA), TennCare, and CoverKids. In her role as a federally-certified Navigator under the ACA, Nikki also developed curriculum, trained, and provided support to staff at community health centers, as well as other ACA enrollment assisters across the state, and provided education to the public about their options for accessing coverage and care under the ACA. Nikki also worked for several years in health policy where she drew from her experience in working directly with individuals and families and applied that to her research and writing on Medicaid, health reform, and insurance coverage.
Nikki is delighted to again be in a role where she can work directly with individuals in a way that educates and empowers them. Because of her desire to work with a team committed to advocating for those in need, and her understanding of the unique obstacles musicians and other self-employed individuals may face when accessing coverage and care, Nikki is delighted and proud to be part of the Music Health Alliance team.
A native Nashvillian, Taylor comes to Music Health Alliance with a B.S. in Economics from Pepperdine University and an MBA with a concentration in global and domestic healthcare from Johns Hopkins University. Passionate about economic development and healthcare, her move to MHA was a natural fit and her background with intensive experience in both the non-profit and international space brings a unique perspective to the organization. Her non-profit global perspective includes her previous employment at the Sodexo Foundation, extensive project management comparing global health systems and is responsible for securing non-profit investment internationally, totaling more than $20 million. Her fit at MHA is reinforced by her unique and personal connection to the entertainment industry, being directly related to a life-long music industry professional and married to her husband, Josh, a classically trained pianist.
Eager to work in the music industry, she got her start by working at The Bluebird Caf. Suzanne worked in several capacities for the Bluebird, both in the club itself and in the office. While there, she gained invaluable knowledge about songwriters and the world of music publishing.
Suzanne also spent time working with CDX as the production manager where she assembled & helped to distribute a compilation disc with singles from both independent & major label artists every two weeks. While at CDX, Suzanne began spending her evenings working in theatre as a stage manager and props master, thus reigniting her love of theatre.
After 16 years in the music business, Suzanne went to work for the state of Tennessee as the Assistant to the Director at the Tennessee Arts Commission. The Arts Commission offers funding opportunities to encourage participation in arts activities in communities across the entire state. In her role, Suzanne not only worked as an assistant to the executive director, but she was also a liaison to the arts commissioners, a 15-member board appointed by the governor.
Suzanne is excited to bring her skills & experiences from working in the music business and arts community to Music Health Alliance. Her work has always combined creativity with organization and reliability, and she has always found ways to use her skills to help people. Suzanne is thrilled to be a part of the team and looks forward to giving back to the music community.
Laura began her career in the music industry in Nashville, Tennessee promoting such superstars Tim McGraw, Gary Allan, Lee Ann Womack, Rhett Akins, Wynonna and Mark Chesnutt. For seven years strong, she worked in radio promotions at Decca Records and Atlantic Records, as well as serving as an executive assistant at management mainstays rpm management; and an assistant at Pro Tours, Inc. /Ken Stilts Management.
We will continue to offer Rhythm Kids (ages 5 - 8 year olds) this Spring on Wednesday evenings and be jamming to the Jaguar Collection!! Your child will have a great time drumming, singing, moving to new rhythms, and playing sticks, egg shakers, and music games. Tuition includes our Jaguar recording (digital and CD), songbook, and access to drumming videos with Rhythm Kids creator Tom Foote.
It is used in the scene where Davey Stone reprimands everyone for not recognizing Whitey Duvall's good deeds for the town. Various citizens begin recalling times they were cruel to Whitey, and show remorse. Eventually all break out into chanting "Bum biddy biddy biddy bum" together.
"Bidi Bidi Bom Bom" is a song recorded by American Tejano singer Selena. It was released as the second single from her fourth studio album, Amor Prohibido (1994). Originally written about a cheerful fish swimming freely in the ocean, the song's title is an onomatopoeic phrase suggesting the palpitating heartbeat of a person lovestruck by the object of their affection. "Bidi Bidi Bom Bom" was written by Selena and her backup vocalist and dancer Pete Astudillo.
"Bidi Bidi Bom Bom" is a Mexican cumbia pop song with rock en espaol and reggae influences. It received widespread acclaim for its musically diverse sounds, and the effects it had on listeners. The single peaked at number one on the United States Billboard Hot Latin Songs chart and remained there for four consecutive weeks, the singer's second consecutive number one single. Selena began dominating the Latin music charts, and "Bidi Bidi Bom Bom" contributed to her commercial success. It is believed by musicologist Ilan Stavans to have marked the beginning of the dominance of Latin pop, and was a bridge to the Tejano market. The song is considered to be one of the best compositions recorded by Selena, one of her most popular recordings, and has been cited as one of her signature songs. Her Astrodome concert performance of the song has been called one of the highlights of her musical career. "Bidi Bidi Bom Bom" was ranked at number 54 on the list of the Best Texas Songs of All-time, and given honorable mention as one of the top ten best Tejano recordings of all-time.
After Selena was killed in 1995, the song's title became a popular verb to describe a fan's admiration for the singer. "Bidi Bidi Bom Bom" won the Tejano Music Award for Song of the Year, while Broadcast Music Inc. recognized it as the most played Latin song of 1996. Since Billboard began monitoring music downloads in 2010, "Bidi Bidi Bom Bom" has remained on the Regional Mexican Digital Songs chart for 280 non-consecutive weeks, second to the number of consecutive weeks for her 1992 single "Como la Flor". Many musicians have since recorded the song or performed it as a tribute to the singer including: Jennifer Lopez, Selena Gomez, Alejandra Guzmn, Kat Von D, and Jennifer Pea.
"Bidi Bidi Bom Bom" originated at her band's rehearsals starting off as an improvised song with few if any lyrics.[1] According to Selena's brother, and principal music producer A.B. Quintanilla, the song came about shortly after Chris Prez was hired as the band's guitarist in 1989.[2] A.B. spoke out against the "filler songs" that their father and manager Abraham Quintanilla, Jr. wanted on their recordings, and began playing a groove that gradually became a song.[2] Suzette Quintanilla, the band's drummer, said "we were goofing off" and insisted that after A.B. began playing on his guitar, Selena started singing,[2] coming up with lyrics "as ideas came to her".[3] Prez, who later eloped with Selena in 1992, wrote that the lyrics Selena came up with were unfamiliar to him despite the singer's habit of spontaneously writing ideas in a notebook and leaving it "wherever around the house".[4] The song was originally used for soundchecks during the band's rehearsals and was then transformed into a short recording by Selena about a cheerful fish swimming freely in the ocean.[5] Prez said that what was then called "Little Bidi Bubbles" came easily "for everyone in the band."[5] In a 2002 interview he said that he played a riff using a crybaby (which gave off a wah-wah sound) and that A.B. gave him a "look" that suggested he was impressed with the sound that he had improvised.[5] The riff became the basis of the song before the writing process began.[5]
Before A.B. began co-writing, Selena and backup vocalist Pete Astudillo were in the process of writing the song in Spanish.[5][6] A.B., who arranged the piece with Roger Emerson,[6][7] said in a 2002 interview that "it was kinda a little scary" because the song "had never been done or seen before".[5] "Bidi Bidi Bom Bom" served as the second single released from Amor Prohibido on July 31, 1994. A.B. confessed to wanting the song released as the lead single but found that Selena and EMI Latin pushed for the title track instead.[5]
"Bidi Bidi Bom Bom" is a Spanish-language upbeat, cumbia pop song with rock en espaol and reggae influences.[7][8][9][10] It is set in common time,[7] and makes use of electric guitar riffs[5] and ostanti percussions influenced by Colombian and Caribbean music.[11] The song uses "richer" scoring, less-driven synthesizers, and treble-heavy arrangements than the first four songs on Amor Prohibido.[11] The song is written in the key of B-flat major and is played in a moderate groove of 90 beats per minute.[7] The song's chord progression has a basic form I-IV-V-IV, an ostinato (repetitive beat) that continues through its verses and chorus.[11] Ramiro Burr of Billboard magazine called the song a "reggae-tinged tune" and suggested that it could have worked well with French lyrics.[12] Writing for Billboard, Paul Verna called the recording a "spunky cumbia".[13] In his book Encyclopedia of Recorded Sound, Frank Hoffman called the song "reggae-inflected dance fare".[14] Mexican newspaper Milenio, enjoyed the track's fusion of cumbia and reggae sounds.[15]
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