The Sky Opened up with Answers
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Apollo Program 1 Apollo Program
Apollo program 1 Apollo program The Apollo program was the third human spaceflight program carried out by the National Aeronautics and Space Administration (NASA), the United States' civilian space agency. First conceived during the Presidency of Dwight D. Eisenhower as a three-man spacecraft to follow the one-man Project Mercury which put the first Americans in space, Apollo was later dedicated to President John F. Kennedy's national goal of "landing a man on the Moon and returning him safely to the Earth" by the end of the 1960s, which he proposed in a May 25, 1961 address to Congress. Project Mercury was followed by the two-man Project Gemini (1962–66). The first manned flight of Apollo was in 1968 and it succeeded in landing the first humans on Earth's Moon from 1969 through 1972. Kennedy's goal was accomplished on the Apollo 11 mission when astronauts Neil Armstrong and Buzz Aldrin landed their Lunar Module (LM) on the Moon on July 20, 1969 and walked on its surface while Michael Collins remained in lunar orbit in the command spacecraft, and all three landed safely on Earth on July 24. Five subsequent Apollo missions also landed astronauts on the Moon, the last in December 1972. In these six spaceflights, 12 men walked on the Moon. Apollo ran from 1961 to 1972, and was supported by the two-man Gemini program which ran concurrently with it from 1962 to 1966. Gemini missions developed some of the space travel techniques that were necessary for the success of the Apollo missions. -
Bio Information: RICHARD PINHAS Title: METAL/CRYSTAL (Cuneiform Rune 308/309)
Bio information: RICHARD PINHAS Title: METAL/CRYSTAL (Cuneiform Rune 308/309) Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American radio) http://www.cuneiformrecords.com FILE UNDER: ROCK / ELECTRONIC / NOISE RICHARD PINHAS “Richard Pinhas is still a force in world music today…his music has the emotive depth that most other electronauts hardly begin to grapple with. Add to this its other attributes: alien atmospheres, futuristic imagery, feelings of the mystery of technology, precise clinical production, belief in creative and political revolution, an obscure intellectual base and references to science fiction…then there is a musical force that has little or no rival.” – Audion “Richard Pinhas,…the astonishingly talented French pioneer…it’s no exaggeration to state he’s managed to cross the philosophies of J.G Ballard and Jean Giraud with the guitar sound of Robert Fripp, and thereby arrived at a cosmos-shattering glimps into the infinite.” – The Sound Projector MERZBOW "Think of those artists who overpowered the grind of their eras: Bach, Wagner, Miles Davis, The Beatles -- all of these people were consistently displaced of their time by the striking originality of their work, and yet were quintessentially "then". This is rare, indeed, and there is a case for including Masami Akita (a.k.a. Merzbow) in such a group. On the one hand, he is merely the brightest fire in an eclectic, almost anarchic Japanese music scene. On the other, Merzbow's music shatters scenes and precedents. Masami Akita is his own context, and listeners enter that world at their own risk." – Pitchfork WOLF EYES “If Deleuze had made it past '95, he might have written about [Wolf Eyes CD]. -
NASA Television Schedule (Week of March 9TH)
NASA TV Daily Program Schedule Monday All Times Eastern Time 12 a.m. Saturn V Report - Episode 1 12:30 a.m. 1 a.m. NASA in Silicon Valley Live: How to Get an Internship at NASA 1:30 a.m. 2 a.m. NASA Explorers – Episode 1 2:30 a.m. Fly Girls: Women in Aerospace - STEM in 30 3 a.m. Administrator Bridenstine’s Speech at the Space Symposium 3:30 a.m. 4 a.m. NASA Science Live: OSIRIS-REx X Marks the Spot 4:30 a.m. 5 a.m. Coverage of the Rendezvous and Capture of the SpaceX/Dragon Cargo Craft at the International Space 5:30 a.m. Station 6 a.m. 6:30 a.m. ISS Astronaut Q&A 7 a.m. Countdown to T-Zero – Episode 1 7:30 a.m. Your Ticket to Space: Commercial Spaceflight - STEM in 30 8 a.m. 8:30 a.m. Coverage of the Installation of the SpaceX/Dragon Cargo Craft to the International Space Station 9 a.m. 9:30 a.m. 10 a.m. NASA in Silicon Valley Live: How to Get an Internship at NASA 10:30 a.m. 11 a.m. NASA Explorers – Episode 1 11:30 a.m. Fly Girls: Women in Aerospace - STEM in 30 12 p.m. Administrator Bridenstine’s Speech at the Space Symposium 12:30 p.m. 1 p.m. NASA Science Live: OSIRIS-REx X Marks the Spot 1:30 p.m. 2 p.m. NASA in Silicon Valley Live - Episode 03 - Let's Play Space Video Games! 2:30 p.m. -
Moonwalk One Capte La Première Tentative De
le 20 Juillet 1969, les premiers pas de l’Homme sur la Lune Un !lm de Theo Kamecke Inédit en France Sortie le 30 Juillet 2014 Un voyage de 196 heures, 19 minutes et 40 secondes - que ! capte la première tentative de re de possibilités de changement, changement, de possibilités de re " n de découvrir à l'occasion du 45e ! Moonwalk Moonwalk One lm permet en ! Réalisé entre 1969 et 1970, l’Homme de marcher sur la Lune lors de la mission Apollo 11. Véritable docu mentaire de création, le N.A.S.A. la de matériel au grâce tournées images des mission, la de anniversaire et à ce jour jamais montrées. Mêlant séquences d’archives et moments captés a été qu’il tel Kamecke événement cet Theo donne à voir dans le vif de l’action, vécu à l’époque : une aventure humaine incroyable, une épopée scienti hallucinante, un bond dans le futur au sein d’un présent chaotique, mais aussi o qu’elle ce avec l’inconnu, vers avancée une et de responsabilités. - S Y N O lm de Theo KameckeTheo - 1h48 - 1970 - couleurs lm de P ! S SORTIE LE 30 JUILLET 2014 Inédit en France un One Moonwalk I S En 1969, un Américain planta un drapeau rouge, blanc et bleu sur la Lune ; un drapeau rigide, bien sûr, car un drapeau souple ne saurait "otter au vent dans l'atmosphère inerte de la Lune. e Aussi invraisemblable que paraisse cette virée de trois hommes à 340 000 km de n la Terre pendant trois jours – le tout aux frais de la princesse et caméras à l'appui O pour prouver au monde entier la véracité de la chose (un Noir Américain de 106 ans invité sur l'un des observatoires du lancement ne put se résoudre à y croire) k l – les faits sont là : la marche sur la Lune a été immortalisée, il reste une trace, a hommage et souvenir d'un événement qui illustre la métaphore de Buckminster Fuller selon laquelle la Terre est un "nid pour l'Homme". -
Whitehouse, Merzbow, Maurizio Bianchi, the Haters, Hanatarash, the Gerogerigege, Massona, Prurient, John Wiese…
As Loud as Possible As Loud as Possible Concert de Hanatarash, Toritsu Kasei Loft, Tokyo, 1985 (Photos : Gin Satoh) Concert de Hanatarash, Toritsu Kasei Loft, Tokyo, 1985 (Photos : Gin Satoh) Whitehouse, Merzbow, Maurizio Bianchi, The Haters, Hanatarash, The Gerogerigege, Massona, Prurient, John Wiese… Un parcours parmi les grandes figures du harsh noise, au sein de l’internationale du bruit sale de ses origines à nos jours. AS LOUD AS 48 POSSi- 49 bLe. Whitehouse, Merzbow, Maurizio Bianchi, The Haters, Hanatarash, The Gerogerigege, Massona, Prurient, John Wiese… A tour among the major figures in harsh noise, within dirty Noise International—from its inception to the present day. Fenêtre ouverte. Le bruit, c’est ce son fronde, indompta- juste une main pour sculpter, une intention pour guider, Mais comment la musique a-t-elle osé muter en ça ? ble, discordant, une puanteur dans l’oreille, comme l’a écrit à peine une idée pour le conceptualiser. Il n’est pas une Objectivement, si on regarde la tête du harsh noise, son Ambrose Bierce dans son Devil’s Dictionary, ce que tout musique bruyante mais une musique-bruit taillée, pas un nom, il faut tout de même se pencher un peu en arrière, le oppose et tout interdit à la musique. Le bruit sévère, le bruit genre, encore moins un mélange, car s’il est né d’amonts XXe siècle brouhaha, pour comprendre cette « birth-death dur, le harsh noise, c’est, pire encore, le chaos volontaire, la lisibles dans l’histoire de la musique, dans l’histoire du XXe experience », si l’on m’autorise à citer le titre d’un disque de crasse en liberté, même pas la musique de son-bruits rêvée siècle, il n’a dans sa pratique et sa nature d’autre horizon Whitehouse, le premier de surcroît. -
Production Notes
Production Notes ABOUT THE FILM Timed to the 50th anniversary of NASA’s celebrated Apollo 11 mission, Apollo 11: First Steps Edition is a thrilling cinematic experience that showcases the real-life moments of humankind’s first steps on the Moon. In this special giant screen edition of Todd Douglas Miller’s (Dinosaur 13) critically acclaimed Apollo 11 documentary, the filmmakers reconstruct the exhilarating final moments of preparation, liftoff, landing, and return of this historic mission—one of humanity’s greatest achievements, and the first to put humans on the Moon. It seems impossible, but this project was possible because of the discovery of a trove of never-before-seen 70mm footage and uncatalogued audio recordings—which allowed the filmmakers to create a 47-minute version of the film tailored exclusively for IMAX® and giant screen theaters in science centers and museums. Apollo 11: First Steps Edition is produced by Statement Pictures in partnership with CNN Films. The film is presented by Land Rover, and distributed by MacGillivray Freeman Films. “The Apollo 11 mission was humanity’s greatest adventure and we’re pleased to be bringing this edition to science centers and museums everywhere,” says director Todd Douglas Miller. “This film was designed to take full advantage of the immersive quality of IMAX and giant screen theaters.” But how did it happen? How did this one-in-a-lifetime batch of footage remain undiscovered for fifty years? Miller explains that as his team was working closely with NASA and the National Archives (NARA) to locate all known Apollo 11 footage, NARA staff members simply discovered reels upon reels of 70mm, large-format Apollo footage. -
João Gilberto
SEPTEMBER 2019 VOLUME 86 / NUMBER 9 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
May 2008AAJ-NY.Qxd
NEW YORK May 2008 | No. 73 Your FREE Monthly Guide to the New York Jazz Scene newyork.allaboutjazz.com AHMAD JAMAL IT'S MAGIC Vince Giordano • George Garzone • Les Disques Victo • Dizzy’s Club • Event Calendar NEW YORK May is significant in the history of Miles Davis. Not only is the 26th the late trumpeter’s birthday but many of his most enduring works were New York@Night recorded during this month, including the Charlie Parker All-Stars (1948); the 4 Miles Davis-Tadd Dameron Quintet’s run in Paris (1949), most of the Workin’, Steamin’ and Relaxin’ triumvirate by the quintet with John Coltrane (1956), Miles Interview: Vince Giordano Ahead and At Carnegie Hall, both with the Gil Evans Orchestra (1957 and 1961 6 by Michael Hittman respectively); and the bulk of Miles in the Sky (1968). Now in May 2008, another chapter to the Miles Legacy will be written with an ambitious concert at Town Artist Feature: George Garzone Hall May 9th, “Miles From India”. A companion concert to a just-released album 7 by Matthew Miller of the same name, the concert brings together musicians who played with the legend throughout his career as well as a number of classical Indian musicians for Label Spotlight: Les Disques Victo what is billed as a “cross-cultural summit meeting”. Our Encore this month, 8 by Kurt Gottschalk guitarist Pete Cosey, is participating in what is sure to be a monumental event. But, as is typical for New York, the happenings don’t stop happening there. Club Profile: Dizzy’s Club Pianist Ahmad Jamal (Cover) brings his trio to Blue Note in a pre-release by Laurel Gross celebration of his first new album in three years, It’s Magic (Birdology-Dreyfus), due out in June. -
TRACKLIST // INVOCAST 011 // Dr H 1. Maeror
TRACKLIST // INVOCAST 011 // Dr H 1. Maeror Tri - Saltatrix ( Drone Records - DR- 7", Ltd, 199 01) Vio 4 These Tears Will Crystalize 2. Various - The Passing Gods ( Play Loud - CD, 199 PL01) Comp 3 Vidana Obmana «Twirling Motion » 3. Freya Aswynn / Les Joyaux De La Princesse - Wolf Rune ( Les 7", Ltd, 199 Joyaux De La Princesse - SD 03) Bla 7 Invocation Of The Gods (Instrumental) 4. Paul Kelday - Computer Dream ( Börft Records - 199 7", Ltd Börft050) 2 If Only 5. Stahlwerk 9 - Oradour ( Achtung Baby! - LP, Album, Ltd, Num + 200 ABLP 004) 7" 3 La Cloche D'Oradour 6. Null* - Absolute Heaven ( Nux Organization - CD, 199 NUX-D8) Album 3 Part III 7. Astro / Pulse Emitter / Acre / Monsturo - Cold Fire ( Anarchymoon Recordings - anok28) Pulse Emitter « Wormhole » LP 2010 199 8. Sian - Synapse / Atmos ( Korm Plastics - kp LP, Ltd 6 6296) Synapse 9. Various - Holy Mother Russia ( Steinklang Industries - SK LP, Comp, Ltd, 200 - IN 02) Num 4 Hum « Self Disidentification # 3 » 10. T.O.M.B.* - Xesse ( Prison Tatt Records - PT 12", S/Sided, 201 002) Ltd 1 The Inhuman Condition 11. Stone Glass Steel - Industrial Meditation ( TypeToken - CD, 199 CD103) Album 2 Internal Expansion Theory 12. R.Y.N. - Whistle And I'll Come To You ( Drone Records - 7", Ltd, 200 DR-80) Pur 6 A Warning To The Curious 13. Origami Galaktika - Stjernevandring ( Speeding Across LP, Album, 199 My Hemisphere - tinnitus / v.S. 002) Ltd, Pur 6 Månedans 14. Stone Glass Steel - Industrial >ICON< ( TypeToken - CD, 199 CD104) Album 3 Halo Of Sparks 15. Carsten Vollmer / Hidden Technology / Spherical 2xLP, Ltd, 200 Disrupted / Skalpell - Oscotarach ( Deafborn - dbvn04) Num 5 Skalpell « Summoner 16. -
TABLE of CONTENTS Year, Song of the Year, Breakthrough Artist of the Year, Breakthrough Songwriter, and Breakthrough Artist- Category 1: Producer of the Year
PRESENTED BY: 32ND ANNUAL MusicRow Subscribed Members will vote to determine award winners. Ballots will be emailed on July 8, 2020. Ballot Voting Period: July 8, 2020 at 11:00 a.m. CST – July 17, 2020 at 5:00 p.m. CST. Winners Announced: August 18, 2020 To become a member, click here. Pictured: Alecia Davis, Kathie Lee Gifford, Sherod Robertson on stage at the 2019 MusicRow Awards. Photo: Steve Lowry By Sarah Skates MusicRow Magazine is proud to reveal the nominees for outside nominations being considered for Breakthrough the 2020 MusicRow Awards. This year’s honors will be Songwriter and Breakthrough Artist-Writer. Male and announced virtually among multiple MusicRow platforms Female Songwriter nominees are based on data from on Tuesday, August 18, 2020. MusicRow’s Top Songwriter Chart. Eligible projects were active between April 1, 2019 to May 31, 2020. Now in its 32nd year, the MusicRow Awards are Nashville’s longest-running music industry trade publication honors. In addition to established awards for Producer of the TABLE OF CONTENTS Year, Song of the Year, Breakthrough Artist of the Year, Breakthrough Songwriter, and Breakthrough Artist- Category 1: Producer of the Year .........................................................4 Writer; the MusicRow Awards expanded with the Category 2: Label of the Year ...............................................................8 additional categories Label of the Year, Talent Agency Category 3: Talent Agency of the Year ..............................................10 of the Year, Robert K. Oermann Discovery Artist of the Category 4: Breakthrough Songwriter of the Year .........................13 Year, Male and Female Songwriters of the Year, and Artist Category 5: Breakthrough Artist-Writer of the Year .......................19 of the Year in 2019. -
Notes from the Underground: a Cultural, Political, and Aesthetic Mapping of Underground Music
Notes From The Underground: A Cultural, Political, and Aesthetic Mapping of Underground Music. Stephen Graham Goldsmiths College, University of London PhD 1 I declare that the work presented in this thesis is my own. Signed: …………………………………………………. Date:…………………………………………………….. 2 Abstract The term ‗underground music‘, in my account, connects various forms of music-making that exist largely outside ‗mainstream‘ cultural discourse, such as Drone Metal, Free Improvisation, Power Electronics, and DIY Noise, amongst others. Its connotations of concealment and obscurity indicate what I argue to be the music‘s central tenets of cultural reclusion, political independence, and aesthetic experiment. In response to a lack of scholarly discussion of this music, my thesis provides a cultural, political, and aesthetic mapping of the underground, whose existence as a coherent entity is being both argued for and ‗mapped‘ here. Outlining the historical context, but focusing on the underground in the digital age, I use a wide range of interdisciplinary research methodologies , including primary interviews, musical analysis, and a critical engagement with various pertinent theoretical sources. In my account, the underground emerges as a marginal, ‗antermediated‘ cultural ‗scene‘ based both on the web and in large urban centres, the latter of whose concentration of resources facilitates the growth of various localised underground scenes. I explore the radical anti-capitalist politics of many underground figures, whilst also examining their financial ties to big business and the state(s). This contradiction is critically explored, with three conclusions being drawn. First, the underground is shown in Part II to be so marginal as to escape, in effect, post- Fordist capitalist subsumption. -
An Ethnomusicological Study of the Policies and Aspirations for US
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Beyond the Blockade: An Ethnomusicological Study of the Policies and Aspirations for U.S.-Cuban Musical Interaction Timothy P. Storhoff Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC BEYOND THE BLOCKADE: AN ETHNOMUSICOLOGICAL STUDY OF THE POLICIES AND ASPIRATIONS FOR U.S.-CUBAN MUSICAL INTERACTION By TIMOTHY P. STORHOFF A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2014 Timothy Storhoff defended this dissertation on April 2, 2014. The members of the supervisory committee were: Frank Gunderson Professor Directing Dissertation José Gomáriz University Representative Michael B. Bakan Committee Member Denise Von Glahn Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii To Mom and Dad, for always encouraging me to write and perform. iii ACKNOWLEDGMENTS This dissertation was made possible through the support, assistance and encouragement of numerous individuals. I am particularly grateful to my advisor, Frank Gunderson, and my dissertation committee members, Michael Bakan, Denise Von Glahn and José Gomáriz. Along with the rest of the FSU Musicology faculty, they have helped me refine my ideas and ask the right questions while exemplifying the qualities required of outstanding educators and scholars. From the beginning of my coursework through the completion of my dissertation, I could not have asked for a finer community of colleagues, musicians and scholars than the musicologists at the Florida State University.