Entertainment Memorabilia, 3 July 2013, Knightsbridge, London
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H K a N D C U L T F I L M N E W S
More Next Blog» Create Blog Sign In H K A N D C U L T F I L M N E W S H K A N D C U LT F I L M N E W S ' S FA N B O X W E L C O M E ! HK and Cult Film News on Facebook I just wanted to welcome all of you to Hong Kong and Cult Film News. If you have any questions or comments M O N D AY, D E C E M B E R 4 , 2 0 1 7 feel free to email us at "SURGE OF POWER: REVENGE OF THE [email protected] SEQUEL" Brings Cinema's First Out Gay Superhero Back to Theaters in January B L O G A R C H I V E ▼ 2017 (471) ▼ December (34) "MORTAL ENGINES" New Peter Jackson Sci-Fi Epic -- ... AND NOW THE SCREAMING STARTS -- Blu-ray Review by ... ASYLUM -- Blu-ray Review by Porfle She Demons Dance to "I Eat Cannibals" (Toto Coelo)... Presenting -- The JOHN WAYNE/ "GREEN BERETS" Lunch... Gravitas Ventures "THE BILL MURRAY EXPERIENCE"-- i... NUTCRACKER, THE MOTION PICTURE -- DVD Review by Po... John Wayne: The Crooning Cowpoke "EXTRAORDINARY MISSION" From the Writer of "The De... "MOLLY'S GAME" True High- Stakes Poker Thriller In ... Surge of Power: Revenge of the Sequel Hits Theaters "SHOCK WAVE" With Andy Lau Cinema's First Out Gay Superhero Faces His Greatest -- China’s #1 Box Offic... Challenge Hollywood Legends Face Off in a New Star-Packed Adventure Modern Vehicle Blooper in Nationwide Rollout Begins in January 2018 "SHANE" (1953) "ANNIHILATION" Sci-Fi "A must-see for fans of the TV Avengers, the Fantastic Four Thriller With Natalie and the Hulk" -- Buzzfeed Portma.. -
A Darkness at the End: the Shadows Know Your Name Free
FREE A DARKNESS AT THE END: THE SHADOWS KNOW YOUR NAME PDF Ruth Frances Long | 448 pages | 12 Sep 2016 | O'Brien Press Ltd | 9781847178633 | English | Dublin, Ireland LARRY GATLIN - LIGHT AT THE END OF DARKNESS LYRICS O'Brien Press uses cookies on this website. They are stored locally on your computer or mobile device. To accept cookies continue browsing as normal. Or go to the cookie policy for more information and preferences. Holly, the fae matriarch, tries to sieze the power of heaven for herself, while Izzy has lost her memory and Jinx is dead The final book in the contemporary fantasy trilogy set in Dublin: and Dubh Linn, the fae world that exists in the cracks and corners of reality. Angels, A Darkness at the End: The Shadows Know Your Name demons and humans are drawn into lethal conflict as the fate of the world hangs in the balance in the final installment in this urban fantasy. Confronted with ancient powers, sacrifice and treachery. War is looming within the ranks of the Sidhe. The angels and the demons begin to draw lines, daring each other to transgress and start another war She studied English Literature, History of Religions, and Celtic Civilisation in college and now works in a specialised library of rare and unusual books. She skilfully melds real Dublin and magical Dubh Linn, making excellent use of the history surrounding the locations. She writes about Dublin as a place of magic and story, making the Irish reader see their place in a new way … a brilliant read, both heart-pounding and heartbreaking. -
Issues of Image and Performance in the Beatles' Films
“All I’ve got to do is Act Naturally”: Issues of Image and Performance in the Beatles’ Films Submitted by Stephanie Anne Piotrowski, AHEA, to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English (Film Studies), 01 October 2008. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which in not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (signed)…………Stephanie Piotrowski ……………… Piotrowski 2 Abstract In this thesis, I examine the Beatles’ five feature films in order to argue how undermining generic convention and manipulating performance codes allowed the band to control their relationship with their audience and to gain autonomy over their output. Drawing from P. David Marshall’s work on defining performance codes from the music, film, and television industries, I examine film form and style to illustrate how the Beatles’ filmmakers used these codes in different combinations from previous pop and classical musicals in order to illicit certain responses from the audience. In doing so, the role of the audience from passive viewer to active participant changed the way musicians used film to communicate with their fans. I also consider how the Beatles’ image changed throughout their career as reflected in their films as a way of charting the band’s journey from pop stars to musicians, while also considering the social and cultural factors represented in the band’s image. -
George Harrison
COPYRIGHT 4th Estate An imprint of HarperCollinsPublishers 1 London Bridge Street London SE1 9GF www.4thEstate.co.uk This eBook first published in Great Britain by 4th Estate in 2020 Copyright © Craig Brown 2020 Cover design by Jack Smyth Cover image © Michael Ochs Archives/Handout/Getty Images Craig Brown asserts the moral right to be identified as the author of this work A catalogue record for this book is available from the British Library All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins. Source ISBN: 9780008340001 Ebook Edition © April 2020 ISBN: 9780008340025 Version: 2020-03-11 DEDICATION For Frances, Silas, Tallulah and Tom EPIGRAPHS In five-score summers! All new eyes, New minds, new modes, new fools, new wise; New woes to weep, new joys to prize; With nothing left of me and you In that live century’s vivid view Beyond a pinch of dust or two; A century which, if not sublime, Will show, I doubt not, at its prime, A scope above this blinkered time. From ‘1967’, by Thomas Hardy (written in 1867) ‘What a remarkable fifty years they -
Mark Levinson a New Era
Music Man A Brief Biography of Mark Levinson A New Era Some audio historians consider the 1950s and 1960s the “Golden Age” of American hi-fi. Companies like Dynaco, Fisher, Scott, McIntosh and Marantz all made great products, some still sought by collectors today. By the late 1960s, these companies had largely exhausted their creative energies. Instead of continuing to push for better performance, they mostly sought to capitalize on their brand names by introducing cheaper products to compete with mass-market offerings from a burgeoning Japanese electronics industry. While this trend brought affordable audio to millions of music fans, it did so by compromising performance potential, a classic “race to the bottom” that created a void in the market serving discerning music lovers. Into this void stepped Mark Levinson, a young musician with a passion for music reproduction and artisanal workmanship. Mark Levinson Audio Systems ML-5 Modified Studer Professional Tape Recorder Already a legend at an early age—he was only 21 when he famously built the stage mixer used at the Woodstock Music Festival in 1968—Levinson set out to create no-compromise audio playback equipment that would come as close as possible to recreating the energy of live performances. He was uniquely qualified to do this, combining the musical ear of a lifelong multi-instrumentalist with the patient perfectionism required to do groundbreaking design and engineering. He was also fortunate to be associated with mentors such as Richard Burwen who encouraged him always to ask hard questions and never to settle for easy solutions. Founded in 1972, Mark Levinson Audio Systems (MLAS) was the unquestioned leader among many high-performance audio companies that started in that decade. -
Central Florida Future, Vol. 21 No. 06, September 8, 1988
University of Central Florida STARS Central Florida Future University Archives 9-8-1988 Central Florida Future, Vol. 21 No. 06, September 8, 1988 Part of the Mass Communication Commons, Organizational Communication Commons, Publishing Commons, and the Social Influence and oliticalP Communication Commons Find similar works at: https://stars.library.ucf.edu/centralfloridafuture University of Central Florida Libraries http://library.ucf.edu This Newsletter is brought to you for free and open access by the University Archives at STARS. It has been accepted for inclusion in Central Florida Future by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation "Central Florida Future, Vol. 21 No. 06, September 8, 1988" (1988). Central Florida Future. 867. https://stars.library.ucf.edu/centralfloridafuture/867 ·1 he <Dentral Florida\ ·Fl re C 1988 The Central Florida Future Volume 21, Number 6 University of Central Florida/Orlando Thursday September 8 1988 Filming ·begins on _'Superboy' at- UCF Is it a bird? No. ls .it a plane? No. It's a television crew from Hollywood! bring him into contact with situations by Doris Pfister requiring action from Superboy, the THE CENTRAL FLORIDA FUTURE series will also feature his good friend from Smallville, Lana Lang. Played by The University of Central Florida Stacy Haiduk, Lang is a student who campus has been transformed into the often lands herself in difficulties that center stage for the filming of require help from Superboy. Superboy's college life at Shuster Uni Jim Calvert plays as T.J. White, versity. Daily.Planet editor Perry White's son. -
Settin' My Dial on the Radio
SETTIN ’ MY DIAL ON THE RADIO BOB DYLAN 2006 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES , NEW RELEASES , RECORDINGS & BOOKS . © 2010 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Settin’ My Dial On The Radio — Bob Dylan 2006 page 2 of 86 1 INTRODUCTION ...................................................................................................................................................................4 2 2006 AT A GLANCE ..............................................................................................................................................................4 3 THE 2006 CALENDAR ..........................................................................................................................................................4 4 NEW RELEASES AND RECORDINGS ..............................................................................................................................6 4.1 MODERN TIMES ................................................................................................................................................................6 4.2 BLUES ..............................................................................................................................................................................6 4.3 THEME TIME RADIO HOUR : BASEBALL ............................................................................................................................8 -
GO for the GOLD the Iconic Movie Posters of Bill Gold by Val Quarles Made My First Poster in 3Rd Or 4Th Grade
GO FOR THE GOLD The iconic movie posters of Bill Gold By Val Quarles made my first poster in 3rd or 4th grade. It was for a school clean up drive. It was I a “wanted” poster with a “trash monster” that looked suspiciously like my dad. That was the beginning of a life long pattern of creating and being an admirer of graphic art, posters, and spe- cifically movie posters. A movie poster is graphic art at it’s best, and to my mind, most fun. You aren’t having to help sell insur- ance, or dentistry, or a car wash. You get to be as creative and intriguing as the movie. You are still “selling” but you have a product that is more inher- ently interesting. No one understood this better than graphic designer Bill Gold. Bill Gold was born January 3, 1921 in New York City. He studied illustration at the prestigious Pratt Insti- tute in New York, and he had the good fortune to begin his professional career in the advertising de- partment of Warner Bros., in 1941. A mere six years later he was head of poster design. Although Bill Gold never “copped” to Bill Gold didn’t just make movie posters. He any influences, in an interview with Lars made the movie posters for many of the Trodson, he stated in his younger years he film industry’s most famous, most cultish, would copy the illustrations of the Saturday most well-known films. Read through his list Evening Post, and other magazines. That of work, and not only will you remember work would have been Rockwell’s, J.C. -
The Shadows Life in the Jungle Mp3, Flac, Wma
The Shadows Life In The Jungle mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Life In The Jungle Country: Portugal Released: 1982 MP3 version RAR size: 1923 mb FLAC version RAR size: 1223 mb WMA version RAR size: 1207 mb Rating: 4.4 Votes: 600 Other Formats: DMF FLAC DTS AUD AC3 WMA AA Tracklist A1 Life In The Jungle A2 High Noon A3 The Theme From Missing A4 Treat Me Nice A5 Cat 'N' Mouse A6 Chariots Of Fire B1 No Dancing! B2 Riders Of The Range B3 The Old Romantics B4 You Rescue Me B5 Lili Marlene B6 Raunchy Credits Arranged By, Producer – The Shadows Artwork – Main Titles Associates* Bass – Alan Jones Drums – Brian Bennett Electric Guitar, Vocals – Bruce Welch, Hank Marvin Keyboards – Cliff Hall Photography By – Brian Ward Recorded By – Dick Plant Sleeve – Alwyn Clayden Other versions Category Artist Title (Format) Label Category Country Year 2383 650 The Shadows Life In The Jungle (LP) Polydor 2383 650 Scandinavia 1982 Life In The Jungle (CD, Talking TECD221 The Shadows TECD221 Europe 2013 Album, RE) Elephant Life In The Jungle SPEMC 88 The Shadows Polydor SPEMC 88 UK 1985 (Cass, Album, RE) Life In The Jungle (CD, 839 348-2 The Shadows Polydor 839 348-2 Germany 1989 Album) Life In The Jungle Pickwick PWKMC4134 The Shadows PWKMC4134 UK 1992 (Cass, Album) Music Related Music albums to Life In The Jungle by The Shadows The Shadows - A Special Collection Cliff & The Shadows - Outtakes Cliff And The Shadows - Cliff And The Shadows Forever The Shadows - The Shadows Collection The Shadows - XXV Bruce Welch's Shadows - 45 Years Of Shadows Music 1958-2003 Shadowmania 2003 Cliff Richard And The Shadows - Wonderful Life The Shadows - Moonlight Shadows The Shadows - The Shadows Rarest Number 4 Cliff Richard And Shadows, The - Me And My Shadows. -
Soul-Guide.Pdf
Soul – the sub-genres: • The Motown Sound • The Stax/Volt Sound • Atlantic Soul • Philadelphia Soul • 80s Soul/Urban ORIGINS Soul music eventually materialized in the early 1960s. It developed out of the Black music that became popular in the 1950's; that is, American gospel and R&B, performed primarily by black musicians almost exclusively to a black audience. Some of the most successful R&B artists of the 50s were the ones who made it into the pop charts in the 1960s with ‘Soul’ numbers. One such person was Ray Charles who was a major force in the early development of soul music with his unique style, which was of a rich blend of gospel, rhythm and blues and Jazz. musical characteristics Soul music, especially that from the 1960s, was simply ‘pop-orientated’ R&B. Therefore, Soul and R&B performances share common instrumentation, with the performing ensemble divided into a rhythm section and a horn section. Typically, the rhythm section consists of a drum kit, bass (electric or acoustic), piano (sometimes organ instead of or in addition to piano), and guitar, while the horn section features saxophones, trumpets, and occasionally trombones (though confusingly almost never, despite its name, horns). The emphasis on the horn section in most styles of soul and R&B has been one of the ways in which the music has historically been differentiated from white rock music, which has tended to be guitar dominated. Other common musical elements of Soul and R&B music include the use of: (1) the twelve--bar form, using a three line lyric, originating in earlier styles of blues; (2) call and response, whereby a singer or instrumentalist will sing or play a phrase and another vocalist or instrumentalist will answer with another phrase; (3) incessant repetition of musical notes, rhythms, phrases, or verses; the use of blue notes and (5) a tightly integrated and complex blending of instruments, in which it is often difficult to differentiate the separate sounds or instruments being played at a given moment. -
The Look Presents at Topman Submitted By: Pr-Sending-Enterprises Friday, 4 July 2008
The Look Presents at Topman Submitted by: pr-sending-enterprises Friday, 4 July 2008 Spring 08 sees Topman introduce an exciting new label with rock & roll fashion in its DNA: The Look Presents. Drawing on acclaimed style bible The Look: Adventures in Rock & Pop Fashion, The Look Presents is a creative hub for the legendary designers inspired by the combustion that occurs when great music meets fantastic style. With three separate collaborative collections produced exclusively for Topman in 08, The Look Presents premieres in stores in May with the animalistic designs of classic 70s label Wonder Workshop, originally worn by such rock icons as Iggy Pop, Sid Vicious, Mick Jagger, Marc Bolan and Led Zeppelin. Wonder Workshop designers John Dove and Molly White have reinvented the range for the 21st century, all the while maintaining their original aesthetic. Available in full colour and monotone, the Wonder Workshop mens tees (http://www.topman.com/webapp/wcs/stores/servlet/StaticPageDisplay?storeId=12555&catalogId=17551&identifier=tm1%20the%20look%20landing%20page) designs feature tattoo-inspired prints as well as the incredible Wild Thing graphic of a snarling leopard’s head (as worn by Iggy on the cover of the Stooges glam-punk masterpiece Raw Power), a snake which wraps around the torso of the mens tees (http://www.topman.com/webapp/wcs/stores/servlet/CategoryDisplay?catalogId=17551&storeId=12555&categoryId=38973&langId=-1&top=Y) and prints featuring two hawks and a dove. The Look Presents is the brainchild of The Look author/music fashion historian Paul Gorman and Soho boutique owner Max Karie. -
New and Best-Selling Titles 2015 ‘Reel Art Press Is a Publishing Cult’ ESQUIRE MAGAZINE CONTENTS
New and Best-Selling Titles 2015 ‘Reel Art Press is a publishing cult’ ESQUIRE MAGAZINE CONTENTS Introduction 7 Autumn / Winter 2015 8 Backlist 25 Limited Editions 35 Contact Information 58 One of the greatest pleasures for me when working with artists or their estates is that tantalizing moment, the spark, when a single image, or contact sheet, or long forgotten box of negatives or battered prints promises something special. Diving into the depths of an archive to explore an artist’s brilliance and talent. Our 2015 titles have all given me that unquantifiable moment of excitement when I was certain that something very special could be brought to press and I could not be happier with the resulting editions. My first window into the work of British Magnum photographer David Hurn was in my days as a vintage movie poster dealer, through his work as the special photographer for From Russia With Love and Barbarella. His shots of the stars were the very best of their kind, capturing the icons of the era in all their sixties glamour and cool. Hurn’s photograph of Sean Connery, for example, with his tux and gun in From Russia With Love is one of the most celebrated Bond images of all time, more synonymous with 007 than any other shot. When I began to look more closely at Hurn’s work from the period, one of the things that actually intrigued me most was his non-celebrity work. Hurn is so much more than just another sixties A-list photographer. As Peter Doggett comments in his introduction, “Unlike most of his peers, Hurn delved beyond the fatal attractions of Swinging London and its global counterparts, to pursue his greatest subject: ordinary people pursuing ordinary passions.