DOCSLIB.ORG

Federal Register/Vol. 66, No. 152/Tuesday, August 7

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Federal Register/Vol. 66, No. 152/Tuesday, August 7 41238 Federal Register / Vol. 66, No. 152 / Tuesday, August 7, 2001 / Notices evidence before they market a product Analysis to Aid Public Comment Warner Inc., and has its principal place for children using the name ‘‘A.D.D.’’ or describes both the allegations in the of business in New York, New York. any other name that represents that the complaint that accompanies the consent The proposed Consent Order has been product can treat or mitigate ADHD. agreement and the terms of the consent placed on the public record for thirty Finally, Part III of the proposed order order—embodied in the consent (30) days for reception of comments by prohibits Respondents from making any agreement—that would settle these interested persons. Comments received representation about the ability of any allegations. during this period will become part of food, drug or dietary supplement DATES: Comments must be received on the public record. After thirty (30) days, marketed for children to treat or cure or before August 30, 2001. the Commission will again review the agreement and the comments received, any disease or mental disorder, unless ADDRESSES: Comments should be and decide whether it should withdraw they possess competent and reliable directed to FTC/Office of the Secretary, from the agreement or make final the scientific evidence. Room 159, 600 Pennsylvania Ave., NW., agreement’s proposed Order. Part IV of the proposed order states Washington, DC 20580. that Respondents will be permitted to The Commission has not held an FOR FURTHER INFORMATION CONTACT: make claims that the FDA has approved evidentiary hearing concerning the Joseph Simons or Geoffrey Green, FTC/ pursuant to the Nutrition Labeling and complaint. By accepting this agreement, H–374, 600 Pennsylvania Ave., NW., Education Act of 1990, or pursuant to the Commission is affirming only that it Washington, DC 20580. (202) 326–3667 has reason to believe that the allegations sections 303–304 of the Food and Drug or 326–2641. Administration Modernization Act of in the complaint are well-founded. SUPPLEMENTARY INFORMATION: 1997. Pursuant The Commission’s complaint charges Part V of the proposed order states to section 6(f) of the Federal Trade that Warner has violated section 5 of the that nothing in the order constitutes a Commission Act, 38 Stat. 721, 15 U.S.C. Federal Trade Commission Act by waiver of Respondents’ First 46 and § 2.34 of the Commission’s rules agreeing with certain subsidiaries of of practice (16 CFR 2.34), notice is Amendment rights. Vivendi Universal S.A. (the ‘‘Universal hereby given that the above-captioned As set out in Part VI of the proposed Respondents’’) to fix prices and to forgo consent agreement containing a consent order, the proposed consent order will advertising. According to the order to cease and desist, having been not apply to any product sold or Commission’s complaint, the Universal filed with and accepted by the distributed to consumers by third Respondents are the successor firms to Commission, has been placed on the 1 parties under private labeling PolyGram Music Group. The Universal public record for a period of thirty (30) agreements with Respondents, provided Respondents have not signed an days. The following Analysis to Aid agreement containing a proposed Respondents do not participate in any Public Comment describes the terms of consent order, and hence the manner in the funding, preparation or the consent agreement, and the Commission’s antitrust claims against dissemination of the product’s allegations in the complaint. An the Universal Respondents will be advertising. electronic copy of the full text of the addressed in an administrative trial. The remainder of the proposed consent agreement package can be The alleged conspiracy involves audio consent order contains provisions obtained from the FTC Home Page (for and video products featuring the regarding distribution of the order, July 31, 2001), on the World Wide Web, renowned opera singers Luciano record-keeping, notification of changes at ‘‘http://www.ftc.gov/os/2001/07/ Pavarotti, Placido Domingo, and Jose in corporate status or employment, index.htm.’’ A paper copy can be Carreras—known collectively as The termination of the order, and the filing obtained from the FTC Public Reference Three Tenors. Beginning in 1990, The of a compliance report. Room, Room H–130, 600 Pennsylvania Three Tenors have come together every The purpose of this analysis is to four years at the site of the World Cup facilitate public comment on the Avenue, NW., Washington, DC 20580, either in person or by calling (202) 326– soccer finals for a combination live proposed order, and it is not intended concert and recording session. to constitute an official interpretation of 3627. Public comment is invited. Comments According to the complaint, prior to the agreement and proposed order or to should be directed to: FTC/Office of the each performance, the concert promoter modify in any way their terms. Secretary, Room 159, 600 Pennsylvania selects one (or more) of the major By direction of the Commission. Ave., NW., Washington, DC 20580. Two music/video distribution companies to Benjamin I. Berman, paper copies of each comment should distribute compact discs, cassettes, Acting Secretary. be filed, and should be accompanied, if videocassettes, and videodiscs derived 2 [FR Doc. 01–19724 Filed 8–6–01; 8:45 am] possible, by a 31⁄2 inch diskette from the master recordings. BILLING CODE 6750–01–M containing an electronic copy of the Distribution rights to the original 1990 comment. Such comments or views will Three Tenors performance, entitled The be considered by the Commission and Three Tenors, were acquired by FEDERAL TRADE COMMISSION will be available for inspection and PolyGram Music Group. Distribution copying at its principal office in rights to the follow-up performance, the [File No. 001 0231] accordance with § 4.9(b)(6)(ii) of the Three Tenors in Concert 1994, were Warner Communications Inc.; Analysis Commission’s rules of practice (16 CFR acquired by Warner Music Group. The complaint alleges that in 1997, To Aid Public Comment 4.9(b)(6)(ii)). Warner Music Group and PolyGram Analysis of Proposed Consent Order To AGENCY: Federal Trade Commission. Music Group agreed to collaborate in Aid Public Comment ACTION: Proposed consent agreement. the distribution of audio and video The Federal Trade Commission has SUMMARY: The consent agreement in this accepted, subject to final approval, an 1 PolyGram N.V. was acquired by The Seagram matter settles alleged violations of agreement containing a proposed Company Ltd. in 1998. Two years later, The Seagram Company Ltd. merged with Vivendi S.A. federal law prohibiting unfair or Consent Order from Warner and Canal Plus S.A. to form Vivendi Universal S.A. deceptive acts or practices or unfair Communications Inc. (‘‘Warner’’). 2 The concert promoter is responsible for methods of competition. The attached Warner is a subsidiary of AOL Time producing the master recordings. VerDate 11<MAY>2000 12:06 Aug 06, 2001 Jkt 194001 PO 00000 Frm 00045 Fmt 4703 Sfmt 4703 E:\FR\FM\07AUN1.SGM pfrm04 PsN: 07AUN1 Federal Register / Vol. 66, No. 152 / Tuesday, August 7, 2001 / Notices 41239 products derived from the next Three deceptive advertising and promotion for the pre-existing Three Tenors releases— Tenors World Cup concert, scheduled any audio product.3 products that were separately produced for Paris on July 10, 1998. The parties The Federal Trade Commission is and separately distributed. Restraints agreed that Warner Music Group would aware that there is a great deal of that operate on products outside of a distribute the 1998 releases in the collaborative activity among companies joint venture will be scrutinized by the United States; that PolyGram Music in the music industry (e.g., joint Commission with great care,5 Group would distribute the 1998 ventures, intellectual property licenses, particularly if the restraints are directed releases outside of the United States; sharing of artist rights and at price. Here the Commission has and that the firms would share all costs, compositions). The proposed Consent reason to believe that the alleged profits, and losses on a 50/50 basis. The Order re-affirms the Commission’s view agreement between Warner and complaint does not challenge the that participation in a joint venture is PolyGram is not reasonably related to formation or basic structure of the often pro-competitive, but that it is not the joint venture or reasonably Warner/PolyGram joint venture. a blanket excuse for price fixing or other necessary to achieve procompetitive serious restraints on competition. In this benefits of the joint venture and is According to the complaint, as the regard, The Antitrust Guidelines for therefore per se unlawful. concert approached, Warner Music Collaborations Among Competitors, One specific question involved in this Group and PolyGram Music Group issued by the Federal Trade proceeding is whether the moratorium became concerned that the audio and Commission and the U.S. Department of agreement was reasonably necessary in video products that would be derived Justice in April 2000, should not be read order to address a free-rider problem.6 from the Paris concert would not be as to suggest that all agreements ‘‘related Suppose, hypothetically, that Warner original or as commercially appealing as to’’ a joint venture will be analyzed Music Group’s investment in the earlier Three Tenors releases. In under the full rule of reason. advertising the 1998 Three Tenors order to reduce competition from these There are, however, situations in album in the United States brings earlier releases, Warner Music Group which horizontal restraints on price consumers into the record stores. and PolyGram Music Group adopted competition and advertising are Suppose further that many such what they called a ‘‘moratorium’’ permissible.
Load more

Recommended publications
  • About the Exhibition Tenorissimo! Plácido Domingo in Vienna
    Tenorissimo! Plácido Domingo in Vienna May 17th, 2017 - January 8th, 2018 Lobkowitzplatz 2, 1010 Wien [email protected] T +43 1 525 24 5315 About the exhibition An unmistakable dark timbre, highly dramatic expressiveness, an impressive, vast repertoire – all this enraptures the fans of the Spanish crowd-pleaser with waves of enthusiasm. The Theatermuseum celebrates Plácido Domingo on the anniversary of his stage debut: He has been singing at the Vienna State Opera for 50 years. When the Tenor, then still considered as insider tip, made his debut at the State Opera in the title role of Verdi‘s Don Carlo, not only he took stage and cast in storm, but also the hearts of the Viennese audience – a true love relationship, unbroken till today. This performance contributed to an unparalleled career, taking him to the world‘s leading opera houses. Vienna has always been a very special “home port“ for the opera star. Here he performed 30 different roles in 300 shows and was awarded the title Austrian Kammersänger. The exhibition at the Theatermuseum documents the most important appearances of the “Tenorissimo“ in Vienna with original costumes and props, photographs and memorabilia, video and audio samples. The presentation portrays him also as baritone, the role fach on which he concentrated almost exclusively in the past 10 years, and refers to his activities as conductor, taking him regularly to the orchestra pit of the Vienna State Opera since the end of the 1970s. Without hesitation Plácido Domingo can be described as one of the most versatile, curious and longest serving representative of his musical genre.
    [Show full text]
  • A Culture of Recording: Christopher Raeburn and the Decca Record Company
    A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon.
    [Show full text]
  • Závěrečné Práce
    JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra zpěvu Studijní program zpěv Fenomén Tři tenoři Diplomová práce Autor práce: BcA. Jiří Ullrich Vedoucí práce: doc. MgA. Mgr. Monika Holá, Ph.D. Oponent práce: PhDr. MgA. Alena Borková Brno 2018 Bibliografický záznam ULLRICH, Jiří. Fenomén Tři tenoři [The Three Tenors phenomenon]. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra zpěvu, 2018 54 s. Vedoucí diplomové práce, doc. MgA. Mgr. Monika Holá, Ph.D. Anotace Diplomová práce „Fenomén Tři tenoři“ pojednává o historii a vývoji tenorového hlasu, o životech a kariérách tenorů José Carrerase, Plácida Dominga a Luciana Pavarottiho, triu, které vytvořili a jeho vlivu na další hudební vývoj a vznik podobných uskupení. Annotation Diploma thesis „The Three Tenors phenomenon” deals with history and development of the tenor voice, lives and careers of the tenors José Carreras, Plácido Domingo and Luciano Pavarotti, the trio they created and it´s influence on further musical development and the creation of the similar groups. Klíčová slova Tři tenoři, José Cerreras, Plácido Domingo, Luciano Pavarotti, fenomén, tenor. Keywords The Three Tenors, José Carreras, Plácido Domingo, Luciano Pavarotti, phenomenon, tenor. Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu. V Brně, dne 12. května 2018 Jiří Ullrich Poděkování Na tomto místě bych rád poděkoval paní doc. MgA. Mgr. Monice Holé, Ph.D. za trpělivé vedení diplomové práce. Obsah ÚVOD .........................................................................................................................
    [Show full text]
  • Interpreting Freddie Mercury and Montserrat Caballé's Barcelona
    7 When Divas and Rock Stars Collide: Interpreting Freddie Mercury and Montserrat Caballé’s Barcelona Eve Klein Mamma mia, what’s this? Freddie Mercury, the man who perpetrated heavy-metal opera in ‘Bohemian Rhapsody,’ shrieking alongside an actual opera star? In 1987 Mercury somehow conned a world-class diva, Montserrat Caballé, to slum with him for an entire album. The result apparently was deemed too flaky to be released in the U.S., but in the wake of Queen’s commercial resurgence (and Mercury’s death last November from AIDS), any curio is up for grabs. (Farber 1992) Introduction This chapter considers Freddie Mercury and Montserrat Caballé’s operatic- rock album Barcelona (1988) as a logical extension of Mercury’s fascination with operatic musical devices, narrative structures and iconography. With this album, two global superstars from divergent musical genres met and brought their musical perspectives into genuine collaboration. However, Barcelona, like other popular explorations of opera, has remained largely 115 POPULAR MUSIC, STARS AND STARDOM unexamined because it sits somewhat uncomfortably across art and popular music, agitating anxieties and authenticities as they operate in both terrains. This chapter will investigate how such anxieties became established by unpacking the circulation of opera within popular recording cultures as elite reproductions of operatic repertory, as ‘crossover’ music and through its appropriation by popular musicians. This chapter will then conduct an analysis of the Barcelona collaboration that situates its creation in the context of Mercury’s musical trajectory. Special consideration will be paid to the musical style established in ‘Bohemian Rhapsody’ (1975). Comparing previous performances to the Barcelona album indicates that Mercury and Caballé largely did not attempt to emulate each other’s vocal style, but reproduced their existing vocal technique.
    [Show full text]
  • Alumni Concert, Reunion '98: "A Little Night Music" Marti Rideout
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 5-29-1998 Concert: Alumni Concert, Reunion '98: "A Little Night Music" Marti Rideout Glenn Guiles Diane Birr Debra Moree James Wallenberg See next page for additional authors Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Rideout, Marti; Guiles, Glenn; Birr, Diane; Moree, Debra; Wallenberg, James; and Pickering, Patrice, "Concert: Alumni Concert, Reunion '98: "A Little iN ght Music"" (1998). All Concert & Recital Programs. 5336. https://digitalcommons.ithaca.edu/music_programs/5336 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Authors Marti Rideout, Glenn Guiles, Diane Birr, Debra Moree, James Wallenberg, and Patrice Pickering This program is available at Digital Commons @ IC: https://digitalcommons.ithaca.edu/music_programs/5336 . ' *- ·· A8'-~ Etleltlfil o/Mt«~ . Ir!tuH)f/ &Melt · e~ to;i '88 . ALrttle N~!tt M"'1& ~deoJM, fl~ ~tAHt Ntltiv OrttM/, 8dtco!of M t«h Choral op. 3 7, no. 4 Joseph Jon (1873-19 / Chorales des Orgelbiichlein Johann Sebastian Bach (1685-1750) Herr Gott, der ein'ge Gottessohn, ·BWV 601 Vom Himmel kam der Engel Schar, BWV 607 Erstanden ist der heilge Christ, BWV 628 Wenn wir in hochsten Noten sein, BWV 641 Wer nur den lieben Gott lasst walten, BWV 642 Toccata Theodore Dubois (1837-1924) Marti Rideout '70, organ Three Dances • Michael Head· (1900-76) Gavotte Elegiac Dance Presto Sonata for Oboe and Piano Camille Saint-Saens (1835-1921) Andantino Allegretto Molto Allegro Glenn Guiles '75, oboe Diane Birr, piano ·o in G Major, K.
    [Show full text]
  • Luciano Pavarotti 1 PHILLIP GEORGE
    21ST CENTURY MUSIC NOVEMBER 2007 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $84.00 per year; subscribers elsewhere should add $36.00 for postage. Single copies of the current volume and back issues are $10.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2007 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Typescripts should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors with access to IBM compatible word-processing systems are encouraged to submit a floppy disk, or e-mail, in addition to hard copy.
    [Show full text]
  • Oral History Center University of California the Bancroft Library Berkeley, California Frederica Von Stade Frederica Von Stade
    Oral History Center University of California The Bancroft Library Berkeley, California Frederica von Stade Frederica von Stade: American Star Mezzo-Soprano Interviews conducted by Caroline Crawford in 2011, 2012, 2014, 2015 Copyright © 2020 by The Regents of the University of California Oral History Center, The Bancroft Library, University of California, Berkeley ii Since 1954 the Oral History Center of The Bancroft Library, formerly the Regional Oral History Office, has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Frederica von Stade dated February 2, 2012. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley.
    [Show full text]
  • Finding Aid to the Historymakers ® Video Oral History with Rodrick Dixon
    Finding Aid to The HistoryMakers ® Video Oral History with Rodrick Dixon Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Dixon, Rodrick Title: The HistoryMakers® Video Oral History Interview with Rodrick Dixon, Dates: August 20, 2013 Bulk Dates: 2013 Physical 10 uncompressed MOV digital video files (4:40:05). Description: Abstract: Opera singer Rodrick Dixon (1966 - ) has appeared as a soloist in a number of operas, as well as performing with the tenor group, Cook, Dixon & Young and his wife, concert artist, Alfreda Burke. Dixon was interviewed by The HistoryMakers® on August 20, 2013, in Chicago, Illinois. This collection is comprised of the original video footage of the interview. Identification: A2013_230 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Opera singer Rodrick Dixon was born on June 22, 1966 in Queens, New York. Dixon attended the Mannes School of Music and graduated with his B.M. degree in 1989 and his M.M. degree in 1991. During each summer while at the Mannes School, Dixon also studied at L’Academia Musicale Ottorino in Assisi, Italy and l’Ecole d’Art Americain-Palais de Fontainebleau, France. Dixon trained in the Lyric Opera Center for American Artists, where he appeared in many productions, most notably as the Prince in the 1992 world premiere of Bright Sheng’s The Song of Majnun. Other notable operatic debuts were with the Portland Opera Les Contes d’Hoffmann (1995); the Columbus Opera’s world premiere of Vanqui as Prince (2000); the Virginia Opera as Sportin’ Life in Porgy & Bess (2000); the Michigan Opera Theater as Tonio in La Fille Du Regiment (2005); and the Todi Music Festival as Lenski in Eugene Onegin (2007).
    [Show full text]
  • Abecední KOMPLETNÍ SEZNAM HUDBY a MLUVENÉHO SLOVA - Do 1
    abecední KOMPLETNÍ SEZNAM HUDBY A MLUVENÉHO SLOVA - do 1. pol. 2018 32743 CD 1975 I like it when you sleep, for you are so beautiful yet so2015 unaware of it / 25795 CD (Hed) Planet Earth The best of 2006 27813 CD 10,000 Maniacs Our time in Eden 1992 20981 CD 10,000 Maniacs The wishing chair 1985 30174 CD 100°C Brant rock 2008 23819 CD 100°C Evergreen 2004 27836 CD 10cc Bloody tourists 1978 29213 CD 10cc Sheet music 2000 25740 CD 12 Stones 12 Stones 2002 28482 CD -123 min. Dream 2009 22108 CD -123 min. Home 2002 24338 CD -123 min. Mom 2005 21160 CD -123 min. Shooba dooba 1999 21515 CD -123 min. Try 2001 29214 CD 2 13th Floor Elevators The Psychedelic sounds of The 13th Floor Elevators 2010 28616 CD 16 Horsepower Folklore 2002 26441 CD 2 Unlimited The Hits 2006 31106 CD 30 Seconds to Mars Love lust faith and dreams 2013 31107 CD 30 Seconds to Mars This is war 2009 32670 CD 4 Non Blondes Bigger, better, faster, more! / 1992 23750 CD 4TET 1st 2004 25313 CD 4TET 2nd 2005 26813 CD 4TET 3rd 2008 32436 CD 4TET 4th / 2016 31873 CD 5 Seconds of Summer 5 Seconds of Summer 2014 25959 CD 50 Cent Curtis 2007 23335 CD 50 Cent Get rich or die tryin' 2003 24826 CD 50 Cent The Massacre 2005 29454 CD 5th Dimension The age of aquarius 1969 29451 CD 808 State 808:88:98-10 years of 808 State 1998 25960 CD A bude hůř Basket 2001 33131 CD Aaronovitch, Ben Měsíc nad Soho / 2017 32419 CD Aaronovitch, Ben Řeky Londýna / 2016 20430 CD ABBA Gold 1992 20361 CD ABBA More ABBA Gold 1993 26814 CD V ABBA The albums 2008 32461 CD Abbott, Rachel Zabij mě znovu / 2016 24546
    [Show full text]
  • A Requiem for Classical Music?
    A requiem classicalfor music Although the death of classical music has been predicted for decades, the audience >> A man stands surrounded by seems to be holding steady. Its bigger problem may be how to loosen up old con- ventions and enhance the experience for modern music fans. By Julie Lee Illustrations? by John Craig 14 Regional Review Q2 2003 women. He is tall and handsome with long, flowing hair; the women are worshipful, kneeling at his feet. There is one particularly zealous admirer with large scissors, ready to cut a lock of his hair. If it weren’t for the corsets and bustles, this could be a scene of a rock star being hounded by hysterical female fans. Yet, this is a caricature from 1876 depicting Franz Lizst and admirers after one of his concerts. A lot has changed since then. Today, such an enthusiastic reception is reserved for teen pop idols and movie stars. Even as overall sales of music grew steadily until the late 1990s, the sales of classical music CDs hovered at a scant 3 to 4 percent of the total. Record com- panies such as BMG Classics are slashing the number of new classical releases or, like CRI (a not-for-profit label which has recorded 42 Pulitzer Prize-winning composers), closing Regional Review Q2 2003 15 altogether. Classical music stations have disappeared in many A STAR IS BORN: A SHORT HISTORY OF THE cities; one-third of the nation’s top 100 radio markets do not CLASSICAL MUSIC BUSINESS have a classical station. After 63 years, ChevronTexaco’s radio Everybody knows classical music when they hear it.
    [Show full text]
  • 28 Dragon Ball to Celebrate “Canada 150”
    News Release (For Immediate Release) December 12, 2016 28th Dragon Ball to celebrate “Canada 150” TORONTO, ON – Yee Hong Community Wellness Foundation today (Monday) kicked off the 28th Dragon Ball, its signature fundraising gala, at the Media Launch at the Westin Prince Hotel. This high-profile Chinese New Year celebration will be held early next year on Saturday, January 28, at Allstream Centre, Exhibition Place. It will also be the first major "Canada 150" event in the New Year of the Rooster, celebrating the 150th anniversary of Confederation. The gala is expected to be attended by over 1,000 guests, including political, business and community leaders. Dr Joseph Wong, Yee Hong Founder and Foundation Chair, said, “Entering into its 28th year, Dragon Ball has become not only a signature event of Yee Hong, it is also an annual celebration that many of us in the Chinese community look forward to. A big thank-you to our donors, sponsors and volunteers who’ve contributed and participated at the Dragon Ball year after year.” The funds raised will support Yee Hong’s high quality, culturally-appropriate care for seniors of different ethnic backgrounds in the Greater Toronto Area. Yee Hong helps seniors lead dignified, independent and fulfilling lives through the four long-term care homes in Scarborough, Markham and Mississauga, senior housing and a range of community programs and services, fulfilling 200,000 service requests every year. (more) The Foundation will take this occasion to present the “Global Humanitarian and Leadership Award” to former Canadian Prime Minister Joe Clark, who led the Canadian Government to recognize the plight of the Vietnamese refugees and accepted thousands of them when he was the Prime Minister in 1979.
    [Show full text]
  • The Five Irish Tenors
    PHOTO BY KEITH DIXON THE FIVE IRISH TENORS Saturday, February 11, 2017, at 7:30pm Foellinger Great Hall PROGRAM THE FIVE IRISH TENORS, direct from Dublin, Ireland, present “Salute to Ireland,” a sensational program of the most famously beloved Irish songs, fusing Irish wit and charm with lyricism, dramatic flair, and operatic style. This project is the first tour ever in North America of this popular Irish ensemble. David Martin, Morgan Crowley, Ciarán Kelly, Alan Leech, and George Hutton Danny Forde, pianist, musical director, and arranger Feargul Murray, pianist Down by the Sally Garden The Rose of Tralee The Wearing of the Green She Moved Through the Fair Star of the County Down Town I Loved So Well Toora—Loora—Looral My Wild Irish Rose The Foggy Dew The Green Fields of France Dublin in the Rare Old Times Will You Go Lassie Go La Paloma Ireland, Mother Ireland Oft in the Stilly Night When Irish Eyes Are Smiling Angels Guard Thee Isle of Hope Boolabogue I Hear You Calling Me Spanish Lady Danny Boy You Raise Me Up Mamma 20-minute intermission The Five Irish Tenors appear by arrangement with: Columbia Artists Management LLC 5 Columbus Circle @ 1790 Broadway New York, NY 10019 2 THANK YOU TO THE SPONSORS OF THIS PERFORMANCE GIVING OF ACT THE Krannert Center honors the spirited generosity of these committed sponsors whose support of this performance continues to strengthen the impact of the arts in our community. * HELEN & JAMES FARMER Through their previous sponsorships, Endowed Sponsors Helen & James Farmer continue to ensure that the performing arts play a vital role in the cultural life of central Illinois.
    [Show full text]