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For Release: on Approval Motion Picture Sound Editors to Honor
For Release: On Approval Motion Picture Sound Editors to Honor George Miller with Filmmaker Award 68th MPSE Golden Reel Awards to be held as a global, virtual event on April 16th Studio City, California – February 10, 2021 – The Motion Picture Sound Editors (MPSE) will honor Academy Award-winner George Miller with its annual Filmmaker Award. The Australian writer, director and producer is responsible for some of the most successful and beloved films of recent decades including Mad Max, Mad Max 2: Road Warrior, Mad Max Beyond Thunderdome and Mad Max: Fury Road. In 2007, he won the Academy Award for Best Animated Feature for the smash hit Happy Feet. He also earned Oscar nominations for Babe and Lorenzo’s Oil. Miller will be presented with the MPSE FilmmaKer Award at the 68th MPSE Golden Reel Awards, set for April 16th as an international virtual event. Miller is being honored for a career noteworthy for its incredibly broad scope and consistent excellence. “George Miller redefined the action genre through his Mad Max films, and he has been just as successful in bringing us such wonderfully different films as The Witches of Eastwick, Lorenzo’s Oil, Babe and Happy Feet,” said MPSE President MarK Lanza. “He represents the art of filmmaking at its best. We are proud to present him with MPSE’s highest honor.” Miller called the award “a lovely thing,” adding, “It’s a big pat on the back. I was originally drawn to film through the visual sense, but I learned to recognize sound, emphatically, as integral to the apprehension of the story. -
Stardigio Program
スターデジオ チャンネル:450 洋楽アーティスト特集 放送日:2019/12/09~2019/12/15 「番組案内 (8時間サイクル)」 開始時間:4:00~/12:00~/20:00~ 楽曲タイトル 演奏者名 ■KISS 特集 (1) STRUTTER KISS NOTHIN' TO LOSE KISS FIREHOUSE KISS COLD GIN KISS LET ME KNOW KISS KISSIN' TIME KISS DEUCE KISS 100,000 YEARS [10万年の彼方] KISS BLACK DIAMOND KISS GOT TO CHOOSE KISS PARASITE KISS GOIN' BLIND KISS HOTTER THAN HELL KISS Let Me Go, Rock 'N' Roll KISS ALL THE WAY KISS WATCHIN' YOU KISS COMIN' HOME KISS ■KISS 特集 (2) ROOM SERVICE KISS ROCK BOTTOM KISS C'MON AND LOVE ME [激しい愛を] KISS SHE [彼女] KISS LOVE HER ALL I CAN [すべての愛を] KISS ROCK AND ROLL ALL NITE KISS Detroit Rock City KISS King Of The Night Time World (暗黒の帝王) KISS God Of Thunder (雷神) KISS Flaming Youth (燃えたぎる血気) KISS Shout It Out Loud (狂気の叫び) KISS Beth KISS DO YOU LOVE ME KISS CALLING DR. LOVE (悪魔のドクター・ラヴ) KISS MR. SPEED (情炎!ミスター・スピード) KISS HARD LUCK WOMAN KISS MAKIN' LOVE (果てしなきロック・ファイヤー) KISS ■KISS 特集 (3) I WANT YOU (いかすぜあの娘) KISS TAKE ME (燃える欲望) KISS LADIES ROOM (熱きレディズ・ルーム) KISS I Stole Your Love [愛の謀略] KISS Christine Sixteen KISS Shock Me KISS Tomorrow And Tonight KISS Love Gun KISS Hooligan KISS Plaster Caster KISS Then She Kissed Me KISS ROCKET RIDE KISS I WAS MADE FOR LOVIN' YOU (ラヴィンユーベイビー) KISS 2,000 MAN KISS SURE KNOW SOMETHING KISS MAGIC TOUCH KISS ■KISS 特集 (4) TONIGHT YOU BELONG TO ME PAUL STANLEY MOVE ON PAUL STANLEY HOLD ME, TOUCH ME (THINK OF ME WHEN WE'RE APART) PAUL STANLEY GOODBYE PAUL STANLEY RADIOACTIVE GENE SIMMONS SEE YOU TONITE [今宵のお前] GENE SIMMONS LIVING IN SIN [罪] GENE SIMMONS WHEN YOU WISH UPON A STAR [星に願いを] GENE SIMMONS RIP IT -
June 1984 Kansas City's Free Music and Entertainment Newspaper Issue 42 Modern English: from Punk to Classical
All the Bulk rate news US Postage that's fH paid permit to pitch no. 2419 C PITCtI KCMO June 1984 Kansas City's free music and entertainment newspaper Issue 42 Modern English: From punk to classical is time and is at Worlds of Fun on June 8. Bassist Conroy talked with KC Pitch about the band. how it began and the hard-to-define Modern sound. all met in Culchester, England, 50 miles outside London. We thought it would be a real good to be in a band, so we all went out and thought we After two That British band Modern English performs at Worlds of Fun on music. It's something we've always wanted to do and we really got the chance on this his own words, "Ever- record." changing. Very hard to I wouldn't really are quite con These distinct of touring on the mind like to what we are like because tomorrow way we write our songs. We English and and loss of love ("Heart") I'd we were absolutely like it." don't want to do two songs the same, describe, and last year's "I Melt Listen to their new album and for sound like a young man struck with yourself. Modern English. with all of it's diver of fever. Lead vocalist sify and different dimensions. is a band that lyrics "He's the deserves to heard Trivial pursuits with Rhino Records Annette, the Monkees and "the world's only senior citizen Jewish rock band" words are the By Steve Walker the soundtracks to Blood Feast and 2000 surmise, platinum records do not crowd the eccentric in Maniacs with music by Herschell Gordon walls of Rhino's Santa Monica offices. -
Tributaries 2013
1 2 TRIBUTARIES Tributaries 2012-2013 Staff Editors-in-Chief: Ian Holt and Deidra Purvis Fiction Editor: Chase Eversole Nonfiction Editor: Emily O’Brien Poetry Editor: Andrew Davis Art & Design Editor: Kaylyn Flora Copy Editor: Chase Eversole Faculty Advisors: Beth Slattery and Tanya Perkins 3 Our Mission Ridicule is the tribute paid to the genius by the mediocrities. ––Oscar Wilde Tributaries is a student-produced literary and arts journal published at Indiana University East that seeks to publish invigorating and multifaceted fiction, nonfiction, poetry, essays, and art. Our modus operandi is to do two things: Showcase the talents of writers and artists whose work feeds into a universal body of creative genius while also paying tribute to the greats who have inspired us. We accept submissions on a rolling basis and publish on an annual schedule. Each edition is edited during the fall and winter months, which culminates with an awards ceremony and release party in the spring. Awards are given to the best pieces submitted in all categories. Tributaries is edited by undergraduate students at Indiana University East. 4 TRIBUTARIES Table of Contents Art “Arty art” Danielle Standley Covers “See The Love Pt. 1” Jami Dingess 7 “Never Knew Love ‘Til Now” Jami Dingess 49 “See The Love Pt. 2” Jami Dingess 75 “Monsters in Paradise” Jami Dingess 100 Fiction “The Right Hand Pocket” Ryland McIntyre 9 “Book ‘Em” Krisann Johnson 12 “Nude” Brittany Hudson 14 “The Enemy Within” Lynn Loring 19 “Vance Grafton” Heather Barnes 20 “Part One: The Sock Bandits” -
Glenn Gould in the Style of Thuggish Lunatics, Smashing Were a Series of Uneven Releases, Long Hia
TEACHING WITH IN TUNE I C O N GREAT MUSICIANS IN HISTORY BY PETER GERSTENZANG WHO: Rock quartet from London, England WHAT: One of the essential acts of the original 1960s British Invasion; loud, lyrical, and ambitious WHEN: Formed in 1964, still active in 2017, even after losing two key members and matured into one of the towering songwriters of the time. With their 1969 “rock opera” Tommy, the Who showed they could make a conceptually uni- BY PETER GERSTENZANG ed album that brought in elements of classical music ICONOGRAPHY and told a story—a strange ICON GREAT MUSICIANS IN HISTORY BY PETER GERSTENZANG tale about a deaf, dumb, The Who and blind boy who mirac- Singer and ulously regains his senses GREAT MUSICIANS IN HISTORY WHO: OR THE FIRST 10 years of their existence, the Who and becomes a prophet—while never WHO: Classical pianist ICON electric guitar player A gospel and thrillingly stretched the boundaries of rock, becoming sounding pretentious. WHAT: A brilliant, if eccentric, WHAT: The music only improved from there musical interpreter who R&B pioneer who may one of the most important and in uential British bands redefi ned how a classical just be the mother of F with the 1971 masterpiece Who’s Next and HE ARGUMENT rock music musician could play, record, Born Mar. 20, of the ’60s, along with the Beatles and the Rolling Stones. a second rock opera, 1973’sQuadrophenia, act, and look about who was WHEN: which told stories of both the mods and BY PETER GERSTENZANG 1915, Cotton Plant, After a brief stint as the Detours, gui- WHEN: Born Sept. -
To the Baum Bugle Supplement for Volumes 46-49 (2002-2005)
Index to the Baum Bugle Supplement for Volumes 46-49 (2002-2005) Adams, Ryan Author "Return to The Marvelous Land of Oz Producer In Search of Dorothy (review): One Hundred Years Later": "Answering Bell" (Music Video): 2005:49:1:32-33 2004:48:3:26-36 2002:46:1:3 Apocrypha Baum, Dr. Henry "Harry" Clay (brother Adventures in Oz (2006) (see Oz apocrypha): 2003:47:1:8-21 of LFB) Collection of Shanower's five graphic Apollo Victoria Theater Photograph: 2002:46:1:6 Oz novels.: 2005:49:2:5 Production of Wicked (September Baum, Lyman Frank Albanian Editions of Oz Books (see 2006): 2005:49:3:4 Astrological chart: 2002:46:2:15 Foreign Editions of Oz Books) "Are You a Good Ruler or a Bad Author Albright, Jane Ruler?": 2004:48:1:24-28 Aunt Jane's Nieces (IWOC Edition "Three Faces of Oz: Interviews" Arlen, Harold 2003) (review): 2003:47:3:27-30 (Robert Sabuda, "Prince of Pop- National Public Radio centennial Carodej Ze Zeme Oz (The ups"): 2002:46:1:18-24 program. Wonderful Wizard of Oz - Czech) Tribute to Fred M. Meyer: "Come Rain or Come Shine" (review): 2005:49:2:32-33 2004:48:3:16 Musical Celebration of Harold Carodejna Zeme Oz (The All Things Oz: 2002:46:2:4 Arlen: 2005:49:1:5 Marvelous Land of Oz - Czech) All Things Oz: The Wonder, Wit, and Arne Nixon Center for Study of (review): 2005:49:2:32-33 Wisdom of The Wizard of Oz Children's Literature (Fresno, CA): Charobnak Iz Oza (The Wizard of (review): 2004:48:1:29-30 2002:46:3:3 Oz - Serbian) (review): Allen, Zachary Ashanti 2005:49:2:33 Convention Report: Chesterton Actress The Complete Life and -
Mad Max Tail Credits
Max Mel Gibson (Rockatansky, a cop with a Bronze badge, hence 'The Bronze') Jessie Joanne Samuel (Rockatansky) Toecutter Hugh Keays-Byrne Jim Goose Steve Bisley (Jimmy the Goose) Johnny the Boy Tim Burns Fifi Roger Ward (Captain Fifi MacAffee, aka "Fif") Cast in alphabetical order: Nurse Lisa Aldenhoven Mudguts David Bracks Clunk Bertrand Cadart Underground Mechanic David Cameron (Barry) Singer Robina Chaffey Sarse Stephen Clark Toddler Mathew Constantine Ziggy Jerry Day Station Master Reg Evans Diabando Howard Eynon Benno Max Fairchild Grinner John Farndale Senior Doctor Peter Felmingham May Swaisey Sheila Florence (sic, aka Florance) Starbuck Nic Gazzana Lair Hunter Gibb Nightrider Vince Gil (sic, aka Vincent Gill, aka Crawford Montegamo, per subtitles, also Montizano) Silvertongue Andrew Gilmore Labatouche Jonathon Hardy (sic, aka Jonathan) Sprog Brendan Heath Cundalini Paul Johnstone Grease Rat Nick Lathouris Charlie John Ley Roop Steve Millichamp Junior Doctor Phil Motherwell Scuttle George Novak Bubba Zanetti Geoff Parry Nightrider's Girl Lulu Pinkus TV Newsreader Neil Thompson Midge Billy Tisdall People's Observer Gil Tucker Girl in Chevvy Kim Sullivan with John Arnold Tom Broadbridge Peter Culpan Peter Ford Clive Hearne Telford Jackson Kristine Kaman Joan Letch Kerry Miller Janine Ogden Di Trelour Vernon Weaver Paul Young Brendan Young Associate Producer Bill Miller Editors Tony Paterson Cliff Hayes Director of Photography David Eggby Art Director Jon Dowding Asst. Art Director Steve Amezdroz Stunt Co-ordinator Grant Page Costume Designer Clare Griffin Sound Recordist Gary Wilkins Production Co-ordinator Jenny Day Special Effects Chris Murray Casting Mitch Consultancy First Assistant Director Ian Goddard Second Asst. Director Steve Connard Third Assistant Director Des Sheridan Production Asst. -
Climate Trauma, Or the Affects of the Catastrophe to Come
Climate Trauma, or the Affects of the Catastrophe to Come MICHAEL RICHARDSON School of the Arts and Media, University of New South Wales, Australia Abstract The climate catastrophe to come is traumatically affecting, whether in its micro and macro manifestations, in the threat it poses to existing ways of life, in its upending of entrenched understandings of the workings of the world, or in the injury it is doing to partic- ular lives and wider ecologies. It works on ecologies and bodies alike as a kind of wounding, one not simply or solely to the everyday stuff of biological life but to the very constitution of experience and expression. Critiquing and extending writing on climate, trauma, and aes- thetic experience by E. Ann Kaplan (2016), Timothy Morton (2013), and others, this article ar- gues that these affects of climate catastrophe are traumatically affecting without necessar- ily being traumatizing: they are jarring, rupturing, disjunctive experiences of future crisis in the now. This article traces these affects of apocalypse as they circulate traumatically in three texts: George Miller’s film Mad Max: Fury Road (2015), Marina Zurkow’sanimationSlurb (2009), and Briohny Doyle’snovelThe Island Will Sink (2016). Climate catastrophe, that most threatening yet elusive of hyperobjects, marks and emerges irresistibly from within these works, not simply as theme, setting, or symbol but as the form of their affectivity. This inten- sity presses into the present from the future, shaping how the catastrophe to come is felt today and exposing crucial tensions between aesthetic expression and lived experience. Keywords affect, climate trauma, hyperobject, catastrophe, futurity, Deleuze lready arriving from the future yet only just beginning to unfold, climate catastro- A phe bears down on and shapes the present. -
Tony Kushner's Angels in America Or How American History Spins Forward
Tony Kushner’s Angels in America or How American History Spins Forward Alfonso Ceballos Muñoz Universidad de Cádiz [email protected] Abstract Angels in America’s roaring success represents a real turning point in mainstream American drama. This article explores both Kushner’s treatment of history— particularly American history—and the ingredients which compound the melting pot American society had become in the 1980s. Through the specific situations the characters undergo in both Millennium Approaches and Perestroika, the playwright exposes his own Brechtian and neo-Hegelian vision of current events. Kushner deliberately recycles traditional American myths and elements of American culture and pins them all on a reconstruction of identity—whether gender, racial, or political—as the real axes of his plays. By making gay characters lead the plays, and by including obvious religious elements from an apocalyptic literary style, political discussions on Reagan’s policy on AIDS, and reminiscent historical images, Angels in America becomes a revision of the new National Period America is living as the promised land which every single individual re-creates with her/his daily efforts and capabilities. “The people look skyward seeking aid from above, and the Angel of History appears on the horizon his eyes staring, mouth open and wings spread, while human catastrophes are hurled before his feet”. Walter Benjamin, “Theses on the Philosophy of History”. “History is a ribbon, always unfurling; history is a journey. And as we continue our journey, we think of those who travelled before us”. Ronald Reagan’s Second Inaugural Address. January 21, 1985 “We won’t die secret deaths anymore. -
Mad Max 11 Music Credits
Music Composed and Conducted by Brian May Music Mixed & recorded at A.A.V. Australia by Roger Savage Mad Max 2 probably represented the apogee of composer Brian May's work with director George Miller, and consequently his work for the film has been given any number of releases on LP and CD, under the film's Australian and US titles, and his score remains widely available: LP Thatʼs Entertainment (UK). TER 1016 1982 SIDE 1: Opening Titles/Montage Confrontation * Marauderʼs Massacre Max Enters Compound Feral Boy Strikes * Gyro Saves Max SIDE 2: Gyro Flight * Break Out The Chase Continues Break Out * Finale/Largo End Title Music * Includes sound effects from the film LP Milan (France) A 120 163 1982 Distribution: Suisse MTB AG France RCA Belgique Inelco SIDE 1: Montage - Main Title Confrontation Marauders Massacre Max Enters Compound Gyro Saves Max SIDE 2: Breakout Finale / Largo End Title SFX Suite LP (ST) Varese Sarabande (USA) STV 81155 1982 (CD VAR 47262) Producer for Varese Sarabande Records: Tom Null, Chris Kuchler Executive Producers: Scot W. Holton, John Sievers Mastering Engineer: Bruce Leek, Automated Media Manufactured at KM Records. KM Production Coordination: Mike Malan, Karen Stone SIDE 1: Montage / Main Title Confrontation Maraudersʼ Massacre Max Enters Compound Gyro Saves Max SIDE 2: Break Out Finale And Largo End Title SFX Suite: a. Boomerang Attack. b. Gyro Flight / The Big Rig Starts. c. Break Out / The Refinery Explodes / Reprise. UMGD/Varese Saraband VCD 47262, November 1988 1. Montage (Main Title from the Road Warrior (Mad Max 2) (5'53") 2. Confrontation (3'32") 3. -
Dorothy Potter and the Wizards of Oz
Dorothy Potter And The Wizards Of Oz Script and Lyrics by: Janinne Chadwick c. 2016 For Little People’s Repertory Theatre Script and Lyrics by: Janinne Chadwick c. 2016 Act One: Scene 1 A Nursery Lullaby A nursery that includes a crib and a shelf or dresser. Baby Dorothy is standing in her crib. Her mother is rocking in a rocking chair, knitting. Her father is off-stage. Baby Dorothy: (calling for her father) Daddy! Daddy! Bertie Beans! Lillian: No more candy, darling, it’s time for bed. Father enters. Jim: Did I hear my favorite little witch calling for me? Lillian: Say goodnight to Daddy and I’ll sing you a lullaby. Baby Dorothy: Goodnight Daddy. Lullaby Lillian: Rock a bye, Dorothy, in your baby bed One day you’ll fly on a broomstick instead When the owl comes calling you’ll study and play And learn to use magic in a school far away Veldamort enters. She has a Ruby wand. She points her wand at Father and he falls down dramatically as Mother tries to shield Dorothy. Lillian: (screams) No, not Dorothy! Curse me instead. Veldamort: Out of my way, silly woman! Veldamort waves her wand at Mother, who falls to the ground. Veldamort: (to Dorothy) And now my pretty! There’s not room in this world for the both of us! Avada Kedavra! The spell deflects onto Veldamort, who writhes in pain and staggers out of the room. Veldamort: (as she’s leaving) Ahhh, what have you done? Baby Dorothy: (reaches for her forehead where her ruby scar has appeared) Owie! Mama, Owie. -
Mad Max Music Credits
Music Composer/Conductor: Brian May Cabaret Music Nic Gazzana (Cast) Singer Robina Chaffey 1. Incidental Music: Robina Chaffey, who plays the tongue-displaying singer in the Sugartown Cabaret, was the only cast member not to be dubbed for the US release of Mad Max. Chaffey is now mainly known for her appearance in Mad Max, though she did work in the wardrobe department on the 1982 feature film Early Frost and her name has been known to appear in recent times on the LOTL Facebook site (here). Nic Gazzana, who devised the cabaret music, is also largely unknown, though he did appear in five episodes of the hit ABC mini-series Brides of Christ, and did other television work, including the 1984 Kennedy-Miller mini-series The Cowra Breakout, and the 1991 telemovie Ring of Scorpio. According to the Mad Max movies website, here: Licorice Road and Jessie's Theme (the saxaphone solo played by Jessie to Max) were written and produced by Nicco Gazzana, who also played Starbuck in the film. The on screen performance of Licorice Road was given by Robina Chaffey, however the female voice on the track actually belongs to Creenagh St. Clair. The track, which was not released, featured some of Melbourne's most loved musicians including Garry Costello and Mal Capewell. (Below: Nic Gazzana as he appeared at a Popcorn Taxi presentation of the film, here) 2. Uncredited Music and References: Nic Gazzana is not credited for "Jessie's Theme" The rant indulged in by the Nightrider just prior to his spectacular demise is notable for the line I am the Nightrider, I'm a fuel-injected suicide machine which is immediately followed by a reference to the AC/DC song "Rocker", I am a rocker, I'm a roller, though again it is not credited.