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BBC Four Programme Information
SOUND OF CINEMA: THE MUSIC THAT MADE THE MOVIES BBC Four Programme Information Neil Brand presenter and composer said, “It's so fantastic that the BBC, the biggest producer of music content, is showing how music works for films this autumn with Sound of Cinema. Film scores demand an extraordinary degree of both musicianship and dramatic understanding on the part of their composers. Whilst creating potent, original music to synchronise exactly with the images, composers are also making that music as discreet, accessible and communicative as possible, so that it can speak to each and every one of us. Film music demands the highest standards of its composers, the insight to 'see' what is needed and come up with something new and original. With my series and the other content across the BBC’s Sound of Cinema season I hope that people will hear more in their movies than they ever thought possible.” Part 1: The Big Score In the first episode of a new series celebrating film music for BBC Four as part of a wider Sound of Cinema Season on the BBC, Neil Brand explores how the classic orchestral film score emerged and why it’s still going strong today. Neil begins by analysing John Barry's title music for the 1965 thriller The Ipcress File. Demonstrating how Barry incorporated the sounds of east European instruments and even a coffee grinder to capture a down at heel Cold War feel, Neil highlights how a great composer can add a whole new dimension to film. Music has been inextricably linked with cinema even since the days of the "silent era", when movie houses employed accompanists ranging from pianists to small orchestras. -
Central Florida Future, Vol. 22 No. 06, September 7, 1989
University of Central Florida STARS Central Florida Future University Archives 9-7-1989 Central Florida Future, Vol. 22 No. 06, September 7, 1989 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. 22 No. 06, September 7, 1989" (1989). Central Florida Future. 939. https://stars.library.ucf.edu/centralfloridafuture/939 NEWSCLIPS ... ~ ........... 3 :- :0::0P.:lNlON .; ......... ~ ...•.... &·' ·: tjOMICS ':' ;.,. '·. :-.~. : ' .•. :;....... 9 ::·· 1;!;, Q,LASS JFl ED. '.:'... ::HO. ,,, 10,: :· .;::: § 'pbfiTSfk ; · ;~. \ .:: .. ..: ·..... f2 :~:::: ) Thentral Florida Future Volume 22, Number 6 University of Central Florida/Orlando Thursday September 7, 1989 Balky elevators· handicap acce·ss by Lance Turner Gold faced is not an isolated case. Frid- ' CENTRAL FLORIDA FUTURE erici also uses a wheelchair and has had to deal with elevator problems A UCF student who uses a wheel since 1970, when she was a student at · chairwas denied access to her class last the University of South Florida. She Wednesday because ofa faulty elevator said elevator breakdown is a problem in the Howard Philips building. throughout the State University Sys Jenni Gold, RTV major, said it was tem. not the first time she had experienced The UCF Student Senate has ad such a difficulty. -
Exhibition Brochure Is There A
‘Is There Anyone Out There?’ Documenting Birmingham’s Alternative Music Scene 1986-1990 Acknowledgements and Thanks Thanks to Dave Travis for opening up his incredible archive and recalling the histories associated with The Click Club. Likewise, thanks to Steve (Geoffrey S. Kent) Coxon for his generous insights and for taking a road trip to tell us almost everything. Thanks on behalf of all Click Clubbers to Travis and Coxon for starting it and for program- ming so many memorable nights for creating an environment for people to make their own. Thanks to Dave Chambers (and Andy Morris), Donna Gee, Bridget Duffy and Bryan Taylor Thankswho provided to all of particular those who materials contributed for the written exhibition memories: (Bryan Steve for some Byrne; fine Craig writing!). Hamilton; Andrew Davies; Sarah Heyworth; Neil Hollins; Angela Hughes; Rhodri Marsden; Dave Newton; Daniel Rachel; Lara Ratnaraja; Spencer Roberts; John Taggart; Andy Tomlinson and Maria Williams. Acknowledgements to the many contributors to Facebook Groups for The Click Club and Birmingham Music Archive. John Hall and Ixchelt Corbett Mighty Mighty: Russell Burton, Mick Geoghegan, Pete Geoghegan, D J Hennessy Hugh McGuinness. Lyle Bignon, Boris Barker, Darren Elliot, Graham Bradbury, Richard March Yasmin Baig-Clifford (Vivid Projects), John Reed at Cherry Red Records, Ernie Cartwright, Birmingham Music Archive, Justin Sanders, Naomi Midgley. Neil Hollins for production of the podcast interview with Steve Coxon and Dave Travis. Digital Print Services who produced the images. Special thanks to: Neil Taylor, Ellie Gibbons, Anna Pirvola, Aidan Mooney and Beth Kane. What was The Click Club? Established in 1986 by Dave Travis and Steve Coxon, ‘The Click Club’ was the name of a concert venue and disco associated with Birmingham’s alternative music culture. -
Music Globally Protected Marks List (GPML) Music Brands & Music Artists
Music Globally Protected Marks List (GPML) Music Brands & Music Artists © 2012 - DotMusic Limited (.MUSIC™). All Rights Reserved. DotMusic reserves the right to modify this Document .This Document cannot be distributed, modified or reproduced in whole or in part without the prior expressed permission of DotMusic. 1 Disclaimer: This GPML Document is subject to change. Only artists exceeding 1 million units in sales of global digital and physical units are eligible for inclusion in the GPML. Brands are eligible if they are globally-recognized and have been mentioned in established music trade publications. Please provide DotMusic with evidence that such criteria is met at [email protected] if you would like your artist name of brand name to be included in the DotMusic GPML. GLOBALLY PROTECTED MARKS LIST (GPML) - MUSIC ARTISTS DOTMUSIC (.MUSIC) ? and the Mysterians 10 Years 10,000 Maniacs © 2012 - DotMusic Limited (.MUSIC™). All Rights Reserved. DotMusic reserves the right to modify this Document .This Document 10cc can not be distributed, modified or reproduced in whole or in part 12 Stones without the prior expressed permission of DotMusic. Visit 13th Floor Elevators www.music.us 1910 Fruitgum Co. 2 Unlimited Disclaimer: This GPML Document is subject to change. Only artists exceeding 1 million units in sales of global digital and physical units are eligible for inclusion in the GPML. 3 Doors Down Brands are eligible if they are globally-recognized and have been mentioned in 30 Seconds to Mars established music trade publications. Please -
New Album Reviews
For Those Of You Who Have Never: New Album Reviews Music | Bittles’ Magazine: The music column from the end of the world I have always been a fan of the humble compilation. Although much maligned in recent years, they can be a great way to introduce yourself to new artists, or genres. This June has seen a surge of quality collections all begging to be reviewed. Some are designed to showcase a particular label (Floor To Floor for Dusky’s 17 Steps, Facticity for Functions‘ Infrastructure New York, The Lost Tapes for Code Is Law), the selection skills of a certain DJ (Tim Green’s Body Language mix, Ryan Elliott’s Fabric 88), or a specific era’s sound (C87’s 80s indie). If you aren’t a fan of compilations, please don’t despair, as we also find time to review great new artist albums by Rebolledo, Huerco S, Weval, Mala, Trevino, Wolf Müller & Cass, and more. So, put on your reading glasses, open up your ears and let us begin… This week we’ll start with the return of Rebolledo, whose second solo album, Mondo Alterado should be available in your local record store now. Continuing the soundtrack-inspired electronica of last year’s Momento Drive mix CD, Mondo Alterado is a stately, atmospheric downtempo delight. Described in the press notes as being “A kind of soundtrack for a movie that doesn’t exist”, the album conjures a wealth of emotions and imagery, making it Rebolledo’s most rewarding work yet. Opener, Here Comes The Warrior (Super Short Album Version) is a dense and absorbing fifteen minute ride into the heart of ambient grooves. -
Cure for Sanity
THE POP WILL EAT ITSELF CURE FDR SANITY label rca the 2485 on -2- prescription R THE POP pwei a WILL EAT SANITY ITSELF/CURE FOR FOR ITSELF/CURE 22 SANITY EAT j a WILL pwei POP 1. THE INCREDIBLE P.W.E.I vs THE MORAL MAJORITY (1 36 65/oo9 )obpm 2. DANCE OF THE MAD BASTARDS (536 57/205") 126 bpm 34/913 bpm (445 23/246 103 bpm 3. 88 SECONDS... & STILL COUNTING 05i >99 4. X Y & ZEE ) 5. CITY ZEN RADIO 1990/2000 FM THE 54 44 99 <2'26.29/752' •> 106BPM (0 912 ) BPM 6. DR. NIGHTMARE’S MEDICATION TIME .7. TOUCHED BY THE HAND OF prescription 112BPM (31388/723 109 bpm R CICCIOLINA (EDITED HIGHLIGHTS) (74223/ion 8. lOOOx NO! ) 9. PSYCHOSEXUAL -2- (2-16 oo/ooi") 120 (355 86/588 122 bpm Koe 10/142 1275 bpm BPM 10. AXE OF MEN ) 1 1 . ANOTHER MAN’S RHUBARB ) (04i 19/901 92 bpm (355 34/126 > 12. MEDICINE WITH FORKED TONGUE ) 13. NIGHTMARE AT 20,000FT MAN SPEAK on 2485 (< 2269/505 mobpm (5-21.92/666") 120 bpm 109 bpm 14. VERY METAL NOISE POLLUTION > 15. 92°F (THE 3RD DEGREE) 16. LIVED IN <131 66/100 115 bpm the SPLENDOUR: DIED IN CHAOS (506 78 876 )104 bpm 17. THE BEAT THAT REFUSED TO DIE ) rca label ®aA Tmk(s) a Registered • Marca(s) Registrada(s) RCA Corporation. BMG logo ® BMG Music • : 1991 BMG Music (UK) Ltd. • Manufactured and Distributed by BMG Music, New York, N.Y. Printed in U.S.A. -
The History of the Tall Ship Regina Maris
Linfield University DigitalCommons@Linfield Linfield Alumni Book Gallery Linfield Alumni Collections 2019 Dreamers before the Mast: The History of the Tall Ship Regina Maris John Kerr Follow this and additional works at: https://digitalcommons.linfield.edu/lca_alumni_books Part of the Cultural History Commons, and the United States History Commons Recommended Citation Kerr, John, "Dreamers before the Mast: The History of the Tall Ship Regina Maris" (2019). Linfield Alumni Book Gallery. 1. https://digitalcommons.linfield.edu/lca_alumni_books/1 This Book is protected by copyright and/or related rights. It is brought to you for free via open access, courtesy of DigitalCommons@Linfield, with permission from the rights-holder(s). Your use of this Book must comply with the Terms of Use for material posted in DigitalCommons@Linfield, or with other stated terms (such as a Creative Commons license) indicated in the record and/or on the work itself. For more information, or if you have questions about permitted uses, please contact [email protected]. Dreamers Before the Mast, The History of the Tall Ship Regina Maris By John Kerr Carol Lew Simons, Contributing Editor Cover photo by Shep Root Third Edition This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc- nd/4.0/. 1 PREFACE AND A TRIBUTE TO REGINA Steven Katona Somehow wood, steel, cable, rope, and scores of other inanimate materials and parts create a living thing when they are fastened together to make a ship. I have often wondered why ships have souls but cars, trucks, and skyscrapers don’t. -
SUGGESTIONS for LISTENING Examples of Diatonic Modes: • Frédéric Chopin (1810–1849), Mazurka, Op
1 LESSON 8: THE MAJOR MODE u SUGGESTIONS FOR LISTENING examples of diatonic modes: • Frédéric Chopin (1810–1849), Mazurka, op. 24, no. 2 (1833). The mode shifts from C Ionian (major) to F Lydian (the F white-key scale) in measures 21–32 (roughly 0:20–0:30). • Béla Bartók (1881–1945), For Children, book 1, no. 3, “Former Friends” (1910). The music is in A Dorian (A B C D E F# G, a rotation of G major) with the exception of one note. Can you find it? • Béla Bartók (1881–1945), For Children, book 2, no. 20, “Stay Home, Hanulienka” (1910). The entire piece is in F Lydian (F white-key scale). • Francis Poulenc (1899–1963), Valse from Album des six (1919). The main theme (e.g., approx. 0:00–0:13) uses the C Lydian scale (C D E F# G A B, a rotation of G major). • Alfredo Casella (1883–1947), Eleven Children’s Piano Pieces, op. 35, no. 6, “Siciliana” (1920). The first nine measures (approx. 0:00–0:25) use the D Dorian scale (D white-key scale). Later (approx. 0:36–1:20) the music shifts to D Lydian (D E F# G# A B C#, a rotation of A major), with an occasional non-scale note. • Béla Bartók (1881–1945), Mikrokosmos (1926, 1932–39): “In Dorian Mode” (volume 1, no. 32) (D white-key scale, except for the F# in the last measure) “In Phrygian Mode” (volume 1, no. 34) (E white-key scale) “In Lydian Mode” (volume 2, no. 37) (F white-key scale) “In Mixolydian Mode” (volume 2, no. -
Copyrighted Material
bindex.qxd 3/29/06 12:21 PM Page 309 Index Albums are set in italic type. Song titles are set within quotation marks. Film titles set in italic type are qualified. Page numbers in italic type refer to illustrations. A&M Records, 46, 64, 65–66, 82, 85, Ashby, Hal, 153 111, 131, 156–157, 238, 240 Asher, Jane, 108 Acevedo, Susan, 80, 147 Asher, Peter, 110, 152, 183 Ackles, David, 71 on Geffen and Roberts, 128, 133–134 “Act Naturally,” 57 as record producer, 199–200, 223, 224, Adler, Lou, 4, 6, 91, 96, 131, 143, 218 233, 246 Mamas and Papas and, 31, 93, 110 Taylor and, 108–109, 124, 199 Monterey Pop Festival and, 18 Ash Grove, 2–3, 4, 57, 78 Ode label and, 110–111 Ashley, Ted, 51, 233, 234 Roxy club and, 179, 201 Asylum Records, 136, 138, 141, 191–199, After the Gold Rush, 121, 147, 206, 207 211, 222, 240, 242, 246, 251, 265 Ahern, Paul, 151, 195 Byrds and, 157, 158 “Albuquerque,” 206 drug use at, 238–239 “All I Want,” 125 Eagles and, 135–136, 138, 141, “Almost Cut My Hair,” 119 150–152, 195 Alpert, Herb, 65, 66, 84, 91 Elektra merger, 209–215 “Already Gone,” 212 Geffen and, 110, 131, 133, 135–142, Altamont Festival, 85, 96–97 151, 152, 191–193, 195, 197 Altman, Robert, 218–219 See also Elektra-Asylum “Amelia,” 264 Atlantic Records, 13, 52, 119, 120, 129, America, 193, 196, 214, 239 130, 192, 196, 209–210, 235 American Beauty, 65, 157 Autumn Records, 10 American Dream,COPYRIGHTED263 Axton, MATERIAL Hoyt, 218 Amos Records, 72, 74, 136 Azoff, Irving, 184, 203, 222, 254. -
The Barns at Wolf Trap Welcomes Paul Byrom; Solas; Southside Johnny & the Poor Fools; and David Crosby
February 18, 2014 Contact: Camille Cintrón, Manager, Public Relations 703.255.4096 or [email protected] The Barns at Wolf Trap Welcomes Paul Byrom; Solas; Southside Johnny & The Poor Fools; and David Crosby All Shows at The Barns at Wolf Trap 1635 Trap Road, Vienna, VA 22182 Paul Byrom Wednesday, March 12, 2014 at 8 pm $35 Paul Byrom is known affectionately as “The Swanky Tenor” by his fans due to his suave and romantic performance style. This Dublin native began singing professionally at the age of 12 and released his first album at 14. Since then, Byrom was a founding member of the acclaimed Irish singing group Celtic Thunder and was named Irish Tenor of the Year by the Irish Music Association in 2012. He also served as the ambassador for culture and music for The Gathering 2013, a year-long celebration in Ireland. He has had the honor of singing for international dignitaries such as former Irish President Mary McAleese, Emperor Akihito of Japan, and President Barack Obama. Today, Byrom released Thinking of Home, an album which revisits his roots through heartfelt renderings of legendary Irish songs. Video: Paul Byrom – “She” Solas Thursday, March 13, 2014 at 8 pm Friday, March 14, 2014 at 8 pm $22-$25 The Celtic-folk ensemble Solas, whose name derives from a Gaelic word for “light,” has been captivating audiences since the mid-1990s, when the group’s original members began performing together in Irish bars in New York City. The band’s current lineup is Seamus Egan (flute, tenor banjo, mandolin, tin whistle, low whistle, guitars, bodhran), Winifred Horan (violins, vocals), Mick McAuley (accordions, contertina, low whistle, vocals), Eamon McElholm (guitars, keyboards, vocals), and Niamh Varian-Barry (vocals). -
Jackson Browne's Romantic Vision (Chapter Seven of Rock and Romanticism: Blake, Wordsworth, and Rock from Dylan to U2)
Digital Commons @ George Fox University Faculty Publications - Department of English Department of English 2018 "When the Light that's Lost within Us Reaches the Sky" Jackson Browne's Romantic Vision (Chapter Seven of Rock and Romanticism: Blake, Wordsworth, and Rock from Dylan to U2) Gary L. Tandy Follow this and additional works at: https://digitalcommons.georgefox.edu/eng_fac Part of the English Language and Literature Commons, and the Music Commons Chapter Seven "When the Light that's Lost within Us Reaches the Sky" Jackson Browne's Romantic Vision Gary L. Tandy In "Michael: A Pastoral Poem," William Wordsworth imagines "youthful Poets, who among these Hills I Will be my second Self when I am gone." 1 In his recent critical study, Andrew Bennett suggests that Wordsworth and the other British Romantic poets continue to have an impact on the poetry and poetic theory of our times: "Contemporary culture, indeed, is pervaded by developments in conceptions of poetry and art that are associated most fully with the Romantic period." 2 As Sayre and Lowy state, "Far from being a purely nineteenth-century phenomenon, Romanticism is an essential compo nent of modern culture." 3 One contemporary musical artist who could justifi ably be named a successor to Wordsworth (as well as other British Romantic poets) is the American singer-songwriter Jackson Browne. Beginning with his debut record in 1972, Browne has released twenty-three albums, consist ing almost entirely of original music. He was honored with induction into the Rock and Roll Hall of Fame in 2004 and the Songwriter's Hall of Fame in 2007. -
Hastings Law News Vol.25 No.4 UC Hastings College of the Law
University of California, Hastings College of the Law UC Hastings Scholarship Repository Hastings Law News UC Hastings Archives and History 2-4-1992 Hastings Law News Vol.25 No.4 UC Hastings College of the Law Follow this and additional works at: http://repository.uchastings.edu/hln Recommended Citation UC Hastings College of the Law, "Hastings Law News Vol.25 No.4" (1992). Hastings Law News. Book 194. http://repository.uchastings.edu/hln/194 This Book is brought to you for free and open access by the UC Hastings Archives and History at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Law News by an authorized administrator of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Hastings Law News San Francisco, California FebrlUlry4,1992 West Block Developer Tapped; Board Approval Hearing Set Activists Protest: Hastings Says it's too Soon to Talk By Martha Bridegam ThePlanmngCoaJition,aswcll thaI in any event Ihechoiceofa dcveloper was not particularly COf'VEOITOR as student members of the Na tional Lawyers' Guild, wants to important because the chosen 1belalesl WestBlock.baltleis see HaSlings build low-income company would only serve as a over whether it's time to fight. housing available to the general consultantwhlleHastingsretained Tenderloin neighborhood ac· public to replace Ihe units in control of the projecL Debley tivists like Kathy Lu of the North buildings il has torn down in past saidthedeveloperchoseninFeb of Market Planning Coalition say years. Hastings' priorities ap ruarywillnOlnecessarilypcrform it's time. Lu says Hastings' parently 10 build student housing the construction.