Wonderful Life Im Design Hotel

Total Page：16

File Type：pdf, Size：1020Kb

Wonderful Life im Design Hotel ‚I don’t mind the lullabies from the machines’ steht in großen Lettern auf einer Wand im Zimmers 501 des brandneuen Design Hotels ‚The Weinmeister’ in Berlin-Mitte. Dieses Zitat aus dem Song ‚Evelyn’ der britischen Band ‚Hurts’ ist ein Detail des Zimmers, das das Hotel der Band gewidmet hat. Die ‚Hurts Chamber’ wurde nach Ideen von Theo Hutchcraft und Adam Anderson gestaltet und mit individuellen Accessoires versehen. An den Wänden hängen großformatige schwarzweiß Portraits sowie eine goldene Schallplatte für ‚Wonderful Life’, die dem ‚The Weinmeister’ verliehen wurde. Die Betreiber des Hotels hatten sich schon im Frühjahr in den Song verliebt und die Erlaubnis der Band erhalten, den Song auf ihrer Website zu spielen. Neben einem großen Apple iMac, der statt einem Fernsehgerät am überdimensionalen Bett steht, haben Theo Hutchcraft und Adam Anderson ihre Lieblings Musik und Filme deponiert. Klassiker von Depeche Mode, Prince und Radiohead stehen neben Bladerunner und dem WM Endspiel England-Deutschland 1966 auf DVD. In einer großen Truhe liegen Bücher – u.a. Brett Easton Ellis, Gerhart Hauptmann und ein Helmut Newton Bildband. Theo und Adam haben versprochen, bei jedem kommenden Besuch im Hotel weitere Kleinigkeiten zu hinterlassen. Eine Übernachtung in der ‚Hurts Chamber’ ist also jedesmal eine Überraschung. The Weinmeister liegt im Fashion District Mitte am Hackeschen Markt. Das Hotel hat 88 Zimmer, alle mit Apple iMac Inroom Entertainment, 24h Frühstück / 24h Restaurant & Bar / 24h Beautyspa. The Weinmeister - Weinmeisterstr. 2 - 10178 Berlin www.the.weinmeister.com Pressekontakt [email protected] Photo download: www.the-weinmeister.com/static/download/presspack.zip .

Copy Link

Recommended publications

The Final BBC Young Jazz Musician 2020
The Final BBC young jazz musician 2020 The Final The Band – Nikki Yeoh’s Infinitum Nikki Yeoh (piano), Michael Mondesir (bass) and Mark Mondesir (drums) Matt Carmichael Matt Carmichael: Hopeful Morning Saxophone Matt Carmichael: On the Gloaming Shore Matt Carmichael: Sognsvann Deschanel Gordon Kenny Garrett arr. Deschanel Gordon: Haynes Here Piano Deschanel Gordon: Awaiting Thelonious Monk: Round Midnight Alex Clarke Bernice Petkere: Lullaby of the Leaves Saxophone Dave Brubeck: In Your Own Sweet Way Alex Clarke: Before You Arrived INTERVAL Kielan Sheard Kielan Sheard: Worlds Collide Bass Kielan Sheard: Wilfred's Abode Oscar Pettiford: Blues in the Closet Ralph Porrett Billy Strayhorn arr. Ralph Porrett: Lotus Blossom Guitar John Coltrane arr. Ralph Porrett: Giant Steps John Parricelli: Scrim Boudleaux Bryant: Love Hurts JUDGING INTERVAL Xhosa Cole BBC Young Jazz Musician 2018 Saxophone Thelonious Monk: Played Twice Xhosa Cole: George F on my mind Announcement and presentation of BBC Young Jazz Musician 2020 2 BBC young jazz musician 2020 Television YolanDa Brown Double MOBO award winning YolanDa Brown is the premier female saxophonist in the UK, known for delicious fusion of reggae, jazz and soul. Her debut album, “April Showers May Flowers” was no.1 on the jazz charts, her sophomore album released in 2017 “Love Politics War” also went to no.1 in the UK jazz charts. YolanDa has toured with The Temptations, Jools Holland’s Rhythm and Blues Orchestra, Billy Ocean and collaborated with artists such as Snarky Puppy’s Bill Laurance, Kelly Jones from Stereophonics and the Royal Philharmonic Orchestra. A broadcaster too – working across TV and radio, including her eponymous series for CBeebies, "YolanDa’s Band Jam", which recently won the Royal Television Society Awards as Best Children’s Programme.
[Show full text]
Board of Barbering and Cosmetology
BACKGROUND PAPER FOR The Board of Barbering and Cosmetology Joint Sunset Review Oversight Hearing, April 9, 2021 Senate Committee on Business, Professions, and Economic Development and Assembly Committee on Business and Professions IDENTIFIED ISSUES, BACKGROUND AND RECOMMENDATIONS BRIEF OVERVIEW OF THE BOARD OF BARBERING AND COSMETOLOGY History and Function of the Board of Barbering and Cosmetology The Board of Barbering and Cosmetology (BBC) is responsible for licensing and regulating barbers, cosmetologists, estheticians, electrologists, manicurists, apprentices and establishments. In 1927, the Board of Barber Examiners and the Board of Cosmetology were established. The Board of Barber Examiners governed the barbering profession, and the Board of Cosmetology governed the cosmetology profession. The Board of Barber Examiners consisted of 5 members, 2 of which were public members. The Board of Cosmetology consisted of 7 members, 2 of which were public members. Throughout the years there were minor changes to the laws of each profession. In 1939, the manicurist license and the electrology license were added, and in 1978 the esthetician license was added. In 1992, the Board of Barber Examiners and the Board of Cosmetology merged to create the BBC. In July 1997, the BBC was eliminated by the California Legislature and its duties, powers, and functions were transferred directly to the Department of Consumer Affairs (DCA) and were administered by the Bureau of Barbering and Cosmetology. The BBC was reinstated through SB 1482 (Polanco, Chapter 1148, Statutes of 2002), but was sunset again and its functions transferred back to a Bureau within DCA as a result of SB 797 (Ridley-Thomas, Chapter 33, Statutes of 2008).
[Show full text]
Talking About Pain in Koromu
The semantics and morphosyntax of tare “hurt/pain” in Koromu (PNG): Verbal and nominal constructions Author Priestley, Carol Published 2014 Journal Title International Journal of Language and Culture Version Accepted Manuscript (AM) DOI https://doi.org/10.1075/ijolc.1.2.07pri Copyright Statement © 2014 John Benjamins Publishing Co. This is the author-manuscript version of this paper. Reproduced in accordance with the copyright policy of the publisher. Please refer to the journal website for access to the definitive, published version. Downloaded from http://hdl.handle.net/10072/66313 Griffith Research Online https://research-repository.griffith.edu.au Koromu (PNG) tare ‘hurt/pain’ sensations in verbal and nominal constructions Carol Priestley, Griffith University1 Abstract: This paper examines words and constructions that Koromu speakers in Papua New Guinea (PNG) use to talk about tare ‘hurt/pain’ and other painful sensations. It also reflects on links to cultural and environmental influences in daily life, key life events, environmental knowledge and traditional health care. Terms such as warike ‘be/feel bad’, tare ‘hurts/pains’, perere ‘hurts: stings, cuts, burns’, and kaho ‘aches: burns, pierces’ are used in different constructions with varying emphases. These constructions are among the most typologically interesting in Koromu grammar. Related to but distinct from constructions found in other Papuan languages they include experiencer object constructions, serial verb constructions with the grammaticized valency-increasing verb here/he ‘PUT’, and nominal constructions with, or without, prominent noun phrase marking. Keywords: semantics and ethnopragmatics of pain, experiencer object constructions, serial verb constructions with valency-increasing verbs, prominent noun phrase marking, Papuan languages 1.
[Show full text]
Textual Spectacle: the Transmedial Storyworld of Coldplay's Mylo Xyloto
The Concept Album as Visual-Sonic- Textual Spectacle: The Transmedial Storyworld of Coldplay’s Mylo Xyloto Lori Burns University of Ottawa [email protected] Abstract This paper studies the elaboration of the concept album by means of multimodal promotional strategies that include the concert tour, music videos, books, as well as other digital and print materials. Adopting the perspective that the meaning of a concept album emerges in and through a potentially complex network of materials, we can receive and understand concept album storytelling to operate according to multimedial, intermedial and transmedial contexts. This study examines the transmedial storyworld of Coldplay’s Mylo Xyloto concept spectacle as it is developed in and through the material content of the original album, the Coldplay: Live 2012 (Coldplay 2012c) concert film, as well as the paraphonographic materials that extend Mylo Xyloto into a variety of media. KEYWORDS: Concept album, spectacle, multimodality, intermediality, transmediality Introduction In the context of the new millennial industry of popular music, artists from a variety of genres rely heavily upon current technologies and social media platforms to develop elaborate promotional strategies, thus expanding the idea of the concept album to the concert tour, music videos, books, and a range of supplementary materials. With such an approach, the concept album can be seen to extend across multiple media formats in supplementary materials and live IASPM@Journal vol.6 no.2 (2016) Journal of the International Association for the Study of Popular Music ISSN 2079-3871 | DOI 10.5429/2079-3871(2016)v6i2.6en | www.iaspmjournal.net 92 Lori Burns performances.
[Show full text]
143 When Life Hurts... on the Verge of Death
ISSN2039Ͳ2117MediterraneanJournalofSocialSciencesVol.3(9)April2012 When Life Hurts... On the Verge of Death Rute Rodrigues Social Psychologist, Centro de Investigação e Estudos de Sociologia (CIES-IUL), Lisboa, Portugal Email: [email protected] Abílio Oliveira Instituto Universitário de Lisboa (ISCTE-IUL), and Centro de Investigação em Sistemas e Tecnologias de Informação Avançados (ADETTI-IUL), Lisboa, Portugal Email: [email protected] Abstract: In this study, anchored in the theory of social representations, we intended to ascertain the existence of risk-taking and self- harm behaviours, as well as situations of imminent death, in a population of adolescents (boys and girls between 15 and 19). It was also our aim to understand how these behaviours might be associated to the social representations of life, death and to musical preferences. Our findings indicate that boys are the ones who tend to find themselves more often engaged in all of the three forms of endanger behaviours. It is also among the adolescents between 17 and 19 years old that these situations are more common. A preference for feminine pop is associated to self-harm behaviour and classic pop is linked to risk behaviour. Personal fulfilment seems to be the greatest indicator of both risk behaviour and self harm: the lower the perception of fulfilment, the greater the chance to adopt these kind of behaviours. Results also support that negative perceptions of well-being, and love for life are linked to risk and self harm behaviours, mainly in girls. Adolescents who shown risk behaviours represented death as a ritual and so did girls who had already found themselves on the verge of dying.
[Show full text]
Chapter I Introduction
CHAPTER I INTRODUCTION A. Background of the Study Nowadays, singing appears to be a popular activity in many parts of the world. People sing to show their feeling both happiness and sadness. Apparently, a young person is strongly influenced by music and songs. Many of them are often inspired by the songs that they listen to. Song is not written automatically, there are a lot of meaning that contain in the songs when the songs are written by the author. Song is not only consist music and lyric for entertainment, but also deliver some message to the listener. The messages are delivered by the song writer through the lyric. The use of figurative language is making rich the lyric meaning, so the listener can have different interpretation for each lyric depend on the background of the listener or their knowledge. Figurative language according to Perrine (1997: 61), is language using figures of speech that cannot be taken literally. It is used by the poets because they can say what they want to say more vividly and forcefully by figures rather than they say it directly. Figurative language causes a poem becomes more imaginative and it adds the intensity of the poets‟ feeling for poetry to convey their attitude. Not even in the poetry, this can be applied in the song lyric too. 1 2 The benefit of figurative language or speech contains images. The writer or speaker describes something through the use of unusual comparisons, for effect, interest, and to make things clearer. The result of using this technique is the creation of interesting meaning.
[Show full text]
Calvin Harris Alesso Hurts Under Control
Calvin harris alesso hurts under control click here to download Music video by Calvin Harris & Alesso feat. Hurts performing Under Control. Get Under Control from. WeGrove - Lets replant our Earth.» Like us on Facebook and get involved! www.doorway.ru Mix - Calvin Harris & Alesso - Under Control ft. Hurts (Official Music Video)YouTube · Calvin Harris. "Under Control" is a song recorded by Calvin Harris and Alesso, featuring vocals from duo Hurts. The song was released on 7 October as the first single from Harris's fourth studio album, Motion () and Alesso's first studio album, Forever (). "Under Control" debuted at number one on the UK Singles Chart with Background · Music video · Track listings · Charts. Is a song recorded by Scottish DJ Calvin Harris and Swedish DJ Alesso, featuring vocals from English duo Hurts. The song was released as a single on 7 October The official video was released on October, 21st, Upvote. +5. 1. Share. Share Tweet. Share URL. Copy. Embed. Copy. "Under Control" Track Info. Alesso Lyrics. "Under Control" (with Calvin Harris) (feat. Hurts). I might be anyone. A lone fool out in the sun. Your heartbeat of solid gold. I love you, you'll never know. When the daylight comes you feel so cold, You know. I'm too afraid of my heart to let you go. Waiting for the fire to light. Feeling like we could do right. Calvin Harris - Under Control (Feat. Alesso, Hurts) (música para ouvir e letra da música com legenda)! Waiting for the fire to light / Feeling like we could do right / Be the one that makes tonight / 'Cause freedom is a lonely road.
[Show full text]
1 How 'Hate' Hurts Globally1 Paul Iganski and Abe Sweiry Introduction
How ‘hate’ hurts globally1 Paul Iganski and Abe Sweiry Introduction: The terroristic impact of hate violence We sat down for dinner with three armed guards defending the restaurant door. That’s when we first started mentally drafting this chapter. We weren’t in the heat of a war zone. It was a cold March evening in Brussels. Our dinner companions were two dozen or so colleagues attending the Facing Facts Forward conference on a victim-centred approach to hate crime in Europe (CEJI 2015). Earlier in the day we were discussing how to improve the reporting of hate crime. Now, with the guards at the door, we were mindful that we were a potential target of hate violence ourselves. We pondered on what our chances of survival would be if what the restaurant owner feared actually came to pass. A former police officer, he insisted on arranging the guard when he heard that the dinner booking was made by a Jewish organisation. On seeing that one of us wore a kippa, a Jewish head covering, he respectfully but forcefully insisted it not be worn in the city, so that we minimise our chances of becoming the victims of hate violence. Thankfully, we enjoyed our dinner in peace and left the restaurant and the Belgian capital without incident. Others have not been so fortunate. In Brussels the previous year, in May 2014, a gunman shot dead two men and a woman and seriously wounded a fourth person in an attack on the Belgian capital’s Jewish museum (BBC News 2014). More recently in Denmark, a couple of weeks before our dinner, a gunman killed one man and injured three others in an attack on a free speech debate in a café in Copenhagen in February 2015 (BBC News 2015a).
[Show full text]
Hurts Return with New Single 'Voices'
HURTS RETURN WITH NEW SINGLE ‘VOICES’ Today Hurts unveil ‘Voices’, a stunning execution of electronically informed pop with a living, breathing pulse that runs through the track; a brand new single that twists and turns at will - defying the expectations of the modern pop structure. Exploring themes of resisting temptation from within, vocalist Theo Hutchcraft’s delivery becomes more intense as the song progresses, adding to ‘Voices’’ theatrical yet thoroughly synth-heavy sound with a powerful rhythmic stomp. With ‘Voices’, Hurts have reaffirmed their ability to create unpredictable, grandiose statements from within the pop music sphere. A track that shows that their desire to inspire and confound expectations is still thriving after four albums, ‘Voices’ also comes with a renewed creative vision on the landscape of popular music. Of the track, Theo says: “Voices is a song about isolation, desperation and mania. It’s also about fortitude, resilience and the power of the mind. It was written during a personal crisis and is being released into the world during a very public one. Hopefully it can provide some hope and catharsis to anyone who is struggling with their own demons.” Formed in Manchester, Hurts are a band known for a diverse, contemporary sound that references a multitude of mediums. The duo, comprised of Theo Hutchcraft and Adam Anderson, have made their mark globally, winning multiple awards and selling millions of records without ever compromising their need to innovate. Today, that innovation is as apparent as ever as they release ‘Voices’’, with a slew of new music on the horizon in the coming months.
[Show full text]
Exile Vol. LI No. 1
Exile Volume 51 Number 1 Article 1 2004 Exile Vol. LI No. 1 Ezra Pound Denison University Lauryn Dwyer Denison University Julian Ybarra Denison University David Lovett Denison University Reyan Ali Denison University See next page for additional authors Follow this and additional works at: https://digitalcommons.denison.edu/exile Part of the Creative Writing Commons Recommended Citation Pound, Ezra; Dwyer, Lauryn; Ybarra, Julian; Lovett, David; Ali, Reyan; Bishop, Sarah; Haberman, Jess; and Holm, Melissa (2004) "Exile Vol. LI No. 1," Exile: Vol. 51 : No. 1 , Article 1. Available at: https://digitalcommons.denison.edu/exile/vol51/iss1/1 This Entire Issue is brought to you for free and open access by the English at Denison Digital Commons. It has been accepted for inclusion in Exile by an authorized editor of Denison Digital Commons. Exile Vol. LI No. 1 Authors Ezra Pound, Lauryn Dwyer, Julian Ybarra, David Lovett, Reyan Ali, Sarah Bishop, Jess Haberman, and Melissa Holm This entire issue is available in Exile: https://digitalcommons.denison.edu/exile/vol51/iss1/1 Exile Denison University's Literary and Art Magazine 48th Year Fall Issue exile Table of Contents Fall 2004 Title Page 2 Epigraph, Ezra Fund 3 Table of Contents 4 Contributors'Notes 43 Editorial Board 45 Art Prelude to Keeping it Real John Buchanon 6 Untitled Meredith Helfrich 12 Cogitating Adrienne Hunter. 16 You of the finer sense, Milk Bucket Jen Keehner 18 Broken against false knowledge, Untitled David Savoie 25 You who can know at first hand, Future Jed Finley 28 Hated, shut in, mistrusted: Untitled Kim Archibald 29 Untitled Kim Archibald 30 Take thought: Untitled Madeline Mohre and David Savoie 31 I have weathered the storm, Untitled Katherine G.
[Show full text]
EMI Records Discography
EMI Records Discography Capitol 11000 series ST 11221 - A Poem You Can Keep - ROSS RYAN [1973] I Don’t Want To Know About It/Empire Lady/Country Christine Waltz/Can’t Say It Hurts Me//Hello, Remember Me/Making The Same Mistakes/Goodbye Mitchy/A Poem You Can Keep/So Say Goodbye/Last Song ST 11229 - On The Frontier - SHOOT [1973] The Neon Life/Ships And Sails/Living Blind/On The Frontier/The Boogie//Midnight Train/Head Under Water (Instrumental)/Sepia Sister/Old Time Religion/Mean Customer ST 11286 - Hooked On A Feeling - BLUE SWEDE [1974] Hooked On A Feeling/Pinewood Rally/Silly Milly/Lonely Sunday Afternoon/Gotta Have Your Love//Destiny/Something’s Burning/Working In The Coal Mine/Never My Love/(There’s) Always Something There To Remind Me ST 11294 - The Human Menagerie - COCKNEY REBEL [1973] Hideaway/What Ruthy Said/Loretta’s Tale/Crazy Raver/Sebastian//Mirror Freak/My Only Vice Is The Fantastic Prices I Charge For Being Eaten Alive…/Muriel The Actor/Chameleon/Death Trip ST 11330 - The Psychomodo - COCKNEY REBEL [1974] Sweet Dreams/Psychomodo/Mr. Soft/Singular Band/Ritz//Cavaliers/Bed In The Corner/Sling It!/Tumbling Down ST 11346 - Out Of The Blue - BLUE SWEDE [1975] Baby I Need Your Lovin’/Don’t Be Fooled By The Name/Dr. Rock And Roll/Flashback/Half-Breed/Hush-I’m Alive/I Didn’t Sing (In The New York Subway)/Out Of The Blue/Rock And Roll/Why Don’t You Go Your Way [*] ST 11368 - Pilot - PILOT [1974] Just A Smile/Magic/Lucky For Some/Girl Next Door/Lovely Lady Smile/Sooner Or Later//Don’t Speak Loudly/Over The Moon/Never Give Up/High Into The Sky/Auntie Iris/Sky Blue ST 11388 - Honky Tonk Man - JACK JERSEY [1975] Honky Tonk Man/In The Still Of The Night/Mary Lee/I’ll Miss You/One Day At A Time//Rub It In/Till The End Of Time/I’ll Hold Your Hand/Baby Can’t You Feel It/Pappa Was A Poor Man ST 11394 - The Best Years Of Our Lives - STEVE HARLEY & COCKNEY REBEL [1975] Introducing The Best Years/The Mad, Mad Moonlight/Mr.
[Show full text]
The Trick Is Not Minding That It Hurts Zak Mucha
Spolia | Issue 7 89 The Trick is Not Minding That it Hurts Zak Mucha “All art is a sort of hidden biography. The problem of the painter is to tell what he knows and feels in such a form that he still, as if were, keeps his secrets.” —Lewis Momford, 1936 “. I believe that any artist, in the beginning at least, is the victim of the song. In other words, the song starts the artist, the artist doesn’t start the song.” —Sleepy LaBeef, 1979 I stumbled over questions as to why I liked my job; I understood it was not a “normal” job and, even in the mental health field, was at the extreme end of the spectrum. As the supervisor of a social work program with 70 clients suffering from severe psychotic symptoms we were on-call 24/7. We had to keep people housed, on meds, and off the news. I had to convince severely psychotic people to hand over their knives, crack paraphernalia, and once even an extremely cheap samurai sword. Our clients came to us, not only with acute schizophrenia and drug addictions, but with histories of incarceration, homelessness, multiple psychiatric hospitalizations, and every medical issue that comes with a transient life. We’ve had attempted suicides, successful suicides, barricade situations, and threats of homicide. One man projected his paranoia to us during a phone call from a subway platform, “The people all think I’m going to push them onto the tracks and I think they’re going to try to push me. .” When I told others about the work, the general response was a well- meaning, “Good for you.
[Show full text]