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Download Our Last Catalog for 2018/19
1 MIDNIGHT MARQUEE 2018/19 CATALOG The Perfect GIFTS for Your Favorite Movie Buff! Vol. 1 NEW COVER WE KNOW MOVIES! Midnight Marquee Press • 9721 Britinay Lane, Baltimore, MD 21234 2 A Letter from Gary and Sue Svehla of Midnight Marquee Press We would like to apologize to our many long time customers as well as to our many new ones for the lateness of this catalog and our slowness in get- ting your orders out. It’s been a rough several years as Sue has been facing medical challenges, but we have finally found a diagnosis and she is on a healing path. Of course we will try to get your orders out quickly, but we’re getting old and slow (not to mention forgetful) so— if you need your books quickly, please order them from AMAZON.com or OLDIES.com. Most of our books are now being converted to e-books by Bear Manor Media, so you can order those from Amazon.com. We thank you for your patience, your business and your friendship through the years. Gary and Sue Svehla Table of Contents 3 New Titles from MMP Payment: We accept 5 Brit Horrors all major credit cards, 12 Italian Horror checks, money orders 15 Biographies and Autobios and PayPal. 19 Musical Bios 20 MidMar’s Actors Series Shipping: We try to 21 Histories of Horror Films ship within 7 work- ing days, but it’s just the two of us and we’re 25 Histories of Sci-Fi Films getting old and slow. 26 Hooray for Hollywood— other genres If you need your order fast, PLEASE 28 Exploitation Horrors order from Amazon.com or Oldies.com Most books will arrive from Createspace— 29 Forgotten Horrors & DVDs, mags, bookplates, etc. -
Maureen O'connor Mont H.., M T He Ship Repair O'connor Discusses Her Bustness
The UCSDGuar a Unj\(~rsjt~ of Califo,·nia. ~an Dit'go VOIUIlH.' lH, NumlH'1' I:! Thlln,c1a~. Ft'IIt'ual"~ 10, ) HH:~ A 1 I acre plot "oj land t he Del Mar c()a~t has , t hr cent er of a ontn)\ers\ that \\ill Del Mar vote: lmmatr \V-ith a special llot to be held next y. The vote w111 ine whether or not A park or a parking lot land, currently owned the Waterworks Co., ould be purchased by the it\- of Del Mar as the final stallment in it. <.;e nes of stal parks. If the voters rn down the purchase,the evelop(·r.... \\ til go ahead 'th construction of a re .... I<iUrant on the sIte, as \\t'll as ;\ maSSIve, t\\·o .... tore\· parking structure USI ;icro ... s Coast Hh d. TIlt' campaIgn for the purc.ha'-t' of \\ hat has Ix: mw 10 be known as Powt'rhouse Park has ained the \()Clferous upport of Barve) ShapIro, mayor of Del ~1ar and professor of Anesthe...,lOlogy t l lC. [) !\ledical School. ShapIro. along WIth the 700 voters \\hopetitionedlo place I he ISS ue on t he ballot, hoptng for a 'il long voter rnollt tu complete Del 'n's open space prOjeCI nd block the new onstrllctlon, which prum i ".es to pu 11 more (IJUrtSts into (1)(' city's alt l'ad\ cramped streeh 'I he' poll<.; WIll be open from I am to 8 pm Tue<.;day an(, WIll be held 111 special , 'on .... 0 ltd a ted vot tng places. -
Isum 許諾楽曲一覧 更新日:2019/1/23
ページ:1/37 ISUM 許諾楽曲一覧 更新日:2019/1/23 ISUM番号 著作権者 楽曲名 アーティスト名 ISUM番号 著作権者 楽曲名 アーティスト名 ISUM番号 著作権者 楽曲名 アーティスト名 ISUM-1880-0537 JASRAC あの紙ヒコーキ くもり空わって ISUM-8212-1029 JASRAC SUNSHINE ISUM-9896-0141 JASRAC IT'S GONNA BE ALRIGHT ISUM-3412-4114 JASRAC あの青をこえて ISUM-5696-2991 JASRAC Thank you ISUM-9456-6173 JASRAC LIFE ISUM-4940-5285 JASRAC すべてへ ISUM-8028-4608 JASRAC Tomorrow ISUM-6164-2103 JASRAC Little Hero ISUM-5596-2990 JASRAC たいせつなひと ISUM-3400-5002 NexTone V.O.L ISUM-8964-6568 JASRAC Music Is My Life ISUM-6812-2103 JASRAC まばたき ISUM-0056-6569 JASRAC Wake up! ISUM-3920-1425 JASRAC MY FRIEND 19 ISUM-8636-1423 JASRAC 果てのない道 ISUM-5968-0141 NexTone WAY OF GLORY ISUM-4568-5680 JASRAC ONE ISUM-8740-6174 JASRAC 階段 ISUM-6384-4115 NexTone WISHES ISUM-5012-2991 JASRAC One Love ISUM-8528-1423 JASRAC 水・陸・そら、無限大 ISUM-1124-1029 JASRAC Yell ISUM-7840-5002 JASRAC So Special -Version AI- ISUM-3060-2596 JASRAC 足跡 ISUM-4160-4608 JASRAC アシタノヒカリ ISUM-0692-2103 JASRAC sogood ISUM-7428-2595 JASRAC 背景ロマン ISUM-5944-4115 NexTone ココア by MisaChia ISUM-1020-1708 JASRAC Story ISUM-0204-5287 JASRAC I LOVE YOU ISUM-7456-6568 NexTone さよならの前に ISUM-2432-5002 JASRAC Story(English Version) 369 AAA ISUM-0224-5287 JASRAC バラード ISUM-3344-2596 NexTone ハレルヤ ISUM-9864-0141 JASRAC VOICE ISUM-9232-0141 JASRAC My Fair Lady ft. May J. "E"qual ISUM-7328-6173 NexTone ハレルヤ -Bonus Tracks- ISUM-1256-5286 JASRAC WA Interlude feat.鼓童,Jinmenusagi AI ISUM-5580-2991 JASRAC サンダーロード ↑THE HIGH-LOWS↓ ISUM-7296-2102 JASRAC ぼくの憂鬱と不機嫌な彼女 ISUM-9404-0536 JASRAC Wonderful World feat.姫神 ISUM-1180-4608 JASRAC Nostalgia -
A Multi-Dimensional Study of the Emotion in Current Japanese Popular Music
Acoust. Sci. & Tech. 34, 3 (2013) #2013 The Acoustical Society of Japan PAPER A multi-dimensional study of the emotion in current Japanese popular music Ryo Yonedaà and Masashi Yamada Graduate School of Engineering, Kanazawa Institute of Technology, 7–1 Ohgigaoka, Nonoich, 921–8501 Japan ( Received 22 March 2012, Accepted for publication 5 September 2012 ) Abstract: Musical psychologists illustrated musical emotion with various numbers of dimensions ranging from two to eight. Most of them concentrated on classical music. Only a few researchers studied emotion in popular music, but the number of pieces they used was very small. In the present study, perceptual experiments were conducted using large sets of popular pieces. In Experiment 1, ten listeners rated musical emotion for 50 J-POP pieces using 17 SD scales. The results of factor analysis showed that the emotional space was constructed by three factors, ‘‘evaluation,’’ ‘‘potency’’ and ‘‘activity.’’ In Experiment 2, three musicians and eight non-musicians rated musical emotion for 169 popular pieces. The set of pieces included not only J-POP tunes but also Enka and western popular tunes. The listeners also rated the suitability for several listening situations. The results of factor analysis showed that the emotional space for the 169 pieces was spanned by the three factors, ‘‘evaluation,’’ ‘‘potency’’ and ‘‘activity,’’ again. The results of multiple-regression analyses suggested that the listeners like to listen to a ‘‘beautiful’’ tune with their lovers and a ‘‘powerful’’ and ‘‘active’’ tune in a situation where people were around them. Keywords: Musical emotion, Popular music, J-POP, Semantic differential method, Factor analysis PACS number: 43.75.Cd [doi:10.1250/ast.34.166] ‘‘activity’’ [3]. -
A San Diego Symphony Fact Sheet
FACT SHEET Date of First Performance: December 6, 1910 Current Operating Budget: $26 million Musicians: 82 full-time Number of People Attending All Paid Concerts Last Season: 183,409 Learning and Engagement Programming Reach: 60,000 students and adults Music Directors: Rafael Payare (Beginning 2020), Conductor Laureate Jahja Ling (2004–2017), Jung Ho Pak (1998-2002), Yoav Talmi (1989-1996), David Atherton (1980-1987), Peter Eros (1972-1979), Zoltan Rozsnyai (1967-1971), Earl Bernard Murray (1959-1966), Robert Shaw (1955-1958), Fabien Sevitzky (1949- 1952), Nikolai Sokoloff (1938-1941), Nino Marcelli (1936-1937), B. Roscoe Schryock (1912-1920). Principal Home Venues: Copley Symphony Hall at the Jacobs Music Center, from 1985 to present. The Embarcadero Marina Park South for the Bayside Summer Nights series. Number of Performances: More than 100 performances per year including Jacobs Masterworks, City Lights, Chamber Music Series, Family, Film and Bayside Summer Nights. Other concerts and programs: 166 Outreach performances including Linda and Shearn Platt Kinder Koncerts, open rehearsals, outreach, coaching, masterclasses and Berton Family Young People’s Concerts. Free Concerts: Bayside Summer Nights Community Day, The Annual Donor Concert, Linda and Shearn Platt Kinder Koncerts, Star Spangled Pops Salute to the Military and Home for the Holidays. Opera: The Symphony performs during the San Diego Opera’s International Opera season at the Civic Theater. Other Organizations by San Diego Symphony Musicians: Art of Élan, Camera Lucida, Myriad Trio, Westwind Brass, Luscious Noise, San Diego Symphony String Quartet, Mainly Mozart, Hornswaggle, La Jolla Music Society’s SummerFest. Most Recent Tour: 2013 Friendship Tour to Carnegie Hall and China. -
American Monsters: Tabloid Media and the Satanic Panic, 1970-2000
AMERICAN MONSTERS: TABLOID MEDIA AND THE SATANIC PANIC, 1970-2000 A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Sarah A. Hughes May 2015 Examining Committee Members: Kenneth L. Kusmer, Advisory Chair, History Carolyn Kitch, Journalism Susan E. Klepp, History Elaine Tyler May, External Member, University of Minnesota, American Studies © Copyright 2015 by Sarah A. Hughes All Rights Reserved iii ABSTRACT “American Monsters: Tabloid Media and the Satanic Panic, 1970-2000,” analyzes an episode of national hysteria that dominated the media throughout most of the 1980s. Its origins, however, go back much farther and its consequences for the media would extend into subsequent decades. Rooted in the decade’s increasingly influential conservative political ideology, the satanic panic involved hundreds of accusations that devil-worshipping pedophiles were operating America’s white middle-class suburban daycare centers. Communities around the country became embroiled in criminal trials against center owners, the most publicized of which was the McMartin Preschool trial in Manhattan Beach, California. The longest and most expensive trial in the nation’s history, the McMartin case is an important focal point of this project. In the 1990s, judges overturned the life sentences of defendants in most major cases, and several prominent journalists and lawyers condemned the phenomenon as a witch-hunt. They accurately understood it to be a powerful delusion, or what contemporary cultural theorist Jean Baudrillard termed a “hyperreality,” in which audiences confuse the media universe for real life. Presented mainly through tabloid television, or “infotainment,” and integral to its development, influence, and success, the panic was a manifestation of the hyperreal. -
PRESS RELEASE Sinfonia Antartica – A
PRESS RELEASE FOR IMMEDIATE RELEASE DATE: 7 DECEMBER 2012 Sinfonia Antartica – A Valiant Story of Man and Nature Retold by the HK Phil and Polar Explorer, Dr Rebecca Lee, in an Exciting Multimedia Experience (18&19 Jan 2013) [7 December 2012, Hong Kong] On 18&19 January 2013, the Hong Kong Philharmonic (HK Phil), under the baton of its former Music Director David Atherton , will take you on an awe-inspiring multimedia journey to Antarctica, through Vaughan William’s Sinfonia Antartica in music, words and pictures. The words will be spoken by renowned polar explorer Rebecca Lee , the first female explorer to reach the three extremes of the Earth (Arctic, Antarctic and Mount Everest Region), who will retell excerpts from the last entries in the ill-fated Captain Scott’s famed diary in Cantonese while Michael MacLeod , Chief Executive of the HK Phil, in English. The important photographs to chronicle this fateful story, projected on two large screens in the Hong Kong Cultural Centre Concert Hall, are by Herbert Ponting digitally restored in high definition. To join the HK Phil on stage to produce the Vaughan Williams’ beautiful scores of Sinfonia Antartica are Hong Kong’s own soprano Yuki Ip and The Hong Kong Children's Choir . Vaughan Williams wrote the music for the 1948 film Scott of the Antarctic inspired by the tragic expedition to the South Pole led by Captain Robert Falcon Scott from 1910 – 1912. Captain Scott and his team endeavoured to become the first to reach the South Pole but all perished on the return journey. -
Amicus Est Une Production Cinématographique Britannique Basée À Shepperton Studios En Angleterre
Amicus est une production cinématographique britannique basée à Shepperton Studios en Angleterre. Elle a été fondée par le producteur et scénariste américain Milton Subotsky et Max Rosenberg . Amicus est mieux connu pour ces films d’horreurs d’anthologies, bien que leurs deux premiers films étaient des comédies musicales pour le marché des adolescents : C'est Trad, papa! (1962) et Just for Fun (1963). Toutefois, avant la création d'Amicus les deux producteurs avaient collaborés à un film d’horreur de 1960 La Cité des morts. Ces films sont généralement dotés de quatre, parfois cinq histoires d'horreur reliées les unes aux autres par une intrigue globale avec un narrateur et ceux qui écoutent son histoire. Ces films sont invariablement interprétés par des acteurs de renom, chacun d'entre eux jouant de petits rôles dans les différentes histoires. Ainsi on retrouve des stars tels que Peter Cushing , Christopher Lee et Herbert Lom , Amicus fait également appel à des acteurs de la scène britannique classique ( Patrick Magee , Margaret 1 Leighton et même Sir Ralph Richardson ), mais aussi à ( Donald Sutherland , Robert Powell et Tom Baker ), ou d'anciennes gloires comme ( Richard Greene , Robert Hutton , et Terry Thomas ). Certaines, comme Joan Collins , connaissaient une perte de vitesse dans leur carrière quand ils ont signé avec Amicus. Torture Garden et The House That Dripped Blood ont été écrits par Robert Bloch , basé sur ses propres histoires. The Skull était auparavant également basé sur une histoire de Robert Bloch (scénarisé par Milton Subotsky), et Robert Bloch était aussi le scénariste du Psychopathe et l'adaptateur de The Bees Deadly. -
Fantagotico All'inglese – 1986
FANTAGOTICO ALL’INGLESE Una breve ricostruzione storica di Fabio Giovannini David Pirie, il principale studioso del fantastico inglese, ha dedicato al gotico britannico un libretto indimenticabile (“A Heritage of Horror”, Gordon Fraser, London 1973) irtage avvolto in una copertina di un nero perlaceo e riempito di dotti riferimenti culturali, di acute indagini analitiche, di informazioni dettagliate. Tutto il cinema “nero” dell’Inghilterra, dal 1946 al 1972, è analizzato in riferimento alle sue origini letterarie. Con questa operazione Pirie ha nobilitato un ‘‘genere’’ disprezzato e vilipeso, e ha reso giustizia a registi e attori che del fantastico inglese hanno costituito l’ossatura. Pirie muoveva la sua analisi a partire da un celebre studio sulla letteratura romantica e decadente, “The Romatic Agony”, scritto prima del 1930 dal grande angusta italiano Mario Praz. Il titolo con cui il volume di Praz venne presentato in Italia, però, spiega meglio la parentela stretta tra fonti letterarie e cinematografia fantastica in Inghilterra: “La carne, la morte e il Diavolo nella letteratura romantica”. Più dell’agonia del romanticismo, il cinema gotico e fantastico inglese si nutre della triade indicata nel titolo dello studio di Mario Praz: la carne (vista come presenza immancabile dell’erotismo e dei rimandi sessuali), la morte (un cinema del terrore che “gioca’’ continuamente con la morte), il Diavolo (la presenza di diverse figure dell’immaginario tutte in qualche misura di origine diabolica). I due grandi protagonisti dell’horror britannico, Dracula e Frankenstein, non a caso provengono direttamente dalla letteratura “gotica’’ ottocentesca, il romanzo dell’irlandese Bram Stoker e quello dell’inglese Mary Shelley. -
Kronos Quartet
TEMPO NEWS SECTION miere)—6 October / Norwood Festival / Harry Sparnaay (bass clarinet). Ku for shakuhachi with Composers tape delay and dancer (premiere)—13 October /Norwood Festival / Yoshikazu Iwamoto. Quite JOHN CAGE. 30 Pieces for String Quartet (UK for percussionist (premiere)—14 November / premiere)—11 August / Reform Club (MusICA) / Melbourne / Peter Neville. Kronos Quartet. HANS WERNER HENZE. Cinque Piccoli ELLIOTT CARTER. Changes (UK premiere)—4 Concerti (UK premiere)—31 July / Royal Albert November / Wigmore Hall / David Starobin. Hall Proms / English Chamber Orchestra c. Sir Riconoscenza per Gqffredo Petrassi (premiere)—12 Alexander Gibson. June / Festival Pontino di Musica, San Felice / Georg Monch (solo violin). HANS-JOACHIM HESPOS. Seiltanz (German premiere)—23 July / Darmstadt / Ensemble 13 c. Manfred Reichert. JOHN CASKEN. Orion over Fame (premiere)—17 September / Glasgow Musica Nova / Scottish National Orchestra c. Matthias YORK HOLLER. Schwarze Halbinsel (UK pre- Bamert miere)—16 November / Royal Festival Hall / BBC Symphony Orchestra c. Hans Zender. EDISON DENISOV. Trio for oboe, cello, and harpsichord (UK premiere)—27 August / ROBIN HOLLOW AY. Serenata Notturna for 4 Edinburgh Festival / Heinz Holliger, Thomas horns and small orchestra (premiere)—9 Demenga, John Constable. December / Queen Elizabeth Hall / City of London Sinfonia c. Richard Hickox. The Blue BRIAN ELIAS. L'Eylah (premiere)—30 August / Doom of Summer (premiere)—27 September / St. Royal Albert Hall Prom / BBC Philharmonic c. John's, Smith Square / Members of Vocem. Edward Downes. ZOLTAN JENEY. Sostenuto (premiere)—31 MORTON FELDMAN. String Quarter No. 2 October / Stuttgart / Suddeutscher Rundfunk c. (UK premiere)—12 August / Reform Club Clytus Gottwald. (MusICA) / Kronos Quartet. BENJAMIN LEES. Portrait of Rodin BRIAN FERNEYHOUGH. -
Title Orchestration and Duration Commissions and First
Title Orchestration and Duration Commissions and First Publisher Performances Asht Prahar (1965) 3+3.33+2(incl.sx) 3/44+1.31/ First performance 17th January 1970, Wise Music Classical, timp/3perc/pf+cel/2hp/str/sop London Philharmonic Orchestra formerly Novello and 25 minutes conducted by Norman del Mar. SPNM Co. Ltd.i concert, Royal Festival Hall. Concerto for Harmonica, Solo harmonica; 4perc/pf+cel.2hp/man/ Written for and dedicated to Larry Wise Music Classical Percussion and Strings (1966) str Adler. Awaits first performance. 15 minutes Aalaykyam I (1970) 2+1.1+1.1+1.1/1110/3perc/pf/hp/str First performance 27th November 1971, Wise Music Classical 15 minutes London Sinfonietta conducted by Andrew Davis, Queen Elizabeth Hall. Aalaykyam II (1972) 1111/1110/perc/pf/hp/man/gtr/str First performance 5th February 1973, Wise Music Classical 22 minutes English Chamber Orchestra conducted by Andrew Davis, Queen Elizabeth Hall. Indra-Dhanush (1973) 3+2.33+1.3+1/4431/4perc/2hp/pf+cel/str Awaits a first performance. Wise Music Classical 16 minutes Dhyan I (1974) Solo violoncello; Commissioned by the BBC. Wise Music Classical 1111/1110/3perc/hp/pf/str First performance 27th January 1975. 16 minutes Soloist Thomas Igloi with the BBC Symphony Orchestra conducted by David Atherton, The Round House, London. 1 Tandava Nritya (Dance of 3+3.3+1.3+1.3/4331/timp/ Commissioned by the British Council Wise Music Classical Destruction 3perc/hp/str for the London Symphony Orchestra. and Re-creation)(1984) 15 minutes First performance 8th April 1993, Royal Scottish Orchestra conducted by David Davies. -
Download Booklet
557649bk Alwyn US 7/12/05 3:21 pm Page 1 William ALWYN Symphony No. 4 • Sinfonietta Royal Liverpool Philharmonic Orchestra David Lloyd-Jones 557649bk Alwyn US 7/12/05 3:21 pm Page 4 Royal Liverpool Philharmonic Orchestra The Royal Liverpool Philharmonic Orchestra gives over sixty concerts from September to June in Liverpool’s Philharmonic Hall and presents concerts throughout the United Kingdom, in addition to tours abroad. Members of the orchestra are involved in a number of innovative community education projects. One of the oldest concert-giving organizations in the world, the RLPO dates back to 1840. In 1957 it acquired the title ‘Royal’, and in 1991 it was the first organization to be granted the freedom of the City of Liverpool. The first professional conductor of the Liverpool Philharmonic, in 1844, was Jakob Zeugheer, followed by Alfred Mellon, Max Bruch, Charles Hallé, Frederic Hymen Cowen, and Thomas Beecham. In 1942 Malcolm Sargent became resident conductor, followed in 1948 by Hugo Rignold as music director. Subsequent incumbents have included Efrem Kurtz and John Pritchard, Walter Weller, David Atherton, Marek Janowski and Libor Pe‰ek, the last appointment bringing a continuing connection with the Czech Republic. He was followed by Petr Altrichter, and Gerard Schwarz was appointed music director in 2001. David Lloyd-Jones David Lloyd–Jones began his professional career in 1959 on the music staff of the Royal Opera House, Covent Garden, and soon became much in demand as a freelance conductor for orchestral and choral concerts, opera, BBC broadcasts and TV studio opera productions. He has appeared at the Royal Opera House (Boris Godunov with both Christoff and Ghaiurov), Welsh National Opera, Scottish Opera and the Wexford, Cheltenham, Edinburgh and Leeds Festivals, and with the major British orchestras.