JUST ANNOUNCED MANUFACTORY Transforma – Sascha Ring
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Visible Cloaks Reassemblage
Visible Cloaks Reassemblage Visible Cloaks’ Reassemblage is a collection of delicately rendered passages of silence and sound that invokes – and invites - consciousness. The foundation of the duo’s second album is gently poured upon the ground their musical predecessors explored, using the materials of chance operations, MIDI “translation,” and other generative principles that favor inclusive musical environments over the narrowly constrained. In 2010, Spencer Doran, one part of Visible Cloaks alongside Ryan Carlile, prepared the first volume ofFairlights, Mallets, and Bamboo, a mixtape indicated by Doran as “an investigation into fourth-world undercurrents in Japanese ambient and pop music, years 1980 - 1986.” These mixes contextualized the outré orbit of Yellow Magic Orchestra-related solo projects and their abstract, radiant forays as forever futuristic modes of music. Reassemblage evokes similar musical futures celebrated on the Fairlights mixes, but does so observantly rather than reverently. The title Reassemblage, for example, is taken from a film essay byTrinh T. Minh-ha, which explores the impossibility of ascribing meaning to ethnographic images. The author aims to “speak nearby” rather than “speak about.” In other words, to embrace lapses of understanding, and realize that the impulse to map direct meaning across a cultural gap often results in further disconnect. In an effort to “speak nearby” rather than “speak about,” Visible Cloaks Track Listing RVNG Intl. filters and forms source material to become young again. Often the duo strip 1. Screen PO Box 20752 tonal elements of their specificity or randomize melodies so they become 2. Valve (ft. Miyako Koda) Tompkins Sq. stirring and lucid. Essential patterns emerge, conscious experience heightens. -
HE TOWN Bbie
us HE TOWN BBiE. T' VOMIMH XII. NEWTOWN, CONN: EEIDAY, -- NOVEMBER!, 1889. SIX PAGES. NUMBER 44. Youth, Joy, wealth Fate I give thee these; T.. C. has been TIS TRUE THAT BENNETT'S IS THE Leave Harper, who .superin- faith and hope till lite is past; tendent or Niantic mills for And leave heart's host the nearly my impulses five lar- LYON & HINDLEY. Fresh and unfailing to the last. years, has been transferred to a CHEAPEST SHOE STORE owned the same at " I auk not that lor ine the ger mill, by company, THE J. B. BAENABY CO. plan East and will In this section of the country, is the verdict of all. In'regard to selling Ol good and ill be set aside; Lyme leave Sandy Hook, But the II. B. who has been cheap goods, as some people may think when reading our announce- that common lot of man Tuesday Brown, Bo nobly borne and glorified. boss weaver at the Clinton mill and who ments from are as ' week to week, we wish to state that our goods Phebe Gary. was - - - here, last Summer, will succeed him - make-u- SL as the best in style, shape and in the general p and at CI 7U 27 at Sandy Hook. Mr has served T It has been decided to remove Ilarper " much lower prices than the same quality of Footwear can be procur- the the company well during his stay, which lower, rotten portion of the pole in - shoes flag has been considerably than that ed elsewhere- Our stock, in other words, comprises reliable of BUILDERS, MANUFACTURERS, FARMERS the Street and to set it lower in the longer earth. -
Freunde Guter Musik Berlin Ev
PRESSEMITTEILUNG FREUNDE GUTER MUSIK BERLIN e.V. Erkelenzdamm 11 – 13 B IV • 10999 Berlin • Telefon ++ 49-30-615 2702 • Fax ++49-30-614 8695 [email protected] • www.freunde-guter-musik-berlin.de 25 Jahre Freunde Guter Musik Berlin e.V. DI ▪ 2. Dezember 2008 ▪ 21:00 The Lappetites Eliane Radigue (France) Kaffe Matthews (UK) Ryoko (Japan) Antye Greie AGF (Germany) The Lappetites is a laptop group playing with digital and sonic linking games for composition – 4 women from different backgrounds and different generations. Maria am Ostbahnhof ▪ An der Schillingbrücke 12 / 8 € DO ▪ 4. Dezember 2008 ▪ 21:00 Heaven And Record Release Concert "Sweeter As The Years Roll By" (Staubgold 87) Tony Buck ▪ Drums Steve Heather ▪ Percussion Martin Siewert ▪ Guitars zeitblom ▪ Bass David Cunningham Solo Electric Guitar and Effects Dj Alec Empire Eat Your Heart Out/Dhr, Berlin Dj Markus Detmer Staubgold/Quecksilber, Berlin Maria am Ostbahnhof ▪ An der Schillingbrücke 15 / 10 € ___________________________________________________________________ Freunde Guter Musik Berlin e.V. in Zusammenarbeit mit Klangraum Minoritenkirche Krems / Nö Festival GmbH, staubgold und Maria am Ostbahnhof, gefördert durch Initiative Neue Musik Berlin e.V. PRESSEMITTEILUNG FREUNDE GUTER MUSIK BERLIN e.V. Erkelenzdamm 11 – 13 B IV • 10999 Berlin • Telefon ++ 49-30-615 2702 • Fax ++49-30-614 8695 [email protected] • www.freunde-guter-musik-berlin.de 25 Jahre Freunde Guter Musik Berlin e.V. Eine avancierte Frauencomputerband und eine avantgardistische, kompromisslose Rock-Männerband mit Gastauftritt und DJ-Nacht sind das diesjährige Jubiläumsprogramm der Freunde Guter Musik Berlin im Kultort Maria am Ostbahnhof. Besucher früherer Freunde-Konzerte werden unter den etablierten Labels FEMMES ÉLÉCTRONIQUE und BANDS’N’BOYS alte Bekannte in neuen Formationen wieder treffen wie Eliane Radigue und zeitblom. -
Aero Bingo Hansen's M M
I f T d n c K e s t ■ i-i'' Is evidently forgetting Its -oljllga- ,The Ladles* Auxiliary o f the tton to the town. There la^ a Manchester Chamber of Com 83,800 mortgage, oh the p r o p e l Coon, Fox Club Jap Soldiers Use Dope A bout Town merce, of which Mrs. L. T. Wood Heard Along Main Street and the seller 'extended an addi-' Average Daily Circulation is president, will hold a cigarette tlonal 81,000 mortgage. The To Hold Trials For the Month af Sept^ber, IMS tea Monday afternoon at four An^ on Some o f Manche»ter*» Side Slrdets^ Top family that purcha.’ied the proper, Before Battling Yanks 1 M ni HW* Kelsh Swanson, o'clock at the home of Mrs. ty is in debt to the town to U)e whosa husband, Ralph Swanson, George W. Cheney, 21 Hartfofd - ■ ^— - . ' \ laft on Tusaday tor scrvioa In We are still hearing repercus-jjcity as a sort of half-home. Mayor extent of 83.591.42 for aid extern!: Road. The members will bring cd duriiig the depression years.'" MgsI ^ Picturesfiup of Japanese soldiers use "narcotics-would riot harm you it night Member of the Audit U. S. Maivy, win Join the etaff of to tho tea cartons of cigarettes slons from that story The Herald■ ■' Dennis O’Connor, a YD veteran, is The town has been mo.st fortu to keep up, their courage facing; They would even try to steal th< ttia lipAlnM Beauty Salon in the for the inductees leaving for the caiTled previous to Primary day known to a lot of local veterans Sports; Taketi Place Bureau of Circulations nate in most of its dealings with American a61dier» in the South ' « V"** ' Wwaoe buiMlnr Monday, as a service. -
Music 10378 Songs, 32.6 Days, 109.89 GB
Page 1 of 297 Music 10378 songs, 32.6 days, 109.89 GB Name Time Album Artist 1 Ma voie lactée 3:12 À ta merci Fishbach 2 Y crois-tu 3:59 À ta merci Fishbach 3 Éternité 3:01 À ta merci Fishbach 4 Un beau langage 3:45 À ta merci Fishbach 5 Un autre que moi 3:04 À ta merci Fishbach 6 Feu 3:36 À ta merci Fishbach 7 On me dit tu 3:40 À ta merci Fishbach 8 Invisible désintégration de l'univers 3:50 À ta merci Fishbach 9 Le château 3:48 À ta merci Fishbach 10 Mortel 3:57 À ta merci Fishbach 11 Le meilleur de la fête 3:33 À ta merci Fishbach 12 À ta merci 2:48 À ta merci Fishbach 13 ’¡¡ÒàËÇèÒ 3:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 14 ’¡¢ÁÔé’ 2:29 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 15 ’¡à¢Ò 1:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 16 ¢’ÁàªÕ§ÁÒ 1:36 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 17 à¨éÒ’¡¢Ø’·Í§ 2:07 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 18 ’¡àÍÕé§ 2:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 19 ’¡¡ÒàËÇèÒ 4:00 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 20 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:49 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 21 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 22 ¡ÅèÍÁÅÙ¡â€ÃÒª 1:58 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 23 ¡ÅèÍÁÅÙ¡ÅéÒ’’Ò 2:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 24 Ë’èÍäÁé 3:21 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 25 ÅÙ¡’éÍÂã’ÍÙè 3:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 26 ’¡¡ÒàËÇèÒ 2:10 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 27 ÃÒËÙ≤˨ђ·Ãì 5:24 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… -
Kazumi Watanabe Kylyn Mp3, Flac, Wma
Kazumi Watanabe Kylyn mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Funk / Soul Album: Kylyn Country: Japan Released: 1988 Style: Fusion MP3 version RAR size: 1720 mb FLAC version RAR size: 1820 mb WMA version RAR size: 1709 mb Rating: 4.6 Votes: 771 Other Formats: MP3 DMF AIFF DTS AIFF MP2 AUD Tracklist 1 199X 1:56 2 Sonic Boom 6:30 3 Water Ways Flow Backward Again 5:17 4 Milestones 8:15 5 E-Day Project 5:45 6 Akasaka Moon 4:34 7 Kylyn 2:29 8 I'll Be There 6:38 9 Mother Terra 3:26 Companies, etc. Record Company – Nippon Columbia Co., Ltd. Manufactured By – Nippon Columbia Co., Ltd. Distributed By – Nippon Columbia Co., Ltd. Credits Alto Saxophone, Soprano Saxophone – Toshiyuki Honda Artwork By – Bam-Voo Bass – Rey J. O'Hara* Co-producer – Akira Ikuta, Taku Kashiwabara Drums – Shuichi "Ponta" Murakami*, Yukihiro Takahashi Guitar [Guitars] – Kazumi Watanabe Keyboards – Mikio Masuda Keyboards, Vocals – Akiko Yano Mixed By – Ryuichi* Mixed By, Producer – Kazumi* Other [Publicist] – Jin Nakahara Percussion – Pecker Producer, Keyboards – Ryuichi Sakamoto Tenor Saxophone – Yasuaki Shimizu Trombone – Shigeharu Mukai Barcode and Other Identifiers Rights Society: JASRAC Other versions Category Artist Title (Format) Label Category Country Year Kazumi YX-7595-ND Kylyn (LP, Album) Better Days YX-7595-ND Japan 1979 Watanabe Kazumi 35C38-7135 Kylyn (CD, Album) Denon 35C38-7135 Japan 1984 Watanabe Jroom Jazz, Kazumi Kylyn (CD, Album, COCB-53333 Columbia Music COCB-53333 Japan 2005 Watanabe Ltd, RE, RM, Pap) Entertainment Related Music albums to Kylyn by Kazumi Watanabe Kazumi Watanabe - Mobo Live Kazumi Watanabe - Olive's Step Kazumi Band - Ganaesia Kazumi Watanabe - Mobo Kazumi Watanabe = 渡辺香津美 - Lonesome Cat = ロンサム・キャット Ryuichi Sakamoto & Kazumi Watanabe - Tokyo Joe Kazumi Watanabe With Friends - Super Selection Akiko Yano - Home Music II. -
'Modern Baroque'
‘Modern Baroque’ ‘Approaches and Attitudes to Baroque Music Performance on the Saxophone’ Jonathan Byrnes 4080160 Masters of Music Projecto Cientifico IV ESMAE 2010 1 Contents Page ‘Introduction’ (Prelude) 4 ‘Education’ (Allemande) 7 ‘Performance’ (Courante) 12 ‘Morality – Responsibility and Reasons.’ (Sarabande) 18 ‘Transcription or adaptation’ – note for note transcription (Minuet I) 36 ‘Transcription or adaptation’ – adaptation (Minuet II) 58 Conclusion (Gigue) 70 ‘Bibliography’ 73 ‘Discography’ 77 ‘Internet Resourses’ 78 2 Thank you. This Masters Thesis would not have been possible without the help and assistance from the people below. I would like to thank them sincerely for all their guidence and support. Sofia Lourenço, Henk Van Twillert, Fernando Ramos, Gilberto Bernardes, Madelena Soveral, Dr. Cecília, Filipe Fonseca, Luís Lima, Nicholas Russoniello, Cláudio Dioguardi, Cármen Nieves, Alexander Brito, Donny McKenzie, Andy Harper, Thom Chapman, Alana Blackburn, Paul Leenhouts, Harry White, And of course my family. Without these people, I am sure I would not have achieved this work. 3 1. Introduction (Prelude) Baroque music has been part of the saxophone repertoire in one form or another since the instruments creation, as it so happened to coincide with the Baroque revival. ‘It was Mendelssohn's promotion of the St Matthew Passion in 1829 which marked the first public "revival" of Bach and his music’ 1, either through studies or repertoire the music of the baroque period has had an important role in the development of the majority of all saxophonists today. However the question remains. What function does this music have for a modern instrumentalist and how should this music be used or performed by a saxophonist? Many accolades have been given of saxophone performances of Baroque music. -
Arte, Producción E Investigación Espaci
UNIVERSIDAD POLITÉCNICA DE VALENCIA FACULTAD DE BELLAS ARTES PROGRAMA DE DOCTORADO: ARTE, PRODUCCIÓN E INVESTIGACIÓN ESPACIOS HIBRIDOS: ARQUITECTURAS EMERGENTES DE LA INTERACCION FISICO-VIRTUAL TESIS DOCTORAL PRESENTADA POR LAURA RODRIGUEZ MOSCATEL DIRIGIDA POR DR. MOISES MAÑAS CARBONELL DRA. BLANCA MONTALVO GALLEGO VALENCIA, Enero 2016 1 2 Agradezco a mis directores por su apoyo, conocimientos y tiempo empleado en esta tesis. A mi pequeña familia, por la paciencia y el cariño. 3 4 Espacios híbridos: arquitecturas emergentes de la interacción físico-virtual Prólogo ................................................................................................. 7 Introducción ................................................................................................ 9 CAPÍTULO I. AGENTES Y CONTEXTO DE LA COMUNICACIÓN ARTÍSTICA MEDIADA POR COMPUTADOR. .............................................................. 20 1.1Colisiones, aproximaciones y encuentros. Contextualización del arte electrónico y computacional. ...................................................................... 20 1.2 Agentes contemporáneos para la creación artística. ............................. 46 1.2.1 Interfaces, herramientas forjadoras de canales para los procesos comunicacionales. .................................................................................. 46 1.2.2 Dato, Información, criterio y conocimiento. Elementos para la interacción con datos procesados. ........................................................ 77 1.2.3 Conectividad e interacción. -
Republican Journal
It was a slightly melting day, nn.1 tlie Farm, Garden and Household. enow on the roof, though crisp still at tin- surface, was in that damp state when any Cisterns for Barns. rude motion might send it over in an avalanche; and Mr. Grey realiz. I. even \ li gentleman mn Xew Hampshire,who as he prepared to follow, that, in ad prob- v isited the farm of the editor agricultural ability, before he could reach ills child -lie some time more since, writes to learn par- would have plunged down and been da-b- ticulars about the barn cistern which sup- ed to pieces on tlie icy stones bchov, c.• water fc r the stock. This cistern it plies lie were not precipitated upon In has been built and in constant use some Thought is but Damn.see wa- the quick, twenty years It is cemented on gravel, quicker. ••Wait, Florence, wait!" without or on bricking stoning, except was crying, before the others had a; one side next b the cellar wall; here it is more than their heads the trap, thin wall ol stones laid through strengthened by I while snatching off her shoes and -t > near the bottom a ties. Medicines are of Two Christians. sued the :n cement, iiom pipe comparatively teamster. “On the same ground “(ieorge Lock land, attorney and counsel- slow to seo how tho list had boon made The Circus Girl. ings. -‘Keep hold! I’m coming !" And tie i> run the cellar wall and carried in the of take a and out and lor at law.” In less than live minutes through -slight consequence early stage Two Christians traveled down a road. -
The Body and Soul of Funk by Ketch Morse Your Gut with the First Chord and Ensuing Something Great
KTRU 91.7 FM FALL 2007 A Rookie’s Guide to the Houston Scene By KTRU Staff two most famous groups: ZZ Top and lificacy, however, has been outmatched Spain Colored Orange, Bring Back the Houston is one of the best-kept secrets Destiny’s Child. by his reclusiveness; despite capturing Guns, and the Dimes, and acts like Mo- of American culture. Though Houston In addition to these superstars, Houston the imagination of three generations of tion Turns It On and Sharks and Sailors artists have made fascinating and diverse also nurtures a thriving underground that music geeks, Jandek has given only two push prog rock into new and exciting ter- contributions to popular music, the city has is little-known outside the city. Its history interviews in his entire life, and did not ritory. Local rock labels are popping up at an unjustified reputation as something of a can traced, roughly, to the Texas psyche- give the first of his still-meager handful of a nearly unprecedented rate, providing a cultural wasteland. Part of that reputation delic movement of the late 60s. Houston live performances until 2004 (in Glasgow, desperately needed foundation for local art- is due to comparison to Houston’s close was home to both the movement’s found- Scotland oddly enough), 26 years after the ists. Meanwhile, extreme heavy metal has neighbor Austin, which for decades was ing record label, International Artists, and start of his “career.” been and continues to be one of Houston’s one of the capitals of American counter- one of its most influential and long-lived The unrestrained imagination of artists specialties, with locals like Braced for culture—part of it is due to a virtually bands, the Red Krayola. -
Elisa Bray Speaks to Mew About How Frengers Changed Their Lives and How It Feels to Be Revisiting the Record with a String Quartet Fifteen Years Later
Mew Start times: 4 & 8.30pm Running time: 2 hours – including interval Please note all timings are approximate and subject to change Elisa Bray speaks to Mew about how Frengers changed their lives and how it feels to be revisiting the record with a string quartet fifteen years later. There’s a turning point for bands that make it – a record label deal or some chart success – where they can wave goodbye to their day jobs and sleeping on friends’s sofas while on the gigging circuit, and embrace the comfort of hotels, tour buses and roadies. For Danish alternative rock band Mew, that turning point was the release of their third album, and major label debut, Frengers. Released in 2003, it brought them their first commercial success outside of their native Denmark. And today at Barbican, to mark the fifteenth anniversary of the album, Mew are performing it in its entirety for the very first time, with a string ensemble – in their only UK shows of this year. ‘The Frengers album changed everything for us, and turned our lives upside down,’ says lead vocalist Jonas Bjerre. ‘We all moved to London and left behind our home and jobs, so it was quite an adventure. ‘We’ve realised over the years that this album has a special meaning to a lot of people, and I think a lot of the searching we were doing at the time, figuring out who we were, really, was relatable to a lot of people who shared some of our sensibilities. And I think the album reminds people of that time in their lives. -
Pladeproduktion I Danmark Analyse Og Anbefalinger Fra Kulturministeriets Udvalg Om Vilkårene for Pladeproduktion
PLADEPRODUKTION I DANMARK ANALYSE OG ANBEFALINGER FRA KULTURMINISTERIETS UDVALG OM VILKÅRENE FOR PLADEPRODUKTION Pladeproduktion i Danmark – Analyse og anbefalinger fra Kulturministeriets udvalg om vilkårene for pladeproduktion i Danmark Indhold Sammenfatning 2 Indledning 5 Pladebranchen i dag – en status 7 Pladebranchen i morgen – en udfordring 16 En kulturpolitisk indsats for den danske pladeproduktion 20 Arbejdsgruppens konkrete anbefalinger 23 Konkurrencemæssige forhold 26 Litteraturliste 27 Bilag 1 – Hvad koster det at lave en cd, og hvem får hvad 28 Bilag 2 – Støtteordninger til pladeproduktion i Danmark og de andre nordiske lande 32 Bilag 3 – Danske album på hitlisten i 2004 35 Udgivet af: Kulturministeriet, 2005 Forsideillustration: Jette Tosti/Gul Stue Pladeproduktion i Danmark er udarbejdet af et udvalg nedsat af kulturminister Brian Mikkelsen. Oplag: Udkommer kun elekronisk Elektronisk udgave ISBN: 87-7960-070-0 Kan hentes på Kulturministeriets hjemmeside, www.kum.dk Kulturministeriet Nybrogade 2 1203 København K Tlf. 33 92 33 70 Fax: 33 91 33 88 E-mail: [email protected] Hjemmeside: www.kum.dk Sammenfatning Pladebranchen i dag – en status Den globale musikindustris omsætning af indspillet musik har været støt stigende indtil årtusindskiftet, hvor salget gik stærkt ned. Den globale omsætning har oplevet et fald på 27 pct. over de sidste 5 år. Der er mange forklaringer på det faldende pladesalg, og blandt de væsentligste kan nævnes: forandret forbrugeradfærd, radioformatering og strukturforandringer i medierne, kopiering af cd’er, ulovlig download af musik og øget konkurrence om forbrugernes penge. Det danske plademarked er det 21. største i verden og står for 0,55 pct. af verdensmarkedet. Op gennem 1990’erne steg omsætningen markant på det danske plademarked, hvor danske topnavne solgte rigtig godt, og en øget tv-annoncering satte skub i salget af danske og udenlandske kunstneres bagkatalog.