Reap the Wild Wind Lyrics Meaning
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Music & Entertainment Auction
Hugo Marsh Neil Thomas Forrester (Director) Shuttleworth (Director) (Director) Music & Entertainment Auction Tuesday 19th February 2019 at 10.00 Viewing: For enquiries relating to the auction Monday 18th February 2019 10:00 - 16:00 please contact: 09:00 morning of auction Otherwise by Appointment Saleroom One 81 Greenham Business Park NEWBURY RG19 6HW Telephone: 01635 580595 Christopher David Martin David Howe Fax: 0871 714 6905 Proudfoot Music & Music & Email: [email protected] Mechanical Entertainment Entertainment Music www.specialauctionservices.com As per our Terms and Conditions and with particular reference to autograph material or works, it is imperative that potential buyers or their agents have inspected pieces that interest them to ensure satisfaction with the lot prior to auction; the purchase will be made at their own risk. Special Auction Services will give indications of the provenance where stated by vendors. Subject to our normal Terms and Conditions, we cannot accept returns. ORDER OF AUCTION Music Hall & other Disc Records 1-68 Cylinder Records 69-108 Phonographs & Gramophones 109-149 Technical Apparatus 150-155 Musical Boxes 156-171 Jazz/ other 78s 172-184 Vinyl Records 185-549 Reel to Reel Tapes 550-556 CDs/ CD Box Sets 557-604 DVDs 605-612 Music Memorabilia 613-658 Music Posters 659-666 Film & Entertainment Memorabilia Including items from the Estate of John Inman 667-718 Film Posters 719-743 Musical Instruments 744-759 Hi-Fi 760-786 2 www.specialauctionservices.com MUSIC HALL & OTHER DISC RECORDS 18. Music hall and similar records, 10 inch, 67, by Geo Robey (G & T 2-2721 & 18 1. -
"Erase Me": Gary Numan's 1978-80 Recordings
Ought: The Journal of Autistic Culture Volume 2 Issue 2 Article 4 June 2021 "Erase Me": Gary Numan's 1978-80 Recordings John Bruni [email protected], [email protected] Follow this and additional works at: https://scholarworks.gvsu.edu/ought Part of the Critical and Cultural Studies Commons, Disability Studies Commons, and the Music Commons Recommended Citation Bruni, John (2021) ""Erase Me": Gary Numan's 1978-80 Recordings," Ought: The Journal of Autistic Culture: Vol. 2 : Iss. 2 , Article 4. Available at: https://scholarworks.gvsu.edu/ought/vol2/iss2/4 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Ought: The Journal of Autistic Culture by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. “Erase Me”: Gary Numan’s 1978-80 Recordings John Bruni ary Numan, almost any way you look at him, makes for an unlikely rock star. He simply never fits the archetype: his best album, both Gin terms of artistic and commercial success, The Pleasure Principle (1979), has no guitars on it; his career was brief; and he retired at his peak. Therefore, he has received little critical attention; the only book-length analysis of his work is a slim volume from Paul Sutton (2018), who strains to fit him somehow into the rock canon. With few signposts at hand—and his own open refusal to be a star—writing about Numan is admittedly a challenge. In fact, Numan is a good test case for questioning the traditional belief in the authenticity of individual artistic genius. -
GMAT® All the Verbal
GMAT® All the Verbal This essential guide takes the guesswork out of grammar by presenting all of the major grammatical principles and minor grammatical points known to be tested on GMAT Sentence Correction. It also teaches you all of the critical and logical reasoning you need for the Reading Comprehension and Critical Reasoning sections of the GMAT. GMAT® is a registered trademark of the Graduate Management Admissions Council™. Manhattan Prep is neither endorsed by nor affiliated with GMAC. Acknowledgements A great number of people were involved in the creation of the book you are holding. Our Manhattan Prep resources are based on the continuing experiences of our instructors and students. The overall vision for this edition was developed by Stacey Koprince and Andrea Pawliczek, who determined what strategies to cover and how to weave them into a cohesive whole. Stacey Koprince (SC, RC), Andrea Pawliczek (CR), and Daniel Fogel (SC) were the primary authors; they were supported by a number of content experts. Chelsey Cooley and Daniel Fogel served as the primary editors during the writing phase. Mario Gambino, Helen Tan, and Patrick Tyrrell served as a sounding board during the writing phase, vetting both ideas and content. Patrick Tyrrell deserves special mention as the source of multiple new ideas for the CR unit of the guide. Mario Gambino managed production for all images, with Derek Frankhouser and Israt Pasha lending their design expertise. Matthew Callan coordinated the production work for this guide. Once the manuscript was done, Naomi Beesen and Emily Meredith Sledge edited and Cheryl Duckler proofread the entire guide from start to finish. -
IS.'.«H Her Heart Leaped
TUESDAY—SEPTEMBER 15, 1942 MONITOR LFADFR MOUNT CLEMENS, MICH 7 He made her try it again, and • SERIAL STORY again. He could get her to do ItEl) RI DER By FRED HARMAN anything, she thought breath- lessly. As if she hadn't any will ||?pg V’ llf| v |SNl® ffl;jl ; E WHEN A GIRL MARRIES of her own. \ V-E’O GE T MORE READY TO -0; T-jLrfc_^ • • • jVj£j COPYRIGHT. 1942. grew 8Y RENE RYERSON MART NCA SERVICE. INC She finally tired and they climbed out and lay down A PERFECT DAY truth was, she was too awed by on the white sand where they old-fashioned grandeur, of CHAPTER X the could watch the divers at the the big stone house. deep of the pool. Suddenly .. *e Enid sprang lightly to her end Hank was smiling when he Enid sat up. "My sketch things feet, her reason conquering the came to the car. "Mother liked arc out in the car. You know, impulse of a moment before. It the drawing of Sonny so well I'd like to do some of these fig- was much, she decided too that she kept it. You'll have to ures." shrewdly, to expect lank Holli- do another one for me." get day, who was rich and had ev- Hi- stretched. "Want me to "I don't mind at all," Enid as- them for you?” Then flopping erything. *o understand the frus- sured him. lazily on his stomach, an trations in her life that had led over "It's a date then, next Sun- action which brought him very to her naive deception. -
Adapted for the Stage by Neil Duffield Music by John Foxx and Benge Directed by Juliet Forster the AUTHOR the STORY
Adapted for the stage by Neil Duffield Music by John Foxx and Benge Directed by Juliet Forster THE AUTHOR THE STORY E. M. Forster was born in London on 1 January 1879. He First published in 1909, The Machine Stops is set in a post- studied Classics and History at King’s College, Cambridge, during apocalyptic world where humans live beneath the surface which time he began writing fiction and became a member of a of the earth. The short story explores the human need for discussion society known as the Apostles, many of whom went communication, connection and the obstacles that inhibit on to be part of the influential group of writers, intellectuals, it, namely technology. In this subterranean world, each and philosophers known as the Bloomsbury Group. person exists within their own individual cell and humanity is dependent on the Machine, a After university he travelled around Europe with technological provider of everybody’s his mother, which provided inspiration perceived needs. Travel is no longer necessary or desired for some of his novels, including A Room and all contact is made through Skype-like video calls. with a View (1908). He is best known This story, written over a century ago, is for his novels, including Howards End (1910) astoundingly poignant for us in 2016: it is a and A Passage to India (1924), but chilling prediction and exploration of he was also skilled essayist, literary our increasingly complex relationship critic, travel writer and short story with technology. It focuses on themes such as humankind’s writer. Much of his work dealt with the impact of class dependence on technology and the consequences of active difference and societal structures; through these themes he counter culture, as well as isolation, totalitarianism, the struggle was able to explore the need for humans to form meaningful for freedom and loss of identity. -
EV16 Inner DP
16 extreme voice JohnJJohnohn FoxxFoxx Exploring an Ocean of possibilities Extreme Voice 16 : Introduction All text and pictures © Extreme Voice 1997 except where stated. 1 Reproduction by permission only. have please. , g.uk . ears in My Eyes Cerise A. Reed [email protected] , oice Dancing with T obinhar r and eme V Extr hope you’ll like it! The Gift http://www.ultravox.org.uk , e ris, URL: has just been finished, and should be in the shops in June. EMAIL (ROBIN): Monument g.uk Rage In Eden enewal form will be enclosed. Cheques etc payable to (0117) 939 7078 We’ll be aiming for a Christmas issue, though of course this depends on news and events. We’ll Cerise Reed and Robin Har [email protected] UK £7.00 • EUROPE £8.00 • OUTSIDE EUROPE £11.00 as follows: It’s been an exceptionally busy year for us, what with CD re-releases and Internet websites, as you’ll been an exceptionally busy year for us, what with CD re-releases It’s TEL / FAX: THIS YEAR! 19 SALISBURY STREET, ST GEORGE, BRISTOL BS5 8EE ENGLAND STREET, 19 SALISBURY best! ”, and a yellow subscription r y eatment. At the time of writing EV16 EMAIL (CERISE): ry them, or at least be able to order them. So far ry them, or at least be able to order essages to the band, chat with fellow fans, download previously unseen photographs, listen to messages from Midge unseen photographs, listen to messages from essages to the band, chat with fellow fans, download previously ee in the following pages. -
Midge Ure & Band Electronica
Pressemitteilung vom 31.08.2020 Midge Ure & Band Electronica Live in Concert 2021 – brandneue Show! MIDGE URE & BAND ELECTRONICA Live in Concert 2021 mit NEUER Show! Auf Grund der Corona- Pandemie verschoben... ...Aber wie heißt es so schön aufgeschoben ist nicht aufgehoben. Das Konzert in Paderborn in der Paderhalle, welches am 16.12.2020 stattgefunden hätte wird am 24.11.2021 nachgeholt. Alle bereits gekauften Tickets behalten ihre Gültigkeit... Der Umbruch zu Beginn der 1980er Jahre war entscheidend für die Musikszene. Während in verschiedenen Bereichen wie Gesellschaft, Politik, Mode und Kultur ein riesiger Umschwung stattfand, kam auch frischer Wind in die Musikszene. Als Synthesizer anfingen, die neuen Lieder zu dominieren und Musikvideos den Popcharts ein ganz neues Aussehen verliehen, war besonders einer maßgeblich am Wandel beteiligt: Midge Ure. Der Brite setze mit der Single „Fade To Grey“ von der Band Visage aus gleichnamigen Debütalbum und „Vienna“ von der Band Ultravox, ebenfalls aus gleichnamigen Album, neue Maßstäbe. Als Alleskönner hat er als Songwriter und Produzent an diesen und an unzähligen weiteren Hits mitgewirkt. Midge Ure`s Talent für rockige Popmusik gepaart mit seinem elektronischen Herz brachten futuristische neue Klänge auf den Musikmarkt der ganzen Welt. "Der Herbst 1979 war ein zentraler Punkt in meinem beruflichen Werdegang", erklärt Midge Ure. „In den letzten zwei Jahren bin ich von der Pop-Band (Slik) zur Post-Punk-Band (The Rich Kids) zu einem Bestandteil für Thin Lizzy als Gitarrist gewachsen. Während des Herbstes bis zum Winter 1979, als ich mit Billy Currie am Visage-Projekt arbeitete, wurde ich zu Ultravox eingeladen. Die Arbeit, die wir in diesem Winter am Vienna Album gemacht haben, war ein aufregender Kreativitätsschub, wie ich ihn noch nie erlebt hatte.“ Auch der Uhrenhersteller „Swatch“ war von der Musik von Midge Ure begeistert und nahm „Breathe“ als Soundtrack eines Swatch-TV-Werbespots, der Song erreichte damit einen weltweiten Kultstatus und verhalf der Firma somit zu ihrer erfolgreichsten Werbekampagne überhaupt. -
Synthpop: Into the Digital Age Morrow, C (1999) Stir It Up: Reggae Album Cover Art
118 POPULAR MUSIC GENRES: AN INTRODUCTION Hebdige, D. (1987) Cut 'n' mix: Identity and Caribbean MUSIc. Comedia. CHAPTER 7 S. (1988) Black Culture, White Youth: The Reggae Tradition/romJA to UK. London: Macmillan. Synthpop: into the digital age Morrow, C (1999) StIr It Up: Reggae Album Cover Art. San Francisco: Chronicle Books. Potash, C (1997) Reggae, Rastafarians, Revolution: Jamaican Musicfrom Ska to Dub. London: Music Sales Limited. Stolzoff, N. C (2000) Wake the Town and Tell the People: Dancehall Culture in Jamaica. Durham, NC, and London: Duke University Press. Recommended listening Antecedents An overview of the genre Various (1989) The Liquidators: Join The Ska Train. In this chapter, we are adopting the term synthpop to deal with an era Various (1998) Trojan Rocksteady Box Set. Trojan. (around 1979-84) and style of music known by several other names. A more widely employed term in pop historiography has been 'New Generic texts Romantic', but this is too narrowly focused on clothing and fashion, Big Youth ( BurI).ing Spear ( and was, as is ever the case, disowned by almost all those supposedly part Alton (1993) Cry Tough. Heartbeat. of the musical 'movement'. The term New Romantic is more usefully King Skitt (1996) Reggae FIre Beat. Jamaican Gold. employed to describe the club scene, subculture and fashion associated K wesi Johnson, Linton (1998) Linton Kwesi Johnson Independam Intavenshan: with certain elements ofearly 1980s' music in Britain. Other terms used to The Island Anthology. Island. describe this genre included 'futurist' and 'peacock punk' (see Rimmer Bob Marley and The Wailers (1972) Catch A Fire. -
Smash Hits Volume 42
^K^fee ^^'' '-%* # WiTHTl ^•b.„ ULTR Words tert TOPSINGL including ^ Xanadu Whole Lotta Rosle British Way Of Life BOB MARLEY& THE WAIL DEXY'S MIDNIGHT RUNNERS VAPORS in colour :% LPs to be won -x"! I X I j:*^ i_ I--' KING'S CALL July 10-23 1980 Vol 2 No. 14 PhilLynott 4 Avast, hearties — me welcome BRITISH WAY OF LIFE aboard the new Issue of Smash Hits I Pull up a bollard and malce yourself The Chords 4 comfortable. Now then, before certain of you landlubbers start demanding XANADU your rations of Queen, let me tell 'ee, Olivia Jim lad/lass, that certain blackbeards Newton John 5 at ElMi iMusic are witholding stores. JUST ANOTHER DREAM They won't let us use the songs they own (as opposed to the bands that The Professionals 8 EMI Records put out) straight away EMPIRE STATE HUMAN because they thinic it stops you from buying their sheet music. This The Human League 14 accounts for the late appearances here of Darts and The Sex Pistols and CUPID the absence of Queen till, EMI say, around the end of July. That's EMI for The Detroit Spinners 16 you. Never mind — on a brighter note, USE IT UP AND WEAR IT OUT you will find in this issue plenty of other good song words and features Editor Odyssey 16 plus of course our fab video game Ian prize with our crossword competition Cranna JUMP TO THE BEAT and the Jayne County competition on Stacey Lattisaw 19 page 28, with much other goodness Features Editor spread liberally throughout the mag. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
Tom Burr Body/Building
TOM BURR BODY/BUILDING BODY/BUILDING A selection of material to accompany the exhibition Tom Burr / New Haven, an Artist / City project BY ADRIAN GAUT TEXT BY MARK OWENS PHOTOGRAPHY BY ADRIAN GAUT TEXT BY MARK OWENS PHOTOGRAPH YALE ART AND ARCHITECTURE BUILDING, PAUL RUDOLPH (1963). 180 YORK STREET, BRUTAL RECALL NEW HAVEN. A SELECTIVE ROADMAP OF SOME OF NEW HAVEN’S MOST ICONIC CONCRETE LANDMARKS Entering New Haven by car along Interstate 95 offers a tour through one of America’s last remaining Brutalist corridors. Approaching the Oak Street Connector, you can still catch a glimpse of the briskly fenestrated raw-concrete façade of Marcel Breuer’s striking Armstrong Rubber Company Building (1968), which now sits vacant in a vast IKEA parking lot. Heading towards George Street along Martin Luther King Jr. Boulevard, a stoplight just outside the town’s commercial center brings you momen- tarily to rest at the foot of Roche-Dinkeloo’s enigmatic Knights of Columbus Building (1969), whose 23 raw-steel stories are slung between four colossal brick-clad concrete columns. Further along the boulevard on the right rises the distinctive silhouette of Paul Rudolph’s Crawford Manor housing block (1966), whose “heroic and origi- automobile. It’s perhaps ironically fitting, then, that in order to complete this Brutalist nal” striated-cement cladding promenade you’re best off proceeding on foot. Continuing down Temple Street and was famously contrasted with making a left turn onto Chapel Street, you eventually come to the entrance of Louis the “ugly and ordinary” visage Kahn’s Yale University Art Gallery (1951–53), an expressive use of brick, concrete, and of Venturi and Rauch’s Guild curtain wall that was completed a year before the Alison and Peter Smithson’s Hun- House in the pages of Learning stanton School (Norfolk, England, 1949–54), generally considered the opening salvo from Las Vegas. -
Midge Ure Biography
MIDGE URE BIOGRAPHY An artist who has received Ivor Novello, Grammy, BASCAP awards along with a flotilla of gold and platinum records, really needs very little introduction. Musical success is seldom measured in time spans of more than a few years, if not Andy Warhol's often quoted "fifteen minutes", so the fact that by the time Midge's single "If I Was" went to number 1 in 1985 he had already crammed several musical lifetimes into a 10 year professional career speaks volumes - Slik, The Rich Kids, Thin Lizzy, Visage, Ultravox and of course the most famous one off group in musical history Band Aid had by then all had the guiding hand of his musical navigation. Then you have to take account of Midge's musical directorship of a series of rock concerts for The Prince's Trust, Night of the Proms, Wicked Women for Breakthrough and in honour of Nelson Mandela; record production for Phil Lynott, Steve Harley and countless others; his video direction of memorable hits by the Fun Boy Three, Bananarama and others, or a whole swathe of landmark singles by Ultravox; TV, theatre and film music credits ranging from 'Max Headroom' to stage and big screen. Midge appeared to the wider public in a moment of heady teen success with Slik. Their sway-along single 'Forever And Ever' took over at No.1 in the UK from Abba's 'Mamma Mia' on Valentine's Day 1976. Soon outgrowing Slik's pop dimensions, Midge was snapped up by ex-Sex Pistol Glen Matlock the following year for his new outfit, the Rich Kids, who charted amid an avalanche of press with a self-titled EMI single early in 1978.