373 Results for : outlets
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The People Power Family Superbook: Book 13. Shopping Guide (Online Shopping Product Reviews Department Stores Trade Shows Closeout - Wholesale Factory Outlets)
The People Power Family Superbook: Book 13. Shopping Guide (Online Shopping Product Reviews Department Stores Trade Shows Closeout - Wholesale Factory Outlets): ab 2.49 €- Shop: ebook.de
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News Framing Analysis of First Round Filling of GERD. Comparative Study on The Ethiopian Herald Sudan Tribune and Ahram Online Media outlets.
News Framing Analysis of First Round Filling of GERD. Comparative Study on The Ethiopian Herald Sudan Tribune and Ahram Online Media outlets.: ab 34.99 €- Shop: ebook.de
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Meditations
What IS a Zendo Tavern?', everyone asks. The lyrics came first, imagining monks, AWOL from DBZ monastery, going into town to hit the local zen tavern for beer and some shots - or tea, if it really was the Zendo Tavern. On the website, zendotavern.com, & on the back of the CD is a stage set - an idea of the Zendo Tavern - sparsely furnished, cushions on scrubbed wood floor at low tables. Dimly outlined in the shadows above the patron, who has thrown his happi coat over the rice paper screen, is a painting: a nude reclines odalisk-like she holds a book of Rousseau, a feather quill pen, an Opossum lurks on the back of the couch... a variation on the paintings in all the bars in movie saloons of the old west. The patron could be Asian or Western - alone, meditating, deep in his cups of tea, or vodka - or sake. A different kind of zazen. As the CD developed, we looked for a name for such a mixed band of musicians playing such a mixed bag of songs. A zendo is a refuge from the every day world - a place to confront one's self through zazen, meditation, alone or with others on a similar quest. And in a western sense, pubs or taverns are also places we go to find refuge - to meditate, to confront ourselves and others also searching, asking questions. Zendo Tavern, is a meeting of East and West both in the diversity of musicians, the music, and in the idea of all creatures seeking a refuge - the songs are meditations in the sense of thinking about 'just what the hell are we doing here on this planet'? Someone said, 'Ah, the zendo is the high road, and the tavern is the low road.' But this is not so - they are both ways to a path. Playing music with yiming, Jan and Phil was a refuge filled with gratitude and pleasure. Biff cuthbert Jan kalinowski, lead guitar - comes from Gniezno, Poland and was a founding member of the 'Prowizorka Jazz Band'. Prowizorka has won awards all over Europe, notably the Golden Washboard many times in Warsaw, and first place at the Fringe Festival in Edinburgh, the band has recorded many CDs of early Dixieland Jazz, as well as many jazz standards, Yiming Gao, violin- Fortunately for Zendo Tavern she can't find enough outlets for her talents. She has played violin for twenty five of her twenty eight years, graduated with degrees in pre-med & German at Johns Hopkins, plus violin at Peabody Conservatory. While obtaining her masters in violin at yale, she held a chair in the New Haven Symphony, and played with Orchestra New England, and organized several Chamber groups. Her classical form was first corrupted by playing and recording fiddle tunes from Prince Edward Island. She has just finished four years of medical studies and is now beginning her residency work, but she still plays in chamber groups and with Zendo Tavern. Phil Rosenthal, mandolin - is known for his children's series of folk music CDs, CDs of his own compositions of music and lyrics, and some twenty years as singer/song writer with the Seldom Scene bluegrass band and Bluegrass Union and the many CDs the bands produced. Phil's American Melody Studio being ten minutes away, and Phil being an accomplished musician and engineer all factored into making this CD possible in a very restricted time frame of eight weeks. Biff Cuthbert, guitar/vocals - ended his classical piano career at age fifteen and played ukelele for a year in Europe, mostly in Italy. His father took him to Wolf's in New York, age sixteen, and bought him a Drake guitar, in 1971 shortly after college, he bought a Gallagher D-70. He counts Irving Berlin,Fats Waller,Tin Pan Alley, Roberto Murolo,Victoria Spivey, Lonnie Johnson & Lucille Bogan, Mississippi John Hurt, Scott Joplin,Dave Van Ronk, Paul Siebel,Doc Watson, Leo Kottke, Lyle Lovett, Mickey MacConnell as influences. This CD is a resolution of forty years of musical narrative.- Shop: odax
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Sacred & Profane Love
"The song of songs, which is Solomon's." So begins the book of the Hebrew Bible that most beguiled composers of sacred Renaissance polyphony. It is perhaps not surprising that so much music would be set to texts from a book explicitly titled "Songs," but the musical title is not the only reason for it's appeal. For Renaissance composers, who were predominantly employed as church choirmasters and who themselves were often very devout Christians, there were few outlets for the expression of love towards anyone but their Christian god. The Song of Songs, unlike any other book in the Old or New Testament, is quite clearly a collection of secular love poetry. Of course, it has been interpreted variously as an expression of longing for the coming Christ, of devotion to the Virgin Mary, and of God's love for his people, but it seems difficult to argue in our age that the original author or authors of the text had purely sacred subjects in mind. The composers of the Renaissance and the even earlier composers of plainchant melodies must have been aware of the tension between the often erotic, even explicitly anatomical imagery in the poetry of the Song of Songs and the holy subjects to which they directed their settings of these texts. Indeed, the music that they composed for these texts is generally more emotional, more direct, and more florid than their settings of other sacred texts. The only examples of sacred polyphony that approach Song of Songs settings for sensuality and emotional urgency are settings of Marian texts-and these two genres are often blended, as the Virgin takes the place of the mortal beloved as the subject of praise. Our program begins with one of the finest examples of the genre, Jacobus Clemens non Papa's setting of Ego flos campi (I am the rose of Sharon). Clemens was of the generation of Flemish composers immediately following Josquin, and he demonstrated mastery of all the various forms of Renaissance choral writing-from his vernacular settings of the Psalms (Die Souterliedekens) and homophonic chansons to his challenging and still controversial "secret chromatic art" motets. Ego flos campi belongs to Clemens's more diatonic style of composition, indeed, there is not a single chromatic note indicated in the manuscript. This imparts a serene beauty to the composition, but Clemens also manages to give shape and contrast to the piece without major harmonic shifts, particularly through the introduction of clearly offset homophonic passages. The most prominent of these declaims the text "Sicut lilium inter spinas" (as a lily among thorns), which was the motto of the Marian Brotherhood of s'Hertogenbosch in whose employ Clemens spent five years and to whom this motet is dedicated. Quam pulchra es (How fair art thou) is one of the most commonly set texts in the Song of Songs, and understandably so. The chapter from which it is drawn is devoted almost entirely to a litany of compliments to female beauty, some quite explicit. We perform two settings of verses from chapter 7, one plainchant (from a manuscript at the Newberry Library) and one by the English composer John Dunstable, both transcribed and edited by Calvin Bower. The anonymous composer of the chant setting captures the shape and feeling of the text beautifully, both within individual phrases and over the full sweep of the piece. Dunstable, the most famous of the pre-Eton-Choirbook English composers known for sweet, consonant harmonies, shows a similar skill in phrasing and feel for the poetry in his setting. If either composer saw any incongruity in closing his piece with the text "Ibi dabo tibi ubera mea. Alleluia." (There I will give you my breasts. Alleluia.), it is not apparent in the music. A similarly popular text for Renaissance composers (and presumably for similar reasons) is Tota pulchra es (Thou art all fair), of which we sing the setting by the Flemish composer Heinrich Isaac. Isaac was a contemporary of Josquin and is best known for his song Innsbruck, ich muß dich lassen, but his achievements in sacred music are formidable, including over 300 polyphonic settings of the Propers of the Mass. In Tota pulchra es, Isaac establishes a mysterious, shifting harmonic background, against which he sets bright, almost ecstatic individual lines, often spanning over an octave. The larger shape of the piece is a series of long, slow builds toward cadences that are inevitably interrupted before they fully resolve. The tension reaches it's maximum at "Surge, propera" (Arise, come away) and is finally released on the words "amica mea" (my love), with a final denouement on the text "Veni de Libano, veni, coronaberis" (Come with me from Lebanon, come, thou shalt be crowned). We make a (regrettably brief) detour into the Spanish Renaissance with settings by one rather obscure composer (Martín de Rivaflecha) and one of the Spanish greats (Francisco Guerrero). Rivaflecha was of the same generation of Isaac at a time when the Low Countries were under Spanish rule, and there was strong mutual influence between Flemish and Spanish composers. His setting of the heartbreaking text "Anima mea liquefacta est (ut dilectus locutus est)" (My soul failed [when my beloved spake]) is simple, short, and effective. Guerrero was second only to Tomás Luis de Victoria among Spanish composers of the High Renaissance and was known as El Cantor de Maria for his skill in composing motets in praise of the Virgin. It is fitting, then, that the Guerrero motet we present tonight is the only one on the program that makes the Marian connection explicitly. Where the Song of Songs texts has "Trahe me post te" (Draw me after you), Guerrero adds "Virgo Maria" as the specific addressee. Guerrero also makes the interesting decision to include the rather explicit body imagery of the "quam pulchra" text (including two different similes for the subject's breasts), but as with Dunstable and our earlier anonymous chant composer, this juxtaposition of spirit and flesh does not seem to cause Guerrero the level of anxiety we might expect. The use of the "Trahe" text as a Marian hymn was apparently popular enough that it appears in the Liber Usualis as a Vespers antiphon for the Feast of the Immaculate Conception. We sing this antiphon immediately before the Guerrero motet. Any discussion of Renaissance settings of Song of Songs texts would be incomplete without a mention of Giovanni Pierluigi da Palestrina. Probably the most famous of all composers of Renaissance polyphony, Palestrina devoted an entire book of 29 motets to his Song of Songs settings and dedicated the 1584 publication to Pope Gregory XIII. In his dedication, Palestrina expressed shame at having previously published madrigals and secular songs, however, both the subject matter and style of the Song of Songs motets have a great deal in common with Palestrina's more worldly compositions. We perform three of Palestrina's motets, the first of which, Vox dilecti (The voice of my beloved), is one of the more lively compositions on the program. With madrigalian word-painting, Palestrina sets the voices running and leaping with the "young hart...skipping upon the hills" that is the poet's beloved. The second selection, Dilectus meus mihi (My beloved is mine), begins with a simple, sweet declaration of mutual devotion but moves through imagery similar to the previous motet ("be thou like a roe or a young hart upon the mountains of Bether") and ends with the text of loss and anxiety we encountered in the work of Rivaflecha ("I sought him, but I found him not"). The last Palestrina motet demonstrates one interesting consequence of setting nearly the entire book of the Song of Songs, namely that some of the poetry does not quite measure up (at least in modern translation). Guttur tuum sicut vinum optimum ("The roof of your mouth [is] like the best wine"), while not the strangest verse in the Song of Songs ("How beautiful are thy feet with shoes" is a strong contender), is a- Shop: odax
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Things You Can't Keep
Embracing a more somber and wintery aesthetic, Actor Slash Model is back, with the help of Riot Folk artist Brenna Sahatjian - Back with bit more grown up sound that is, featuring multi-instrumental arrangements, including Sahatjian on cello and Minax on accordion and horns, but fear not! The lads have not lost an ounce of that whimsical spirit and witty retort that makes their sound so captivating. On a side note: Unfortunately some of the track listings through online outlets are inconsistent with the track order listed on physical CD. Our deepest apologies for the shuffle, but we trust you will safely be able to gather which songs are which, there ain't much trickery in song titles 'round these parts.- Shop: odax
- Price: 25.46 EUR excl. shipping
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He Watches Over Me
The Shuler Family Band is three generations singing 'down home' gospel music. Paul, Bonieta, Colin, Gerri, Jacob, Philip, Sara, Megan and Tommy have poured their hearts into their music for the last several years as they've traveled and sang throughout the west. This album reflects their dedication and love for the music they sing and the message it brings. 'He Watches Over Me' is the family's second album. The title song was inspired by the eruption of Mt. St. Helens in 1980. Living 30 miles from the mountain, there were lots of concerns expressed about folks' safety through the media outlets of the day. But the mountain blew and we made it through and now...here we are, nearly 30 years later, still safe in the comfort that God is watching over and protecting us. We hope you enjoy the songs selected for this album. They are a mix of different styles--some original, some traditional, some newer material--all wholesome, honest music by a family band that loves God and loves each other. Thanks for listening.- Shop: odax
- Price: 27.21 EUR excl. shipping
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Bring It On!
Permanent Ability is a band whose sound and style are incomparable to the dime-a-dozen and clichéd acts found in Los Angeles. Backed by legendary producer Jim Wirt and first round ballot Grammy Nominations, Permanent Ability's name has become synonymous with the revival and new direction of the funk-rock genre. Brian Lanese launched the band in 2008. He is a three time Emmy Award Winner and recent Grammy Nominee. Lanese sings / writes / and produces all the music and lyrics for the band. His bloodline notes a relation to Mark Twain and his writing mirrors that of his famous ancestor. Permanent Ability defines an unblemished sound that has quickly become a fan, and media, favorite. The band's energy, sound, stage presence, and ever-growing fan base even caught the attention of George Clinton and Parliament Funkadelic bassist Lige Curry, and Mario Pagliarulo of Serj Tankian. 'From the Womb to Hollywood' was the band's debut EP in 2008, and 'Bring It On!' debuted in 2010. With their sophomore disc garnering industry notoriety, the band's collection of work is a tribute to their musical influences ranging from Led Zeppelin to LL Cool J. 'Bring It On!' helped Permanent Ability achieve status as 'Best Band of the Week' by RockItOutBlog.com in less than two months of it's release, and is produced by Jim Wirt. (Wirt's other notable clients include No Doubt, Incubus, Hoobastank, Fiona Apple, and a list of other pillars within in the music industry). Brian's collaboration with Jim helped earn Permanent Ability five first round ballot Grammy Nominations in the categories: 'Best Alternative Album', 'Best Performance by Group', 'Best Package Design', 'Producer of the Year', and 'Best Rock Song.' Permanent Ability is a commercial ready band, proven by notable and respectable corporations such as FOX, Scion, and Rockstar Games (Rockband) using songs from their musical catalogue for licensing and commercial promotion. In addition, the band earned over 47,000+ hits as the most requested webcast performed on Flashrock.com. Dedicated to their art, Permanent Ability isn't interested in quick notoriety. The band relies heavily on their fans as well as true media interest, and opposes pay-to-play opportunities. Their collection of headlining gigs include venues such as the House of Blues Los Angeles, The Viper Room, The Roxy, and the Whisky A Go Go. With east-coast roots, Permanent Ability has established their brand of funk-rock music within the Los Angeles scene. The band is launching a full media junket to ensure their distinctive sound, and viable industry brand, are made available to qualified press outlets. Their music is available on Pandora Internet Radio, iTunes, Amazon, & CD Baby.- Shop: odax
- Price: 26.65 EUR excl. shipping
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Grand Hotel
GRAND HOTEL is a rock band from Portland, Maine whose tendency to mix solid grooves, four-part harmonies and pop hooks with a bit of an edge has already gained them a strong following. The band is anchored by the drumming of Aaron LaChance, who also serves as the band's producer, tightened up by bassist Jason Elvin, the band's manager, and filled out and colored in by lead guitarist Glen Capen and singer/guitarist Kyle Gervais. The band started in August of 2008 and released an EP the following year consisting of six songs produced and mixed by Noah Cole (engineer on The Cambiata's self titled release). The disc was named the #2 EP of 2009 by the Portland Phoenix. GRAND HOTEL was a part of WCYY's "Summer Camp" in August of 2009 and were inducted into the "Class of 2009," a concert series put on by WCYY Spinout to honor four bands that have successfully broken into the Portland music scene in that year. GRAND HOTEL was nominated for "Best Rock Act" in the Portland Phoenix in May 2010 . Members of GRAND HOTEL have played with the Against Me!, Murder by Death, Rustic Overtones, Sparks the Rescue, The Leftovers, As Fast As, brenda, Metal Feathers, Lost on Liftoff, Twisted R ROCK THE SCENE WITH KYLE GERVAIS (of Grand Hotel). Safe to say, great performers and musicians should be extremely memorable. Kyle Gervais is easily memorable and one of the best frontmen in the music scene. From his fiery stage presence to his fiery off-stage presence (have you ever seen him in a passionate conversation about something? Oh, mama!), Gervais is someone you will remember when you watch him do his stuff. He's the real deal. Gervais cut his teeth early with two high school bands and by the time he broke out with Cosades (he was 19), he was fronting one of the most original local acts we'd seen in years. He loves music of all kinds. He listens to more music than anyone I know in town, easily. (I'm pretty close though!) His name has grown from some of the legendary Clash of the Titans performances he's given. Right now, his current band Grand Hotel is one of the hardest-working bands around. From Nateva to the soon to be Kah-Bang Festival, to radio to press to TV to the clubs, Gervais and Grand Hotel are out there doing it right and getting in your face. That's what 'Kage' does. He's in your face and trust me you'll love him for it. YOU'RE ORIGINALLY FROM UP NORTH. SO, WHAT WAS IT LIKE GROWING UP AND STAYING IN TOUCH WITH MUSIC BEING SO FAR REMOVED FROM BIGGER CITIES? I grew up in Fort Kent and then moved to Saco in the middle of seventh grade. Oddly enough, it wasn't that big of a deal back then. During the time I was up north, MTV still played videos and I was able to at least be exposed to popular music that wasn't on one of the only Top 40 stations in the area. 120 Minutes was still on so I got to hear some of the stuff that was a little under the radar, too. Plus, I was reading Spin and Rolling Stone from a young age so if I wasn't hearing it, I was at least able to search it out. YOU HAVE A WIDE RANGE OF MUSIC TASTES, FROM POP TO ROCK TO INDIE TO DANCE TO HIP HOP. WHAT'S YOUR TAKE ON WHAT'S GOOD MUSIC? Good music is whatever is able to hold my attention while it's going on. I don't really discriminate when it comes to styles because if it's well done, it's good. Doesn't matter what it is. YOU WERE IN A COUPLE OF SERIOUS BANDS AT AN EARLY AGE, GLORY TRAP AND THE CHECK. YOU WERE PRETTY YOUNG THEN. YOU SEEMED TO MUSICALLY GROW UP AND WORK OUT THE INFLUENCES QUICKLY, DIDN'T YOU? Glory Trap was formed as soon as I hit high school and had Miek (from the Holy Boys Danger Club) on guitar. We definitely wore our influences on our sleeve back then. Doing things your own way, making things your own, it tends to last a little longer and mean a little more. WHAT LOCAL BANDS, IF ANY, INFLUENCED YOU AS YOU CARVED OUT YOUR OWN NICHE IN THIS SCENE? I don't know if there are any that influenced me musically, but certainly Rustic Overtones, Even All Out, Jeremiah Freed, and 6gig influenced me to try and play music and be in a band and have the opportunity to be heard around town. WHAT LOCAL BANDS TODAY ARE YOU BIG ABOUT? I'm really good friends with the guys in The Lucid. I grew up with half of them up north and they are always doing interesting stuff. We just played with Brenda and The Mallett Brothers at the Nateva Festival and they both just put out great records. Holy Boys, Dead Man's Clothes, Jacob and the House of Fire, Murcielago and a new band called Nice Places. COSADES IS ONE OF THE MOST UNIQUE BANDS WE'VE SEEN IN MUSIC SCENE IN YEARS. WHEN YOU STARTED THE BAND, IT WAS DEMOS DONE BY YOU AND YOUR BROTHER THEN TURNED INTO A FOUR PIECE. IT WAS TOUGH TO EXPLAIN THAT BAND, WHICH IS REFRESHING. EXPLAIN COSADES AND WHAT YOU HOPED TO DO WITH THEM. Cosades started with my brother Chris on drums. It was just a way for me to get some of the songs I had recorded released. As it developed into a band, I think the game plan was to write catchy rock songs, or at least our idea of catchy rock songs, in unexpected ways. I think we were all just trying to challenge ourselves as players and songwriters but still have fun rocking out. We would just get together and try to feed off of each other's energy, because we were coming from such different musical places. WHEN YOU PUT COSADES TO BED, YOU SEEMED PRETTY SERIOUS ABOUT STAYING AWAY FROM MUSIC. HOW DID THE FORMER MEMBERS OF ALIAS GRACE CONVINCE YOU TO COME OUT OF A SHORT RETIREMENT TO START GRAND HOTEL WITH THEM? They really just called and asked me to sing with them. Being serious about quitting and actually wanting to do it are two completely different things. I KNOW YOU'RE A BIG FAN OF SEEING LIVE SHOWS. WHAT MAKES A GREAT PERFORMANCE TO YOU AND WHO ARE SOME OF YOUR FAVORITE LIVE ACTS TO WATCH? A great performance is when I can't look away from the stage, and if I do, it's because I'm rocking out or dancing. The National put on one of the best shows I've seen recently. The set The Flaming Lips put on at Nateva was the fastest two-hour show I had ever seen, very entertaining. Two bands that I will always check out when they are in the area: Interpol and Deerhunter. YOUR GREAT PERFORMANCES HAVE EXTENDED TO THE CLASH OF THE TITANS STAGE. YOUR PERFORMANCES AS IGGY POP, SUPERTRAMP, BLUR AND EVEN JANET JACKSON HAVE BEEN AMONG THE ALL-TIME BEST. I guess I just like an excuse to play dress-up, or dress-down in some cases. It has definitely helped get my original music out to an audience that probably wouldn't have otherwise paid attention. The only bummer is when people come see Grand Hotel expecting me to be half-naked, smearing peanut butter all over my chest (like Iggy Pop). It's like, 'No, that was last week!' WHAT COULD MAKE THIS LOCAL MUSIC SCENE BETTER IN YOUR OPINION? The best thing that could happen to this scene is if there were even more outlets for local music to be heard, and if more people started paying attention to the great bands that are right in their backyard. You have Spinout on WCYY, Charlie Gaylord has Greetings from Area Code 207 on WBLM, WCSH does the 207 program, but that's only so much and if you're not dialed in at that particular time, you miss it. There's a dedicated circle of people who are aware of the bands that are active in town, but for everybody else it's a hard sell. It shouldn't be, there are artists here that are just as good, if not better, than anywhere else. It's just a matter of getting people to hear it. (Mark Curdo is a DJ on 94.3 WCYY and the owner of a record label, Labor Day Records, based in Portland. Mark is not only a board member of the Portland Music Foundation, but he loves the Boston Celtics, Ginger Ale and Jack Lemmon movies. He is a weekly Daily Sun music columnist.) Grand Statement - A different take on Hotel California cool -Sam Pfeifle Portland Phoenix There are times when I just can't get Grand Hotel's new self-titled LP loud enough. Not because it isn't recorded or mastered well - it i- Shop: odax
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Hard To Please
The Black Lillies wurden in der US-Ausgabe des Rolling Stone als einer der "10 Artists You Need to Know" ausgerufen. Sie spielen Laurel Canyon Folk, Muscle Shoals Soul, Honky-Tonk, Classic Country, Rock'n'Roll. The Black Lillies are a band for the ages: not slick, commercialised music, but rich, soulful tunes performed with as much heart as technical virtuosity. This commitment to authenticity has earned them accolades from outlets as diverse as NPR, CMT, American Songwriter, Vanity Fair, Wall Street Journal, and Rolling Stone, who named the band one of the "10 Artists You Need to Know." The Black Lillies have won three Independent Music Awards, played the Grand Ole Opry more than any other independent band (more than 35 times, to date), and enthralled audiences at festivals ranging from Bonnaroo, SXSW, High Sierra, and Rochester International Jazz Fest to CMA FanFair, MerleFest and Stagecoach. The music is breakneck, brazen and beautiful, lush Laurel Canyon folk, spirited Muscle Shoals soul, the honky-tonk heartache of classic country, winding jams and flat-out rock'n'roll ... full of the spirit of the open road, rolling down the highway and not about to stop anytime soon!"one of roots music's most talented outfits." - american songwriter magazine- Shop: odax
- Price: 14.82 EUR excl. shipping
