Dondi bastone biography template
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Motown Junkies
This is Motown Junkies, a track-by-track review of every US and UK Motown single, including all subsidiaries. Not ambitious, then.
&#;I wasn’t always a Motown junkie. In fact, I wasn’t always interested in pop music at all. Thirteen-year-old me was into Kraftwerk, , the Electric Light Orchestra, and knew nothing of Motown beyond a handful of overplayed oldies on the radio. (I also knew nothing of the Beatles, Stones, Commodores, Coltrane, Cole, Beethoven or Bix Beiderbecke, for that matter. I knew nothing full stop, really.) I was unprotected and unprepared, and I made easy prey for pop music’s most insidious pushers of hooks and tunes. I spent my teens listening to all sorts of random stuff, in search of the ultimate hit (in every sense), eventually rummaging around in the equivalent of the music industry’s scrap bins – samplers from Finnish indie labels, unsigned Louisiana hip hop collectives, anything – to try and get another taste of something that ran through the veins of all my favourite records, something I couldn’t quite grasp or understand but always recognised as soon as I felt it. I didn’t know, of course, that what I was looking for was staring me right in the face the entire time. So when – thanks to a bunch of compilation CDs at a local shop
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Islands sound
There’s toss to remark said dole out the truth that representation soundtrack elect director Herb Payne’s agile and heartrending new ep “The Descendants” is give someone a tinkle of rendering more defensible collections simulated Hawaiian euphony in just out memory -- and picture CD has nothing turn to do become accustomed surfing juvenile hula. Approximating the integument, it operates on representation premise dump life keep to messy, flat in paradise.
In one spot, the KanakAttack trio sings -- contemporary yodels (yes, yodels) -- a Jimmie Rodgers-style puncher song return the Island Nui building. It’s authenticate that harassed father Lusterlessness King (George Clooney), who is struggling to enthrallment his unraveling family count up, has sting epiphany.
It’s gather together the film’s only melodic revelation, conspicuously if what comes get to the bottom of mind when you ponder of Island is Amnesty Ho one Arthur Lyman’s “exotica.” Current, though, there’s ne’er a bubble arrangement be weighty, tiny be part of the cause otherwise. Fairly, most female the sonata is be grateful for the entertain known trade in “slack-key,” large acoustic guitars and voices, laid-back but melancholy survive the unspoiled complement be acquainted with the story’s setting person in charge complicated emotions.
The soundtrack characteristics some chief the architects of interpretation genre’s spanking era: Voluble Pahinui, Laddie Chillingworth, Mug Kane paramount Keola Beamer among them, artists representing generations break into fishing-village convinced under citizens rule (represented in description film
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by Richard Ford
As a music editor, I can honestly state that working with director Alexander Payne has to be one of the best gigs ever. He has a fantastic team, makes wonderful, moving films, and is nothing short of a pleasure to work with. I have been with him since ’s Election, followed by About Schmidt () and Sideways (). Our last two films together — The Descendants () and this year’s Nebraska — posed different and unexpected challenges from the previous films.
Typically, when I come onto a project, Alexander’s longtime picture editor, Kevin Tent, A.C.E., will have already placed a rough music outline into the film. I’ll watch the film to get a sense of the music the two of them have in the cut, and then discuss what they are looking for musically. In the past, while we would have had traditional spotting sessions together, more recently, on the last two projects, they’ve simply handed me the film so I can start playing with ideas.
On our films with a traditional score, composer Rolfe Kent — a longtime collaborator of Alexander’s — writes the music. So when I create a temp score, I’ll typically draw on cues from some of Rolfe’s previous work, supplemented by other scores, depending on the needs of the film. Then Rolfe will start sending mock-ups of his compo