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boldstreetstrut · 1 year

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This is the Film Narration-by Georgie

Narration for Bold Street Film – Georgie, Greta and Chloe

A film about Liverpool. What should we choose in a city so rich in culture, art and steeped in history? We decided to boldly go where no students had gone before….. Bold Street.

From agricultural land, the area became a ropewalk manufacturing site for the ships in Liverpool that were used for transporting slaves. Not a proud time in Liverpool’s history. In the 1780s, Houses were developed, built for merchants. After becoming somewhat forgotten in the 1980s and 90s Bold Street has once again reinvented itself. It has a diverse, multi-ethnic atmosphere, creating a vibrancy that draws all people.

It was named Bold Street after Jonas Bold – one of the most influential men of his time and yes, you’ve guessed how he made his money….

But not everyone was enmeshed in the slave trade, let’s introduce William Roscoe. He was instrumental in the construction of this magnificent building that is the first you see when starting your journey up Bold Street. The Lyceum was the innovation of Roscoe and other philanthropists. It was built in a neo-classical style and housed the first subscription library in England, paving the way for our public libraries. Now, the Lyceum needs to be restored to its former glory. We live in hope.

Back to William Roscoe briefly, who came from a working-class family and rose to become known as ‘Liverpool’s greatest citizen’. As the MP for Liverpool, he campaigned tirelessly for the abolition of slavery – a brave man indeed. . But we owe more to him than his stand against the slavers. Without him, we would not be here in this building now. He was instrumental in establishing the Liverpool Mechanics’ School of Arts in 1823. It went on to be the best university in Liverpool – yes, LJMU!!

The secret of appreciating Bold Street’s architectural history is to look up, above the modern shop fronts that line the street. Above, can be seen 18th century facades, Edwardian, Victorian and the beautiful Art Deco styles of Radiant House and the former art gallery, Rennies.

We pause here outside Mowgli, to pay homage to Nisha Katona, our vice-chancellor. This was her flagship restaurant and paved he way for others, only in the North.

Bold Street has always had its share of artists in residence. In 1823, Louis Daguerre, father of modern-day photography, installed one of the first dioramas in Europe here in a purpose-made building. A diorama is large semi-transparent canvas behind which natural or artificial lights would create atmospheric effects – an early form of cinema. The Ruins of Holyrood that we have all admired in the Walker Art Gallery was one of his first exhibitions across the British Isles.

Around the end of the 19th century, Francis Barraud set up his studio above his brothers’ photography work room at 92 Bold Street. Francis who, I hear you ask? It was in this studio in 1898 that he painted a Jack Russell listening to a phonograph. This image was to become a world-famous icon and logo… His Master’s Voice. This was adopted as the trademark for RCA records and later EMI.

A visit to Bold Street Coffee will give you the opportunity to view work by upcoming local artists. As an independent cafe, they wanted the community to grow as they grew. They believe art and coffee go hand in hand. They want to bring contemporary art to an audience who would not normally engage with all that new-fangled stuff.

Just off Bold Street stands FACT. It was set up in 1988 to provide a base for artists to have access to the new media. In 2003, FACT opened a purpose-built art hub and has been at the forefront of new styles of artwork. The building is not a white cube but has curves, space and natural light – welcoming all into its accessible surroundings. Their aims are to enable artists to use technology to explore how we live our lives, and to support the intersectionality of human beings and technology. The gallery and artists work throughout the local communities and schools to bring art outside the walls of a gallery.

From 2004-2007, FACT created the Bold Street Project, working with local artists and the community of the street. Michelle Wren created a 3D sculptural model of Bold Street, as an homage to Daguerre’s diorama. There were community events, artwork and performance art. You can find the link to more of this project on our blog.

And we now come to the Bombed-Out Church which stands as a guardian to watch over the Bold Street community. A place of worship until May 1941, it was extensively damaged by the bombing blitz that hit Liverpool. It is a memorial to all those who died in war. In 2014, a sculpture by Andy Edwards, called ‘All Together Now’ was placed in the grounds, commemorating the Christmas Day Truce between the British and Germans, where they laid down their arms and played a game of football – a fitting tribute to the residents of Liverpool, where the beautiful game is so revered. The Bombed-out Church is a venue for artists, community theatre and craft markets.

We hope we have shown you how Bold Street and its residents have influenced the development of architecture and culture over the last two centuries and how Liverpool’s artistic heritage will continue to thrive.

No film about Liverpool would be complete without music, so we end our film with ‘The Bold Street Strut’ by Wild Rossa and the ’88, released in 2015.

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no-reply95 · 2 years

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"George Harrison had charted a more positive path into the future. Shortly after completing his traumatic US tour, he met the Monty Python team of comedians, and recognised that he had found a boys' club to replace the Beatles. As early as January 1975 Michael Palin wrote in his diary, 'He wants to be involved in some kind of way with us in the States. He said he has so many ideas to talk about, but I was a little wary, especially when he said he envisaged a Harrison-Pythons road show with us doing really extraordinary things throughout the show, such as swinging out over the audience on wires.' Visiting Harrison's mansion later in the year, Palin lamented, 'One can't escape the feeling of George somehow cut off from everyday life by the wealth that's come his way' and found the ex-Beatle anxious 'that we should stay the night, play snooker on his Olympic-size snooker table, drink and generally enjoy ourselves.' Harrison found that the Pythons' defiantly English humour exactly matched his own. In December 1975 he happily satirised his image on Eric Idle's TV show Rutland Weekend Television, in contrast with the world-weary atmosphere of his final Apple/EMI album, Extra Texture. Though the record betrayed traces of comedy - in place of the standard Apple logo, Harrison used a chewed-up apple core - its portentous and moralising tone won few admirers, continuing his steady slide out of public affection."

Peter Doggett, You Never Give Me Your Money, 2009

#the beatles #george harrison #michael palin #monty python #peter doggett #you never give me your money #:(

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watusichris · 3 years

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Rock Gunfight in the Antipodes

Listening today to the hot new Grown Up Wrong! comp by Sydney’s Lipstick Killers, whose lone officially released single was produced by Deniz Tek of Radio Birdman, it occurred to me that my old Music Aficionado faux faceoff between Australia’s pioneering bands of the ‘70s (all of which I dearly love) has disappeared into the online ether. It’s time to bring it back.

**********

By Chris Morris

The mid- to late ‘70s were fertile days for rock ‘n’ roll in Australia. Here and there across the vast but not terribly populous island continent, fires were started by several attitude-filled bands bent on doing things their own damn way. They all managed to make their way off the island, but if they hit the American consciousness, it was for little more than a nanosecond during their heyday.

Who were the truest Rock Wizards of Oz? For this Down Under face-off, I’ve selected three contenders: the Saints, Radio Birdman, and the Scientists. All of them had fairly slim discographies; ironically, the act probably least known in the U.S., the Scientists, recorded most prolifically, with their core line-up producing several magnificent albums and singles during a productive four-year stretch in the early ‘80s. But none of these bands ever stayed together long enough to make a deep impression among the Yanks.

So where’s the Birthday Party, you ask? There are a few things to consider. First of all, though the band and its precursor unit the Boys Next Door were in business from 1976 on, they didn’t release their first LP until 1980. Also, Nick Cave is well known enough that more (king) ink needn’t be spilled on him. Finally, I still resent the fact that Cave stole PJ Harvey away from me, so it’s personal.

On with the showdown…

HIT ME LIKE A DEATH RAY, BABY

The Saints, founded 1974 in Brisbane

The prime movers of the Saints were a pair of literal outsiders: vocalist Chris Bailey, born in Kenya to Irish parents, and guitarist Ed Kuepper, raised in Germany. Thus the otherness of their work is no surprise.

With schoolmate Ivor Hay – who over time would play drums, bass, and piano with them – the pair founded a combo originally known as Kid Galahad and the Eternals (borrowing their handle from a 1962 Elvis Presley picture), but they swiftly renamed themselves the Saints and began playing in their hometown on the northeast coast of Australia.

Listening to their records, which were made in something of a cultural vacuum, it’s difficult to get a handle on where the Saints’ distinctive, aggressive sound came from. To be sure they were aware of such homegrown precursors from the ‘60s as the Master’s Apprentices and the Missing Links (whose 1965 single they covered on their debut album). It’s safe to assume they were conversant with the Velvet Underground, the Stooges, and Lenny Kaye’s 1972 garage rock compilation Nuggets. Yet they bred something utterly their own in the ocean air of Brisbane.

With Hay on drums and Kym Bradshaw on bass, Bailey and Kuepper mounted noisy local gigs that swiftly attracted the antipathy of the local constabulary; they wound up turning their own digs into a club to play shows. In 1976, they recorded and issued a self-financed single featuring two originals, “(I’m) Stranded” and “No Time.” These dire, ferocious songs were distinguished by venomous lyrics, unprecedented velocity, and guitar playing by Kuepper that sounded like a (literal) iron curtain being attacked with a chainsaw.

The record died locally, but a copy of its U.K. issue found its way into the hands of a critic at the English music weekly Sounds, which declared it the single of the week. This accolade got the attention of EMI Records, which signed the band and financed the recording of an album, also titled I’m Stranded, in a fast two-day Brisbane session.

The album, which was ultimately released in the U.S. by Sire Records, blew the ears off anyone who heard it, and it landed with a bang in England, where punk rock was lifting off in all its fury in early 1977. It was hurtling, powerful stuff that stood apart from punk in several crucial ways: While some of the songs were clipped and demonic in the standard manner, the Saints proved they could take their time on expansive numbers like the almost Dylanesque “Messin’ With the Kid” and the sprawling, hellriding “Nights in Venice.” And one has to wonder how British p-rockers took to their perverted take on Elvis’ squishy “Kissin’ Cousins.”

Made by musicians who never considered themselves “punks,” and who in fact abhorred the label, (I’m) Stranded is nevertheless one of the definitive statements in the genre, and it has maintained its force to this day.

Settling in England for the duration, the Saints decided to throw a curveball. One could not find a more profoundly alienated album than Eternally Yours (1978), a series of yowling protests, twisted prophecies, and savage put-downs, including the snarling second version of the single “This Perfect Day.” But, though the record was loud and for the most part swift, the group applied the brakes to their sound somewhat, and a couple of songs, including the caustic album opener “Know Your Product,” were dressed by a soul-styled horn section. Punk loyalists ran for cover.

By the time Prehistoric Sounds was issued in late ’78, the dejected Bailey and Kuepper were moving in different directions, and you can hear it in the grooves. The record is slow, almost listless at times, and its logy originals are complemented by incongruous Otis Redding and Aretha Franklin covers with none of the energy of earlier Saints soul-blasts. It is an album primarily for loyalists, and by then there were few in that number.

Kuepper exited the band on the heels of the third album’s release and returned to Australia, where he enjoyed a long career as leader of the Laughing Clowns; Bailey continued to perform under the Saints mantle with a shifting lineup that at last count numbered more than 30 players over the course of 37 years

Bailey and Kuepper reunited for one-off gigs in 2001 (at the ARIA awards ceremony) and 2007 (at Australia’s Queensland Music Festival).

THERE’S GONNA BE A NEW RACE

Radio Birdman, founded 1974 in Sydney

People who toss the “punk” handle around often throw Radio Birdman into the mix, but the sextet from Australia’s Southeast Coast may be best referred as the world’s youngest proto-punk band.

Its mastermind was guitarist, songwriter, and producer Deniz Tek, a native of Ann Arbor, Michigan, who emigrated to Sydney in 1971 to study medicine. As a teen, he got a chance to witness Detroit’s most explosive pre-punk bands – the MC5, the Stooges, and the Rationals; he would later wind up collaborating with important members of all those groups.

After apprenticing with and getting bounced from a Sydney band called TV Jones, Tek formed Radio Birdman (its name a corruption of a lyric from the Stooges’ “1970”) with singer Rob Younger; the lineup ultimately solidified with the addition of guitarist (and sometime keyboardist) Chris Masuak, bassist Warwick Gilbert, drummer Ron Keeley, and (on and off and then on again) keyboardist Pip Hoyle.

Rapidly acquiring a fan base made up of some of Sydney’s lowest elements, including members of the local Hell’s Angels, Radio Birdman ultimately took over a bar, re-dubbed (in honor of the Stooges, of course) the Oxford Funhouse, as their base of operations. The band’s severe Tek-designed band logo emanated fascist-style vibes for some; at a co-billed appearance in Sydney, the Saints’ Chris Bailey remarked from the stage, “We’d like to thank the local members of Hitler Youth for their stage props.”

Despite much antipathy and some attendant violence, the band maintained a loyal local following, and in 1976 it issued a strong four-song EP, Burn My Eye, via local studio-cum-independent label Trafalgar. This was succeeded the following year by a full-length debut album, Radios Appear.

Anyone looking for something resembling punk will likely be disappointed by that collection. The band wears its all-American hard rock/proto-punk influences on its dirty sleeve. Radios Appear is dedicated to the Stooges (whose “No Fun” was the lead-off track on the Aussie issue of the LP), and a song co-written by Tek and Stooges guitarist Ron Asheton, “Hit Them Again,” was cut during sessions for the record. Tek pays deep homage to MC5 guitarist Wayne Kramer with his playing, and blatantly cops a signature lick from the 5’s “Looking at You” at one juncture. The album title was lifted from a Blue Öyster Cult lyric, and the Tek-Masuak guitar-bashing bows to their multi-axe sound. Finally, in both Younger’s sometimes Morrisonian vocalizing and Hoyle’s Ray Manzarek-like ornamentation, homage to the Doors in paid in full. Given that Sydney is a beach town, there’s even a frisson of surf music in the mix.

Bursting with power-packed originals like the apocalyptic “Descent into the Maestrom,” youth-in-revolt anthem “New Race,” the cryptic, insinuating “Man with the Golden Helmet,” and Tek’s autobiographical “Murder City Nights,” Radios Appear was a power-packed set that established Radio Birdman as Oz’s leading rock light.

However, renown did not equal success in Antipodean terms. In 1978, the band cut its second album, Living Eyes, at Rockfield Studio in Wales; it was a solid effort that included remakes of three Burn My Eye numbers (including the wonderful Tek memoir “I-94,” about the Michigan interstate) and excellent new originals like “Hanging On,” “Crying Sun,” and “Alone in the End Zone.” But, with success seemingly within their grasp, Sire Records – their American label, and the Saints’ as well – switched distribution and cut their roster, leaving their new work without a home. Within months of this catastrophe, Radio Birdman disbanded.

The principals scattered, to Younger’s New Christs and Tek and Hoyle’s the Visitors; Tek, Younger, and Warwick Gilbert later joined MC5 drummer Dennis Thompson and the Stooges’ Ron Asheton in the one-off New Race. Tek also later recorded with Wayne Kramer and Scott Morgan of Ann Arbor’s Rationals in Dodge Main.

Radio Birdman’s original lineup reunited for a 1996 tour; in August 2006 – after four of the original sextet regrouped to record a potent new album, Zeno Beach – the band played its first American date ever, at Los Angeles’ Wiltern Theater. Your correspondent was there, and it was freakin’ incredible.

IN MY HEART THERE’S A PLACE CALLED SWAMPLAND

The Scientists, founded 1978 in Perth

Among the important Aussie bands of the ‘70s, the Scientists were among the first to be directly influenced by the punk explosion in New York.

As guitarist-singer-songwriter Kim Salmon – the lone constant in the Scientists’ lineup during their existence – wrote in 1975, “Reading about a far-off place called CBGB in NYC and its leather-clad denizens, all with names like Johnny Thunders, Richard Hell, and Joey Ramone, got me thinking…I immediately went searching for Punk Rock. What I found were The Modern Lovers and The New York Dolls albums.”

Salmon first dabbled in the new sound with a band bearing the delightfully punk name the Cheap Nasties. Cobbled together in Perth – the Western provincial capital of Australia – from members of such local acts as the Exterminators, the Victims, and Salmon’s the Invaders -- the early Scientists were as derivative as one might imagine. Their early songs, heard on their self-titled LP (the so-called “Pink Album”) and an early single and EP, sport original songs authored by Salmon and drummer-lyricist James Baker, the backbone of shifting Scientific crews through 1980. The tunes range from straight-up Dolls/Heartbreakers rips (“Frantic Romantic,” “Pissed On Another Planet,” “High Noon”) to buzzing romantic pop-punk in a Buzzcocks vein (“That Girl,” “She Said She Loves Me”).

Not terribly promising stuff, but, after the departure of Baker for the Hoodoo Gurus in 1981 and a brief stint in a trio called Louie Louie, Salmon assembled a new Scientists who would prevail for nearly four years. That outfit – Salmon, guitarist Tony Thewlis, bassist Boris Sujdovic, and drummer Brett Rixton – promptly relocated to Sydney and started making the noise they are noted for.

By that time, Salmon had begun cocking an ear to the Birthday Party (and no doubt paid careful attention to the sordid noise on the Melbourne group’s 1982 album Junkyard), had discovered the miasmic voodoo of the Cramps, and started grooving to the dissonant, slide guitar-dominated racket of Captain Beefheart and his Magic Band. In short order, he would also absorb the bluesy downhome assault of Los Angeles’ roots-punk outfit the Gun Club.

The Sydney-based Scientists hooked up with indie label Au Go Go, which issued a devastating run of careening, mossy records by the band in 1982-83 – the vertiginous singles “This is My Happy Hour”/“Swampland” and the corrosive “We Had Love” (backed by a faithful cover of Beefheart’s “Clear Spot”), and the heart-stopping mini-album Blood Red River, which bore the churning “Set It On Fire,” “Revhead,” and “Burnout.” Others were essaying a similar style, but the Aussie youngsters were beating their elders at their own game.

Eying the big time, the band moved to London in 1984. Some opportunities presented themselves initially: The band got European tour slots with the Gun Club and early Goth act Sisters of Mercy. But their deal with Au Go Go fell apart acrimoniously; while they made a pair of fog-bound albums, You Get What You Deserve (1985) and The Human Jukebox (1987) for Karbon Records (and a set of re-recorded songs, Weird Love, was issued in the U.S. by Big Time Records), they scraped by in Britain.

Defections from the ranks commenced in ’85, and by early 1987 the depleted Salmon used money from a housing settlement to move back to Australia, where he founded a new band, the Surrealists.

Still valued among the cognoscenti, Salmon, Thewlis, Sujdovic, and latter-day drummer Leanne Chock appeared, at the invitation of Seattle’s Mudhoney, at London’s All Tomorrow’s Parties Festival in 2006. Earlier this year, Chicago-based archival label the Numero Group issued a comprehensive four-disc box of the band’s original recordings.

So, at the end of the day, who is the all-time champeen of ‘70s Oz rock?

Scoring on points, the Saints are tops for Being Punk First with additional wins in the Pure Noise and Weltzschmerz categories, Radio Birdman takes the Technical Ability and Old-School Attitude slots, and the Scientists prevail in the Loud Young Snot and Grunge Thug division.

And the championship belt goes to…the Saints!

Of course, that could all change tomorrow, but that’s rock ‘n’ roll for ya.

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winxclubabridged · 2 years

Video

Winx Club Abridged - Episode 12: Oh Oh Oh It's Miss Magix (Part 2 of 3)

This is a fan-based parody. Winx Club, World of Winx, Fate: The Winx Saga and its characters were created by Iginio Straffi, and are all owned by Rainbow (ViacomCBS) and Netflix. Please support the official release.

"Fair use" is codified in Section 107 of the Copyright Act 1976. Allowances are made for fair use "for purposes such as criticism [or] comment." Factors such as non-commercial, educational or personal use tip the balance in the favour of a fair use ruling.

Any false copyright claim filed against my channel is perjury and punishable by law. Please support the official release.

--LOGO--

Winx Club 3D logo by jadeavon (https://www.deviantart.com/jadeavon/art/Winx-Club-3D-logo-F2U-645621498)

--MUSIC--

Daria opening song and outro: "You're Standing On My Neck" by Splendora Stem Distributions LLC. (on behalf of Viacom International Inc.); UMPI, BMI - Broadcast Music Inc., Sony ATV Publishing, and 2 Music Rights Societies

The Trix Fail Montage song: "Promise (Get Down)" by Hirose Kohmi https://www.youtube.com/watch?v=ifs4zmWD3ms

Musa's hip hop track: "Urban Traffic" produced by Danya Vodovoz https://www.youtube.com/watch?v=lk-POX6lXRI Danya Vodovoz produces royalty free music for creators on Youtube. Please check out their channel and show them some love: https://www.youtube.com/channel/UCNcwZT1x-BUHcWNagbcDccQ

Miss Magix Show intro: "Awarding Background Music" by Music for Video Library https://audiojungle.net/item/award/19912357?ref=music_for_video&irgwc=1&clickid=RuCRc%3ASyCxyLTVpUYzVGgUN6UkGQNKR-lWFdUY0&iradid=275988&irpid=1296265&iradtype=ONLINE_TRACKING_LINK&irmptype=mediapartner&mp_value1=&utm_campaign=af_impact_radius_1296265&utm_medium=affiliate&utm_source=impact_radius

Heidi's parkour song: "Spazzmatica Polka" by Kevin MacLeod https://www.youtube.com/watch?v=vx2tQgtT1Tc

Lucy's dance track: Swan Lake (Ballet Suite), Op. 20: I. Scene (Swan Theme) London Philharmonic Orchestra / Yuri Simonov https://www.youtube.com/watch?v=9cNQFB0TDfY

Stella's dance track: "Big Enough" by Kirin J Callinan Album: Big Enough Vydia, The Orchard Music, UMG (on behalf of EMI Recorded Music Australia Pty Ltd); UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, Polaris Hub AB, SOLAR Music Rights Management, CMRRA, Broma 16, LatinAutor - SonyATV, LatinAutor, Sony ATV Publishing, LatinAutorPerf, ASCAP, BMI - Broadcast Music Inc., and 15 Music Rights Societies

Stella's inspirational speech song: "outro a12" by Setuniman (from 'Cinematic Finales' collection) https://freesound.org/people/Setuniman/ https://freesound.org/people/Setuniman/sounds/147537/ Used here under a Attribution 3.0 Unported (CC BY 3.0) license.

Lucy wins Miss Magix song: "The Most Beautiful Girl in the World" by Prince UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, UMPG Publishing, LatinAutor - Warner Chappell, LatinAutor - UMPG, LatinAutor, UMPI, LatinAutorPerf, Global Music Rights LLC, Concord Music Publishing, PEDL, and 1 Music Rights Societies

--SOCIAL--

https://www.youtube.com/c/WinxClubAbridged_WCA https://twitter.com/WCAbridged https://winxclubabridged.tumblr.com/

#Winx Club Abridged #WCA Season 1

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rapturerecords · 3 years

Audio

Song: Modern Jazz (Blues) (aka Jazz Blues)

Composer: Gerhard Trede Record Label: The CBS Records EZ Cue Library CBS EZQ 172 Released: ca. 1968

Location: Gomorrah casino, Mysterious broadcast

This is one of the longer pieces in Fallout with the instrumental coming in at 5 minutes. Like its cooler cousin, this library music song known as “Jazz Blues” can be heard playing in the lobby of the Gomorrah casino or later on the Mysterious broadcast.

While the record is almost entirely covered with fairly lengthy Gerhard Trede compositions, one side dwarfs them all with a massive groove for a 14 minute track by Messrs. Kuhn and Kuhn and their “Transfiguration (Free Jazz)”.

Unfortunately, unlike Fallout 3′s end credits, Fallout: New Vegas’ end credits features the licensed music from the standard record labels, but omits all of the radio tunes from APM including the instrumentals save for a brief mention of “Additional Music Courtesy of APM Music”.

As is the case with library music, finding artist and recording information is extremely difficult as these songs were never meant to be sold to the public, instead being exclusively used for the film and TV industry. What follows is an attempt to extricate this information.

Note: Library music is typically identified by composer or emotion. Very little can be confirmed about the musicians who performed on the recording.

Here’s the full track list.

Side 1

Jazz

1. Transfiguration (Free Jazz) (Rolf Kuhn/Joachim Kuhn)

2. Back ‘N’ Forth (Gerhard Trede)

Side 2

Jazz

1. Modern Jazz (Blues) (Gerhard Trede)

2. Modern Jazz (City-Sound) (Gerhard Trede)

3. Modern Jazz (Moderato No. 1) (Gerhard Trede)

4. Modern Jazz (Fast) (Gerhard Trede)

5. Modern Jazz (Moderato No. 2) (Gerhard Trede)

About the composer

A publicity blurb from the May 2018 newsletter from Sonoton, the current license holder for the work of Gerhard Trede.

A color portrait of Trede from Hamburger Flimmern, 2006 Issue 13

Gerhard Trede is the most prominent musician on the Fallout series radio soundtrack with nine tracks total (2 from Fallout 3 and 7 from Fallout: New Vegas), eclipsing even the Ink Spots’ six songs.

A mainstay of the APM lineup, his work appears in everything from Spongebob Squarepants and Ren & Stimpy to period works and TV shows like The Marvelous Mrs. Maisel to Conan to numerous documentaries.

Despite this, very few biographies exist of him in English detailing his prolific composing career aside from official publicity blurbs mentioning his early life in Hamburg, Germany and his extraordinary musical output of over 100 compositions a year to playing over 50 instruments. Several articles in German report on his music scoring work in the newsreel series for Neuen Deutschen Wochenschau.

An essay details how the old Deutschen Wochenschau archive was bombed in Berlin throughout 1943 and 1944 to a point where the film reels and their music preserved on optical soundtracks were badly degraded from moisture, cold, and improper storage. The Neue Deutsche Wochenschau (NDW) would incorporate some rescued music cues. Gerhard Trede was hired in 1953 to fill in the substantial gaps in the music inventory. By 1955, he was composing for the newsreel every week, recording in an inn in Wellingsbüttel to be delivered to NDW. However, his compositions were owned by NDW and income derived solely through GEMA, Germany’s music rights organization.

Moviegoers quickly found the “Tredes Melodien“ from the newsreels so “eingängig” (catchy), that they demanded “Schallplatten“ or records to be made available, only to be continually rebuffed:

Brief von NDW Redaktion (A. Strehlke) an Werner Belgerin, Braunschweig vom 16.12.1961, Korrespondenz ab 1958, Archiv DW. Antwort auf eine Frage zu einer Schallplattenaufnahme der Musik, die in einem Bericht über die Europameisterschaften im Eiskunstlauf (NDW Nr. 575) zu hören war. Eine Schallplattenaufnahme zu erhalten war nicht möglich, da die Musik Eigentum der NDW war. Heute wird die Musik von G. Trede von der Fa. Sonoton als ‚typische‘ Musik der 1950er Jahre vertrieben – zu den Kunden zählen z.B. Fernsehsender und Filmproduzenten.

Letter from NDW Redaktion (A. Strehlke) to Werner Belgerin, Braunschweig, December 16, 1961, correspondence from 1958, DW Archive. Answer to a question about a recording of the music that was heard in a newsreel report on the European Figure Skating Championships (NDW Film No. 575). Obtaining a record was not possible because the music was owned by the NDW. Today, Gerhard Trede's music is sold by Sonoton as 'typical' music from the 1950s. Clients include television broadcasters and film producers.

By the 1970s, newsreels were dropping off in favor of television as Trede quickly shifted gears for the new format. He reacquired the rights to his massive collection of music and continually added new tracks to suit the electronic and experimental fashions of the time.The rights to his work vary from Selected Sound to EMI and finally to Sonoton.

Regrettable, few contemporary photographs of Trede have surfaced. There is purportedly a very young picture of him as a soldier in WWII. Aside from scoring for newreels and television programs from 1952 to 1982, Trede would compose “Nie wieder Krieg” or “War No More” in 1993 to reconcile his experiences as a WWII soldier. Trede would die 3 years later also in Hamburg.

About the recording

For those with an interest with reel-to-reel magnetic tape, CBS evidently issued their EZ Cue library on reels as well, The LP EZQ 172 is equivalent to Reel EXT 572. See the reels spinning here.

As a German composer, Gerhard Trede maintained his own private library music label in Germany and any recording information appears to be landlocked there. Rights appear to still remain in Germany under Selected Sound and Sonoton, as well as under his pseudonym, Victor Cavani. However, he did license music for use in the UK and US market under Mozart Edition and CBS Records EZ Cue Library in the 1960s.

As for partially dating when this track was recorded or released, it’s proving nearly as byzantine as for “Joe Cool”.

Naturally as a division of Columbia Records, Columbia Special Products, and the famed “Tiffany Network”, the Columbia Broadcasting System, CBS needed a service to provide musical scoring for its television shows. Evidence of this comes from when CBS donated its archive to UCLA which has been meticulously poured over by researchers unraveling the cue sheets.The CBS EZ Cue Library was intended as a replacement of an older Reel system used by CBS which numbered as high as #75 with subsections A/B/C/D.

An early CBS EZ Cue catalog lists LPs EZQ 101-175 and Tape EZT 501-575. Several cues are named for CBS shows like The Twilight Zone and Perry Mason, the latter aired its final episode on CBS in 1966.

Advertisements for the CBS Records EZ Cue Library appear as early as 1970 in the Darnell Corporation’s Sales Management. Above is a print ad for CBS EZ Cue in the Radio Section of the 1971 Broadcasting Yearbook, published January 15, 1971. The 1971 advertisement uses the serif version of the CBS logo while the 1972 edition of the yearbook features CBS advertisements using a new sans-serif logo.

So far, this gives us a date that the CBS EZ Cue Library was offered for sale and distribution around 1967-1971.

Like “Joe Cool” and “Stars and Teardrops”, the secret lies in the matrix numbers, in this case XTV 134329 and XTV 134330 for the sides that have the track known as “Modern Jazz (Blues)”.

The Library of Congress holds the Columbia Records Paperwork Collection for the years 1923-1964. It details that XTV stands for a 12 inch mono LP while XSV stands for a 12 inch stereo LP. While the archive shows XTV numbers from 11000-94000 sequentially spanning the years from 1949-1964, the XTV numbers are still 5 digits and have not reached the 6 digit XTV number present on the CBS EZ Cue LP as the archive does not go beyond 1964.

Fortunately, Columbia Special Products pressed other records with similar 6 digit XTV numbers with known pressing dates.

Like RCA Custom, Columbia Custom XTV and XSV codes can be tied to a pressing date though Columbia’s is less precise. Judging by the 6 digit XTV and XSV matrix codes above for work by Columbia Custom for labels like Vanguard, Silver Burdett, Reader’s Digest, and even Columbia’s own CBS Special Products the XTV/XSV numbers can be roughly dated as:

XTV 120000 - 1967

XTV 130000 - 1968

XTV 140000 - 1969

Note that XSV stereo matrix numbers may be pressed at slightly different times than XTV mono releases. The 1968 TV movie for Kiss Me Kate was produced by Armstrong Circle Theatre which ran all the Big Three networks, NBC (1950-1957), CBS (1957-1963), and ABC (1966-1968). CBS evidently kept a close association with Armstrong TV productions by 1968. CBS also produced The Incredible Year 1968 with a higher XSV number of 144898; due to its content as an anthology of CBS News broadcasts from the year, it must have been produced towards the end of 1968 or early 1969.

Therefore, if the record with “Modern Jazz (Blues)” has Columbia matrix numbers of XTV 134329 and XTV 134330, it’s consistent with XTV 130000 releases in 1968. It is likely the first run of LPs for EZQ 101-175 with mono XTV numbers were all pressed around 1968 and later stereo XSV 1400000 content released as needed. As shown above, it appears the serif CBS logo was used to advertise this set until 1971 before the transition to sans-serif.

As for why “Modern Jazz (Blues)” became “Jazz Blues”, it’s likely because the original record had too many “Modern Jazz” descriptors. The record was partially reissued in 1990 on the Gerhard Trede Collection CD under Selected Sound and EMI for Jazz Time 1.

Namely, the CD retitled several of the CBS tracks as:

CD CBS

1. Jazz Blues <=> Modern Jazz (Blues)

2. City Sound <=> Modern Jazz (City-Sound)

4. Jazz im Bach Stil <=> Bach ‘N’ Forth

Note the retention of the Johann Sebastian Bach pun.

The liner notes booklet is regrettably short on details, as expected for a library music CD. Trede would have been in his 70s when this CD was made of his CBS work from the 1960s. Though the CD notes it was made in West Germany when the country reunified the same year in 1990.

“Jazz Blues” is officially described as:

Sax gest. Trompete. Piano, sentimental schön.

Sax, muted trumpet, piano, sentimental nice.

The rest of the liner notes indicate the Gerhard Trede library was still transitioning from Selected Sound to EMI in 1990.

Another note is as follows:

Alle Musiken wurden von Gerhard Trede komponiert, instrumentiert und produziert.

Die Kompositionen, die mit einem (+) gezeichnet sind, wurden vom Komponisten auf allen Instrumenten selbst gespielt im eigenen Studio.

All music was composed, orchestrated and produced by Gerhard Trede.

The compositions marked with a (+) were played by the composer himself on all instruments in his own studio.

Though Trede was a talented multi-instrumentalist, “Jazz Blues” doesn’t have a plus so it doesn’t appear he solely performed on the track.

Other library music records used in Fallout:

Jazzy Interlude/Jazz Interlude - Billy Munn - CBL 37

Swing Doors - Allan Gray - CBL 37

Rhythm for You - Eddy Christiani & Frans Poptie - CBL 40

I’m Tickled Pink - Jack Shaindlin - CMR 406

Joe Cool/Stars and Teardrops - Nino Nardini - SF 1007

Roundhouse Rock - Bert Weedon - 6007 012

#fallout new vegas #jazz blues #gerhard trede #Mysterious Broadcast #modern jazz blues #CBS EZ Cue #library music #CBS Records

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eildotcom · 4 years

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DAVID COVERDALE Signed Photograph. Circa 1978 UK Purple label black & white promo publicity photograph, featuring a great head & shoulders image, with artist name at the bottom and record company logo, measuring 10" x 8" in size. This has been boldly dedicated & signed 'To Vivien, Love, David Coverdale' in a blue marker pen. This was acquired from an ex EMI employee, who worked closely with the record label, their many artists and other labels. Available from https://eil.com/shop/moreinfo.asp?catalogid=740444 #eildotcom #eil #records #vinyl #rarerecords #rarelps #rock #classicrock #cratedigging #vinyljunkie #vinylcollection #recordcollection #vinylporn #instavinyl #memorabilia #photograph #signed #autographed #davidcoverdale https://www.instagram.com/p/B9K4ph8BvB-/?igshid=k5cch8cm8g0m

#eildotcom #eil #records #vinyl #rarerecords #rarelps #rock #classicrock #cratedigging #vinyljunkie #vinylcollection #recordcollection #vinylporn #instavinyl #memorabilia #photograph #signed #autographed #davidcoverdale

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hurmatp2p-blog · 4 years

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10DANECES ONLINE IT TRAINING JAMSHEDPUR

About 10Daneces IT Training Institute

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is an IT training institute in Jamshedpur. It has also its centers in different cities including Noida,patna and Jamshedpur. It provides diverse programming course which is easier to learn for students and working professionals. It provides both online and offline facilities that makes easier to reach for everyone.

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omegaplus · 4 years

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# 3,260

Paul McCartney & Wings “Helen Wheels” b/w “Country Dreamer” Belgian 7″ (1973)

Nothing says staking your claim by putting your eponymous logo right in front of your jacket. Apple Records started in 1968 by the Beatles and had EMI distributing their records aside from issuing albums from other artists, too. It’s also the same Apple who had a legal tussle with the computer manufacturer and settled to license the trademark (not the logo). Belgium’s “Helen Wheels” sleeve gives you a fresh green sour apple (and a leaf, too) on dark red text with Davida / Dascha type.

#apple #green #dark red #davida #dascha #type #text #font #EMI #omega #music #mixtapes #reviews #playlists #The Beatles #Paul McCartney #Macca #pop #vintage #classic

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roger1na · 5 years

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careful ch4 - john deacon x reader

summary: you are a ballet student at the royal ballet academy. To pay for your tuition, you work part-time at the celebrity gossip magazine, Seven. One fateful day you’re sent to interview a band on the rise, Queen, post-concert and befriend the sweetest man on the planet.

words: 4k+

warnings: swearing (and tension ;0)

author’s note: keep forgetting to mention that this fic happens in late july 1974! there are a few inaccuracies concerning brian’s illnesses and newspaper articles but, hey, it’s a fic, right? according to googe though, norwegian wood, really does have waltz time! and it’s a hella good song. thank you for all the love <3

[ch1] [ch2] [ch3] [ch4] [ch5] [ch6] [ch7] [ch8]

chapter four

Your heart was ready to burst out of your chest as you looked in the mirror on that fateful saturday morning.

Your hair was falling around your bare shoulders. You’d gone with a bright red tank top and blue overalls that cut off mid thigh, as the meteorologist had promised a hot afternoon. Nervously you pouted at the mirror and tried to look cute, but you felt ridiculously silly.

You had called Rose on friday night in a panic.

“What the fuck do I wear? I can’t just wear my training clothes they’re ugly as shit,” you were babbling on while Rose had laughed.

“You’re so nervous, it’s adorable.”

“Rose,” you had warned.

“Listen, it’ll be alright, put on something you can move in, but not something dumpy, it’s not like you’ll be bending over backwards with a couple of beginners.”

You had sighed and nibbled on your nails, the chewing sound traveling through the phone.

“Oi, don’t bite your nails, it’s a bad habit!” Rose had scolded you. You had stopped immediately, feeling slightly ashamed.

“See, I’ll do something like this, something embarrassing and he’ll leave me forever,” you had whined.

“If he leaves you for that, he was going to leave you anyway,” she had replied nonchalantly.

“Not helpful,” you had groaned and rubbed your forehead.

“It’ll be fine. It’ll be great.” Rose had insisted and you calmed down slightly. “Now go to sleep. You don’t want to be a raccoon tomorrow.”

“Don’t make me regret calling you, I was expecting support.” You had pretended to be offended. “You know what’s worse? I feel silly, like I shouldn’t be this excited for a date- or whatever you call this. Like I’m doing myself a disservice.”

“You don’t have to go all prude just because you love dance.”

“Hey!” You had snapped. “You love dance too, and when d’you last have a girlfriend?”

“Oi, that’s not what I mean, I mean, you can balance things. If you can do an arabesque you can metaphorically arabesque your life.”

“That’s the worst analogy I’ve ever heard.”

“Alright, alright,” there had been a lightness to her voice. “But I’m serious, stop obsessing, go to bed. It’s one of those ‘you’ll understand when you need to’ moments.”

“Bullshit but, I will go to bed, thank you, because I need the sleep, not because you told me to.”

“That’s right, sleep well.”

“Goodnight you righteous bastard.”

Rose had been right, it was pointless to worry about the stretch of your clothes when at most you’d probably get to the fourth position. She could’ve been right about your love life too, but you were stubborn and refused her help.

You glanced in the mirror once more before grabbing your purse and keys and heading out.

The weatherman had hit the mark, sort of. The sun was shining strongly but there was a certain electricity in the air, which entailed a thunderstorm. The hairs on your arms stood on end as your converse slapped on the hot pavement.

The tube was crowded with children on their way to the park, excitedly babbling at their parents about their last daydream. Your stomach coiled with anxiety and you squeezed your purse so tightly your knuckles turned white. You were sure you looked a right sight, and suddenly felt embarrassed. The whole world was shouting around you, perhaps about you, and you wanted to sink in through the tube floor and into the tunnel. You shuddered at the thought of the cold wetness as the metro pulled into your stop.

The address John had given you by another flashy post-it delivered to an overly curious receptionist (this time with a little doodle of his face with a poor stick figure body holding what you assumed was a bass guitar. Didn’t really look like one) lead to a small, but not rundown, studio graced with the EMI Records logo on the front door.

You knocked on the glass gently, but when nobody came to open you tried the handle and found that the door was unlocked. The hallways echoed with bickering and the occasional strum of a guitar. “Hello?” You asked, your voice caught in your throat. You coughed a bit and tried again. “Excuse me?” The sound clattered off the walls, but didn’t stop the bickering.

You continued down the dimly lit corridor with black and white checkered floor tiles and flyers and posters tacked on the walls with no apparent order or reason. Occasionally, you passed a door with a blurry window and a sign saying ‘recording room’ and a number. You pressed your ear to the wall to try and locate the guitar strumming which sounded without a doubt like Brian May’s red special.

You were concentrating on the sound on the other side of a door marked ‘recording room 3’ when the door swung open and nearly hit you on the nose. You stood there, bewildered, hands clutched over your face in a feeble attempt to protect what Rose called the ‘moneymaker’, eyes locked with John’s grey ones, which were slightly widened at the sight of you.

“Careful,” he let a soft smile rise on his cheeks. “I could’ve broken your nose.”

“Is it my fault you have such an aggressive style of opening doors,” you scolded him.

“Didn’t your parents teach you not to eavesdrop?” He raised his eyebrows and you rolled your eyes but smiled at him.

“Deaky! Who’re you talking to? Is Paul back with our coffee?” A high-pitched voice you pinpointed as Roger’s rang from the room.

“Actually, it’s your dance teacher!” You called out over John’s shoulder, then shot him a glance. “Deaky?” You whispered confused.

“Don’t mind it, it’s just a nickname,” he shrugged.

“Alright,” you smiled. “I still like John, though,” you whispered, mostly to yourself, before allowing him to gently take your hand and lead you into the studio.

You felt very exposed once you’d entered the studio, swinging back and forth on your black vans. The band (minus John) was on a little stage, tending to their instruments, Freddie’s hands set on the piano keys, as if he was hesitating to play. When he saw you got up and crossed the room to you at lightspeed.

“Hello, lovely to meet again,” he flashed his famous smile that had been subject of criticism for too long in your magazine. You returned the expression and out of the corner of your eye saw Brian and Roger get up as well, but shoving each other slightly because of what you assumed was another disagreement on the band’s next album. John shot them a signature glare and they poised themselves.

“I’m not good at dancing,” Roger had a way of speaking you could only describe as a drawl. He shook your hand lightly. You felt his calloused skin scratching your palm slightly.

“Don’t worry, we won’t be doing anything too hard today, I promise,” you replied.

“Unless she’s here to make a fool out of all of us,” Freddie grinned.

“I’m nicer than that,” you said over your shoulder before turning and shaking Brian’s hand as well. He felt miles over you in height, especially combined with his hair.

“What’s with the formalities, we’ve met before, haven’t we?” Brian’s voice was warm and his eyes glimmered in the yellow studio light.

“That’s what you do, Brian, when John brings his girl over!” Roger said in the must duh voice. “We’ve got to make a good impression.” You felt redness prickle at your cheeks. His girl? What’d they think was going on? You shared a quick glance with John, who looked equally flustered.

You were still deciding whether to say something about Roger’s little quip when John opened his mouth to tell him off. “We’re here to dance, not scrutinize each other, right?” Roger stuck out his tongue and John rolled his eyes.

“Actually, we’re here to play music and Fred had a spark of ‘genius’ and now we’re here to dance.” Brian made little air quote signs around the word ‘genius’ before smiling at Freddie fondly to remind him that he was joking.

“Right, so, what’re we waiting for?” You huffed, your hands on your hips. “We need more space, you’ll need to push some things around.” When the boys stared at you incredulously for a moment you clapped your hands. “Hey, I’m a lady, I can’t do this by myself!”

John laughed and kicked Roger’s behind as he whined while they set to clearing a space in the center of the floor. “‘M not sure I like her anymore.” He said, rather loudly, but not too maliciously and you grinned at him from where you were helping Freddie shove the grand piano into the corner of the room.

A small, square, space opened in the centre of the room and all the boys rushed to fill a spot in it, each trying to ridiculously out-pose each other, raising their chins comically high and straightening their backs to the point of bending backwards. They were all excited to compete against the ‘best-ish dancer’ prize, falling over each other like little children.

“Alright, don’t worry, I’m not going to make you dance your feet off.” You giggled and helped them adjust themselves to be in the first position, narrating your adjustments. You got to John, who seemed to have figured it out by himself. No wonder, as the first position wasn’t particularly hard, but often beginners struggled maintaining their balance standing with their feet so close.

You continued, hearing the boys get increasingly more frustrated as the positions got harder. When you got to the fourth position, Roger was practically falling over and Brian was struggling with his long legs. Only Freddie and John had managed to somewhat keep their composure.

“This isn’t my favourite thing to do,” Brian mumbled courteously.

“Fuck ballet,” Roger seconded, not nearly as polite.

“Chin up boys, you can’t ever be as good as me, why complain about it?” Freddie grinned.

“How am I doing, Y/N?” John piped up softly.

“Perfect,” you grinned. “But,” you continued, “if you all hate ballet so much, we can try ballroom dancing instead, it’s a lot easier.”

The boys nodded eagerly, except John, who was stuck on the fact that this meant he might have to dance with you and he wasn’t exactly sure of what to do with that information. On one hand, he definitely wanted to lead you, but maybe not in a room with his best mates where he’d make a fool of himself with his clumsy moves. You made eye contact with him, blush on your cheeks, unsure of what he thought of your idea. His lips twitched into a small, nervous smile and you took a shaky breath.

“Right, so, pair up. Winner, best dancer, whatever,” you waved your hands around incoherently before continuing, “gets to dance with me.” The suggestion was silly, but to be fair, you were an uneven amount and you couldn’t just kick the rest of them to the curb and let John twirl you around, though that was all you really wanted.

“Oh she’s brilliant!” Freddie smiled before rushing over to John, who still had the most flabbergasted expression on his face.

“Do you have waltz music?” You peered around the studio. There was a small box of records on the edge of the stage and you rifled through it, picking up the vinyl for the Beatles’ album Rubber Soul.

“Big fan?” Freddie piped up from where he had taken John by the hands.

“Well, uhm, this was published when I was twelve so, maybe when I was a teen? Not really, but Norwegian Wood is in waltz time.” You dusted the cover and slipped out the record, putting it in the vinyl player. “I’ll show you the steps while we wait for Drive My Car to be over, and then you can lead each other to the beat of Norwegian Wood.”

Roger insisted on leading Brian despite being several inches shorter. Freddie was swishing his hair dramatically as John grabbed his waist.

“This is the worst thing you’ve ever done to me,” he muttered to you in passing as you adjusted their positions and you stifled your laughter.

Norwegian Wood began with an upbeat strumming of a guitar.

“I once had a girl

or should I say, she once had me…”

Brian kept tripping over his feet and Roger was by far the worst dancer you’d ever seen. Freddie and John were a bit more smooth but even they had their little hiccoughs. The song ended and you lifted the needle off of the vinyl.

“You guys did so well!” You grinned.

“Don’t lie,” Roger rolled his eyes.

You burst into laughter. “Okay, fair enough, John and Freddie did really well!” Freddie looked proud and John looked embarrassed to be called on.

“So who was the best?” John asked nervously.

You smiled at him and Freddie gave him a dramatic shove forward, despite definitely knowing he was the better half. John stumbled a bit before reaching you, slightly towering over you, taking your hands into his. Freddie moved to the vinyl player to place the needle back at the beginning of Norwegian Wood. Just as the folks-y strumming of guitar began, someone, you assumed was the Paul Roger had named earlier that day. At least he was carrying a tray with four cardboard coffee cups.

You and John flew apart like scattered mice, as if somebody had walked in on something truly scandalous. You looked at the floor embarrassed as Freddie lowered the volume of the song.

“Paul!” Brian greeted and grabbed a cup that had his name scrawled on with black pen. John walked over as well and took his cup and sipped it tentatively.

Paul was a relatively tall man with shaggy, almost ginger, hair, who spoke with a subtle Irish accent. “Eh, and who’s this?” He smiled at you, but his smile was a bit forced and you were both tense with each other.

“Y/N, hi,” you held out your hand and he set the tray of cups down and shook it. His hands were slightly clammy. In the end, Paul wasn’t nasty. He was just a bit stuck up and awkward. You let it slide and gave him a warm smile. He responded with a slightly stiff one, but that was it.

“Sorry, I didn’t get you coffee, never know when Roger’s bringing a girl about.”

You went red and John scoffed. “Yeah, she’s here with me,” he took your hand, squeezing it slightly. “She’s teaching us dance, remember?”

“Sorry,” Paul didn’t even flinch and continued to serve the coffee to Roger and Freddie who had grown a bit tense. Electricity crackled in the air, like the thunder storm you had thought of this morning.

You sat down on the couch. Roger and Brian immersed themselves in more arguing, pointing to each others notes. Freddie tapped out a few absent notes on the piano. John sat next to you.

“He’s an arse, always has been, always will be.” John muttered. “Take no note of it.”

You glanced up, and looked at him for a while. The yellow lighting of the room created dancing shadows on his sculpted face and light danced in his eyes. His uneven lips twitched upward at the right corner when he noticed you staring. “What? Have I got something on me?”

You shook your head. “No.” You placed a hand on his cheek. “I was just admiring you.” The silliness of the words, the romance that you had uttered made you turn away and lower your hand in embarrassment. John was over the moon, a soft smile splitting his face.

“You’re such a dork, Y/N,” he teased you. “If only I’d have known sooner, what a softie you are.”

“Oh please,” you scoffed, turning away but occasionally looking back at him with a smirk. .

“Do you want to help with something?” He suddenly turned to you, grey eyes sparkling.

“Sure, what is it?”

He set his cup down and dragged you up by the wrists. “Hey,” you laughed. “What’s going on?” Brian glanced at you two absentmindedly, two young lovers in his mind, giggling and enjoying the world. A gentle expression crossed his face before he went back to songwriting.

“Come, I’ll show you,” John only said secretively.

He lead you out of the room, further back into the studio until you arrived at a banged up door which looked like it hadn’t been used in years. The paint was peeling and some of the letters on the door had faded off so it said ‘re o ding ro m’ with a small number six that was more of just another ‘o’ because the stem had been rubbed off.

“They closed this part of studio down because keeping six recording rooms was unreasonable.” He took out a rusty key and twisted it in the lock. “So,” he opened the door with a creak. “I stole the space.”

The room smelt of ink and electronics. “Wow,” you breathed out, in awe. Posters of bands and bassists were tacked on the room as well as pictures of his band, and an article called ‘John Deacon, shutterbug at large’ with pictures taken by him surrounding the title text. Next to the back wall was a desk with a box connected to lots of wiring on it.

“It’s great, isn’t it?” He smiled as you turned around in the room, inspecting the little details.

“It’s so cool.” You jumped around in excitement. “Does the rest of the band know about this?”

John shook his head. “They think the key to the room was lost.”

“Brilliant. And evil, John.” You teased. “What’d you need my help for?”

John flicked his right pointer finger as he realised what he’d brought you here to do, and flashed a quick smile before digging in the drawers and fishing out a boxy polaroid camera. “Will you let me take a picture of you?”

You smiled gently. “You sure? I’m not that good of a model. Or particularly pret-” John cut you off by taking your hand.

“You’re absolutely perfect.”

You hesitated before nodding. “But only if you let me take one of you as well!”

John laughed and let you take a seat and pose slightly before there was a small click and a flash before the polaroid started coming out.

The picture was black and he placed it upside down on the desk, before handing you the camera. “Alright, I have no idea how this works,” you announced, fiddling with the camera. John gave you a wide grin, showing his tooth gap, eyes wrinkling and you snapped a photo.

“We need to place it upside down, so it develops well,” he instructed and tried to take the photo.

“Oh but you promise I get this one? To take home and all?”

“Absolutely,” he assured you.

“Okay, one more, then,” you took the camera from his unsuspecting hands and turned it so you couldn’t see what picture you were taking, only knowing that John was leaning close to you, breath tingling on your cheek and looking into the black lenses.

The photo rolled out and you set it down. John was looking at you adoringly. You turned to him, hips swaying a little bit. “D’you want to finish that dance?”

John took your waist hesitantly. “That’d be nice, yeah.”

“Can you sing? Norwegian Wood?”

John thought for a bit before taking a few small waltz steps, his voice starting low and scratchy.

He lead you gently, smoothly. You glided along his arms, enjoying the warmth of his hand on your waist. And god, you loved his voice. It was deep and soft but powerful. It rumbled from his vocal chords and sent shivers down your spine.

He finished the song, slowing down the beat slightly.

“So I lit a fire

Isn’t it good, Norwegian wood?”

On the last wood of the song, he spun you around slowly, and though you knew the song was about an arsonist burning down his almost one-night-stand’s house, it did really feel as if he’d lit a fire. It burned in your chest and reddened the blush on your cheeks. It sparkled in your hands and steamed where you were skin to skin.

Time stopped. You were both still slightly swaying even though the singing had stopped. Your eyes flicked to his lips and back to look into his grey eyes. You leaned very close, you could feel his breath on your face. He smelt of earthly cologne and breath mints.

There was only a few centimetres between your lips and his when thunder rumbled throughout London and startled you so bad you ducked and fell into his arms with a shriek. You both stood in stunned silence whilst you shook in his grip.

He chuckled slightly. “Are you afraid of thunder?” You looked up, chin pressing against his chest and nodded meekly.

He stroked your hair and kissed your forehead. Fire burned where his lips touched your skin. “Don’t worry. I’ll keep you safe.” And he wrapped his arms around you tighter and rocked back and forth slightly. After a few moments had passed, he said in a low voice: “D’you want to join the others?” To which you shook your head.

“I’m fine here.” You mumbled. “Sorry, I’m a bit daft.”

You felt John’s chest shake as he barked in laughter. “You’re so silly. You don’t need to apologise for anything. I’m just as well here.”

“Thank you.” You felt bad you hadn’t kissed him. Like your chance was gone with the wind, washed down the drain with the rainwater that storms brought from the sea.

Slowly you unraveled yourself from his arms and took the photographs off the desk and smiled at the one with the both of you on it. John insisted on pinning them all on the wall, except the one of himself, which you held from his reach, reminding him that it was yours to keep.

“Like you promised!” You yelled as you let him chase you around the room a bit before he caught you from the waist and pulled you into an iron grip where you squealed with laughter, still waving the photo far from his reach. He looked ridiculously adorable in the shot, his cute smile living in the photo, hair a little messed up.

The thunder rumbled again but you didn’t hear it over your own and John’s laughter. Happiness filled your heart and love pumped through your veins.

The day passed too fast and too soon you were exchanging goodbyes at the exit of the studio. The rain was pouring outside, but the air was still hot. The other members of the band had already said their ‘byes’ and teased her endlessly but goodnaturedly about disappearing for the larger part of an hour.

“You sure you’re okay going out on your own? I can drive you again, if you want?” His voice dripped with concern and his downturned eyes seemed sad.

“John, I’m going to be fine. The cab’s waiting, and I don’t think the driver would be too fond of me just popping over saying, ‘I’ve got another ride, bye.’”

He sighed and looked at you long through those grey, piercing eyes. A clap of thunder made you jump slightly. The hairs on your arms were stood on end. You regretted wearing the tank top. John saw you shiver and shrugged of his own jacket and gave it to you. You tried to protest but he reassured you.

“You can give it back the next time we’ll see each other.”

“Next time?” You whispered.

“Yeah.”

You smiled, and on your tiptoes leaned forward and gave him a kiss on the cheek. “‘Till next time, John Deacon.”

“‘Till next time, Y/N Y/L/N.”

You ran through the rain to your cab, a goofy grin plastered across your face. If the driver had asked, you could’ve talked about this day forever, but instead, you took out the picture of John, with his kind eyes and stared at it lovingly until the cab reached your home.

‘Till next time.

***

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#john deacon x reader #deacy x reader #deaky x reader #joe!john x reader #joe!john deacon x reader #bohemian rhapsody #john deacon #deacy #deaky #joe!deaky #queen #queen imagine #this chapter was sooo fun to write uwu honestly and it’s fluffy to the max #the next one might be abit more angsty i haven’t decided yet #careful - jd

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dellamonica · 4 years

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Beatles: AS 36 MELHORES CANÇÕES PRA VOCÊ OUVIR SEM PARAR

The Beatles foi uma banda de rock britânica, formada em Liverpool em 1960. É o grupo musical que mais vendeu na história da música. Segundo a EMI, em estimativa de 2001, mais de um bilhão de discos. No período de 1962 até 1969, o grupo era formado por John Lennon (guitarra rítmica e vocal), Paul McCartney (baixo, piano e vocal), George Harrison (guitarra solo e vocal) e Ringo Starr (bateria e vocal). Enraizada do skiffle e do rock and roll da década de 1950, a banda veio mais tarde a assumir diversos gêneros que vão do folk rock ao rock psicodélico, muitas vezes incorporando elementos da música clássica e outros, o que muitos críticos e especialistas em música consideram, até hoje, uma característica genial dos integrantes. Sua crescente popularidade, que a imprensa britânica chamava de beatlemania, fez com que eles crescessem em sofisticação. Os Beatles vieram a ser percebidos como a encarnação de ideais progressistas e sua influência se estendeu até as revoluções sociais e culturais da década de 1960. Os Beatles construíram sua reputação nos pubs de Liverpool e Hamburgo durante um período de dois anos a partir de 1960. Abastecida de equipamentos profissionais moldados por Brian Epstein, que depois se ofereceu para gerenciar a banda, e com seu potencial reforçado pela criatividade do produtor George Martin, os Beatles alcançaram um sucesso imediato no Reino Unido com seu primeiro single Love Me Do. Ganhando popularidade internacional a partir do ano seguinte, excursionaram extensivamente até 1966, quando retiraram-se para trabalhar em estúdio até a dissolução definitiva em 1970. Cada membro então seguiu para uma carreira solo. Paul McCartney e Ringo Starr continuam ativos, ambos com uma extensa lista de discos; John Lennon foi assassinado por Mark David Chapman em 1980; e George Harrison morreu de câncer de pulmão em 2001. Quase cinco décadas após sua dissolução, a música do grupo continua a ser muito popular. Os Beatles tiveram mais álbuns em número um nas paradas britânicas do que qualquer outro grupo musical. De acordo com a RIAA, eles venderam mais álbuns nos Estados Unidos do que qualquer outro artista. Em 2008, a Billboard divulgou uma lista dos top-selling de todos os tempos dos artistas Hot 100 para celebrar o cinquentenário das paradas de singles dos Estados Unidos, e a banda permaneceu em primeiro lugar. Eles já foram honrados com sete Grammy Awards, quinze Ivor Novello Awards da BASCA e um Óscar, por melhor trilha sonora (Let It Be). Os Beatles foram coletivamente incluídos na compilação da revista Time das 100 pessoas mais importantes e influentes do século XX. 1957–62: The Black Jacks, The Quarrymen, The Silver Beetles, The Beatles

Ver artigo principal: The Quarrymen Em março de 1957, empolgado com o skiffle que Lonnie Donegan popularizou com seus sons improvisados, John Lennon criou uma banda composta por colegas da escola Quarry Bank School — que incluía seu melhor amigo na época, Pete Shotton — primeiramente chamada de The Black Jacks, mas logo definida como The Quarrymen (em homenagem à escola). Inicialmente, além dos dois, a banda era composta por Eric Griffths (violão), Bill Smith (baixo improvisado) e Rod Davis (banjo). Em 6 de julho de 1957, Paul McCartney havia assistido a uma apresentação da banda em uma festa na Igreja St. Peter, e Ivan Vaughan, amigo de John Lennon e colega de classe de Paul, apresentou-lhe a Lennon; Paul foi convidado a ingressar na banda e, no mesmo ano, mostrou a Lennon a composição "I Lost My Little Girl". Em 6 de fevereiro de 1958, o jovem guitarrista George Harrison juntou-se à banda, apresentado por Paul que o teria conhecido por acaso num ônibus. Apesar da relutância inicial de Lennon pelo fato de Harrison ser três anos mais novo que ele (na época, com quinze anos), McCartney insistiu depois de uma demonstração de George e este terminou ingressando no grupo. Lennon e McCartney desempenharam a guitarra rítmica durante esse período e, após o baterista oficial do Quarrymen, Colin Hanton deixar a banda, em 1959, depois de uma discussão com os outros membros, teve uma alta rotatividade de bateristas. Stuart Sutcliffe, colega de Lennon numa escola de arte de Liverpool, aderiu ao baixo em janeiro de 1960, a pedido do amigo. Como Paul e George estudavam no Instituto de Liverpool, não seria mais apropriado chamar a banda por "Quarrymen" e, então, o grupo passou por uma progressão de nomes, incluindo "Johnny and The Moondogs"' e "Long John and The Beatles"'. Sutcliffe sugeriu o nome "The Beetles" como homenagem a Buddy Holly e "The Crickets". Após uma turnê com Johnny Gentle na Escócia, a banda mudou definitivamente seu nome para "The Beatles". A primeira esposa de John, Cynthia Lennon, argumenta que o título "The Beatles" veio a John no Renshaw Hall bar, depois de ele beber cerveja. Lennon, que era conhecido por dar diversas versões da história, ironizou num artigo da revista Mersey Beat de 1971 que teve uma visão onde "um homem, numa torta flamejante, disse: 'Vocês são Beatles com A'." Durante uma entrevista em 2001, McCartney atribuiu a si o nome definitivo da banda, afirmando que "John tivera a ideia de nos chamar de 'The Beetles'; eu disse: 'por que não Beatles?; você sabe, como a batida da 'bateria'."' Em maio de 1960, os então Silver Beetles realizaram uma turnê no norte da Escócia, com o cantor Johnny Gentle, a quem a banda havia conhecido uma hora antes de sua primeira apresentação. McCartney refere-se à viagem como uma grande experiência para a banda. 1960–62: Hamburgo, clubes e Brian Epstein

O Indra Club em 2007, onde os Beatles tocaram na primeira visita a Hamburgo, Alemanha Encontrando-se sem um baterista antes de seu próximo compromisso, em Hamburgo, Alemanha, o grupo convidou Pete Best para assumir a posição em 12 de agosto de 1960. Best tinha até então tocado com o grupo "The Blackjacks" no The Casbah Coffee Club — uma adega em Derby, Liverpool, onde os Beatles tocavam e visitavam algumas vezes — que pertencia à sua mãe, Mona Best. Quatro dias após a entrada de Best, o grupo partiu para Hamburgo; lá, eram obrigados a se apresentar seis ou sete horas por noite durante sete dias por semana e provavelmente estimulavam-se com bebidas e drogas. O repertório era de covers de rock'n'roll dos anos 1950, basicamente americanos. Em 21 de novembro de 1960, Harrison foi deportado por ter mentido às autoridades alemãs sobre sua idade. Após um incêndio acidental — envolvendo Paul e Pete — no quarto onde dormiam, a polícia os prendeu e os deportou em dezembro. John retornou para Liverpool com eles em meados de dezembro, sem dinheiro e triste. O grupo reuniu-se para uma performance em 17 de dezembro de 1960 no Casbah Club, com Chas Newby, músico que substituía Sutcliffe. Ele havia ficado em Hamburgo, com sua nova paixão – Astrid Kirchherr – que conheceu por lá. Embora Sutcliffe tenha voltado a Liverpool em fevereiro do ano seguinte, para visitar amigos e familiares, retornou novamente para o território alemão duas semanas depois. Astrid mudou o corte de cabelo de Stuart e, logo, John, Paul e George adotaram penteados semelhantes, o que mais tarde se tornaria uma marca registrada da banda. Os Beatles retornaram a Hamburgo em abril de 1961, com apresentações no "Top Ten Club". Enquanto tocavam nesse local, foram recrutados pelo músico Tony Sheridan a agirem como sua banda de apoio em suas apresentações na Alemanha e numa série de gravações para a Polydor Records Alemã, produzidas pelo famoso Bert Kaempfert. Paul afirmou posteriormente que o grupo chamava Sheridan de "o professor"; foram as primeiras gravações dos Beatles. Mais tarde, Tony foi premiado com o disco de ouro pela vendagem acima de um milhão de cópias do LP Tony Sheridan and The Beatles. Quando o grupo retornou a Liverpool, Sutcliffe permaneceu em Hamburgo, mais uma vez, com Kirchherr. McCartney assumiu as funções de Sutcliffe, na qual foi muito bem sucedido.

The Cavern Club, Liverpool, Inglaterra, em 2008: local onde os Beatles fizeram cerca de 292 apresentações e onde começaram a definir sua carreira Retornando a Liverpool, o grupo realizou sua primeira aparição no famoso The Cavern Club, numa terça-feira de 21 de fevereiro de 1961. A banda se apresentou 292 vezes no Cavern Club entre 1961 e 1963. Em 9 de novembro de 1961, Brian Epstein, dono da loja de música North End Music Store (NEMS) na Great Charlotte Street, viu o grupo pela primeira vez no clube. Intrigado com o som da banda e maravilhado com seu carisma (sobretudo o de John), Epstein decidiu empresariá-los. Em uma reunião com os Beatles na NEMS, em 10 de dezembro de 1961, Epstein propôs a ideia de gestão da banda. Os Beatles assinaram um contrato de cinco anos com Epstein em 24 de janeiro de 1962 e ele se tornou o empresário oficial deles. Com Brian Epstein como empresário do grupo, o primeiro passo foi mudar a imagem dos integrantes, substituindo as roupas de couro por algo mais formal. Epstein conduziu a procura dos Beatles na Inglaterra em encontrar um contrato de gravação. Ele era gerente do departamento de gravações da NEMS, ramo que seu avô deixou de herança, uma loja de instrumentos musicais, discos de música, entre outras coisas. Nessa época, ele apostou no status da NEMS como uma importante distribuidora para obter acesso a empresas de gravações e a produtores executivos. O executivo Dick Rowe, da agora famosa Decca Records A&R, respondeu-lhe na época que "bandas com guitarras estão fora de moda, Sr. Epstein". Enquanto Epstein negociava com a Decca, ele também abordou o executivo de marketing Ron White, da EMI. White, que não desempenhava a função de produtor musical na gravadora, por sua vez, contatou os produtores Norrie Paramor, Walter Ridley e Norman Newell (todos da EMI) e todos os três negaram produzirem gravações dos Beatles. Contudo, White não havia abordado o quarto produtor da EMI, e também administrador — George Martin — que estava de férias na época. Os Beatles voltaram a Hamburgo a partir de 13 de abril a 31 de maio de 1962, onde fizeram uma apresentação de abertura no The Star Club. Após a chegada, foram informados que Stuart Sutcliffe estava morto devido a uma hemorragia cerebral. 1962: Contrato de gravação e Ringo Starr

Entrada do prédio do estúdio de gravações Abbey Road Studios em 2007: local onde os Beatles gravaram durante toda sua carreira e onde mostraram pela primeira vez a George Martin o que sabiam fazer Ainda abalados com a morte de Stuart e sem perspectivas de progresso profissional, os Beatles continuaram a fazer shows em Hamburgo e Liverpool, mas visivelmente desanimados.. Enquanto isso, depois de não conseguir impressionar a Decca Records, Epstein foi para a loja HMV na Rua Oxford, em Londres, e transformou os teipes que havia utilizado na Decca em um disco. Epstein conseguiu encontrar com George Martin da Parlophone (subsidiária da EMI) e levou o material. Martin, interessado no som da banda e, segundo o próprio, "considerado um produtor rebelde e independente à época", aceitou uma audição. O teste foi gravado por Ron Richards e seu engenheiro Norman Smith (que, posteriormente, deixou os trabalhos como engenheiro de som, para se tornar Hurricane Smith), que registraram quatro músicas, ouvidas posteriormente por George Martin, que não estava presente durante a gravação). Ao final, o veredicto não foi muito promissor: Richards reclamou da bateria de Pete Best e George Martin achou que as canções originais não eram boas o suficiente. No entanto, Martin pediu a cada um dos Beatles que dissessem se existia alguma coisa que não teriam gostado. Seguindo a linha de humor do grupo, George Harrison respondeu: "Bem, em primeiro lugar, não gostamos da sua gravata". Esse foi o ponto de virada, de acordo com Smith, na medida em que John Lennon e Paul McCartney emendaram ao comentário piadas e trocadilhos, o que fez Martin perceber que os integrantes eram espirituosos e sagazes, concluindo que a banda tinha um talento cru e muito humor, e que, musicalmente, poderia melhorar. Pesou, ainda, na decisão, conforme Martin declararia posteriormente, o fato de que a EMI não tinha "nada a perder". A banda então assinou um contrato de um ano, renovável, com a EMI. A primeira sessão de gravação dos Beatles na EMI com Martin foi marcada no dia 6 de junho de 1962, no famoso Abbey Road Studios, no norte de Londres. O contrato, entretanto, também não era uma maravilha: os rapazes receberiam 1 centavo a cada disco vendido, dividido pelos quatro integrantes e descontada, antes, a comissão de Brian Epstein, que era de 25% da renda bruta do conjunto. Após o lançamento de "From Me To You", George Martin sugeriu à EMI que os royalties da banda fossem dobrados, adiantando-se a qualquer reclamação judicial, o que o levou a ser visto como um "traidor na EMI". Entrada de Ringo Starr Como resultado da avaliação de Pete Best, Martin acertou que contrataria um baterista para as gravações, enquanto Brian poderia usar Pete Best nas apresentações. Isso ocorreu, principalmente, pelo fato de que os fãs dos Beatles na época não poderiam suportar vê-los sem Best. Os três membros-fundadores da banda – George, Paul e John – pediram a Brian que ele demitisse Pete Best, e foram atendidos. No dia 16 de agosto de 1962, Pete chega ao escritório de Brian, e esse lhe diz: "George não quer você no grupo", o que deixa Neil Aspinall – motorista nas excursões da banda – furioso. A partir disso, o grupo começou a cogitar alguns nomes para assumir a função de baterista. Entre esses nomes, estavam o de Johnny Hutchinson, que recusou por ser amigo de Pete. A grande esperança deles foi convidar Richard Starkey – conhecido como Ringo Starr – que já era baterista da famosa "Rory Storm and the Hurricanes", e que também já havia tocado com os Beatles em algumas apresentações de Hamburgo. Em 19 de agosto, três dias após a demissão de Pete, Ringo, definitivamente como baterista, tocou com os Beatles no Cavern; a apresentação gerou confusão, pois o público repudiou a nova formação, e chegaram a gritar "Pete para sempre, Ringo nunca!", e "queremos Pete!"; Harrison teria sido agredido nessa apresentação.

O Abbey Road Studios lateralmente, focando o estacionamento, em 2007: com o Please Please Me, lançado em 22 de março de 1963 e gravado entre 11 de setembro de 1962 a 11 de fevereiro de 1963, a banda gravou profissionalmente pela primeira vez neste prédio. A primeira gravação dos Beatles com Lennon, McCartney, Harrison e Starr juntos aconteceu em 15 de outubro de 1962, na demonstração de uma série de gravações registradas particularmente em Hamburgo, onde atuaram simultaneamente como grupo de apoio da cantora Lu Walter. Starr tocou com os Beatles em sua segunda sessão de gravação na EMI, em 4 de setembro de 1962, e Martin "alugou" o baterista Andy White – que já havia tocado com Bill Halley em 1957, apresentação a que Paul assistiu em Liverpool – para tocar na próxima sessão, no dia 11 de setembro. A única apresentação realizada por White foi nas canções "Love Me Do" e "P.S. I Love You", incluídas no primeiro álbum da banda. Nessa sessão, produzida por Ron Richards, Ringo tocou pandeiro ou outro instrumento de percussão enquanto a função de baterista era desenvolvida por Andy. A primeira sessão dos Beatles na EMI de Londres, em 6 de junho de 1962, não rendeu uma gravação digna de lançamento, conforme pode ser ouvido em Beatles Anthology Volume 1, que trouxe duas das músicas gravadas nesta sessão. Em 4 de setembro, produziram a primeira versão de "Love Me Do", compacto que chegou à 17ª posição da parada britânica. Na mesma sessão, gravaram "How Do You Do It", por pressão de Martin, que considerou esta uma canção melhor e mais vendável do que as originais oferecidas por Lennon & McCartney, fadada ao sucesso imediato. A contragosto, gravaram a versão que foi lançada mais de 30 anos depois, em Beatles Anthology Volume 1. A previsão de Martin estava correta: Gerry & the Pacemakers gravaram uma versão da música, também produzida por Martin, que permaneceu três semanas em primeiro lugar, em abril de 1963, antes de ser desbancada por "From Me to You". Quanto à versão gravada pelos Beatles, estes objetaram e pressionaram, de maneira que o material pronto foi engavetado. Em 11 de setembro de 1962, os Beatles regravaram "Love Me Do", desta vez com o baterista de estúdio, Andy White, enquanto Ringo Starr participava tocando pandeiro e maracas. Devido a um erro do arquivo de fitas da EMI, a versão gravada em 4 de setembro, com Starr tocando bateria, foi incluída no single, tendo como lado B a música "P.S. I Love You". Depois disso, depois a fita foi descartada e a gravação de 11 de setembro, com Andy White na bateria, além de integrar o primeiro LP dos Beatles, Please Please Me, passou a ser utilizada como padrão para todas as versões posteriores. CONTINUAR LENDO AQUI ► https://pt.wikipedia.org/wiki/The_Beatles Read the full article

#anos60 #beatlemania #flashback #harrison #help #heyjude #lennon #letitbe #lovemedo #mccartney #os4deliverpool #reisdoiéiéié #ringostar #THEBEATLES

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