Monthly Archives: December 2014

Ryan (animated short) by Chris Landreth and Ryan Larkin

Ryan (animated short) by Chris Landreth and Ryan Larkin

Ryan, directed by Chris Landreth, is an animated tribute to Canadian animator Ryan Larkin. Thirty years ago, at the National Film Board of Canada, Ryan produced some of the most influential animated films of his time. In Ryan we hear the voice of Ryan Larkin and people who have known him, but these voices speak through strange, twisted, broken and disembodied 3D generated characters… people whose appearances are bizarre, humorous or disturbing. Although incredibly realistic and detailed, Ryan was created and animated without the use of live action footage, rotoscoping or motion capture…but instead from an original, personal, hand animated three-dimensional world which Chris calls ‘psychological realism’.

OVATION TV, ART LIKE NEVER BEFORE. TV LIKE NOTHING ELSE. http://www.ovationtv.com

https://www.nfb.ca/film/ryan

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Talking Heads / I Get Wild/Wild Gravity

Talking Heads / I Get Wild/Wild Gravity

Fooled around enough with numbers Let’s not be ourselves today Is it just my imagination? Is it just someones face?

Pleasantly out of proportion It’s hard to hold on to the ground Now I didn’t come to run And this is everything and gravity lets you down

I get wild, wizing up, I just can’t let go I get wild, when I get ready I can hardly talk Living lights, special lights yellow turns blue I get wild, it’s automatic and I can hardly move

Go ahead and pull the curtains Check to see if I’m still here Let me lose my perspective Something worth waiting for

Somewhere in South Carolina And gravity don’t mean a thing And all around the world, each and everyone Playing with a heart of steel

I get up, climbing out, how did I get home? I’ll survive the situation, somebody shut the door Beautiful, beautiful, climbing up the wall I get by on automatic, no surprise at all

No one here can recognize you Here is everything that you like Feelings without explanations Somethings are hard to describe

The sound of a cigarette burning A place there where everything spins And the sounds inside your mind is playing all the time Playing with a heart of steel

I get wild, wizing up, I just can’t let go I get wild, when I get ready I can hardly talk Living lights, special lights yellow turns blue I get wild, it’s automatic and I can hardly move

I get up, pushing up, how did I get home? I’ll survive the situation, somebody shut the door Shut the door, shut the door climbing up the wall I get by on automatic no surprise at all

Songwriters BYRNE, DAVID/WEYMOUTH, TINA/FRANTZ, CHRISTOPHER/HARRISON, JERRY

Read more: Talking Heads – I Get Wild / Wild Gravity Lyrics | MetroLyrics

The imagery of the words seem to play with the enterprise of the first moon shot, or steps into the space program: “Played around enough with numbers…” (the theories and research which led to the space program) “let’s not be ourselves today…” (let’s change what we are—earthbound) “is it just my imagination?” (is it possible?) “is it just someones face?” (is it vanity, this endeavor?) But the interpretation of this experience, the words used to describe this venture might also be applied to the experience of coming of age in general—applicable to the life of the individual and the society in this instance: “pleasantly out of proportion…” (from the child’s world to the adult. In this there is perhaps a starker indication that this new, adult, world involves sex. Oh and, moon shot… get it.) The feel of the music agrees with the notion of gravity, this is not something to be taken lightly. The idea of such a modern endeavor as space flight juxtaposed with the idea of coming of age, suggests that this version of coming of age is something new and modern as well. We are entering a bigger world than our parents did when they came of age. There is something of greater gravity in this new coming of age… like space travel, the stakes are high… “how did I get home?!” but so too are the potential rewards. This is a song of wary optimism, it is inviting, alluring, intriguing and dangerous—like sex. cfjurgus

The Muffs / Sad Tomorrow

The Muffs / Sad Tomorrow

I don’t even know why
Do you think I’m a mess
Maybe someday but now you’re gone
When I do as I please
I’m no different to me
Am I crazy or have good luck
You’re the talk of the town
So you say (oh, oh)
I don’t know why you’re so glad
When my head’s filled with sorrow
So maybe if I fade away
There’ll be no sad tomorrow
My whole life is a drag
Baby listen to me
When I go away, will you care
I feel naked and weird
Do you see what I hear
Maybe one day I’ll die, who cares
Hide away in complete
Misery (oh, oh)
I don’t know why you’re so glad
When my head’s filled with sorrow
So maybe if I fade away
There’ll be no sad tomorrow

Medieval Music posted on Youtube by Gramilla888

Medieval Music posted on Youtube with comment by Gramilla888

Chant (or plainsong) is a monophonic sacred form which represents the earliest known music of the Christian church.

Chant developed separately in several European centres. Although the most important were Rome, Hispania, Gaul, Milan, and Ireland, there were others as well. These chants were all developed to support the regional liturgies used when celebrating the Mass there. Each area developed its own chants and rules for celebration. In Spain and Portugal, Mozarabic chant was used and shows the influence of North African music. The Mozarabic liturgy even survived through Muslim rule, though this was an isolated strand and this music was later suppressed in an attempt to enforce conformity on the entire liturgy. In Milan, Ambrosian chant, named after St. Ambrose, was the standard, while Beneventan chant developed around Benevento, another Italian liturgical center. Gallican chant was used in Gaul, and Celtic chant in Ireland and Great Britain.

Around 1011 AD, the Roman Catholic Church wanted to standardize the Mass and chant. At this time, Rome was the religious centre of western Europe, and Paris was the political centre. The standardization effort consisted mainly of combining these two (Roman and Gallican) regional liturgies. This body of chant became known as Gregorian Chant. By the 12th and 13th centuries, Gregorian chant had superseded all the other Western chant traditions, with the exception of the Ambrosian chant in Milan and the Mozarabic chant in a few specially designated Spanish chapels.

Instruments used to perform medieval music still exist, but in different forms. The flute was once made of wood rather than silver or other metal, and could be made as a side-blown or end-blown instrument. The recorder has more or less retained its past form. The gemshorn is similar to the recorder in having finger holes on its front, though it is actually a member of the ocarina family. One of the flute’s predecessors, the pan flute, was popular in mediaeval times, and is possibly of Hellenic origin. This instrument’s pipes were made of wood, and were graduated in length to produce different pitches.

Medieval music uses many plucked string instruments like the lute, mandore, gittern and psaltery. The dulcimers, similar in structure to the psaltery and zither, were originally plucked, but became struck in the 14th century after the arrival of the new technology that made metal strings possible.

The bowed lyra of the Byzantine Empire was the first recorded European bowed string instrument. The Persian geographer Ibn Khurradadhbih of the 9th century (d. 911) cited the Byzantine lyra, in his lexicographical discussion of instruments as a bowed instrument equivalent to the Arab rabāb and typical instrument of the Byzantines along with the urghun (organ), shilyani (probably a type of harp or lyre) and the salandj (probably a bagpipe). The hurdy-gurdy was (and still is) a mechanical violin using a rosined wooden wheel attached to a crank to “bow” its strings. Instruments without sound boxes like the jaw harp were also popular in the time. Early versions of the organ, fiddle (or vielle), and trombone (called the sackbut) existed.

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Enjoy!!!

Modest Mouse / Dramamine

Modest Mouse / Dramamine

Traveling, swallowing, Dramamine
Feeling spaced breathing out Listerine
I’d said what I’d said that I’d tell you
And that you’d killed the better part of me

If you could just milk it for everything
I’ve said what I’d said and you know what I mean
But I still can’t focus on anything
We kiss on the mouth but still cough down our sleeves

Traveling, swallowing, Dramamine
Look at your face like you’re killed in a dream
And you think you’ve figured out everything
I think I know my geography pretty damn well

You say what you need so you’ll get more
If you could just milk it for everything
I’ve said what I said and you know what I mean
But I can’t still focus on anything

Songwriters
Jeremiah Green;Eric Scott Judy;Isaac Brock

Read more: Modest Mouse – Dramamine Lyrics | MetroLyrics