#that scratchy old noise from the recorder filming it.

[persy-r-bozo]

I firmly belive everyone, and I mean Everyone.

Needs to go out into the woods and listen to old children's film soundtracks.

I've done it alot. It heals you I'm being so serious right now.

Listen to the bambi OST. Fox and the hound OST. Raggedy ann and andy OST. Watership Down OST. While walking though the woods.

It feels like this.

[beansprean]

Queening the Pawn Act 3 Part 4

There is a lot of Guide content in this act which not everyone may vibe with but dw I promise it’s interesting and Nandor will return lmao

Acts 1-2

Act 3: Part 1 - Part 2 - Part 3 - Part 4 - Part 5 - Part 6 - Part 7 - Part 8 - Part 9 - Part 10 - Part 11 - Part 12 - Part 13 - Part 14

(ID in alt and under cut)

ID: 1a. Series of darkening thin gray panels with some clanking and thunking noises and dialogue over the top. The Guide counts, “1, 2, 3… Ah, fuck. 1, 2, 3… Where are you, you son of a…“ with every count, there is a corresponding tap. 1b. Shot from outside a door labeled “boiler” in brass, with a paper sign tacked over it that says “Guide’s room”. The door is open, and inside we can see a plain concrete room with a wooden coffin sitting upright in one corner and the Guide kneeling on the floor fiddling with something out of sight. She continues, “Come on, I know it was in August… Maybe I should get a new filing cabinet for non-paper personal items that need to be found quickly! 1, 2, 3…” 1c. Close up on the Guide sitting in front of the open drawer of a filing cabinet as she lifts up a record with both hands and triumphantly exclaims “Ah-ha!” The record cover is labeled “taxes 1972” but this is crossed out. Other items filed in the drawer between Manila dividers include candles, some brightly colored plastic items, and what could be a dildo. Behind her in the room are an electric water heater and a poster from the film Van Helsing starring Hugh Jackman.

2a. Close up on the Guide smiling as she places the record on an old fashioned phonograph with a horn and taps the spindle thrice before she places it. 2b. Zoom out, the Guide plops down to the floor in a lotus position and closes her eyes as the record begins spinning and making sounds. 2c. Close up on the phonograph horn as a scratchy-looking speech bubble erupts from within, featuring a stoic-looking Laszlo with horn-rimmed glasses. He says, “Welcome to Dr. Cravensworth’s Self-Hypnosis for Easy Recall, side A. 2d. The record’s dialogue continues over an aerial shot of the Guide concentrating in her lotus pose, fingers pinches together at her knees, “Where we seek to remind all our patients, ‘don’t forget…to remember.’ Now…you are walking through the corridor of your mind…” The white Dias the Guide appears to be sitting on begins to splinter off, overlapping squares of glitching black swirling around the back and breaking off into chunks to reassemble as a curved gray hallway beneath her, lined on each side with closed doors. The lines are glitching and shaky, as if struggling to keep their form. Walking down the corridor is a second Guide, seen from above, hair down and glove-free, wearing a pitch black off the shoulder dress with a long train and sleeves. /end ID

[soapkaars]

What kind of music would each medical malpractice gang member listen to?

This week is easing up on me, so I can finally answer this ask. (Either you sent it twice anon, or there are two people curious about my takes of the medical malpractice gang). I’m not going to make a drawing for it, sorry! I’m busy with several films at work and my own personal project, so I’ve been too tired to draw anything. I hope you don’t mind!

On to music! The first one is dr Gogol. He’s a pretty well developed character so there are actually some clues in the film as to what he likes! After all he doesn’t care much for Stephen Orlac’s piano playing (he was, admittedly, distracted by Yvonne but still), calling it ‘very modern’ in a very weak attempt at hiding his disappointment in Yvonne and clearly not being able to deal. Which means he doesn’t care much for his time’s contemporary music like Schönberg’s atonal music, or the popular references to Jazz you could find in pieces by George Gershwin, or Aaron Copland’s more filmic music like Appalachian Spring… Gogol is old fashioned, though I think his tastes are behind by like, say, thirty to forty years in his time. A bit like those people who only listen to classic Rock even though they weren’t even born when the Beatles were popular. We hear him operate to some soft violin music (we see a nurse put on a record) and of course he plays his organ (atonally when he’s gripped by madness!). If I were to pin him down, I’d say he’s definitely into Romantic music - as in music from the Romantic Era. Tchaikovsky, Mussorgsky, Mahler, Dvorak, Smetana… not Wagner though!

He likes Grand Guignol, doesn’t he? He’d definitely like this.

Next up: Professor Karl Fenninger. Which isn’t even his real name! Cold, aloof, elegant… what would he like? The complete opposite of Gogol, that’s for certain! Fenninger would absolutely love his age’s contemporary music, and he’d have some pretty clear opinions about which composer he loathed and which one he’d be in line to see a performance! He might even like Stephen Orlac and be heart-broken when he had to retire from his career after that horrific accident! Composers I think Fenninger would definitely like or be interested in: Schönberg, Kurt Weill, Debussy, Satie, Prokofiev, Stravinsky, Shostakovich. He might also have a huge soft spot for Jazz composers such as Duke Ellington, Count Basie, and good old Louis Armstrong! Also he’d positively loathe George Gershwin and Aaron Copland.

Dr Arthur Lorentz, on the other hand, wouldn’t know a Prokofiev if it came up and punched him in the face. Let alone an Aaron Copland. He’s a country man. Which doesn’t sound too bad until you realise he likes Jimmie Rodgers.

And finally we have Herman Einstein. What would he like? I'll adopt @medical-malpractice-malewife 's canon that he did cabaret in Germany, so let's roll with that. We're talking Weimar era Jazz. 'Lilli Marlene' (as sung by Marlene Dietrich), 'Mein Berlin'... You know, those soft chanson-like songs sung with nasally voices and the brass going hoompa-pa, those extremely scratchy recordings where the noise is sometimes louder than the music itself. In fact, I think Einstein might also like Chanson, and even Schlagers, though that last one is probably more of a guilty pleasure. He'll sometimes sing those old student songs from back when he was studying at Uni - 'Die Gedänken Sind Frei'. Meeting Johnny might open up his tastes to more American artists though, and if this duo managed to live beyond the 40s and into the 50s, I'm willing to bet he'd be extremely into rock and roll.

[vapormaison]

2019 Best Press 3/4:  カタカナ・タイトル + Kanji Title by TANUKI

While for many vaporwave vinyl is doubtless equal parts collector’s item and audio source, I don’t want to lose sight of the goal of this blog here: developing a canon of the genre for high fidelity enjoyment. That said, when I come across something remarkable or noteworthy about a particular piece of wax, even if it is not a “purely audiophile” object, I want to make mention of it.

And TANUKI’s カタカナ・タイトル + Kanji Title wax release is not only noteworthy, but contends for hi-fi consideration despite it’s status as a picture disc.

But let’s back up slightly.

Going back to the previous thesis on why we buy records, sometimes you just want to own a vinyl just because. Just because you’re a collector trying to compile a discography on wax — or, better yet, just because you truly love the album art. For me, カタカナ・タイトル + Kanji Title (Double EP) was undoubtedly all of the three “just be-causes”.

A while back, I noticed that the LP was going into its 3rd press, and decided to snap up a copy because I like Tanuki, I like Lum, and because of those other just becauses. Unfortunately the only format available was not the pink vinyl, but the picture disc. As I’m sure is well-known (because audiophiles are very loud about things they dislike), picture-discs are a big no-no in the audiophile community. This is because while a beautiful objet d’art, a serious listening session of a picture disc release will usually produce greater amounts of surface noise than any other type of vinyl. You can, of course, with the right system, neutralize and mitigate this process slightly, but true-blue hi-fi heads pursuing that elusive muse of “pure sound” would never give a picture disc a second look.

I’m not one of those people.

Tangentially, I’ve heard whispers of ghosts of rumors from when I was living in Shenzen, China — that various record suppliers (small batch Makers) are working out manufacturing and material processes that minimize these issues on pic discs to create appealing records that cover all the bases: hi-fi suitability, collector oriented visual esoterica, and price. I should also admit I have no idea where those companies are in terms of R&D and/or producing these. I end up catching a lot of very fast talk from extremely motivated enthusiasts, but Chinese is still as elusive a language to me at times as “pure sound” can be. With that in mind, however, it’s logical to surmise that advances in technology will eventually render the differences between picture discs and traditional black wax undistinguishable. So long as the world isn’t destroyed in some cataclysmic climate disaster (very real possibility), or -- as we are watching evolve now: World War 3. My view is that it’d be pointless to dismiss the format out of hand when there are active attempts to innovate it as we speak.

That all said, I know what to expect when a contemporary, big-label picture disc plays. During my college days, I used to spin wax at the university radio station. One of the previous catalog managers had a fetish for this “collectible” format, and was convinced he was doing the station a favor by purchasing all these vinyls, noting a pre-supposed resale value later. I remember throwing these on the well-worn Technics SP-10 we had as our main turntable, and listening to the occasional scratch, frequent popping, and constant surface noise, that for the uninitiated (bless you), sounds like a sustained “cracking” in your Rice Krispies — or for those born in the analog age, CRTV static.

So when I sat down with the Tanuki picture disc, I had this laundry list of preconceptions and prejudices about the format. I thought that I could listen to a moderately scratchy record once or twice, keep it as more a visual boutique item and then eventually include in an article where I bemoan the poor quality of the genre’s releases.

But then, I actually listened.

And it sounded… well, I won’t get ahead of myself. Here’s the full review:

THE MUSIC

BABYBABYの夢 — is doubtless the reason why many of us have bought the EP from a sonic perspective —especially if the band-camp reviews are indicative of trends. I still maintain that this is the Mariya Takeuchi sample/remix work par excellence. Tanuki hits all the essential notes here, a genuine respect and love for the sound-staging of its original source, Yume No Tsuzuki. I still get echoes of the original arrangement in my system, (ever so slightly) with a bright and dance-infused collection of unique sounds — particularly in that delicious, wide mid-range — that flesh out the track into its own sort of masterpiece.

何がGoin' On — the curatorial and conspiratorial side of my brain tells me that Goin’ On will probably go down as one the under-appreciated vintage bangers of this era of future funk. I can envision hipsters two or three decades from now sussing out a neophyte with pretentious questions about this track’s pitch-shifted sample draws from. It has that sort of vibe that you know hits with a certain subset of electronica fans — rich & vibrant, making the tweeters on your system work out in all the best ways — it’s just great.

がんばれ — Tanuki is at his best when he gets playful with brass samples. I firmly believe that the titans in this genre each have their go-to piece in their best arrangement — like Dan Mason’s creative vocal array, or greyL’s manipulation of micro-samples. For Tanuki, it’s whenever her gets a horn — synthesized or otherwise, into his production workflow.

ファンクOFF — continues Tanuki’s magic act, taking another city pop track more iconic for its soulful electric guitar riff and turning it into the most slap-worthy single on this EP. I prefer it when Japanese pop samples are fundamentally re-imagined, although I can see how the perfectionist tweaking of someone like Yung Bae is more appealing for some. Tanuki is undoubtedly one of the innovators of this genre, and there’s no more solid evidence of that talent than this track.

腕の中でDancin’ — if I ended up hosting a sort of mythical vaporwave grammies or something like that, (I’m available, folks!) I would probably go off on a Ricky Gervais style rant on how artists aren’t in touch with “the people” (read: me) because all we really want are more remixes of Meiko Nakahara songs — who given her impact on City Pop should have way more play in this genre than she does. This one, like most of the Meiko mixes I’ve heard, is a banger with an absolute fire bass riff punctuated throughout.

Radiant Memories — this might be my first certified “hot take” in the publication (they’ll be many more, I imagine) — but as far as I’m concerned this is the superior Plastic Love edit. I’ll just leave my thoughts there, so they can soak in with a portion of the fanbase who split my reddit account on an open fire of downvotes for suggesting that other artists than Macross 82-99 (Praise be upon him!) are allowed to touch this song as well. While Macross’s mix is definitely the more up-temo of the two, and that for some is the very essence of the genre, this slightly down-mixed version is both the perfect conclusion for the EP and ideal antithesis.

THE LISTENING EXPERIENCE

Signal to Raise ratio on the following albums:

カタカナ・タイトル + Kanji Title:  ~61.9db (1 db MoE)

Tron Legacy, Daft Punk:  58.4db

Love Trip, Takako Mamiya, Kitty Records Press: 65.8db

(ratings based on averages 5 minutes of sustained play on the testing unit, the machine actually complied this data on its preset, which is another fascinating part about this sort of vintage press-testing tech). The margin of error is because the machine, according to my mentor Dr. Juuso Ottala formerly of Harman International, informs me it was never meant to give accurate readings of picture discs, and to add about a dB of error margin.

One of the benefits of growing up in New England and, subsequently, New York, is that there are no shortage of heritage professional audio brand HQs in operation around a 200 mile radius from Manhattan to Boston. Off the top of my head, there’s Harman/Kardon, Boston Acoustics, Bose, NuMark, Marantz, and Rane headquarters within an hour’s drive from my two hometowns. Early on in my audiophile quest, I got my hands on some cool vintage gear — vinyl lathe testing equipment that has collected dust in both an old Harman technician’s storage unit, and now my parent’s basement. Over the holiday, I recently brought it out to do some surface noise testing on it to get a rough confirmation of what I was explaining in yesterday’s hi-fi guide. The innards of the machine looks eerily like a plinth-less linear tonearm and plate pair attached to a monitor. After making sure I’m not violating some kind of Harman International trade secret, I’ll post it on instagram.

Wanting to also get a firm idea on just how good my ear-test sounded, I grabbed another picture disc vinyl I had received as a gift a few years ago from my brother — the Tron Legacy OST. While I found the film passably enjoyable, my own preconceptions about pic discs, and a general exhaustion with french house — left me with no discernible desire to spin the thing. I hadn’t even broken the seal on the plastic wrap, so it seemed like as good as a blind test as any. I also grabbed what my ears tell me is a “good”, “heavy” press, a 1982 original dead-stock copy of Takako Mamiya’s Love Trip LP pressed by Kitty Records Japan. I’ve played it maybe a half dozen times since I bought it, so it’s as close to “new” 80s audiophile pop record as you can get. The Japanese are infamously anal about low SNR on their vinyl.

And, well, the results speak for themselves. The sweet spot for most black vinyl records is between 60-70db depending on age, weight, and a host of other frankly uncontrollable factors that aren’t worth getting into detail here, as I’d go on forever. The main takeaway here is that Neoncity’s and Tanuki’s record sat at the low end of the audiophile vinyl reference spectrum. Which in itself is a remarkable achievement for a pic disc. It’s worth taking a look at Tron Legacy, which just barely scratches 8db above a cassette tape, and 7db a Japanese vinyl from 1982.

This is all in an effort to say: damn, this is pretty good.

This also somewhat counters the usual “picture discs sound like shit” narrative that’s prevailed pretty consistently in the audiophile community. Tron Legacy? Yeah, that probably sounds like shit if I could bother to suffer through a listen. But whoever Hong-Kong based Neoncity is using actually makes “good” — if such a qualifier needs to be attached — image-pressed records. And that devotion to audio fidelity should be rewarded.

It might be time for me to re-asses picture discs on the whole, and that mind-expanding moment is something I owe to the fine folks at Neoncity.

[fluidsf]

Polar Visions Amplitude Listening Set 1 - Daniel Menche exploration - Reviewing:

Daniel Menche - Soundtrack for the book "D'entre les morts"

Self-released on November 12, 2018 by Daniel Menche 
Reviewed format: 16-bit/44.1kHz ALAC download of the EP

Connected listening: further self-released works and reissues by Daniel Menche on his Bandcamp page (https://danielmenche.bandcamp.com/music)

The second release in this first Listening Set (which is now fully themed around exploring releases by Daniel Menche) on Polar Visions Amplitude is Soundtrack for the book "D'entre les morts”, a digital reissue of a soundtrack that Menche made for the novel D'entre les morts by Guillaume Belhomme and which was originally released with this same soundtrack included with the book published by Éditions Lenka Lente. The French publisher / label has released numerous other novels with accompanying soundtracks by Nurse With Wound, Vomir, Andrew Liles, My Cat Is An Alien and others as well as several books on Jazz and Avant-Garde music, at times in bilingual editions. As Menche mentions in the description of the download of this release the story of D'entre les morts is about a man on a train who’s eating glass. Menche’s approach to soundtrack such a strange story was indeed to use various sounds of crunched glass and trains but the result is even more eerie than you could guess from the description itself. This piece is more cyclic in nature than Desiccation but equally strong and immersive in nature as you will find out soon. In the case of this reissue you’ll find the music in the form of a single CD quality track, identical to the physical mini-CD but with cover artwork by Menche, a dark grayscale photo (in line with the other releases on Menche’s Bandcamp page) of what looks like a tree-trunk but also eeriely seems to resemble a skull of some wild animal, intriguing imagery. Let’s dive into this soundtrack now.

Soundtrack for the book "D'entre les morts” carries some similarities in sonic approach to Desiccation, even though the source materials used are much more of a mixture of acoustic and electronic elements with the piece being built using quite clearly defined layers, some of which hover around the stereo field. These layers can be separated into metallic, screechy and squelchy electronic. The metallic layers form the main drones that carry the piece forward, a mixture of glowing resonant struck iron, hammered metal bars (sounding somewhere between a coat hanger and the kind of triangle “bell” you sometimes see in prisons in films announcing food breaks) as well as further overtones that are audible especially in the first half of the piece. The screechy sounds in the piece are all the layered train recordings of which especially the train brakes give them a note of harshness but besides the brake sounds you can also hear some clattering, wooden like sonic details from the trains. Menche hasn’t utilised the train sounds in a very explicit manner in this piece, feeling more like an accompaniment to the metal works than a steady clattering rhythm that is a bit obvious as others might have used them which does elevate these sounds above connecting them too much to their own source. The squelchy electronic sounds add a bit of Noise to the mixture, mostly aesthetically pleasing but in the second half growing in intention, the stream of the water like liquid scratchy texture appears to imagine the novel character’s disturbed brain in quite a literal but on-point manner. As I mentioned in the introduction, this soundtrack features a more cyclic kind of composition in which the separate layers are active in various phases, some short, some longer. The hammered iron droning appears for the majority of the piece and changes ever so slightly in pitch though the tones themselves mostly stay the same and is working together with the iron resonances in the first half of the piece, in the second half these hammered tones become much more prominent however, also becoming a bit more minimalistic and repetitive in nature. This does make the second half feel a bit more focussed on the “deep” of the deep listening method of experiencing this piece as the effect of these tones creeps into the mind mostly as a kind of hypnosis with some of the other sounds falling a bit out of focus (in my experience at least) but it does allow the squelchy electronics to subtly grow more intense in this second half to eventually overtake the main focus of the piece in the ending fade-out of the piece, a crackling soup of crunchy noise softly seeping away into the distance. Looking into the general immersive effect that this soundtrack has on the mind I felt that besides the actual story from the novel the piece especially relates to a kind of hyper-sensitivity of sounds. The imagery conjured up in my mind was especially that of a man locked up in the living room of his house, scared of all the sounds around him, whether its a chiming old clock or even a bit of creaking in the walls, all sounds appear to be piercing into his ears and mind likes knives stabbing him. The subtle minor / major key shifts of the resonant drones of this piece also further hint at an unstable state of mind with the piece never quite falling into a musical kind of “tones” or chords but remaining in that signature Menche field of eerie abstract tones. The aforementioned cyclic nature of this piece also makes the piece feel quite more like a summary of events, layered over each other rather than the traditional progressive form of a soundtrack / soundtrack composition but the variations that do appear over time still do keep the piece flowing forward too even though dramatic events never happen within the piece. Soundtrack for the book "D'entre les morts” is another great entry in Daniel Menche’s extensive discography and features some crisp mastering by experimental musician Andrew Liles who creates very interesting and imaginative solo music as well as part of several avant-garde groups the most well-known of which Nurse With Wound. Liles especially brought out some great warmth in the mid and high frequencies of the spectrum and brought out both the sharpness of the metals and the clarity of clattering and squelchy sonic elements in the mix. I award this soundtrack a Polar Visions Amplitude of 95 dB. This is another highly recommended listen within Menche’s discography and once again showcases Menche's imaginative, enjoyable and deeply felt creativity in the field of abstract Drone inspired Industrial music.

You can get Soundtrack for the book "D'entre les morts” in download format from Daniel Menche’s Bandcamp page here: https://danielmenche.bandcamp.com/album/soundtrack-for-the-book-dentre-les-morts

[larryland]

by Barbara Waldinger

During the question and answer session that concludes his solo production, George Gershwin Alone, Hershey Felder was asked by an audience member at Berkshire Theatre Group’s Colonial Theatre why he did not choose to be a concert pianist.  His response was that in performing his nine distinctive one-man shows he plays more concerts than any other pianist in the world:  almost four hundred per year.  To those who say that one cannot combine acting with piano-playing, Felder points to the shows he has created, each about a brilliant composer/pianist, using first person narration, accompanied by their music.

There have been other celebrated pianist/entertainers like Liberace and Victor Borge, but Felder’s plays with music are a unique blend of genres. Painstakingly researched, they are distinguishable from Michael Feinstein’s presentations because Felder is not only a singer/pianist but also an accomplished actor who knows how to bring a character to life and to interact with his audience.  In addition to Gershwin, he has resuscitated such greats as Chopin, Beethoven, Bernstein, Liszt, Berlin, and Tchaikovsky and has several more in the works.

Previously staged on Broadway, George Gershwin Alone is directed by Tony Award-nominee Joel Zwick, who has also collaborated with Felder on Beethoven and Maestro (Leonard Bernstein).  Zwick is an actor, drama professor, and a theatrical, television and film (My Big Fat Greek Wedding) director.  This run of George Gershwin Alone, unfortunately only one week in duration, should be seen before it closes.

In the course of a packed ninety minutes we hear scratchy old recordings of George and Ira Gershwin’s music and songs, we learn about music theory (who knew that the same two repeating chords that introduce  Summertime were given a totally different approach by John Williams in Jaws!) and study the critical and controversial influence of jazz.  Projected upstage are large photographs of the people and historical places prominent in Gershwin’s life as Felder traces his career in America and later Paris.  Beginning chronologically in 1898 with the composer’s birth in New York City to Russian immigrant parents, Felder regales us with personal stories revealing the ups and downs experienced by Gershwin, all the while playing his memorable music, including a complete rendition of Rhapsody in Blue.

Through Felder’s impersonations, we meet Gershwin’s family, friends, teachers, employers, and the many artists and musicians he knew. There was Al Jolson, for whom he wrote Swanee (he sounded as though he had “a megaphone in the middle of his throat”), and Ethel Merman (whose voice “sounded the same as Jolson”), Paul Whiteman, who commissioned  Rhapsody in Blue, which imitated the sound of a train on which Gershwin traveled and the noise of the cities he passed, DuBose Heyward and his wife Dorothy, who helped Gershwin adapt Heyward’s novel into the opera Porgy and Bess, and Kitty Carlisle, who admitted to  Felder in an interview for this show that her mother wanted her to marry Gershwin.

Though the performance is infused with humor, Felder also personalizes Gershwin’s physical pain, in the form of terrible headaches, which were eventually diagnosed to be the result of a brain tumor that killed him at the age of 38, as well as the emotional pain caused by some wretched reviews of An American in Paris and Porgy and Bess.  In addition, he  suffered the indignity of the anti-Semitic, racist attacks on his religion and music by Henry Ford in the Dearborn Independent.

The production is a pleasure for the eyes as well as the ears, thanks to  the work of Lighting Designer Michael T. Gilliam, whose colorful palette not only matches the mood of each piece, but can also focus, laser-like, on Felder’s hands, when the rest of the stage fades to black.  Sound Designer Erik Carstensen’s use of original recordings of well-known songs injects period authenticity into the production.

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After Felder’s performance was officially over, he asked the audience which songs they would like him to play (Gershwin wrote over one thousand of them).  He then located the music for the requested selections in the oversize books he kept on a desk nearby (some of which were original scores), and supplied the words as willing patrons sang along, following which he answered questions.  Felder talked of the great artists he has researched and impersonated in his shows, and how they put the human condition into their art in order to make the world more beautiful, more elegant, and finally, something we have lost today—more civil.  As the evening drew to a close, Felder played Clair de Lune by Debussy, whose music had a great influence on Gershwin—a perfect example of beauty in the world.

  GEORGE GERSHWIN ALONE runs from August 24—31.  Tickets may be purchased online at www.BerkshireTheatreGroup.org or call 413-997-4444.

Berkshire Theatre Group and Hershey Felder present GEORGE GERSHWIN ALONE by Hershey Felder.  Music and Lyrics by George and Ira Gershwin.  Directed by Joel Zwick; Associate Director Trevor Hay.  Cast:  Hershey Felder (George Gershwin).  Lighting Designer:  Michael T. Gilliam; Sound Designer/Production Manager:  Erik Carstensen.

Running Time:  90 minutes, no intermission.  The Colonial Theatre, 111 South Street, Pittsfield, MA.; from August 24; closing August 31.

REVIEW: “George Gershwin Alone” at the Berkshire Theatre Group by Barbara Waldinger During the question and answer session that concludes his solo production, George Gershwin Alone, …

[djzena]

Prime Halloween Songs 2014

We asked folks throughout the office and on Twitter their favorite Halloween songs for #MusicMonday. That is the extra fun time once you can provide your kids Halloween pencils,little toys or other fun objects. As a former educator and mom of two (ages 3 and seven), this e book captured what Halloween is all about. There is quite literally no Halloween occasion with music that has ever occurred without the playing of this song. There are 18 enjoyable Halloween children' songs for you to scare your little ones with in this category, but we're satisfied there are lots more scary songs on the market we've yet to discover. I am aware these songs may have reached you after your Halloween party weekend, but don't forget there may be still Wednesday night (be careful to keep away from noise violations with increased fines) as well as this upcoming weekend (don't forget to celebrate Day of the Useless for some extra credit), so don't pack away your costumes but! Never thoughts the truth that Black Sabbath are the godfathers of metallic and Ozzy Osbourne is the Prince of Darkness: From a purely musical standpoint, Black Sabbath's eponymous music is diabolical. Hi- I found a really pale piece of paper in my Hallowenn stuf.. cirda 1974 or so. A hand written web page, very pale with the entire Lyrics to the Wobblin Goblin! One other Halloween tune that is been round for many years, this one is nice for youths as a result of the high-pitched, sped up voice of the monster makes him seem lovable, not scary. Halloween Land's delightfully whimsical melody bought a nightmarish rendition thanks to Marilyn Manson. Send over 21000+ Messages & Wishes to friends and family by way of WhatsApp, Facebook! Christmas Songs, Christmas carols, and music for the Vacation Season with lyrics and music to take heed to. Good songs to sing near the Christmas tree. Yeah after all Thriller might be Michael Jackson's hottest Halloween type jingle, however Ghosts is certainly the extra spookier tune. Both mother and father and lecturers will profit from enjoying Halloween songs The songs get your youngsters into the spirit, and interact them. Halloween Rock Band: Ever heard of a Halloween celebration with Rock music?I bet nobody has. Though it considerations the terrifying legendary being that seems throughout full moons, the tune's lyrics themselves are gentle and humorous. In the Netherlands, Halloween could also be a current Anglo-Saxon import, however that hasn't stopped Amsterdam from taking the holiday to its coronary heart, with a energetic variety of themed occasions geared toward all ages. In faculty, Halloween occasion colleges are a very completely different animal than your regular get together college. YouTube has helpfully supplied us with a listing of songs whose views and searches spike excessive above their regular amount every year round Hallow's Eve. Nonetheless, pondering it's charming” might say extra about me than it does about this tune, which is frightening. Many of these songs were not originally for youngsters,” says Kay Vandergrift, Professor Emerita of Kids's Literature at Rutgers College. From adorning the house to creating costumes and greeting playing cards, and completing faculty Halloween tasks, kids can do a lot. And why Marilyn Manson may not be parents' best choice of music artists for his or her youngsters to be listening to, he does an important job with the track and retains it clear. Take a look at Merely Said for a recipe and full directions to make this great and spooky Halloween Celebration punch with dismembered hand! In the event you determine to host a Halloween celebration, there are numerous spooky songs that you'll have to choose from that make your last playlist. The low-key tune is steeped in cinematic horror - its title refers back to the actor well-known for taking part in Dracula within the unique 1931 movie, and Bauhaus performed the track through the opening credits of 1983 horror film The Hunger. Coming soon: Hundreds of new songs to teach seasons, climate, professions, good habits, manners, and many others. It definitely is one of the livelier musical items to have on the list for Halloween as evening music. We start by discussing nursery rhymes typically, and by naming as lots of them as we can. Party music from the rest of the yr's playlists will still be confirmed floorfillers, of course, from your pop classics to chart hits and beyond. Flip a big, hollowed-out Halloween pumpkin into a target for throwing objects. Young kids often go trick or treating with dad and mom or with an older brother or sister. Since we specialize in putting collectively custom playlists for companies, we pulled collectively the best Halloween playlist for a fun and spooky night time out. I too was a bit anxious about how far the halloween theme could be taken but fortunately it was very much toddler pleasant - the costumes aren't scary (see photos within the post). The creepy halloween music went to #2 on the pop singles chart in the US and was certified gold. Entwistle got here up with the music after an evening of ingesting and making up goofy names for animals and bugs with Rolling Stones bassist Invoice Wyman , which could explain why is voice is so scratchy. To capitalize on my boys' love of Halloween (and holidays on the whole), our mommy college actions this month are going to have rather a lot to do with pumpkins, scarecrows, owls, and silly monsters. The first is a recording you could just take heed to, whereas the second is a video that you can watch and see the ESL occasion vocabulary flashcards concurrently listening to the proper pronunciation. My kindergartner LOVES this guide full of acquainted nursery rhymes and fully intriguing new paintings. They're maybe finest identified for his or her version of The Hearse Tune”; a a long time-old, morbid children's track that audiences may know from its inclusion in Scary Tales to Tell in the Darkish. Halloween is arguably probably the most fun holidays of the 12 months, and but, so few appear conscious of the unbelievable plethora of Halloween music. Rockwell had been typically unknown before this large hit propelled them to #2 in the US pop charts. A brand new addition to the Halloween canon, this six minute epic from Kanye West was the high point of his My Beautiful Darkish Twisted Fantasy Opus and featured an all-star guest list, together with Jay Z, Rick Ross and, for some cause, Bon Iver. Of course, there are plenty of different awesome Halloween songs we may have included, but this list consists of a few of the classics and in addition some you will have by no means heard before that we hope you get pleasure from and add to your Halloween repertoire for http://disney.wikia.com/wiki/Frozen years to come back. Three scheming witch sisters are back to attain immortality after their hanging 300 years ago—and they're casting spells via tune and dance alongside the way. Take heed to our high 10 as you ready yourselves to roam the dark and bitter streets!