In philosophy, desire has been identified as a philosophical problem since Antiquity. In Plato's The Republic, Socrates argues that individual desires must be postponed in the name of the higher ideal.
Within the teachings of Buddhism, craving is thought to be the cause of all suffering. By eliminating craving, a person can attain ultimate happiness, or Nirvana. While on the path to liberation, a practitioner is advised to "generate desire" for skillful ends.
In Aristotle's De Anima the soul is seen to be involved in motion, because animals desire things and in their desire, they acquire locomotion. Aristotle argued that desire is implicated in animal interactions and the propensity of animals to motion. But Aristotle acknowledges that desire cannot account for all purposive movement towards a goal. He brackets the problem by positing that perhaps reason, in conjunction with desire and by way of the imagination, makes it possible for one to apprehend an object of desire, to see it as desirable. In this way reason and desire work together to determine what is a good object of desire. This resonates with desire in the chariots of Plato's Phaedrus, for in the Phaedrus the soul is guided by two horses, a dark horse of passion and a white horse of reason. Here passion and reason, as in Aristotle, are also together. Socrates does not suggest the dark horse be done away with, since its passions make possible a movement towards the objects of desire, but he qualifies desire and places it in a relation to reason so that the object of desire can be discerned correctly, so that we may have the right desire. Aristotle distinguishes desire into appetition and volition.
Désiré (29 December 1823 – September 1873) was a French baritone, who is particularly remembered for creating many comic roles in the works of the French operetta composer Jacques Offenbach. Désiré was a stage name; the artist's real name was Amable Courtecuisse, but for most of his life he was generally known as Désiré.
He was born in Lille, or a nearby village, and studied bassoon, singing, and declamation at the Lille Conservatory. His first appearances were at small theatres in Belgium and northern France beginning in 1845.
In 1847, he arrived at the Théâtre Montmartre in Paris where he met Hervé. He asked Hervé to provide him with a musical sketch (drawn from Cervantes' novel Don Quixote), in which the tall and thin Hervé as the Don was pitted against the short and plump Désiré as Sancho Pança. The sketch inspired what was later dubbed the first French operetta, Hervé's Don Quichotte et Sancho Pança, which premiered in 1848 at Adolphe Adam's Théâtre National at the Cirque Olympique, but with Joseph Kelm, instead of Désiré, as Sancho Pança.
Desire is a Canada/Germany treaty coproduction drama film, released in 2000. It was directed and written by Colleen Murphy produced by Elizabeth Yake (Canada) and Eberhard Junkersdorf (Germany). The film premiered at the Toronto International Film Festival.
The film stars Zachary Bennett as Francis Waterson, an aspiring concert pianist, and Katja Riemann as Halley Fischer, an elementary school teacher with whom Francis enters a romantic relationship.
The film garnered two Genie Award nominations at the 22nd Genie Awards, with a Best Actress nod for Katja Riemann and a Best Actor nomination for Zachary Bennett.
James Ware (born June 20, 1957), better known by his ring name Koko B. Ware is a retired American professional wrestler who made his professional wrestling debut in 1978. He rose in popularity during the mid 1980s, while appearing in the World Wrestling Federation, where he was initially a strong mid-carder before he eventually became a jobber to the stars. Ware came to the ring with a blue-and-yellow macaw named Frankie, and would flap his arms like a bird while dancing before and after his matches. Before joining the WWF, Ware worked as a part of several tag teams, first with Bobby Eaton in Memphis and then later on with Norvell Austin as one half of the P.Y.T. Express in several promotions. Ware also holds the distinction of having competed in the first ever match on the first episode of Monday Night Raw in a losing effort against Yokozuna.
Koko spent his early days in the sport in the Mid-South, Georgia and other NWA territories. Early in his career, Koko Ware (as he was then known) did not find great success, learning the ropes and paying his dues both in Jerry Jarrett’s Continental Wrestling Association and Nick Gulas’ territory in the south.
"Frankie" is a song by Sister Sledge that was released as a single in 1985. It is taken from their album When the Boys Meet the Girls.
The song was written by Denise Rich (under the pseudonym "Joy Denny") after dreaming while on a flight from the United States to Switzerland. According to the NOW 5 album the song was written about Frank Sinatra.
The song was produced by Chic's Nile Rodgers, who had co-produced the sisters' earlier hits such as "He's the Greatest Dancer" and "We Are Family". The sisters suggested the song to him, but he hated it on first hearing. A week later, he went back to them saying he could not stop singing it and so he insisted that the band recorded it.
A marked contrast to the disco cuts which had made them internationally famous in the late 1970s, this girl-pop number became a hit in the UK Singles Chart, spending four weeks at number one in June and July 1985. It fared much less well in the US where it peaked at number 75 on the Billboard Hot 100 and No. 32 in the Billboard R&B chart.
Mix, mixes, mixture, or mixing may refer to:
Audio mixing is the process by which multiple sounds are combined into one or more channels. In the process, the source signals' level, frequency content, dynamics, and panoramic position are manipulated and effects such as reverb may be added. This practical, aesthetic, or otherwise creative treatment is done in order to produce a mix that is more appealing to listeners.
Audio mixing is practiced for music, film, television and live sound. The process is generally carried out by a mixing engineer operating a mixing console or digital audio workstation.
Before the introduction of multitrack recording, all the sounds and effects that were to be part of a recording were mixed together at one time during a live performance. If the mix wasn't satisfactory, or if one musician made a mistake, the selection had to be performed over until the desired balance and performance was obtained. However, with the introduction of multitrack recording, the production phase of a modern recording has radically changed into one that generally involves three stages: recording, overdubbing, and mixdown.