- published: 05 Apr 2020
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Taylor Mead's Ass (1964) is a film by Andy Warhol featuring Taylor Mead, consisting entirely of a shot of Mead's buttocks, and filmed at The Factory.
According to Watson's Factory Made: Warhol and the Sixties, Taylor Mead had achieved a degree of fame that "inspired a backlash." One example was a letter to the editors at The Village Voice in August 1964 which complained about "films focusing on Taylor Mead's ass for two hours." Mead replied in a letter to the publication that no such film was found in the archives, but "we are rectifying this undersight." Two days later, Warhol shot the "sixty-minute opus that consisted entirely of Taylor Mead's Ass," during which Mead first exhibits a variety of movement, then appears to "shove a variety of objects up his ass." The film was Mead's last for Warhol "for more than three years", at the end of 1964, "Mead felt betrayed by Warhol for not showing the film."
The film was described as "seventy-six seriocomic minutes of this poet/actor's buttocks absorbing light, attention, debris" by Wayne Koestenbaum, in Art Forum. In his book, Andy Warhol, Koestenbaum writes "Staring at his cleft moon for 76 minutes, I begin to understand its abstractions: high-contrast lighting conscripts the ass into being a figure for whiteness itself, particularly when the ass merges with the blank leader at each reel's end. The buttocks, seen in isolation, seem explicitly double: two cheeks, divided in the centre by a dark line. The bottom's double structure recalls Andy's two-paneled paintings . . . "
Jazz is an album by jazz artist Wallace Roney released in 2007.
Jazz (Jazz Aviation LP), is a Canadian regional airline based at Halifax Stanfield International Airport in Enfield, Halifax Regional Municipality, Nova Scotia, and is a wholly owned subsidiary of Chorus Aviation. Jazz Aviation provides regional and charter airline services in Canada and the United States, primarily under contract to Air Canada using the brand name Air Canada Express, and also as Jazz Charters.
It is Canada's third largest airline in terms of fleet size (but not in terms of passengers carried annually, number of employees or destinations served). Its Air Canada Express operations serve 79 destinations in Canada and the United States. Under a Capacity Purchase Agreement (CPA), Air Canada sets the Jazz route network and flight schedule, and purchases all of Jazz’s seat capacity based on predetermined rates. Its main base is Halifax Stanfield International Airport, with hubs at Toronto Pearson International Airport, Victoria International Airport, Vancouver International Airport, Montréal-Pierre Elliott Trudeau International Airport, and Calgary International Airport.
Jazz is the seventh studio album by British rock band Queen, released on 10 November 1978. Roy Thomas Baker temporarily reunited with the band and became their producer; it was three years since he co-produced their 1975 album A Night at the Opera, but this album also was the last he co-produced for the band. The album's varying musical styles were alternately praised and criticised. It reached #2 in the UK Albums Chart and #6 on the US Billboard 200. Jazz has sold over 5 million copies to date.
Critical reaction upon release was mixed, with scathing reviews from the likes of Rolling Stone and Creem. It was subject to a viciously condemning Rolling Stone review by Dave Marsh, which included the suggestion that "Queen may be the first truly fascist rock band". Paul Rees of Q awarded the record four stars, and wrote, "Their most underrated album, like A Night at the Opera it took in a wild array of musical styles."
"Mustapha" is a song written by Freddie Mercury. It was released as a single in 1979.
Spirit is the first full-length album by the Swiss folk metal band Eluveitie. It was released on June 1, 2006 by Fear Dark Records and re-released by Twilight Records in 2007.
All songs written by Chrigel Glanzmann, except "The Endless Knot" & "Of Fire, Wind and Wisdom" by Chrigel Glanzmann and Ivo Henzi
Adapted from Discogs
Spirit is the tenth studio album of Japanese singer-songwriter Hitomi. The album was formally released on April 27, 2011 under the independent label Maximum 10.
Spirit features production from Advanced Alternative Media, making this the first time that they work with a Japanese artist. Other western artists, like Rivers Cuomo from Weezer, Chuck Comeau and Pierre Bouvier from Simple Plan, and Gabe Saporta from Cobra Starship collaborated in the album as well.
The album was released approximately two years after her previous work, Love Life 2, and it is her first album after her departure from the Avex major label. It was produced by musicians of Advanced Alternative Media Inc., making this the first album in which Hitomi works exclusively with Western songwriters, composers, and producers.
No singles were released for promoting the album, although two songs were made available to the public prior to its release. The song "Love Me, Love Body" was used as the official theme song to Coca-Cola Japan's healthy drink for women "Love Body", and was digitally released on July 28, 2010. "Song For You" was the other song previously released. It was included in Hitomi's single "Umarete Kurete Arigatō", which was her last single released under the Avex label. The last songs that Hitomi published under the Avex major label, "Umarete Kurete Arigatō" and "Smile World" -the two A-side songs of her last major single-, along with the thems songs of the NHK anime TV series Hanakappa, "Special" and "Guru Maze Yeah", were not included in the album.
Sociaal-Liberale Partij ( listen; SLP; Dutch for Social Liberal Party) was a Belgian Flemish political party formed after dissolution of the moderate nationalist People's Union (Volksunie) party. Prior to 19 April 2008 it was known as Spirit, and intermediately as Flemish Progressives (VlaamsProgressieven). The party fused with Green! in the end of 2009 thus ceasing to exist.
The People's Union separated into two parties, the social liberal Spirit and the centre-right New-Flemish Alliance (N-VA), which formed a cartel with the Christian Democratic and Flemish (CD&V) party. The formation of the cartels was seen as a way in which Spirit and N-VA could guarantee their influence and position in Flemish and Belgian politics. The forming of the cartel led the liberal wing of the party to join the Flemish Liberals and Democrats (VLD).
Spirit was the abbreviation for
00:00 - Spyra 07:46 - Astral Radium 13:56 - G.D.D. 21:37 - Night And Day 29:55 - Nightrance 34:39 - Ultra Axis 43:52 - Clowns 50:49 - High Stakes 55:41 - Geri 01:04:44 - Nothern Lights Personnel: Antoine Roney - tenor saxophone Wallace Roney - trumpet Carlos McKinney - piano Clarence Seay - bass Eric Allen - drums Recorded on February 20-22, 1995 Label: Warner Bros. Records
1 Obsession 2 Scenario One 3 ------------------------- 4 Seven 5 Black Moon 6 Donna Lee Credits Bass – Christian McBride Drums – Cindy Blackman Engineer – Rudy Van Gelder Piano – Donald Brown Producer – Joe Fields Tenor Saxophone, Flute – Gary Thomas Trumpet – Wallace Roney Notes Recorded At Van Gelder Recording Studio, Englewood Cliffs, NJ, on 9/7/90.
Wallace Roney Quintet, Sunside, Paris - March 23, 2017 RIP Roney Wallace. -Lineup : Wallace Roney (RIP), trumpet Ben Salomon, tenor sax Oscar L. Williams jr, piano Curtis Lundy, bass Eric Allen, drums Wallace Roney, a Grammy-winning jazz trumpeter celebrated for his interpretations of Miles Davis, has died aged 59 after contracting Covid-19. He died in hospital in Paterson, New Jersey, where he had been admitted last week, according to his fiancee, Dawn Felice Jones. Roney, born in 1960, trained at Duke Ellington School of the Arts, Howard University and Berklee College of Music. After playing clubs in New York, he was invited into the storied hard bop band led by Art Blakey, the Jazz Messengers. He was then hired by Tony Williams, the drummer who had played alongside Herbie Hancock and W...
Date: July 13, 2000 Location: Copenhagen Jazz Festival - Cirkusbygningen, Copenhagen, Denmark Radio broadcast A+ Vincent Herring (as), Mark Turner (ts), Wallace Roney (t), Benny Green (p), Buster Williams (b), Jimmy Cobb (d) 01. So What - 17:14 (Miles Davis) 02. Freddie Freeloader - 12:57 (Miles Davis) 03. Blue In Green - 5:18 (Bill Evans, Miles Davis) 04. All Blues - 14:14 (Miles Davis) 05. Flamenco Sketches - 11:58 (Miles Davis) 06. Milestones - 6:06 (Miles Davis) 07. Ah-Leu-Cha - 10:42 (Charlie Parker) 08. The Theme - 6:44 (Miles Davis)
Formazione: Wallace Roney: tromba Benjamin Solomon: sax Anthony Wonsey: piano Rashaan Carter: contrabbasso Lenny White: batteria Wallace Roney (nato a Philadelphia il 35 maggio 1960) è un fuoriclasse del panorama internazionale jazz, come dimostrato dalle sue prestigiose collaborazioni, da Miles Davis (suo mentore) a Wayne Shorter, Herbie Hancock, Tony Williams, Chick Corea, Elvin Jones, Art Blakey e Ornette Coleman. Trombettista dalla tecnica strepitosa, Roney raccoglie l’eredità di Davis e a guisa del maestro persegue l’obiettivo di trovare una nuova dimensione sonora in cui l’eredità del jazz possa dispiegarsi dialogando con lo spirito della contemporaneità. Dopo la collaborazione con la Duke Ellington High School for the Performing Arts, gli studi al Berklee College of Music e la colla...
Taken from Jazz Stream on Spotify: https://open.spotify.com/album/0NhxrRNe6mhnwR0jo7yTY4 Stream on Deezer: http://www.deezer.com/album/74882492 Stream on Amazon: http://www.amazon.com/gp/product/B07J44R4YV?ie=UTF8&tag;=i008-20&linkCode;=as2&camp;=1789&creative;=390957&creativeASIN;=B07J44R4YV Buy on Itunes: https://itunes.apple.com/album/id1438363334 © Copyright: 2007 HighNote Records, Inc. ℗ Production: 2007 HighNote Records, Inc.
Provided to YouTube by Universal Music Group Daahoud · Wallace Roney No Job Too Big Or Small ℗ 1999 Savoy Records, a division of Concord Music Group, Inc. Released on: 1999-08-03 Producer, Recording Producer: Michael Cuscuna Producer, Recording Producer: Joe Fields Producer, Recording Producer: Tony Williams Composer Lyricist: Clifford Brown Auto-generated by YouTube.
Full interview: http://snapshotsfoundation.com/index.php/articles/135-wallace-roney-interview Wallace Roney: The Great Jazz Drummers
1 Intuition 2 Opus One Point Five 3 Ahead 4 Taberah 5 Sometimes My Heart Cries 6 For Duke 7 Willow Weep For Me Credits Bass – Ron Carter Drums – Cindy Blackman Piano – Mulgrew Miller Producer – Don Sickler, Joe Fields Saxophone [Alto] – Kenny Garrett (tracks: A1 to A3, B2, B3) Saxophone [Tenor] – Gary Thomas (tracks: A1, B1 to B3) Trumpet – Wallace Roney
⇓ Stream the album here → http://bit.ly/placeintime_Spotify / http://bit.ly/placeintime_Apple ♫ Listen to the album on YouTube → http://bit.ly/placeintime_YT ✔ Subscribe to Jazz Everyday! : http://bit.ly/1Ydc0dN
Muse Records MCD 5533 1 Solar 2 Ah Leu Cha 3 Bemsha Swing 4 Lost 5 Daahoud 6 Whims Of Chambers 7 Smooch 8 Love For Sale Credits Art Direction, Design – Hal Wilson Bass – Christian McBride Drums – Kenny Washington Engineer – Rudy Van Gelder Piano – Geri Allen Tenor Saxophone – Ravi Coltrane (tracks: 1 to 3, 5, 8) Trumpet – Wallace Roney Notes Recorded At Van Gelder Recording Studios In Englwood Cliffs, NJ, On June 6, 1993.
Taken from Understanding Stream on Spotify: https://open.spotify.com/album/1VnV8SvLowOo3xmFHLla6a Stream on Deezer: http://www.deezer.com/album/75011132 Stream on Amazon: http://www.amazon.com/gp/product/B07J4HYB2B?ie=UTF8&tag;=i008-20&linkCode;=as2&camp;=1789&creative;=390957&creativeASIN;=B07J4HYB2B Buy on Itunes: https://itunes.apple.com/album/id1438356769 © Copyright: 2013 HighNote Records, Inc. ℗ Production: 2013 HighNote Records, Inc.
Recorded live at Jazz Club Moods in Zurich, on the 15.05.2018 Watch the entire concert and many others on http://www.moods.digital Line-Up: Wallace Roney tp, Emilio Modeste sax, Oscar Williams p, Curtis Lundy b, Eric Allen dr Come visit us: https://goo.gl/maps/LbPPgMDeqp52 Find our upcoming shows: http://www.moods.club Follow and Like the club: https://www.facebook.com/MoodsZurich/ Follow and Like for broadcast updates: https://www.facebook.com/moodsdigitalconcertclub/
Taylor Mead's Ass (1964) is a film by Andy Warhol featuring Taylor Mead, consisting entirely of a shot of Mead's buttocks, and filmed at The Factory.
According to Watson's Factory Made: Warhol and the Sixties, Taylor Mead had achieved a degree of fame that "inspired a backlash." One example was a letter to the editors at The Village Voice in August 1964 which complained about "films focusing on Taylor Mead's ass for two hours." Mead replied in a letter to the publication that no such film was found in the archives, but "we are rectifying this undersight." Two days later, Warhol shot the "sixty-minute opus that consisted entirely of Taylor Mead's Ass," during which Mead first exhibits a variety of movement, then appears to "shove a variety of objects up his ass." The film was Mead's last for Warhol "for more than three years", at the end of 1964, "Mead felt betrayed by Warhol for not showing the film."
The film was described as "seventy-six seriocomic minutes of this poet/actor's buttocks absorbing light, attention, debris" by Wayne Koestenbaum, in Art Forum. In his book, Andy Warhol, Koestenbaum writes "Staring at his cleft moon for 76 minutes, I begin to understand its abstractions: high-contrast lighting conscripts the ass into being a figure for whiteness itself, particularly when the ass merges with the blank leader at each reel's end. The buttocks, seen in isolation, seem explicitly double: two cheeks, divided in the centre by a dark line. The bottom's double structure recalls Andy's two-paneled paintings . . . "