Demon Flower is the eighth studio album by Australian rock band, Hunters & Collectors and was released on 16 May 1994. It was co-produced by the band with Nick Mainsbridge, reaching No. 2 on the ARIA Albums Chart and was certified Gold by the Australian Recording Industry Association. It peaked at No. 9 on the New Zealand Albums Chart. Demon Flower was released by Hunters & Collectors as their eighth studio album on 16 May 1994, co-produced by the band with Nick Mainsbridge; the line-up of the group was John Archer on bass guitar, P. A. backing vocals. Archer told The Canberra Times' Naomi Mapstone that he felt the album had "less kind of studio stuff. I think it's a lot more adventurous though the last one sounded full-on and dense, it was quite a safe record in a lot of ways... We had a lot more fun with the sounds on this one". Australian musicologist, Ian McFarlane noticed that it "featured a stronger emphasis on guitars", it debuted at No. 2 in Australia – their highest charting album – and No. 9 in New Zealand.
Demon Flower's lead single "Easy", was issued a month ahead of the album's release and peaked at No. 38 on both countries singles charts. The three subsequent singles however all failed to chart. Seymour describes the band's frustration in the liner notes of Natural Selection, when discussing the fourth single, "The One and Only", "We’d launch into tracks like this one… an absolute live monster, getting a response would be like trying to raise the dead; the radio recognition factor was crucial. Speaking, there wasn’t any radio after Holy Grail. Go figure." The album was remastered and reissued by Liberation Music on 11 August 2003. Naomi Mapstone of The Canberra Times reviewed Demon Flower in June 1994 and noted that " seem to have, taken a deep breath, cleared their heads and, got back in touch with the vitality, a hallmark of-earlier albums Human Frailty and The Jaws of Life". In December that year her fellow journalist, Nicole Leedham, rated Demon Flower as the Best Album of the year. All lyrics are written by Mark Seymour.
Credited to: Hunters & CollectorsJohn Archer – bass guitar, P. A. backing vocals Doug Falconer – drums, programming, backing vocals Jack Howard – trumpet, backing vocals Robert Miles- – live sound, art director Barry Palmer – lead guitar Mark Seymour – lead vocals, mandolin Jeremy Smith – French horn, keyboards, backing vocals Michael Waters – trombone, keyboardsProduction detailsProducer – Hunters & Collectors, Nick Mainsbridge Engineer – Nick Mainsbridge Assistant engineer – Lawrence Maddy, Anthony Cook Mastering – Don Bartley Mixed by – Mark Freegard for 140db Assistant mixer – Kalju Tonuma Studios – Sing Sing Studios, Melbourne.
"Yo x Ti, Tu x Mi" is a song by Spanish singer and songwriter Rosalía and Puerto Rican singer Ozuna. It was released as a single from her upcoming third studio album, on 15 August 2019 through Sony Music, it reached number one in Spain in September 2019, becoming her fifth number-one single and her fourth consecutive number-one single. The song was first teased by Rosalía on her social media on 13 August 2019; the snippet sees the singer wearing a facetiming Ozuna. Rosalía expressed appreciation for Ozuna's music by posting an acoustic version of "Amor Genuino" in July 2019; the official soundtrack of FIFA 20 was released via Spotify and Deezer on September 13. In a positive review, Suzy Exposito of Rolling Stone compilmented the song for being a "featherweight reggaeton groove" pointing out the "flirty verses" between the singers. Suzette Fernandez at Billboard noted that the song "fusions reggaeton and electronic sounds". Writing for MTV, Madeline Roth stated that the song is "a romantic, reggaeton offering with a deceptively simple chorus".
A music video for "Yo x Ti, Tu x Mi" was released through Rosalía's YouTube channel on 15 August 2019. It was directed by Cliqua, it was recorded in a mansion in Miami in January 2019 which means the song had been recorded previously. The filming lasted four days; the video features shots of Rosalía and Ozuna getting close with each other and dancing in various luxury hotel rooms while going through multiple costume changes. Jem Aswad of Variety described the visuals as "a light-hearted romantic outing with the Puerto Rican rapper/singer" and drew comparisons to Ariana Grande. Credits adapted from Tidal. Rosalía Vila – songwriting, vocals Pablo Díaz-Reixa – songwriting, recording engineering Juan Carlos Ozuna – songwriting Frank Dukes – production Jacob Richards – assistant engineering Mike Seaberg – assistant engineering Rashawn Mclean – assistant engineering Jaycen Joshua – mixing Chris Athens – master engineering Hi Flow – recording engineering Morning Estrada – recording engineering
Hit So Hard is a 2011 American documentary film directed by P. David Ebersole; the film details the life and near death story of Patty Schemel, drummer of the seminal'90s alternative rock band Hole, charts her early life, music career, spiral into crack cocaine addiction. The film weaves together Hi8 video footage Schemel recorded while on Hole's 1994-95 world tour with contemporary interviews with her, bandmates Courtney Love, Eric Erlandson, Melissa Auf der Maur, as well as her family members; the film features interviews with other female drummers and musicians, including Nina Gordon, Kate Schellenbach, Gina Schock, Debbi Peterson, Phranc. The film's score is written by Roddy Bottum of Faith No More, it was produced by Todd Hughes and Christina Soletti and was released theatrically in North America in 2012 by Well Go USA via Variance Films. It screened a series of film festivals, including South by Southwest, the Marché du Film at Cannes, the Seattle Gay and Lesbian Film Festival, The Portland Queer Documentary Film Festival, Outfest.
The title is a reference to a song on Hole's 1998 album Celebrity Skin. Hit So Hard was conceived after Schemel discovered a cache of Hi8 video footage which she had recorded herself during her world tour with Hole promoting their second album, Live Through This. In the process of digitizing the footage to preserve it from deterioration and Ebersole sought to utilize the footage in order to tell Schemel's story; the film begins with discussion amidst Hole's 1994 and 1995 world tour works backwards to Schemel's childhood growing up in Marysville and details her coming out to her family as a lesbian, as well as her immersion in Seattle's music scenes, where she would cross paths with Kurt Cobain. Through contemporary interviews with Schemel's bandmates Courtney Love, Eric Erlandson, Melissa Auf der Maur, her beginnings in Hole are detailed, including her audition with Love and Erlandson in Los Angeles amidst the Rodney King riots, as well as her time living with Love and husband Kurt Cobain, the songwriting process between Love and Erlandson.
Additional commentary from fellow female drummers, musicians and friends of Schemel's are provided throughout. After the death of Hole's bassist Kristen Pfaff in 1994, the band embarked on a world tour with Auf der Maur as Pfaff's replacement, Schemel, along with Love, began using heroin. Schemel's drug use leads to a breakup with her girlfriend, who acted as Love's personal assistant on the tour, Schemel reflects on her time in a rehabilitation facility she checked into with Love after the conclusion of the tour in 1995. In 1998, the band enters the studio to record their third album, Celebrity Skin, where Schemel is replaced by a session drummer at the suggestion of the record's producer, Michael Beinhorn, given authorization by the rest of the band after providing them with studio loops of Schemel's weaker drum tracks; this leads to a rift between Schemel and the band, her eventual resignation. After leaving Hole, Schemel becomes addicted to crack-cocaine and ends up living on the streets in Los Angeles for two years, only maintaining contact with Love.
The film charts Schemel's recovery from her addiction, mending with the band, her marriage to wife Christina Soletti, her newfound passion for animals, opening her own animal boarding and dog walking business. The film concludes with Schemel teaching drum lessons in her spare time. Hit So Hard opened at New York City's Cinema Village on April 13, 2012 before playing in theaters in a limited release around the United States and Canada, via WellGo USA and Variance Films. Hit So Hard was released theatrically in Japan via King Records: it opened in Tokyo at Theater N on April 28, 2012. Hit So Hard was released theatrically in the UK via Peccadillo Pictures: it opened in London at ICA London on November 16, 2012. 2011: Opening Night Film at Beat Film Festival in Moscow 2011: Won Jury Award for Best Documentary at Frameline Film Festival 2011: Documentary Centerpiece Gala at Outfest 2011: Closing Night Film at Birmingham Shout at the Sidewalk Moving Picture Festival 2011: Won Audience Award - Sight & Soundtrack at Philadelphia Film Festival 2012: Nominated for Outstanding Documentary for the 24th GLAAD Media Awards Hit So Hard on IMDb Hit So Hard: The life and near-death story of Patty Schemel
"Don't Stop" is a song by American rock band Nothing More. It was released as a promotional single off of their album The Stories. Two versions of the song exist, the album version, the single and music video version, which contains new guest vocals in the bridge by Papa Roach frontman Jacoby Shaddix. "Don't Stop" was written and recording over the course of 2016 and 2017, while the band alternated between touring and writing and recording their fifth studio album, The Stories We Tell Ourselves. The song was leaked on June 16, 2017, due to a technical glitch on the band's website, was taken down; the song was released a week on June 23, at the same time as the album's first single, "Go to War". A lyric video was released at the same time. A promotional single and full-fledged music video was released on September 29, 2017, two weeks after the release of The Stories We Tell Ourselves; this version contains additional vocals in the bridge by Papa Roach frontman Jacoby Shaddix, alternating vocals with Nothing More frontman Jonny Hawkins.
The music video alternates between footage of the band performing, increasing numbers of people running through a city, away from special agent government men, with the people arriving at the warehouse the band is performing in. Shaddix appears in the video, where he emerges from the crowd to perform his part of the song; the song was described as having an electronic and industrial beat, with an overall hard rock sound due to its "massive bass" and "soaring guitars". The song's sound was described as having elements of nu metal. Hawkins alternates between soaring, melodic vocals, harsh, screamed vocals, throughout the song; the guest vocals provided by Jacoby Shaddix mirror these same traits, with the two creating a sound as if they are "facing off" against one another and screaming. Lyrically, the song is about one pushing forward in one's inner struggles while embracing individuality and inner-strength to do so, it has been described as a "powerful, twisty anthem about not giving up", with Hawkins pleading to the listener to "keep digging deep".
The song, written by Hawkins, was one from the album written during his efforts to re-examine his life, his personal issues, his role in society. "'Don't Stop' has a lyric:'My New Year's Resolution is to cut through the confusions.' That is a literal New Year's Resolution. I had a fun New Year's Eve, but I had a sobering moment in the month of January where I was by myself and a lot of things sunk in that had transpired in the last two years. I think that my own clarity about and documenting it – putting words to that process...will allow other people to find their own story or find clarity. I hope. Or better communication with people, which will allow for more love and understanding and greater things that we can do." Credits from album inlay booklet. Band Jonny Hawkins – lead vocals Mark Vollelunga – guitar, backing vocals Daniel Oliver – bass, backing vocals Ben Anderson – drumsGuest musicians Jacoby Shaddix - vocals
Audubon called the "South Side", is a neighborhood in Henderson, United States. Its boundaries follow Loeb Street to the west, Meadow Street to the south, Pringle Street to the east, Mill Street to the south, Madison Street to the northwest, S Alvasia Street to the north, Powell Street to the east, S Meadow Street to the south, Clay Street to the east, Atkinson Street to the south, connecting to the corner of Loeb Street; the site of the Audubon Grade School is a prominent feature of the neighborhood. During the 19th century, travel between communities was by foot or on horseback, so they were placed close together. East of the town of Henderson, two villages grew up, with present-day Clay Street being the dividing line between the two county school districts: Weaverton was south and Audubon north of this line. Tradition says that John James Audubon built the first house in this wooded wilderness, on what is now the northeast corner of Loeb and Shelby streets; the first population growth came with the erection of the Cotton Mill in 1883 and its tenement houses in 1885.
A furniture company followed in 1886. Known first as Ohio Valley Furniture Co. it became Marstall Furniture in 1895. By 1900, 600 people worked at the Cotton Mill, with a weekly payroll of $8,000, Marstall employed 150 men, paying them $2,500 weekly; the Cotton Mill built the first school room, near the northwest corner of Letcher and Powell streets. In an interview given in 1950, Ed Hare, a former city judge, reminisced about his old school, commenting that only the younger children attended because many were working in the mill at age nine, he began working at age 11. Another citizen of this period, Mrs. Hattie Williams, remembered seeing children going to work in their bare feet, through snow. Two teachers were required by 1898 and one of them, John Dillahay, said 90 pupils were enrolled. Working conditions had improved by 1900 to such an extent that parents began demanding more education, an addition was built to the school. On in 1905 the Audubon area was annexed as a part of Henderson, East End residents requested a new school.
The board of education spent $2,675 for a church and lot on the southeast corner of Letcher and Clay streets and hired Spalding Trible as the architect of the new Audubon Grade School. Construction began in 1906, the school opened in 1907. At one time, the school boasted the largest enrollment in the public school system; the school closed after its furnace exploded in 1976. The Audubon post office was discontinued in 1895, but the federal government recognized it as a town as late as 1950 by delivering a letter addressed to a street number in "Audubon". Audubon Heights, accepted as part of the Audubon area, has boundaries following Powell Street to the east, S Alvasia Street to the south, Cherry Street to the west, S Green Street to the north connecting to the corner of Powell Street. In the 19th century this neighborhood, being closer to Green Street and its businesses, was considered the front of the Audubon area because of its neighborhood businesses and conveniences of being closer to inner city businesses.
The only school in this neighborhood was Douglas High School, which only blacks from the city and county could attend. In 1965 desegregation was completed in the city school system, Douglas High School was merged into Henderson City High School, leaving the Douglas High School to turn into a public swimming pool and the John F. Kennedy Center. After merging schools and whites both attended Henderson City High School; the last location of the school was placed in the Audubon Heights area and is now known as Henderson South Middle School. Discreetly having the city's only red-light district in the 20th century, this area was considered the hot spot of Audubon. Sallie Smithhart operated Henderson's most notorious prostitution house on the south side at 534 Fagan Street, it is believed she inherited this mantle of Moses Rhodes, who had founded the red-light districts and popularized a prostitution empire here in the 1880–90s. Sallie Smithhart was one of his protégés early in her career and bought the house on Fagan Street from him in 1902.
The house was a brick-built structure amongst wood-frame shotgun houses in the "Pea Ridge" red-light district. She owned 12 beds, a player piano and a Victrola worth $116. There were two pistols also. One was kept in the safe and the other hidden in the bathroom, for the use of shady ladies in case they found themselves dealing with an unruly or hassling client. In those times these houses were referred to as a "bawdy house" or "brothel". Smithhart pleaded guilty a number of times over her operation. Lawsuits were filed by daughter Annie; the Gabe family lived directly across the street from the bawdy house. Amelia Gabe said in her suit that for more than 10 years she had had to put up with the "lewd and lascivious conduct" and the "boisterous, profane and obscene language" of people coming and going from Smithhart's business; the lawsuit caused tension between Smithhart and city authorities. But her business suffered a serious fire in mid-January 1917, with another lawsuit filed a few months after.
Her business was silenced during the 1920s, but the "Pea Ridge" red-light district sometimes echoes in modern-day talk. Sallie Smithhart died of kidney problems at age 58 on October 11, 1930. Night spots were run out of residential houses, around the streets of S Alves, Fagan, S Alvasia and more, offering alcoholic beverages, music and gambling, some locally owned business supported these operations. Business owners found these brothels, as well as night club gambling spots, as another source of earning money without the frustration of tax; this spot, being the home and party scene of small-time drug deale