Album was a monthly art photography magazine from Album Photographic Ltd. that published 12 issues between February 1970 and January 1971. Although it was a short-lived publication, Album is important in that it featured budding photographers who have since become notable, including several members of Magnum Photos. Featured photographers include W. Eugene Smith and Emmet Gowin. Album was edited by Bill Jay. Album remains unique in publishing a combination of contemporary and historical photographers, along with essays and some poetry and drawings; the February 1970 issue of Album featured the following photographers: Benjamin Stone Bill Brandt Roger Mertin Sylvester Jacobs The March 1970 issue of Album featured the following photographers: P. H. Emerson W. Eugene Smith David Hurn Paddy Summerfield The April 1970 issue of Album featured the following photographers: Eugène Atget Tony Ray-Jones Thurston Hopkins Roger Mertin The May 1970 issue of Album featured the following photographers: Lewis Hine Les Krims Cas Oorthuys Thomas Barrow The June 1970 issue of Album featured the following photographers: Andrew Lanyon Ernst Höltzer Imogen Cunningham Emmet Gowin The July 1970 issue of Album featured selections from the 50,000 prints in the George Eastman House Collections The August 1970 issue of Album featured the following photographers: Eugène Atget Paul Martin Berenice Abbott Duane Michals David Hockney The September 1970 issue of Album featured the following photographers: Roger Mertin Brassaï Edward Weston George Rodger The ninth issue of Album featured the following photographers: John Claridge Manuel Álvarez Bravo Satyajit Ray Charles Harbutt John Thomson Sir William J Newton The tenth issue of Album featured the following photographers: Naomi Savage Anne Noggle Patrick Ward The December 1970 issue of Album featured the following: The Royal Photographic Society permanent collection Gordon Bennett Don McCullin Braquehais Allen A. Dutton The final issue of Album featured the following photographers: Édouard Boubat Elliott Erwitt Gianni Berengo Gardin Magazine Memoirs: Creative Camera and Album, 1968-1972, by Bill Jay
Album – Generic Flipper
Album – Generic Flipper is the debut studio album by San Francisco-based punk rock band Flipper, released March 30, 1982 by Subterranean Records. It is referred to as Album, Album: Generic, Generic Flipper and just Generic. Generic Flipper was issued on CD for the first time by American Recordings in 1992 and deleted. In 2008, the rights reverted to Flipper, the album was reissued on December 9, 2008 by Water Records. Former Nirvana bassist Krist Novoselic, who joined Flipper in 2006, contributed liner notes to the new reissue. Robert Christgau praised the album, describing the music as "crude and immensely charitable and good-humored." He described the lyrics as "existential resignation at its most enthusiastic." "If great rock & roll is supposed to be about breaking the rules," wrote Mark Deming of Allmusic, "then Flipper's still-astonishing debut, Album -- Generic Flipper, confirms their status as one of the great rock bands of their day." He described the "brilliant" "Sex Bomb" as "the closest thing'80s punk created to the beer-fueled genius of the Kingsmen's "Louie Louie," and a song with a great beat that you just can't dance to."
He noted that despite their "sincere" misanthropy and cynicism, "on "Life" they dared to express a tres-unhip benevolence, declaring "Life is the only thing worth living for."" He concludes by writing that the band "plays noise rock with none of the pretension that bands brought to the form, proving that music doesn't have to be fast to be punk, creating a funny and engaging masterwork that profoundly influenced dozens of bands without sounding any less individual two decades later." Noel Gardner's review for NME described the band as one "who made a punishing virtue out of being sloppy and imprecise. Flipper existed at the epicentre of the Californian punk scene in the early ’80s, but as their hardcore peers sped up, they slowed down. A simple concept that helped to create a remarkable, incomparable signature sound, one which trickled down into the musical visions of, most famously, Black Flag and Nirvana." He calls the album their "their definitive statement Lyrically a bipolar flip between ugly negativity and lightbulb-moment optimism, Generic turns unrelated layers of free expression into a blackened mass of enduring power."
It was ranked 12th in Village Voice's annual Jop poll. In November 2007, Blender magazine ranked it No. 86 on their list of the 100 greatest "indie rock" albums of all time. In 1995, Spin ranked it 79th on their list "100 Alternative Albums". In March 2004, Mojo included it on their list "Lost Albums You Must Own". Rolling Stone ranked it 26th on their list "40 Greatest Punk Albums of All Time" in 2016. In 2018, Pitchfork included it at no. 193 on "The 200 Best Albums of the 1980s". Melvins covered "Way of the World" on their collection Singles 1–12. Unto Ashes covered "Way of the World" on their 2005 album Grave Blessings. R. E. M. Covered "Sex Bomb" on their 1994 fan club Christmas single. Kurt Cobain listed it in his top 50 albums of all time.. Mike Keneally namechecked the album in his song "Beautiful", which appeared on the 2006 Mike Keneally Band album Guitar Therapy Live. "Ever" – 2:56 "Life Is Cheap" – 3:55 "Shed No Tears" – 4:26 " Shine" – 8:31 "Way of the World" – 4:23 "Life" – 4:44 "Nothing" – 2:18 "Living for the Depression" – 1:23 "Sex Bomb" – 7:48 Will Shatter – bass, lead vocals, backup vocals Bruce Loose – bass, lead vocals, backup vocals, special effects and bass feedback Ted Falconi – guitars Steve DePace – drums, synare and extra percussion Flipper – hand clapping, percussion Bobby – saxophone Ward – saxophone Curtis – percussion Die Ant – percussion Johnnie – percussion "others" – percussion Chris: Producer Flipper: Producer
An autograph book is a book for collecting the autographs of others. Traditionally they were exchanged among friends and classmates to fill with poems, personal messages, small pieces of verse, other mementos, their modern derivations include yearbooks, friendship books, guest books. They were popular among university students from the 15th century until the mid-19th century, after which their popularity began to wane as they were replaced by yearbooks. By the beginning of the early modern period, there was a trend among graduating university students of central Europe to have their personal bibles signed by classmates and instructors; these expanded from mere signatures to include poetry and sketches, publication companies responded to this trend by appending blank pages to bibles. They began offering small, decorated books with only blank pages. Other traditions dating back to the Middle Ages played into the development of the autograph book. Genealogical tables and guides circulated within aristocratic families, with each person adding his or her own information.
Tournament participators would record their names, coats-of-arms, mottoes into tournament books. The first true autograph books appeared in German and Dutch linguistic regions by the mid-16th century. Known as an album amicorum or stammbuch, the oldest on record is that of Claude de Senarclens, an associate of John Calvin, dates back to 1545. By the end of the century, they were common throughout Germany among scholars. Academics tended to retain their autograph books for many years and gather the correspondence of fellow intellectuals with whom they associated; the popularity of autograph books was confined to Dutch and Germanic cultures, they appeared only sporadically in other countries. They began to fall out of favor in the academic community by the late 17th century, but rebounded a century as they came into use among fraternity students and members of the burgeoning middle class; this new wave of autograph curators included women as well as men. German immigrants transported the tradition to American culture in the late 18th century, where their popularity peaked around the time of the Civil War.
Thereafter the use of autograph books declined in both cultures as they were replaced by school yearbooks, though they remained a lingering fad among young women for some time. Autograph books in their classic form disappeared from the landscape of American culture, but their usage endures among German schoolgirls, who know them as poesiealben; when they first emerged in the 1500s, autograph books were used for collecting signatures at graduation and kept as a sentimental memento of college life. It became popular to use them well after graduation, scholars would carry the books on their travels to record the well-wishes of colleagues and noteworthy acquaintances; the books therefore conveyed a form of academic credentials, dependent upon who had signed them and what had been written. Additionally, an autograph book may have been used as a crude address book to maintain correspondence to past and distant friends. Researchers have come to see the historical value of these books in assessing the biographical data of those who composed them and the cultural backdrop in which they wrote.
The autograph books of Ludwig van Beethoven and Babette Koch are among the most famous. Until the late 18th century, German autograph albums consisted of loose sheets of paper or sometimes vellum bound in an elongated octavo format; the binding material varied from cardboard to gold-tooled leather. A different type of album contained unbound pages in cassettes or folders, which could be passed out and collected individually and arranged in any order. A typical page contained a set of verses in Latin, Greek, or Hebrew at the top, a formal greeting to the album's owner below, sometimes including a heraldic shield or emblematic picture of the signator. More artistic autographers sketched full-page drawings, less conventional entries included engravings, paper silhouettes, locks of hair, or pressed flowers; the high quality of some illustrations suggests that the books must have been kept by the autographer for some length of time to work on the composition
A photographic album, or photo album, is a series of photographic prints collected by an individual person or family in the form of a book. Some book-form photo albums have compartments. Older style albums were books of heavy paper which photos could be glued to or attached to with adhesive corners or pages; the oldest photograph albums in the collection of the Library of Congress in Washington, D. C. are from the 1850s. Early family photo albums were displayed in the home. "Families who could only afford a couple of pictures would put them into an album, to which other family members would add theirs." Coffee table books get their name from the intended purpose of being placed on a coffee table for the entertainment of guests. Coffee table books are photo-books, come in various sizes from small to big, they are printed books, They have thin pages like normal books. A coffee table book is larger and is bound in a hard cover, whereas a smaller photo book is bound in a soft cover; the print quality of photo books varies from photographic paper prints to inkjet prints on normal paper.
Digital photo books have digitally printed pages as opposed to albums that consist of traditional photos. Both flush mount albums as well as coffee table books are printed digitally; the photos of flush mount albums are printed on photographic paper, comparable to the quality of traditionally developed photos. Coffee table books, on the other hand, are printed with inkjet on ordinary paper and are therefore of a lower quality. Digital printing gives the album designer a vast number of design possibilities, for example magazine-style or montage albums are only possible with digital printing. Digital photo books are popular because they allow anyone with a digital camera to create coffee table books of their photos, it is considered easier to print photos onto pages directly, rather than position and secure individual prints onto the pages of a traditional album. Aesthetically, digital photo books seem more professional than albums; this has led to their growing popularity amongst both amateur photographers.
Digital photo book printing companies have used the internet to make designing and producing photo books easy for the general consumer. Flush mount albums have hard covers with unbending pages, they consist of photographic prints. The covers are made of leather, leatherette or glass; the photos lie flat and extend across the whole page. Flush mount albums are designed in magazine-style, they are most used for special occasions such as weddings and anniversaries due to the fact that they are produced at a higher quality and are more expensive to produce than coffee table books. The term magazine-style refers to the design style inspired by fashion magazines, but the style can differ between albums dependent on the designer; the layout is referred to as digital montage, hence the alternative name montage albums. The layout is designed on the computer. Storybook albums narrate a story, like the story of a wedding day or a vacation from beginning to end. If they are digitally printed the designer can use images as well as text and color for the narration of the story.
Scrapbooking albums describe a history, like the history of a particular field or a digital console from beginning to end or present day. If they are digitally printed the designer can use images as well as text and color for the sequential theme of the history. Homemade decorative albums can be made at home; the items needed to make this type of album may be a part of the home office supplies. Items consist of: binder folders, clear sheet protectors or picture sleeves, fabric of choice, a hot glue gun; some may choose to use stuffing to give a fluff to the album. This type of album is simple to make. Matted albums are albums with recessed frames; the photos are digitally or traditionally printed and can be changed after completion of the album. Self-mount albums are the most common form of traditional album, they contain manually mounted traditional photos that can be rearranged. Self-mount albums can be used for any occasion. There are many software programs available to organize images in albums.
These programs allow for sorting and ordering of different images, tagging the images, viewing them in slideshows or printing them. These programs allow the user to perform basic edits such as cropping, red-eye removal, some basic "one touch" enhancements for color and lighting; some online albums have introduced techniques of separating special effects from the original picture so that the picture is not edited - effects are applied when displayed without destroying the original picture. There are many other, lay-up software programs available for making photobooks; these are offered free as a design tool but require the user to pay for the production of their printed photobook. These programs are not designed for photo editing, more for the express purpose of creating a book that will be printed and bound into a photo-book; these programs are provided by the company that print and bind the photobooks. Therefore, the home printing function is not available. Face book Image organizer Media related to Photograph albums a
Álbum (Lu album)
Álbum is the second studio album by the Mexican pop duo Lu. The first single is called "La vida después de ti", the second single is called "Si tú me quisieras", the third single is called "Voy a llorar". CD: Enamorarme de Ti 5:02 La Vida Después de Ti 4:44 Si Tú Me Quisieras 5:07 Piénsalo bien 3:59 Tú 3:56 Te Voy a Extrañar 4:49 Voy A Llorar 4:01 Sin Un Adiós 3:43 María 4:18 Maldita Estupidez 4:55 Vida Hay Que Vivir 3:50
A stamp album is a book loose-leafed, in which a collection of postage stamps may be stored and displayed. Albums are the nearly universal means for keeping stamps, used for both beginners' and world-class collections, it is common to characterize the size of a collection by its number of albums; the arrangement of stamps on an album page depends on the taste of the collector and the purpose of the collection. A collection with "one of each" stamp may have rows of stamps packed onto each page, while a specialist's page might have a dozen examples of the same type of stamp, each captioned with a description of printing details or colour shades. Traditional page creation was done by hand with ink. AlbumEasy, available free, for both Windows and Linux, is an example of one of the many page layout programs. A stamp album is a book loose-leafed, in which a collection of postage stamps may be stored and displayed. Many collectors buy preprinted pages, which are produced by several manufacturers; the gamut ranges from worldwide albums, with only enough spaces for the common stamps and a few more, to one-country albums with spaces for every type of stamp known.
The usual format is to print a black-and-white picture of the stamp in each space, reduced in size so that a real stamp will cover it up, add a thin frame around the stamp. Captions range from minimal mentions of perforation or watermark, up to a paragraph giving a little background on the stamp's subject. Album pages are always one-sided. Pre-printed albums come in various formats where the collector can mount a used stamp with a hinge, create a pocket for the individual stamp using a pre-cut mount to stick to the page, or the easiest type called a "hingeless album" system where the pre-printed album page includes a place to put your postage stamp. One of the first albums was the Stanley Gibbons “V. R.” published in the early 1870s. This was followed by the “Improved”, the illustrated “Imperial” albums. Present-day makers include Safe, Lindner, Palo and White Ace. Once collectors have started using a particular brand, they have a strong incentive to stay with it, the manufacturers offer annual updates for the stamps issued during the previous year.
In the earliest albums, stamps were adhered to the pages, using either their own glue. Stamp hinges were introduced soon after, allowing stamps to be removed without major damage to either the stamp or the album page. In the second half of the 20th century, stamp mounts were introduced. Mounts hold the stamp between two layers of plastic, with the front layer transparent, are attached to an album page, allowing the stamp to be displayed without an adhesive touching the stamp; when properly used, mounts allow the stamp to be removed from the album in the same condition in which it was inserted. An album in which the mounts are affixed at the factory, either as mounts for individual stamps or as larger strips, is called "hingeless". Better-quality albums have padded covers, which reduces possible pressure on the stamps exerted by adjacent albums on a shelf. Careful collectors do not cram albums together, so as allow for a bit of air movement through the pages, to prevent gum oozing or sticking.
Stamp catalog Philately Stamp collecting Stockbook Richard McP. Cabeen, Standard Handbook of Stamp Collecting, pp. 30-34. Stamp albums in the Printed Book Collections of the British Library by David Beech. Backup
Franco-Belgian comics are comics that are created for French-Belgian and/or French readership. These countries have a long tradition in comics and comic books, where they are known as BDs, an abbreviation of bandes dessinées in French and stripverhalen or strips in the Dutch-speaking part of Europe, the first non-Francophone territories where the Franco-Belgian comics became a major force on their comic scenes from 1945 onward, brought forth by the bilingual nature of Belgium. Among the most popular Franco-Belgian comics that have achieved international fame are The Adventures of Tintin, Gaston Lagaffe, Lucky Luke and The Smurfs in the humoristically drawn genres, whereas such bande dessinées as Blueberry, Thorgal, XIII, as well as the various creations of Hermann have done well internationally in the realistically drawn genres – albeit not all of them in the English-speaking world. In Europe, the French language is spoken natively not only in France and the city state of Monaco, but by about 40% of the population of Belgium, 16% of the population of Luxembourg, about 20% of the population of Switzerland.
The shared language creates an artistic and commercial market where national identity is blurred, one of the main rationales for the conception of the "Franco-Belgian comics" expression itself. The potential appeal of the French-language comics extends beyond Francophone Europe, as France in particular has strong historical and cultural ties with several Francophone overseas territories, some of which, like French Polynesia or French Guiana, still being Overseas France. Of these territories it is Quebec, where Franco-Belgian comics are doing best, due – aside from the obvious fact that it has the largest comic reading Francophone population outside Europe – to that province's close historical and cultural ties with the motherland and where French-Belgian comic publishers like Le Lombard and Dargaud maintain a strong presence, in the process influencing its own native Quebec comics scene from 1960 onwards; this is in stark contrast to the English-speaking part of the country, culturally US comics oriented.
While Flemish Belgian comic books are influenced by Francophone comics in the early years, they did evolve into a distinctly different style, both in art as well as in spirit, why they are nowadays sometimes categorized as Flemish comics, as their evolution started to take a different path from the late-1940s onward, due to cultural differences stemming from the increasing cultural self-awareness of the Flemish people. And while French language publications are habitually translated into Dutch/Flemish, Dutch/Flemish publications are less translated into French, for cultural reasons. Despite the shared language, Flemish comics are not doing that well in the Netherlands and vice versa, save for some notable exceptions, such as the Willy Vandersteen creation Suske en Wiske, popular across the border. Concurrently, the socio-cultural idiosyncrasies contained within many Dutch/Flemish comics means that these comics have seen far less translations into other languages than their French-language counterparts have due to their more universal appeal, the French language's cultural status..
Belgium is and a tri-lingual country as there is a small, yet sizable recognized German-speaking minority, though Belgian comic home market first print releases, be it in Dutch or in French, are translated into that language with German-speaking Belgians having to wait for internationally released editions for reading in their native tongue those from licensed publishers stemming from neighboring Germany. Though Dutch and German are Germanic-language cousins, German-Belgium is encapsulated by French-Belgium, resulting in that French is the most utilized language in that territory and has caused the handful of comic artist originating from there, such as Hermann and Didier Comès, to create their comics in French. Born Dieter Hermann Comès, Comès has "frenchified" his given name to this end, whereas Hermann has dispensed with his family name "Huppen" for his comics credits, though he maintained the Germanic spelling for his first name. Due to its relative modesty, both in size and in scope, despite the close historical and cultural ties, no German-Belgian artists are as of 2018 known to have created comics for the German comics world, when discounting commercial translations of their original Francophone creations.
Something similar applies to France, where there exist several regional languages, of which Breton and Occitan are two of the more substantial ones. But while these languages are culturally recognized as regional languages, they are, contrary to Belgium in regard to German, not recognized as official national languages, with similar consequences as in Belgium for comics and their artists. On rare occasions though, independent local and regional publishers obtain licenses from the main comic publisher to release comic books, or rather comic albums, of the more popular comi