Art rock is a subgenre of rock music that reflects a challenging or avant-garde approach to rock, or which makes use of modernist, experimental, or unconventional elements. Art rock aspires to elevate rock from entertainment to an artistic statement, opting for a more experimental and conceptual outlook on music. Influences may be drawn from genres such as experimental rock, avant-garde music, classical music, jazz, its music was created with the intention of listening and contemplation rather than for dancing, is distinguished by the use of electronic effects and easy listening textures far removed from the propulsive rhythms of early rock. The term may sometimes be used interchangeably with "progressive rock", though the latter is instead characterized in particular by its employment of classically trained instrumental technique and symphonic textures; the genre's greatest level of popularity was in the early 1970s through British artists. The music, as well as the theatrical nature of performances associated with the genre, was able to appeal to artistically inclined adolescents and younger adults due to its virtuosity and musical/lyrical complexity.
Art rock is most associated with a certain period of rock music, beginning in 1966–67 and ending with the arrival of punk in the mid 1970s. After, the genre would be infused within popular music genres of the 1970s–90s. Critic John Rockwell says that art rock is one of rock's most wide-ranging and eclectic genres with its overt sense of creative detachment, classical music pretensions, experimental, avant-garde proclivities. In the rock music of the 1970s, the "art" descriptor was understood to mean "aggressively avant-garde" or "pretentiously progressive". "Art rock" is used synonymously with progressive rock. The term has been used to describe at least two related, but distinct, types of rock music; the first is progressive rock, while the second usage refers to groups who rejected psychedelia and the hippie counterculture in favor of a modernist, avant-garde approach defined by the Velvet Underground. Essayist Ellen Willis compared these two types: From the early sixties … there was a counter-tradition in rock and roll that had much more in common with high art—in particular avant-garde art—than the ballyhooed art-rock synthesis.
While art rock was implicitly based on the claim that rock and roll was or could be as worthy as more established art forms, rock-and-roll art came out of an obsessive commitment to the language of rock and roll and an obsessive disdain for those who rejected that language or wanted it watered down, made easier … the new wave has inherited the counter-tradition. Art rock emphasizes Romantic and autonomous traditions, in distinction to the aesthetic of the everyday and the disposable embodied by art pop. Larry Starr and Christopher Waterman's American Popular Music defines art rock as a "form of rock music that blended elements of rock and European classical music", citing the English rock bands King Crimson, Lake & Palmer, Pink Floyd as examples. Common characteristics include album-oriented music divided into compositions rather than songs, with complicated and long instrumental sections, symphonic orchestration, its music was traditionally used within the context of concept records, its lyrical themes tended to be "imaginative" and politically oriented.
Differences have been identified between art rock and progressive rock, with art rock emphasizing avant-garde or experimental influences and "novel sonic structure", while progressive rock has been characterized as putting a greater emphasis on classically trained instrumental technique, literary content, symphonic features. Compared to progressive rock, art rock is "more challenging and unconventional" and "less classically influenced", with more of an emphasis on avant-garde music. Similarities are that they both describe a British attempt to elevate rock music to new levels of artistic credibility, became the instrumental analog to concept albums and rock operas, which were more vocal oriented. Art rock can refer to either classically driven rock, or to a progressive rock-folk fusion. Bruce Eder's essay The Early History of Art-Rock/Prog Rock states that "'progressive rock,' sometimes known as'art rock,' or'classical rock'" is music in which the "bands playing suites, not songs; the boundaries between art and pop music became blurred throughout the second half of the 20th century.
The first usage of the term "art rock", according to Merriam-Webster Online Dictionary, was in 1968. As pop music's dominant format transitioned from singles to albums, many rock bands created works that aspired to make grand artistic statements, where art rock would flourish; as it progressed in the late 1960s – in tandem with the development of progressive rock – art rock acquired notoriety alongside experimental rock. The earliest figure of art rock has been assumed to be record producer and songwriter Phil Spector, who became known as an auteur for his Wall of Sound productions that aspired to a "classical grandiosity". According to biographer Richard Williams: " created a new concept: the producer as overall director of the creative process, from beginning to end, he took control of everything, he picked the artists, wrote or chose the material, supervised the arrangements, t
Golgo 13: The Professional, known as Golgo 13 in Japan, is a 1983 Japanese anime film based on the manga series Golgo 13 by Takao Saito. The film was directed by Osamu Dezaki, produced by Nobuo Inada and was written from a screenplay by Shukei Nagasaka, it is the first film based on the manga and the third overall, as well as the first animated film to incorporate CGI animation, created by Koichi Omura and Satomi Mikuriya at Toyo Links Co. Ltd.. The most notable example of this is during the helicopter attack on Dawson Tower; the film features the voice acting of Tetsuro Sagawa, Goro Naya, Toshiko Fujita, Kosei Tomita, Kiyoshi Kobayashi and Reiko Muto. The film was released by Toho-Towa on May 28, 1983. Upon release, the film received mixed reviews yet was praised for the animation design. Professional contract killer Duke Togo—codenamed "Golgo 13"—is hired to assassinate Robert Dawson, the son of oil baron Leonard Dawson and the heir of Dawson Enterprises, succeeds. After accomplishing a hit on a powerful crime boss in Sicily, Golgo is attacked by the U.
S. military and discovers that his informant, the clockmaker, has been killed by Snake, a genetically altered assassin. Aided by The Pentagon, the FBI, the CIA, Dawson has become determined to kill Golgo and avenge his son's death. A military force, led by Lieutenant Bob Bragan, attempts to ambush Golgo while he is in the middle of an assignment from a wealthy holocaust survivor in San Francisco, California to assassinate an ex-Nazi official; the plan fails, Bragan's entire force is wiped out. However, a dying Bragan manages to wound Golgo. Meanwhile, the mechanic that supplied Golgo with his getaway car, is murdered by Snake. Having been consumed by revenge, Dawson begins to allow the rest of his family to be harmed. For Snake's cooperation, he allows him to rape Laura, Robert's widow, sends his granddaughter and butler, Albert, to an airport to murder Golgo with a firearm concealed in a doll; the shot misses, Albert reaches for his handgun. Golgo shoots Albert in the chest, a crowd gathers, Golgo walks away nonchalantly.
Dawson, in a meeting with the FBI, the CIA and The Pentagon, demands the release of Gold and Silver, two notorious murderers who were part of a covert government operation to test the survival rate of mercenaries in the jungles of South America. When the group refuses his request because Gold and Silver are on death row, Dawson threatens to halt all operations that his company controls, which include oil refineries and banks; the group agrees to his demands in fear. When Laura demands to know why Dawson has refused to seek vengeance on whoever ordered the hit on Robert, he refuses to answer. Pablo, an informant for Golgo, informs him that Dawson ordered the hit on him and that he's in Dawson's tower awaiting his advance. Pablo goes on to inform Golgo. Pablo is killed by Golgo first. Golgo arrives at Dawson Tower in New York City, begins his ascent to the top floor on foot, he first plays a game of mouse with a fleet of helicopter gunships sent to kill him. While on the move, Golgo is attacked by Snake, a brutal fight occurs between the two in an elevator.
A Bell AH-1 attack helicopter shoots the elevator, killing Snake while Golgo hides by the edge unseen by the helicopter. Gold and Silver are sent to ambush Golgo. During the attack, Golgo counters both of them. Silver, blinded by rage at his partner's death, runs towards Golgo, who stuffs a grenade in Silver's mouth, killing him. Golgo proceeds towards Dawson. Admitting failure, Dawson orders all action against Golgo to end. Golgo encounters Dawson at the top of his building. Following a brief monologue, Dawson attempts suicide by leaping out of the window; as he falls, Dawson remembers Robert's suicide note, which reveals that, despite receiving much care from his father throughout his lifetime, Robert was overcome with grief over the possibility that he would never fulfil his father's ambitions. Before Dawson hits the ground, Golgo shoots him in the head. Dawson falls headfirst, crushing any evidence that he was shot, his death is ruled as accidental by the authorities. Afterwards, Golgo encounters Laura.
Upon recognizing him she reaches for a pistol and aims it at Golgo, he turns his back to her and walks away, Laura proceeds to shoot him. In the pre-credits scene, Golgo limps along into the night with a bullet hole in his back, accepting his fate. Golgo 13: The Professional incorporated CGI animation, in its infancy at the time; this is most notable in a scene where army helicopters circle around Dawson Tower and attack Golgo as he climbs toward Dawson's office on the top floor. The CGI scene was created by Satomi Mikuriya at Toyo Links Co.. Ltd.. Quentin Tarantino paid homage to the Golgo 13 anime in the animated sequence of Kill Bill: Volume 1. Golgo 13: The Professional on IMDb Golgo 13: The Professional at Anime News Network's encyclopedia
"Out of the Blue" is a pop song written by Delta Goodrem and Guy Chambers, produced by Chambers, Richard Flack and Steve Power for Goodrem's second album Mistaken Identity. It was released as the album's first single in Australia on 11 October 2004 as a CD single. Goodrem announced the release of the song on 3 September 2004, she and Chambers worked together on her debut album Innocent Eyes and he offered to work with her several times on the new album. Goodrem states "Guy was such an inspiration to work with, besides being such a talented musician on so many instruments I felt we had a real connection on a musical level, he makes a lot of classical music and I'm classically trained so we both knew where songs should go and when it wasn't right. We could bring something out of each other to create something unique. Once we had'Out of the Blue' we knew we had something special". Goodrem says the song is "being about times when someone comes into your life unexpectedly, what a positive effect that can have on you" being about her boyfriend Mark Philippoussis and the support he gave her.
When the relationship ended Goodrem states she found a new meaning for the song. The song became the most added song to airplay; the song was performed at the ARIA awards and it was her first performance at the ARIA awards. The song debuted at number one on the ARIA Charts, becoming her sixth consecutive number-one single and topping the chart for three weeks; the song was certified Platinum in its first week. It spent a total of sixteen weeks in the top fifty ending the run at position fifty and spent twenty three weeks in the top one hundred, it was the twentieth highest selling single in Australia for 2004. The song peaked in the top twenty in Greece and New Zealand, it peaked at number nine in the United Kingdom and spent a total of nine weeks in the top seventy five ending its run at number seventy five. The video for her single was filmed on the coast of Malibu and was directed by Nigel Dick, it was premiered on Channel Ten Australia after an episode of Neighbors on 1 October 2004, a news spot on her website stating "The clip will fittingly go to air during Neighbours - Australia's most successful and longest running soapie - to mark Delta's final episodes in the show as the hugely popular character Nina Tucker".
The start of the video opens up to Delta sitting on a beach in a green dress. After a while Delta walks across the beach with the waves washing on her feet; when the chorus comes around the second time Delta has changed into a pink dress and walks up a hill into a forest and finds her piano and starts playing it. After she has finished playing it the piano catches on fire and Delta sings at the camera runs away ending the video. Delta has stated that at the time of making the video, she was intrigued by the elements- earth, wind and water. All elements can be seen in the video clip; these are the formats and track listings of major single releases of "Out of the Blue". Music video Lyrics of this song at MetroLyrics
Robert Alexander Rankin FRSE FRSAMD was a Scottish mathematician who worked in analytic number theory. Rankin was born in Garlieston in Wigtownshire the son of Rev Oliver Rankin, minister of Sorbie and his wife, Olivia Theresa Shaw, his father took the name Oliver Shaw Rankin on marriage and became Professor of Old Testament Language and Theology in the University of Edinburgh. Rankin was educated at Fettes College studied Mathematics at Clare College, graduating in 1937. At Cambridge he was influenced by J. E. Littlewood and A. E. Ingham. Rankin was elected a Fellow of Clare College in 1939, but his career was interrupted by the Second World War, during which he worked first for the Ministry of Supply on rocketry research at Fort Halstead. In 1945 he returned to Cambridge as an assistant lecturer, moved to the University of Birmingham in 1951 as Mason professor of mathematics. In 1954 he became Professor of Mathematics, Glasgow University, retiring in 1982. In 1954 he was elected a Fellow of the Royal Society of Edinburgh.
His proposers were William M. Smart, Robert Garry, James Norman Davidson and Robert Pollock Gillespie, he served as Vice President 1960 to 1963 and won the Society's Keith Prize for the period 1961-63. Rankin had a continuing interest in Srinivasa Ramanujan, working with G. H. Hardy on Ramanujan's unpublished notes, his research interests lay in modular forms. In 1939 he developed. In 1977 Cambridge University Press published Rankin's Modular Functions. In his review, Marvin Knopp wrote: For, as much as any recent exposition of modular functions, this book succeeds in getting near the research frontier, in some instances reaches it — no small feat in this theory. Only someone of Rankin's stature as a research mathematician and experience in the classroom could aspire to such an accomplishment in a self-contained work — beginning with first principles. In 1987 Rankin received the Senior Whitehead Prize from the London Mathematical Society. Rankin died in Glasgow on 27 January 2001. In 1942 he married Mary Ferrier Llewellyn.
Rankin–Cohen bracket An introduction to mathematical analysis, Pergamon Press 1963. The modular group and its subgroups, Ramanujan Institute, 1969. Modular forms and functions, Cambridge University Press 1977 Robert Alexander Rankin at the Mathematics Genealogy Project O'Connor, John J..
Punta Indio Naval Air Base is a military airport operated by the Argentine Naval Aviation, located in the countryside 5 kilometres northeast of Verónica, a town in the Buenos Aires Province of Argentina. The Punta Indio VOR-DME and non-directional beacon are located on the field. Punta Indio Naval Air Base, the cradle of Argentine Naval Aviation, was established in 1928 on land, donated by Martín Tornquist, who founded the nearby city of Verónica; the base was strategically located to control access by ship to the Río de la Plata via manned balloons. On 16 June 1955, Punta Indio was the departure base of the naval aircraft that bombarded the Casa Rosada attempting to kill president Juan Domingo Perón This action was the preface to the September uprising known as "Revolución Libertadora". In April 1963, during the Navy uprising, rebel naval aircraft from Punta Indio attacked the loyalist 8th Tank Regiment. During the National Reorganization Process, a Clandestine Detention Centre was active at Punta Indio.
In 2008 the First Naval Air Squadron was deactivated due to lack of budget. In 2011, the 90th anniversary of the foundating of the Naval Aviation School was celebrated. Punta Indio Naval Air Base is the location of the First Naval Air Force, comprising the following units: Punta Indio Naval Air Base group Punta Indio Naval Air Workshop First Naval Air Wing, composed of: Argentine Naval Aviation School First Naval Air Attack Squadron on reserve Naval Air Maritime Patrol Squadron (Spanish: Escuadrilla Aeronaval de Vigilancia Marítima. Argentina portal Aviation portal Transport in Argentina List of airports in Argentina BASES AERONAVALES DE LA ARMADA ARGENTINA – BASE AERONAVAL DE PUNTA INDIO 1- 1923 – 1935 Accessed 9 August 2015 BASES AERONAVALES DE LA ARMADA ARGENTINA – BASE AERONAVAL DE PUNTA INDIO 2- 1935 – 1961 Accessed 9 August 2015 BASES AERONAVALES DE LA ARMADA ARGENTINA – BASE AERONAVAL DE PUNTA INDIO 3- 1962 – 2009 Accessed 9 August 2015 Marcelo Mustone. "Indios jubilados". Gaceta Aeronautica.
A Escrava Isaura is a 2004 Brazilian telenovela based on A Escrava Isaura, an 1875 abolitionist romance novel by Bernardo Guimarães. The series tells the story of a coffee-plantation owner's passion for one of his slaves. Herval Rossano directed both the 1976 version. Rede Record, run by televangelist Edir Macedo, produced this expanded remake of a serial that aired in 1976 on Rede Globo; the series was expanded from 100 to 167 episodes. It airs in the Middle East on Zone Romantica; this melodrama focuses on the conflict between the beautiful light-skinned slave woman Isaura and her cruel, lecherous master Leoncio in 1855 Brazil. The heroine is the 20-year-old daughter of a mulatto mother, she was raised on the coffee plantation of Commander Almeida in the village of Goitacaces. When Juliana, Isaura's mother, dies shortly after giving birth, the commander's wife, treats the child as her own daughter, giving her an education and fine manners. Isaura is devoutly religious, her father, a free laborer begs for her freedom and makes offer after offer to buy her from the commander.
Despite promises to set her free one day, every offer is rejected. Isaura remains a slave because she is a slave's daughter—and freedom always seems to be just beyond her reach; when commander realizes his fault, it is too late. In 1854, when Isaura is a young adult, the commander’s son Leôncio returns to the fazenda after piling up enormous debts, he soon marries daughter of Colonel Sebastiao. He develops a dangerous fixation with Isaura and determines to make her his mistress; the commander and Gertrudes protect Isaura from Leôncio for a while, but they become ill and pass away before setting her free. The sweet young woman winds up at the mercy of an obsessed, depraved man, fighting to maintain her dignity and integrity; as Isaura struggles to keep her dreams alive, she discovers true love for the first time. Telemundo started airing the serial as La Esclava Isaura in the US on May 7, 2007, it temporarily aired for two hours per night from 9 to 11 p.m. from July 24 until August 3, 2007. The finale aired December 3, 2007.
In June, 2007, Isaura's time slot averaged 680,000 core adult viewers. That was a 16 percent increase over the year before, when Decisiones aired during that hour, according to Nielsen Media Research. During November, the show averaged 587,000 core viewers. Isaura's Spanish voice is Liliana Barba, who dubbed Lizzie McGuire and Julie Mayer from Desperate Housewives. Spanish voices and Spanish character name spellings in parentheses Bianca Rinaldi as Isaura dos Anjos, the slave girl Leopoldo Pacheco as Leôncio Almeida, Commander Almeida's evil son, obsessed with Isaura Maria Ribeiro as Malvina, Leôncio's jealous wife Jackson Antunes as Miguel, Isaura's father Rubens de Falco as Almeida, the commander Norma Blum as Gertrudes, the commander's wife Theo Becker as Álvaro Medonça, the suitor Paulo Figueiredo as Col. Sebastião Cunha, Malvina's father Valquiria Ribeiro as Juliana, Isaura's mother Mayara Magri as Countess Tomásia de Melo Albuquerque de Sousa Javier, Leôncio's major enemy Patrícia França as Rosa, illegitimate daughter of Col. Sebastião, Leôncio's slave, jealous of Isaura Déo Garcez as André, Leôncio's slave, in love with Isaura Míriam Mehler as Gioconda, Tomásia's mother Ewerton De Castro as Belchior, humped ugly gardener in Leôncio's house, in love with Isaura Jonas Mello as Francisco, Leoncio's foreman Fernanda Nobre as Helena, Malvina's sister Lugui Palhares as Diogo, Tomásia's cousin André Fusko as Gabriel, Tomásia's brother Gabriel Gracindo as Henrique, Malvina's brother Paula Lobo Antunes as Aurora, Sebastião's second cousin Silvia Bandeira as Perpétua, Álvaro's mother Renata Dominguez as Branca, Geraldo's sister in love with Álvaro.
Martinho, Slave hunter Rômulo Delduque as Raimundo, Leôncio's foreman Rodrigo Zanardi as Aloíso Guimarães, sergeant Maria Cláudia as Serafina, owner of a bar and prostitute Lígia Fagundes as Flor-de-Lís, prostitute Thaís Lima as Margarida, prostitute Daniela Duarte as Violeta, prostituteCast notes Lucelia Santos has become famous all over the world for her part in this great Brazilian telenovel