Liquid Sky is a 1982 independent American science fiction film directed by Slava Tsukerman and starring Anne Carlisle and Paula E. Sheppard, it debuted at the Montreal Film festival in August 1982 and was well received at several film festivals thereafter. It was produced with a budget of $500,000, it became the most successful independent film of 1983, grossing $1.7 million in the first several months of release. The film is seen as influencing a club scene that emerged in the early 2000s in Brooklyn, Berlin and London called electroclash. A New Wave fashion show is to be held in a crowded Manhattan nightclub. Among the models are bisexual, cocaine-addicted Margaret and Jimmy. Jimmy is Margaret's rival and nemesis and loves cocaine hassling Margaret's drug-dealer girlfriend Adrian for drugs despite not having any money to pay for them. A small UFO lands on the roof of the penthouse apartment occupied by Adrian. Jimmy accompanies Margaret home before the show, but he's trying to find Adrian's drugs.
Margaret is being watched by a tiny, shapeless alien from inside the UFO. Margaret and Jimmy return to the club to participate in the show. During preparations both agree to a photo shoot the following night on Margaret's rooftop, they are assured. Jimmy's mother, Sylvia, a television producer, lives in the building across from Margaret's penthouse. German scientist Johann Hoffman has been secretly observing the aliens from the Empire State Building. Johann needs somewhere to continue his surveillance, he seeks help in this from the only person he knows in the United States, college drama teacher Owen, on his way to meet a former student. Seeking a vantage point on his own, Johann stumbles into Sylvia's building. Sylvia, who has a free evening, invites him to her apartment for dinner. Across town, Katherine states her objection to the heroin use of her boyfriend, failed writer and addict Paul. Margaret is seduced by her former acting professor, she is coerced into sex by Adrian's client Paul. Paul had returned to seduce Margaret after walking out on a party held by Katherine when she insisted he pull himself together and help greet her business clients.
The people who have sexual relations and reach orgasm with Margaret promptly die, with a crystal protruding from their head. Margaret realizes. From Sylvia's apartment, Johann continues his observation between dinner and dodging Sylvia's attempts to seduce him. Adrian helps Margaret hide Owen's body; the crew arrives at the apartment for the fashion shoot. During the shoot Margaret is taunted by Jimmy, so she agrees to have sex with him knowing it will kill him. A vengeful Margaret reconnects with a soap opera actor who had raped her the night of the nightclub fashion show. Johann reveals that the alien is extracting the endorphins produced by the brain when an orgasm occurs. Margaret survives. Margaret learns of the aliens from Johann, whom she stabs to death, something Sylvia witnesses through a telescope. Seeing the alien craft leaving, Margaret injects herself with heroin to induce a wild autoerotic orgasm to ensure the aliens take her with them. Sylvia and Katherine arrive at the apartment together and reach the penthouse in time to see Margaret vaporized by the aliens.
Liquid Sky was produced and directed by Slava Tsukerman, prior to making Liquid Sky, had a successful career as a documentary and TV film maker in the USSR and Israel. The screenplay was written by Tsukerman, his wife and ubiquitous co-producer Nina V. Kerova, Anne Carlisle, who enacted the film's two leading roles; the director of photography, Yuri Neyman, a Russian émigré, was the film's special effects expert. Anne Carlisle wrote a novel based on the film in 1987. Although the film is loosely centered around early 1980s punk subculture, the film's score uses a series of strident synthesizer music pieces; the music was composed by Slava Tsukerman, Clive Smith and Brenda Hutchinson using the Fairlight CMI. Most of it was original, but included interpretations of Baroque composer Marin Marais's Sonnerie de Ste-Geneviève du Mont-de-Paris, Carl Orff's Trionfo di Afrodite, Anthony Philip Heinrich's Laurel Waltz. All of these were orchestrated in a series of ominous, dissonant arrangements and nightmarish marches.
The film was digitally restored in 4K resolution in 2017 by Vinegar Syndrome, released as a Blu-ray/DVD combo pack on April 24, 2018. On review aggregator website Rotten Tomatoes, the film holds an approval rating of 95%, based on 20 reviews, an average rating of 7.1/10. Montreal World Film Festival – First Jury Award Sydney Film Festival – Audience Award Cartagena Film Festival – Special Jury Prize for Visual Impact Brussels International Film Festival – Special Prize of the Jury Cinemanila International Film Festival – Special Jury Prize In a 2014 interview with The Awl, Slava Tsukerman confirmed that he intended to make a sequel, Liquid Sky 2. I Come in Peace, a 1990 science fiction film in which an alien extracts endorphins from humans by forcibly overdosing them on artificial heroin. Genis, Daniel. "Punks, UFOs, Heroin: How'Liquid Sky' Became a Cult Movie". The Daily Beast. Howard, Yetta. "Alien/ating lesbianism: Ugly sex and postpunk feminist dystopia in Liquid Sky". Women & Performance: A Journal of Feminist Theory.
Taylor & Francis. 21: 41–61. Doi:10.1080/0740770X.2011.563036. ISSN 0740-770X.</ref> Scherstuhl, Alan. "The Downtown New Wave Alien-Sex Extravaganza "Liquid Sky" Looks Better Than Ever". The Village Voice. Liquid Sky on IMDb Liquid
Giulio Romolo Caccini, was an Italian composer, singer and writer of the late Renaissance and early Baroque eras. He was one of the founders of the genre of opera, one of the most influential creators of the new Baroque style, he was the father of the composer Francesca Caccini and the singer Settimia Caccini. Little is known about his early life, but he was born in Italy, the son of the carpenter Michelangelo Caccini. In Rome he studied the lute, the viol and the harp, began to acquire a reputation as a singer. In the 1560s, Francesco de' Medici, Grand Duke of Tuscany, was so impressed with his talent that he took the young Caccini to Florence for further study. By 1579, Caccini was singing at the Medici court, he was a tenor, he was able to accompany himself on the viol or the archlute. During this time he took part in the movement of humanists, writers and scholars of the ancient world who formed the Florentine Camerata, the group which gathered at the home of Count Giovanni de' Bardi, and, dedicated to recovering the supposed lost glory of ancient Greek dramatic music.
With Caccini's abilities as a singer and composer added to the mix of intellects and talents, the Camerata developed the concept of monody—an affective solo vocal line, accompanied by simple chordal harmony on one or more instruments—which was a revolutionary departure from the polyphonic practice of the late Renaissance. In the last two decades of the 16th century, Caccini continued his activities as a singer and composer, his influence as a teacher has been underestimated, since he trained dozens of musicians to sing in the new style, including the castrato Giovanni Gualberto Magli, who sang in the first production of Monteverdi's first opera Orfeo. Caccini made at least one further trip in 1592, as the secretary to Count Bardi. According to his own writings, his music and singing met with an enthusiastic response. However, the home of Palestrina and the Roman School, was musically conservative, music following Caccini's stylistic lead was rare there until after 1600. Caccini's character seems to have been less than honorable, as he was motivated by envy and jealousy, not only in his professional life but for personal advancement with the Medici.
On one occasion, he informed to the Grand Duke Francesco on two lovers in the Medici household—Eleonora, the wife of Pietro de' Medici, having an illicit affair with Bernardino Antinori—and his informing led directly to Eleonora's murder by Pietro. His rivalry with both Emilio de' Cavalieri and Jacopo Peri seems to have been intense: he may have been the one who arranged for Cavalieri to be removed from his post as director of festivities for the wedding of Henry IV of France and Maria de' Medici in 1600, he seems to have rushed his own opera Euridice into print before Peri's opera on the same subject could be published, while ordering his group of singers to have nothing to do with Peri's production. After 1605, Caccini was less influential, though he continued to take part in composition and performance of sacred polychoral music, he died in Florence, is buried in the church of St. Annunziata; the stile recitativo, as the newly created style of monody was called, proved to be popular not only in Florence, but elsewhere in Italy.
Florence and Venice were the two most progressive musical centers in Europe at the end of the 16th century, the combination of musical innovations from each place resulted in the development of what came to be known as the Baroque style. Caccini's achievement was to create a type of direct musical expression, as understood as speech, which developed into the operatic recitative, which influenced numerous other stylistic and textural elements in Baroque music. Caccini's most influential work was a collection of monodies and songs for solo voice and basso continuo, published in 1602, called Le nuove musiche. Although it is considered the first published collection of monodies, it was preceded by the first collection by Domenico Melli published in Venice in March 1602. In fact, the collection was Caccini's attempt, evidently successful, to situate himself as the inventor and codifier of monody and basso continuo. Although the collection was not published until July 1602, Caccini's dedication of the collection to Signor Lorenzo Salviati is dated February 1601, in the stile fiorentino, when the new year began on 25 March.
This explains why the collection is dated to 1601. Moreover, he explicitly positions himself as the inventor of the style when describing it in the introduction, he writes:Having thus seen, as I say, that such music and musicians offered no pleasure beyond that which pleasant sounds could give – to the sense of hearing, since they could not move the mind without the words being understood – it occurred to me to introduce a kind of music in which one could speak in tones, employing in it a certain noble negligence of song, sometimes passing through several dissonances while still maintaining the bass note. The introduction t
Évrard Titon du Tillet
Évrard Titon du Tillet is best known for his important biographical chronicle, Le Parnasse françois, composed of brief anecdotal vite of famous French poets and musicians of his time, under the reign of Louis XIV and the Régence. Of Scottish origin, Évrard Titon du Tillet was the son of Maximilien Titon de Villegenon, seigneur d'Ognon, a secretary of the King and general manager of the armories under Louis XIV, he studied law before his father obliged him to embrace a military career. He was a "captain of dragoons" at the age of twenty, when for him, the long-awaited peace prevented him from advancing his career, he purchased the sinecure of maître d'hôtel to the thirteen-year-old duchess of Burgundy, the future mother of Louis XV. Alas, in 1712, the Dauphine died of measles, Titon du Tillet was unemployed for the second time, he was, soon named a provincial commissioner of war. Titon du Tillet had the privilege of receiving the celebrities of his time, from 1708 he was at work on an imposing project: to create a garden surrounding a monument, "the French Parnassus", celebrating the glory of French poets and musicians under the reign of Louis XIV.
He worked with the sculptor Louis Garnier, a pupil of François Girardon, to produce a model of the monument. A maquette in bronze for the project was completed in 1718, he ordered a drawing by the painter Nicolas de Poilly, presented to Louis XV in 1723. The monument was to represent Mount Parnassus, ornamented with laurels and myrtle, with Louis XIV in the figure of Apollo at the summit, playing the lyre. On a lower level the three Graces were represented with the features of Mmes des Houlières, de La Suze and de Scudéry. Lower down, surrounding the mountain, Pierre Corneille occupied the principal place, surrounded by Molière, Racine and Lully carrying medallions of Quinault, Segrais, La Fontaine and Chapelle, the nine male Muses of the grand siècle. Unluckily, Titon du Tillet could not stop there: scattered among the bronze trees were to be seen further medallions of distinctly secondary figures, now passé as musical taste had shifted towards the galante, choices that elicited from Voltaire the epigram Dépêchez-vous, monsieur Titon, Enrichissez votre Hélicon.
The expected expenditure, estimated at nearly two million livres, forced him to terminate a project that had something to it of the character of a folly. Titon du Tillet decided to carry the project out to some extent in a virtual form: he published in 1727, "a Description of the Parnasse François" followed by "an alphabetical List of the Poets and Musicians gathered on this monument". In 1732, he published a second edition and increased the notes on the lives of the poets and musicians. Two further supplements were published in 1743 and 1755; this collection constitutes an invaluable source of biographical information for the mysterious Monsieur de Sainte-Colombe, Marin Marais, Louis Couperin, Michel Richard Delalande, Nicolas Bernier and other celebrated poets and musicians. A confirmed bachelor, Titon du Tillet was a cordial man always surrounded by many friends. In spring 1749, he withdrew to Montreuil on the outskirts of Paris, to a beautiful little hôtel, the Folie Titon, after his purchase in 1751 of the adjoining plot from the vicomte d’Argentière, captain of the guards, he was able to surround by a large park, with Paris laid out below his garden doors.
The diarist Edmond Jean François Barbier, himself a lawyer attached to the Parlement de Paris, noted disapprovingly that Titon du Tillet lived in public debauchery with girls at the dinner table in a manner not "appropriate to a magistrate". A passionate lover of arts and letters, Titon du Tillet plays, he constructed a theatre in his house where a number of performances were put on, introducing in 1760 Demoiselle Leclair, who went on to a dance career at the Comédie-Italienne, in 1762 Marmontel's play Annette et Lubin, which attracted a considerable crowd. Titon du Tillet died of a cold the day after Christmas, 1762, in Paris, aged 85. Évrard Titon du Tillet. Le Parnasse françois, 1732, etc. Judith Colton, Le Parnasse François: Titon du Tillet and the Origins of the Monument to Genius, Yale University Press, 1979 Théâtres de société: Folie Titon Amédée de Caix de Saint-Amour, "Origine du proverbe Ranger en rang d’oignons."
Henri Temianka was a virtuoso violinist, conductor and music educator. Henri Temianka was born in Scotland, to parents who were Jewish Polish emigrants, he studied violin with Carel Blitz in Rotterdam from 1915 to 1923, with Willy Hess at the National Conservatory in Berlin from 1923 to 1924, with Jules Boucherit in Paris from 1924 to 1926. He enrolled at the Curtis Institute of Music in Philadelphia, where he studied violin with Carl Flesch, who reported of him in 1927, "Was brought over by me. First class technical talent, somewhat sleepy personality, has still to awake." In 1928, Flesch said, "His violinistic personality is for the moment still above his human one. Life shall be his best teacher in this regard." He stated, "...he has made an intensive study of my method of teaching, of which I consider him the best exponent in England." In his memoirs he said, "...there was above all Henry Temianka, who did great credit to the Institute: both musically and technically, he possessed a model collection of talents."
Temianka's playing was further influenced by Jacques Thibaud and Bronisław Huberman. He studied conducting with Artur Rodziński at Curtis, became its first graduate in 1930. After a brilliant New York City debut in 1928, described by Olin Downes in The New York Times as "one of the finest accomplishments in years," Temianka returned to Europe and established himself as one of the era's foremost concert violinists, he made extensive concert tours through every country in Europe and appeared with major orchestras both in Europe and the U. S. under conductors including Pierre Monteux, Sir John Barbirolli, Sir Adrian Boult, Fritz Reiner, Sir Henry J. Wood, George Szell, Otto Klemperer, Dimitri Mitropoulos, William Steinberg. In Leningrad he was engaged for a single performance, but his virtuosity was so impressive that he was retained for five performances with five complete programs within a week. In 1935 he won third prize in the first Henryk Wieniawski Violin Competition in Poland. In that year he premiered a suite that the then-unknown Benjamin Britten had written for him and pianist Betty Humby, performed music by Sergei Prokofiev, with the composer at the piano in Moscow.
In 1936 he founded the Temianka Chamber Orchestra in London. He was the concertmaster of the Scottish Orchestra from 1937 to 1938, he gave his first concert in Los Angeles, a violin recital, at the Wilshire Ebell in 1940. From 1941 to 1942 he was the concertmaster of the Pittsburgh Symphony under Fritz Reiner, performing as soloist in concertos including the Beethoven and Mozart A major, his appearances as violin soloist and guest conductor in Europe and both North and South America were interrupted by World War II, during which he became a senior editor in the U. S. Office of War Information; because of his fluency in four languages, he edited sensitive documents. Through a combination of his bureaucratic connections there and contacts from his international performing career, with assistance from HIAS, he was able to secure the release of his parents from the Nazi concentration camp in Gurs, France, in 1941. However, upon arriving in Spain, they were thrown in jail by Franco's police. Temianka recalled that a concert he had given in Madrid in 1935 had been attended by a powerful Spanish aristocrat and president of the Bilbao Philharmonic Society, Ignacio de Gortazar y Manso de Velasco, the 19th Count of Superunda.
The Count escorted Temianka's parents from jail to his mansion, arranged for their passage by ship to Cuba and the United States, where they became citizens. Temianka described these remarkable events in a chapter of his second book Chance Encounters. In 1945 he performed at Carnegie Hall with pianist Artur Balsam. In 1946 he performed all the Beethoven violin sonatas with pianist Leonard Shure at the Library of Congress in Washington D. C. Over the next 45 years he made appearances in more than 3,000 concerts in 30 countries, with some 500 concerts in the Los Angeles metropolitan area alone, appearing as violin soloist, conductor of the California Chamber Symphony, first violinist of the Paganini Quartet, in remarkable chamber music recitals such as the Beethoven sonata cycles with pianists Lili Kraus, Leonard Pennario, Rudolf Firkušný and George Szell, the Bach violin sonatas with Anthony Newman, he performed the Bach Double Violin Concerto with David Oistrakh, Yehudi Menuhin, Henryk Szeryng and Jack Benny.
His chamber groups performed at the Dorothy Chandler Pavilion of the Los Angeles Music Center and the Mark Taper Forum. In 1960 he was the music director at the esteemed Ojai Music Festival. In the 1980s his California Chamber Virtuosi gave concerts at Pepperdine University and at the J. Paul Getty Museum in Malibu, California; as an avid chamber music player, Temianka hosted frequent private musical evenings in his Los Angeles home, playing with the likes of Yehudi Menuhin, Jascha Heifetz, Isaac Stern, Joseph Szigeti, David Oistrakh, Henryk Szeryng, Leonard Pennario, William Primrose, Gregor Piatigorsky, Jean-Pierre Rampal and other luminaries. Temianka was adept on the viola as the violin, sometimes played it during these evenings, as well as in concert in 1962 with Isaac Stern in a performance of Mozart
The Encyclopædia Britannica published by Encyclopædia Britannica, Inc. is a general knowledge English-language encyclopaedia. It was written by more than 4,000 contributors; the 2010 version of the 15th edition, which spans 32 volumes and 32,640 pages, was the last printed edition. The Britannica is the English-language encyclopaedia/encyclopedia, in print for the longest time: it lasted 244 years, it was first published between 1768 and 1771 as three volumes. The encyclopaedia grew in size: the second edition was 10 volumes, by its fourth edition it had expanded to 20 volumes, its rising stature as a scholarly work helped recruit eminent contributors, the 9th and 11th editions are landmark encyclopaedias for scholarship and literary style. Beginning with the 11th edition and following its acquisition by an American firm, the Britannica shortened and simplified articles to broaden its appeal to the North American market. In 1933, the Britannica became the first encyclopaedia to adopt "continuous revision", in which the encyclopaedia is continually reprinted, with every article updated on a schedule.
In March 2012, Encyclopædia Britannica, Inc. announced it would no longer publish printed editions, would focus instead on Encyclopædia Britannica Online. The 15th edition had a three-part structure: a 12-volume Micropædia of short articles, a 17-volume Macropædia of long articles, a single Propædia volume to give a hierarchical outline of knowledge; the Micropædia was meant as a guide to the Macropædia. Over 70 years, the size of the Britannica has remained steady, with about 40 million words on half a million topics. Though published in the United States since 1901, the Britannica has for the most part maintained British English spelling. Since 1985, the Britannica has had four parts: the Micropædia, the Macropædia, the Propædia, a two-volume index; the Britannica's articles are found in the Micro- and Macropædia, which encompass 12 and 17 volumes each volume having one thousand pages. The 2007 Macropædia has 699 in-depth articles, ranging in length from 2 to 310 pages and having references and named contributors.
In contrast, the 2007 Micropædia has 65,000 articles, the vast majority of which contain fewer than 750 words, no references, no named contributors. The Micropædia articles are intended for quick fact-checking and to help in finding more thorough information in the Macropædia; the Macropædia articles are meant both as authoritative, well-written articles on their subjects and as storehouses of information not covered elsewhere. The longest article is on the United States, resulted from the merger of the articles on the individual states; the 2013 edition of Britannica contained forty thousand articles. Information can be found in the Britannica by following the cross-references in the Micropædia and Macropædia. Hence, readers are recommended to consult instead the alphabetical index or the Propædia, which organizes the Britannica's contents by topic; the core of the Propædia is its "Outline of Knowledge", which aims to provide a logical framework for all human knowledge. Accordingly, the Outline is consulted by the Britannica's editors to decide which articles should be included in the Micro- and Macropædia.
The Outline is intended to be a study guide, to put subjects in their proper perspective, to suggest a series of Britannica articles for the student wishing to learn a topic in depth. However, libraries have found that it is scarcely used, reviewers have recommended that it be dropped from the encyclopaedia; the Propædia has color transparencies of human anatomy and several appendices listing the staff members and contributors to all three parts of the Britannica. Taken together, the Micropædia and Macropædia comprise 40 million words and 24,000 images; the two-volume index has 2,350 pages, listing the 228,274 topics covered in the Britannica, together with 474,675 subentries under those topics. The Britannica prefers British spelling over American. However, there are exceptions such as defense rather than defence. Common alternative spellings are provided with cross-references such as "Color: see Colour." Since 1936, the articles of the Britannica have been revised on a regular schedule, with at least 10% of them considered for revision each year.
According to one Britannica website, 46% of its articles were revised over the past three years. The alphabetization of articles in the Micropædia and Macropædia follows strict rules. Diacritical marks and non-English letters are ignored, while numerical entries such as "1812, War of" are alphabetized as if the number had been written out. Articles with identical names are ordered first by persons by places by things. Rulers with identical names are organized first alphabetically by country and by chronology. Places that share names are
Guillaume Depardieu was a French actor, winner of a César Award, the oldest child of Gérard Depardieu. Depardieu was his first wife, actress Élisabeth Depardieu, he was the brother of actress Julie Depardieu, half-brother of Roxane and Jean Depardieu. Guillaume shared the screen with his father several times throughout his career, beginning with his first film role, aged three, playing Gérard's son in Claude Goretta's That Wonderful Crook in 1974, his next appearance beside his father was in Tous les matins du monde in 1991, followed by Count of Monte Cristo in 1998, Aime Ton Père in 2002. In 1996 he won a César Award as the most promising newcomer in Les Apprentis. In 2007, he began rebuilding his career with the films Don't Touch the Axe and La France, starred in the 2008 film De la guerre. Depardieu had a relationship with actress Clotilde Courau from 1997 to 1999 married actress Elise Ventre on 30 December 1999, they had a daughter, separated in 2001. Guillaume was known to have had a strained relationship with his famous father, which he detailed in his 2004 autobiography Tout Donner.
The two were said to have reconciled shortly before his death. Guillaume was called an enfant terrible by the French magazine Paris Match and was called eccentric and bohemian by others. By 1993, he had served two jail sentences for drug offences which included dealing heroin and theft. In 2003, he was fined and given a nine-month suspended prison sentence for threatening a man with a gun. In 2008, he was arrested for driving his scooter while intoxicated. In 1995 Depardieu crashed on his motorcycle when he overran a suitcase that had fallen off a car and onto the roadway, he underwent surgery to repair damage to his knee. The wound developed a Staphylococcus aureus infection. Seventeen subsequent operations were conducted in an attempt to clear the infection and save the leg, however these were unsuccessful and in June 2003 he underwent an above the knee amputation of the leg. Guillaume Depardieu contracted a severe viral pneumonia while filming The Childhood of Icarus, he was unable to clear the infection, on 13 October 2008, he died at the Garches hospital.
He was 37 at the time of his death. Le Comte de Monte-Cristo Les Misérables Napoleon Les Rois maudits as Louis, King of Navarre Château en Suède Post Mortem Guillaume Depardieu on IMDb