Paint and Paint
Paint and Paint is the second and final studio album by the British new wave band Haircut One Hundred, released in 1984 by Polydor Records. It was their only album released after the early 1983 departure of lead singer Nick Heyward, the band's percussionist, Marc Fox, assumed lead vocal duties; the band's longtime drummer Blair Cunningham performs on the album, but was not listed as an official member. Unlike the band's first album and Paint was not a commercial success and failed to chart, none of the singles released from it reached the UK Top 40. "Fish in a Bowl" "Immaterial" "So Tired" "Hidden Years" "40-40 Home" "High Noon" "Too Up, Two Down" "Benefit of the Doubt" "Prime Time" "Where Do You Run to Now?" "Infatuation"All tracks written by Marc Fox, Les Nemes, Graham Jones and Phil Smith, except "Where Do You Run to Now?" Written by Steve French and Marc Fox. Release Date: 1983 UK Chart: 46 Notes: HC1 and HCX1 came in special carry bags.7": "Prime Time" "Too Up Two Down"7" picture disc: "Prime Time" "Too Up Two Down"12": "Prime Time" "Too Up Two Down" Release Date: 1983 UK Chart: 947": "So Tired" "Fish in a Bowl"7" mirror disc: "So Tired" "Fish in a Bowl"12": "So Tired" "So Tired" "Fish in a Bowl" Release Date: 1984 UK Chart: -7": "Too Up, Two Down" "Evil Smokestacking Baby"12": "Too Up, Two Down" "Evil Smokestacking Baby" "After It's All Been Said And Done" Les Nemes - bass Graham Jones - guitar Phil Smith - soprano and tenor saxophones.
Randolph Denard Ornette Coleman was an American jazz saxophonist, violinist and composer. In the 1960s, he was one of the founders of free jazz, a term he invented for his album Free Jazz: A Collective Improvisation, his "Broadway Blues" and "Lonely Woman" have become standards and are cited as important early works in free jazz. His album Sound Grammar received the 2007 Pulitzer Prize for music. Coleman was born on 1930 in Fort Worth, Texas where he was raised, he attended I. M. Terrell High School, where he participated in band until he was dismissed for improvising during "The Washington Post" march, he began performing R&B and bebop on tenor saxophone and started The Jam Jivers with Prince Lasha and Charles Moffett. Eager to leave town, he accepted a job in 1949 with a Silas Green from New Orleans traveling show and with touring rhythm and blues shows. After a show in Baton Rouge, Louisiana, he was assaulted and his saxophone was destroyed, he switched to alto saxophone, which remained his primary instrument, first playing it in New Orleans after the Baton Rouge incident.
He joined the band of Pee Wee Crayton and traveled with them to Los Angeles. He worked including as an elevator operator, while pursuing his music career. In California he found like-minded musicians such as Ed Blackwell, Bobby Bradford, Don Cherry, Charlie Haden, Billy Higgins, Charles Moffett, he recorded his debut album, Something Else!!!! with Cherry, Walter Norris, Don Payne. During the same year he belonged to a quintet led by Paul Bley that performed at a club in New York City. By the time Tomorrow Is the Question! was recorded soon after with Cherry and Haden, the jazz world had been shaken up by Coleman's alien music. Some jazz musicians called him a fraud. In 1959 Atlantic released The Shape of Jazz to Come According to music critic Steve Huey, the album "was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven't come to grips with." Jazzwise listed it No. 3 on their list of the 100 best jazz albums of all time.
Coleman's quartet received a long – and sometimes controversial – engagement at Five Spot jazz club in New York City. Leonard Bernstein, Lionel Hampton, Modern Jazz Quartet were impressed and offered encouragement. Hampton asked to perform with the quartet, but trumpeter Miles Davis said Coleman was "all screwed up inside" although he recanted this comment and became a proponent of Coleman's innovations. Coleman's early sound was due in part to his use of a plastic saxophone, he bought a plastic horn in Los Angeles in 1954 because he was unable to afford a metal saxophone, though he didn't like the sound of the plastic instrument at first. On the Atlantic recordings, Coleman's sidemen in the quartet are Cherry on pocket trumpet; the complete recordings for the label were collected on the box set Beauty Is a Rare Thing. In 1960, Coleman recorded Free Jazz: A Collective Improvisation, which featured a double quartet, including Don Cherry and Freddie Hubbard on trumpet, Eric Dolphy on bass clarinet, Haden and LaFaro on bass, both Higgins and Blackwell on drums.
The album was recorded in stereo with a reed/brass/bass/drums quartet isolated in each stereo channel. Free Jazz was, at nearly 40 minutes, the longest recorded continuous jazz performance to date and was one of Coleman's most controversial albums; the music features a regular but complex pulse, one drummer playing "straight" while the other played double-time. A series of solo features for each member of the band, but the other soloists are free to chime in as they wish. In the January 18, 1962 issue of Down Beat magazine, in a review titled "Double View of a Double Quartet," Pete Welding gave the album five stars while John A. Tynan rated it zero stars. Coleman intended "free jazz" as an album title, but his growing reputation placed him at the forefront of jazz innovation, free jazz was soon considered a new genre, though Coleman has expressed discomfort with the term. Among the reasons he may have disapproved of the term, his melodic material, although skeletal, recalls melodies that Charlie Parker wrote over standard harmonies.
The music is closer to the bebop. After the Atlantic period and into the early part of the 1970s, Coleman's music became more angular and engaged with the avant-garde jazz which had developed in part around his innovations. After his quartet disbanded, he formed a trio with David Izenzon on bass and Charles Moffett on drums, he extended the sound of his music, introducing string players and playing trumpet and violin, which he played left-handed. He had little conventional musical technique and used the instruments to make large, unrestrained gestures, his friendship with Albert Ayler influenced his development on violin. Charlie Haden sometimes joined this trio to form a two-bass quartet. Coleman recorded At the Golden Circle Stockholm. In 1966, he recorded The Empty Foxhole with his son, Denardo Coleman, ten years old. Freddie Hubbard and Shelly Manne regarded this as an ill-advised piece of publicity on Coleman's part. Despite his youth, Denardo Coleman had studied drumming for several years.
His technique was unrefined but enthusiastic, owing more to pulse-oriented free jazz drummers like Sunny Murray t
Ammonia Avenue is the seventh studio album by the British progressive rock band The Alan Parsons Project, released on 7 February 1984 by Arista Records. The Phil Spector-influenced "Don't Answer Me" was the album's lead single, reached the Top 15 on the US Billboard Hot 100 and Mainstream Rock Tracks charts, as well as the fourth position on the Adult Contemporary chart; the single reached the Top 20 in several countries and represents the last big hit for the Alan Parsons Project. "Prime Time" was a follow-up release that fared well in the top 40, reaching No. 34. "Since The Last Goodbye" was a minor hit. Ammonia Avenue is one of the band's biggest-selling albums, carrying an RIAA certification of gold and reaching the Top 10 in a number of countries; the title of the album was inspired by Eric Woolfson's visit to Imperial Chemical Industries in Billingham, where the first thing he saw was a street with miles of pipes, no people, no trees and a sign that read'Ammonia Avenue', whose portrait was used for the front cover.
The album focuses on the possible misunderstanding of industrial scientific developments from a public perspective and a lack of understanding of the public from a scientific perspective. This album was the second of three recorded on analogue equipment and mixed directly to the digital master tape. "You Don't Believe" had been released as both a single and a new song on 1983's "The Best Of The Alan Parsons Project" compilation. Music videos for "Don't Answer Me" and "Prime Time" were produced in 1984, the former with art and animation by MW Kaluta; the latter video is inspired by John Collier's story "Evening Primrose" and features two mannequins, a female and a male one, coming to life and falling in love with each other. About halfway through the video, a street sign for "Ammonia Ave." appears - a reference to the album title. Ammonia Avenue was reissued in 2008 with bonus tracks. All songs composed by Alan Parsons and Eric Woolfson. 2008 Bonus Tracks"Don't Answer Me" "You Don't Believe" "Since the Last Goodbye" "Since the Last Goodbye" "You Don't Believe" "Dancing on a Highwire/Spotlight" "Ammonia Avenue Part 1" "Ammonia Avenue" Ian Bairnson – electric and acoustic guitars Colin Blunstone – vocals Mel Collins – saxophone Stuart Elliott – percussion, drums Alan Parsons – Fairlight programming David Paton – bass Andrew Powell - orchestral arrangements and conducting Chris Rainbow – vocals Eric Woolfson – all keyboards, vocals Lenny Zakatek – vocals Christopher Warren-Green - The Philharmonia Orchestra leader Storm Thorgerson - album cover design
Yaoi known as boys' love or BL, is a genre of fictional media originating in Japan that features homoerotic relationships between male characters. It is created by women for women and is distinct from homoerotic media marketed to gay male audiences, such as bara, but it attracts male readers, it spans a wide range of media, including manga, drama CDs, novels and fan production. Boys love and its abbreviation BL are the generic terms for this kind of media in Japan and have, in recent years, become more used in English as well. However, yaoi remains more prevalent in English. A defining characteristic of yaoi is the practice of pairing characters in relationships according to the roles of seme, the sexual top or active pursuer, uke, the sexual bottom or passive pursuant. Common themes in yaoi include forbidden relationships, depictions of rape and humor. Yaoi and BL stories cover a diverse range of genres such as high school love comedy, period drama, science fiction and fantasy, detective fiction and include sub-genres such as omegaverse and shotacon.
Yaoi finds its origins in commercial publishing. As James Welker has summarized, the term yaoi dates back to dōjinshi culture of the late 1970s to early 1980s where, as a portmanteau of "yamanashi ochinashi iminashi", it was a self-deprecating way to refer to amateur fan works that parodied mainstream manga and anime by depicting the male characters from popular series in vaguely or explicitly sexual situations; the use of yaoi to refer to parody dōjinshi is still predominant in Japan. In commercial publishing, the genre can be traced back to shōnen'ai, a genre of beautiful boy manga that began to appear in shōjo manga magazines in the early 1970s. From the 1970s to 1980s, other terms such as tanbi and June emerged to refer to specific developments in the genre. In the early 1990s, these terms were eclipsed with the commercialization of male-male homoerotic media under the label of boys love. Yaoi has a robust global presence. Yaoi works are available across the continents in various languages both through international licensing and distribution and through circulation by fans.
Yaoi works and fandom have been studied and discussed by scholars and journalists worldwide. The genre known as Boy's Love, BL, or yaoi derives from two sources. Female authors writing for shōjo manga magazines in the early 1970s published stories featuring platonic relationships between young boys, which were known as tanbi or shōnen ai. In the late 1970s going into the 1980s, women and girls in the dōjinshi markets of Japan started to produce sexualized parodies of popular shōnen anime and manga stories in which the male characters were recast as gay lovers. By the end of the 1970s, magazines devoted to the nascent genre started to appear, in the 1990s the term boys' love or BL would be invented and would become the dominant term used for the genre in Japan. Although yaoi derives from girl's and women's manga and still targets the shōjo and josei demographics, it is considered a separate category. Keiko Takemiya's manga serial Kaze to Ki no Uta, first published in 1976, was groundbreaking in its depictions of "openly sexual relationships" between men, spurring the development of the boys' love genre in shōjo manga, as well as the development of sexually explicit amateur comics.
Another noted female manga author, Kaoru Kurimoto, wrote shōnen ai mono stories in the late 1970s that have been described as "the precursors of yaoi". The term yaoi is an acronym created in the late 1970s by Yasuko Sakata and Akiko Hatsu from the words Yama nashi, ochi nashi, imi nashi "No peak, no fall, no meaning"; this phrase was first used as a "euphemism for the content" and refers to how yaoi, as opposed to the "difficult to understand" shōnen-ai being produced by the Year 24 Group female manga authors, focused on "the yummy parts". The phrase parodies a classical style of plot structure. Kubota Mitsuyoshi says that Osamu Tezuka used yama nashi, ochi nashi, imi nashi to dismiss poor quality manga, this was appropriated by the early yaoi authors; as of 1998, the term yaoi was considered "common knowledge to manga fans". A joking alternative yaoi acronym among fujoshi is oshiri ga itai. In the 1980s, the genre was presented in an anime format for the first time, including the works Patalliro! which showed a romance between two supporting characters, an adaptation of Kaze to Ki no Uta and Earthian, released in the original video animation format.
Prior to the popularization of the term yaoi, material in the nascent genre was called juné, a name derived from Juné, a magazine that published male/male tanbi romances which took its name from the homoerotic stories of the French writer Jean Genet. In China, the term danmei is used, derived from tanbi; the term bishōnen manga was used in the 1970s, but fell from favor in the 1990s when manga in this genre began to feature a broader range of protagonists beyond the traditional adolescent boys. In Japan, the term juné would die out in favor of boys' love, which remains the most common name in Japan. Mizoguchi suggests that publishers wishing to get a foothold in the juné market coined "boys' love" to disassociate the genre from the publisher of Juné. While yaoi has become an umbrella term in the West for women's manga or Japanese-influenced comics with male-male relationships, it is the term preferentially used by American manga publishers for works of t
Asahi Group Holdings, Ltd. is a beer and soft drink company based in Tokyo, Japan. As of January 2014, with a 38% market share, was the largest of the four major beer producers in Japan followed by Kirin Beer with 35% and Suntory with 15%. Anheuser-Busch InBev agreed in April 2016 to sell Grolsch Brewery, Italy's Peroni Brewery and the UK's Meantime Brewery to Asahi. Subsequent to Inbev's acquisition of SABMiller in October 2016, InBev agreed to sell the former SABMiller Ltd.'s Eastern European businesses and relevant assets in Poland, the Czech Republic, Slovakia and Romania to Asahi for US $7.8 billion. The deal closed on 21 December 2016 and included beer brands such as Pilsner Urquell, Velkopopovický Kozel, Lech and Ursus. Asahi was founded in Osaka in 1889 as the Osaka Beer Company. During the First World War German prisoners worked in the brewery. In 1990, Asahi acquired a 19.9% stake in Australian brewery giant Elders IXL which has since become the Foster's Group sold to SABMiller. In 2009, Asahi acquired the Australian beverages unit Schweppes Australia.
In early 2009, Asahi acquired 19.9% of Tsingtao Brewery from Anheuser-Busch InBev for $667 million. The sale made Asahi Breweries, Ltd. the second largest shareholder in Tsingtao behind only the Tsingtao Brewery Group. In July 2011, Asahi acquired New Zealand juice maker Charlie's and the water and juice divisions of Australian beverage company P&N Beverages. In August 2011, Asahi acquired New Zealand's Independent Liquor, maker of Vodka Cruiser and other alcoholic beverages, for ¥97.6 billion. In May 2013 its New Zealand operations expanded with the purchase of retail chain Mill Liquorsave. Asahi acquired the Australian brands and assets of Cricketers Arms and Mountain Goat Brewery in 2013 and 2015, respectively. In 2016, the company bought a number of breweries in Europe as a result of regulators' demands before SABMiller was acquired by Anheuser-Busch InBev. In 2017, the company sold its 19.9% stake of Tsingtao Brewery for $937 million. In 2019, the company bought Fuller's Brewery from Fuller, Smith & Turner plc, the sale being subject to a Fuller's shareholders' vote at a forthcoming EGM.
The company's primary beer, from 1957 through the late 1980s, was Asahi Gold. In 1987 Asahi introduced Asahi Super Dry a product that transformed the modern beer industry in Japan. Asahi Super Dry is described as a attenuated lager without the heavier malt flavors of competitors' products, with a crisp, dry taste reminiscent of some northern German beers; this successful launch led to a significant rise in consumer demand for dry beer and in turn to a dramatic turnaround in Asahi's business performance, surpassing Kirin in terms of both sales and profitability. By early 2017, the Super Dry brand was Japan’s best-selling beer. Other beers produced include: Asahi Draft – Lager Asahi Gold – Lager Asahi Stout Asahi Z – Dry lager Asahi Black – a 5% abv dark lager Asahi Prime Time – German Pilsener style lager Asahi Breweries' headquarters in Tokyo were designed by French designer Philippe Starck; the Beer Hall is considered one of Tokyo's most recognizable modern structures. Beer in Japan Asahi Soft Drinks Official website "Company history books".
Shashi Interest Group. April 2016. Wiki collection of bibliographic works on Asahi Breweries
CBC Prime Time News
CBC Prime Time News was a Canadian nightly newscast which aired on CBC Television from 1992 to 1995. For the previous ten years, the CBC's nightly newscast, The National, had aired at 10 p.m. and was followed by a 40-minute newsmagazine package called The Journal, hosted by Barbara Frum. However, following Frum's death in early 1992, the CBC took the opportunity to revamp its flagship newscast; the CBC's live coverage of the Charlottetown Accord referendum results on October 26, 1992 acted as a soft launch for the show, which formally debuted on November 2. With Peter Mansbridge and Pamela Wallin as equal cohosts of a package which replaced both The National and The Journal, Prime Time News combined news and Journal-style features into a single integrated program which aired at 9 p.m. Despite the change, The National was not discontinued; the program's choice of name created a conflict with CBC Radio's Prime Time, whose host Geoff Pevere spoke out against the potential confusion caused by the television and radio programs having such similar names.
Although ratings were strong at first, with its first week seeing a full 30 per cent improvement over The National's average ratings during the previous year, the approach proved unpopular, both within the CBC and with network audiences and critics. The National had been produced by the CBC's news department, while The Journal belonged to current affairs. Critics lambasted the debut episode, whose lead story was the last full day of the 1992 United States presidential election, as "an uninspiring collection of newsreading and cutaways to foreign correspondents" more reminiscent of a local television station than a national network with the high reputation of CBC News, viewer response to the new program's format was unfavourable; because the program aired at 9 p.m. it was competing in one of the most watched timeslots on the commercial networks. Although The National and The Journal had faced commercial competition at 10 p.m. they had been much more successful at carving out their own niche because in that time slot all of the commercial networks were airing drama series.
At 9 p.m. Prime Time News had to compete with popular sitcoms such as Cheers, Frasier and Murphy Brown; as a result, Prime Time News dropped off in the ratings, seeing a 12 per cent viewership decline after its first week alone. CTV National News concurrently saw its ratings jump 40 per cent, overtaking the CBC in national newscast ratings for the first time in its history, CBC Newsworld's edition of The National saw viewership gains of 30 per cent over that network's prior prime time lineup, itself sometimes garnered higher ratings than Prime Time News; the shift resulted in significant ratings declines for several other programs, including Man Alive and The Nature of Things, whose timeslots had been shifted to accommodate the new program. In the fall of 1994, Prime Time News returned to the 10 p.m. time slot, to a format closer to the old National and Journal. Mansbridge again became the sole anchor of the news portion of the show, Wallin became the host of a magazine segment similar to The Journal.
However, the show retained the name Prime Time News for the 1994–1995 television season, Wallin sometimes appeared as substitute anchor of the main news portion when Mansbridge was absent. Ratings recovered following this shift. In April 1995, Wallin was dropped from the program, was succeeded by Hana Gartner in June. In the fall the newscast reverted to the name The National, while the magazine segment became The National Magazine; this format remained in place until The National was again re-launched as a one-hour newscast in early 2001
Tony Orlando and Dawn
Tony Orlando and Dawn is an American pop music group, popular in the 1970s. Their signature hits include "Candida", "Knock Three Times", "Tie a Yellow Ribbon Round the Ole Oak Tree", "Say, Has Anybody Seen My Sweet Gypsy Rose", "He Don't Love You". Tony Orlando was born Michael Anthony Orlando Cassavitis on April 3, 1944. Orlando recorded through the 1960s with only moderate chart success, he had three Top 40 hits, two in 1961 and another in 1969 as the lead singer for the studio group Wind. While recording through the 1960s, he became a producer and a successful music executive with Columbia Records and Columbia/CBS music. While working as a music executive, Orlando received "Candida," a song other producers and singers had turned down. Orlando could not lend his name to the song, as he was working for April-Blackwood and recording under his name would be a professional conflict of interest. After producer Hank Medress insisted Orlando dub his voice over the male vocals on the original track, Bell Records released the single as being performed by the band "Dawn" to protect Orlando's position.
The background singers on the track were Cynthia Weil, Linda November, Jay Siegel, Toni Wine, who co-wrote the song. Phil Margo played drums on the original session, the arranger was Norman Bergen. After the single hit No. 3 on the Billboard Hot 100, Orlando wanted to perform again. The ensemble recorded the 1970 album Candida, which included the namesake song and the No. 1 hit song "Knock Three Times". Bell Records was desperate to have a real-life act to promote Dawn's records. Orlando asked former Motown/Stax backing vocalists Telma Hopkins and Joyce Vincent Wilson, whom he had hired to work as background vocalists while producing Barry Manilow in the late 1960s, to become Dawn; the threesome went on the road in 1971, on the success of "Candida" and "Knock Three Times". After a tour of Europe and Vincent assumed background vocal duties in the studio, first recording on the late 1971 album Dawn Featuring Tony Orlando, they were joined in the studio by Vincent's sister Pamela Vincent, who sang and arranged the backing vocals.
Touring commitments with Aretha Franklin prevented Vincent from appearing with Dawn on tour. The first single with their voices in the background was "Runaway/Happy Together" in 1972; the group released another single in 1973, it became their next No. 1 single — "Tie a Yellow Ribbon'Round the Ole Oak Tree." In terms of sales, this single was the most successful in the group's career, starting a string of seven consecutive Hot 100 appearances with long titles by the group. The group's next single, "Say, Has Anybody Seen My Sweet Gypsy Rose", went to No. 3 on the Hot 100, followed by flavored top 40 hits "Who's In The Strawberry Patch With Sally", "Steppin' Out", with some disco influence, Dennis Lambert and Brian Potter's "Look in My Eyes Pretty Woman", which Mike Kennedy recorded several years before. CBS gave the group a television variety show from the summer of 1974, after The Sonny and Cher Comedy Hour ended its run, until December 1976; the show became a Top 20 hit. With a new record label, the group continued their string of hit singles during the show's run, hitting the Top 10 on the Hot 100 and adult contemporary charts, including "He Don't Love You", from the album of the same name, "Mornin' Beautiful".
In 1975 a remake of the Sam Cooke song "Cupid", from their final original album "To Be With You", became the group's last Top 40 single on the Hot 100. "Sing" reached No. 7 on the Adult Contemporary Chart in 1977. The group went their separate ways that year and would have only one more single, 1991's "With Ev'ry Yellow Ribbon". On The Carol Burnett Show in 1975, Harvey Korman, Carol Burnett, Vicki Lawrence did a spoof of Tony Orlando and Dawn, as Tony Tallahassi and Dusk, singing "Wrap Your Jammies Round the Old White Pine". At the end of the number, they were kicked off the stage by Dawn. Lawrence's "The Night the Lights Went Out in Georgia" preceded Dawn's "Tie a Yellow Ribbon Round the Ole Oak Tree" at the pole position of the Hot 100 in April 1973, they re-formed in 1988 for a five-week tour that wound up lasting into 1993, with Pamela Vincent becoming a visible Dawn member, stepping in whenever Hopkins was fulfilling her acting/television obligations. Orlando is still a popular appearance performer on tour with the Lefty Brothers and Toni Wine.
Hopkins made a successful acting career for herself in series such as Bosom Buddies, Gimme a Break, Family Matters and Half, Are We There Yet. The Vincent Sisters continue a prolific career as session singers. A DVD compilation from the variety series was released in 2005 along with the group's catalog of albums on CD. Tony Orlando & Dawn released A Christmas Reunion that same year. Publicity events for those releases marked the first time Hopkins, both Vincent Sisters appeared onstage together. Toni Wine participated in those shows; the group was inducted into the Vocal Group Hall of Fame in 2008. Tony Orlando and Dawn reunites for television and benefit performances. In 2009, Joyce Vincent joined