Goethes Erben is a musical group from Germany started in 1989 by Oswald Henke and Peter Seipt. The founding idea for Goethes Erben was to combine German spoken words with musical theater, they are one of the first Neue Deutsche Todeskunst bands. By 1991, Peter was replaced by American Mindy Kumbalek in February, their debut album Das Sterben ist ästhetisch bunt was released in 1991. The band's unique blend of music and theater lends itself well to multimedia releases, they have used DVDs with pictures and concert footage since 2001. Goethes Erben have established themselves as favorite festival band, playing at M'era Luna 2001, the Eurorock Festival in Belgium, Wave-Gotik-Treffen 2002, their album Nichts Bleibt Wie Es War was on the 2002 German Alternative Charts for 7 weeks, peaking at #3. In July 2006, the band announced that they would have 2 concerts on the 14th and 15 September 2007, that these would be their last concerts for a long time; the concerts sold out quickly, an additional concert was scheduled for September 13.
On December 15, 2007, Mindy Kumbalek and Oswald Henke posted an open letter on their website explaining that the band would be going on indefinite hiatus. 1990 Live 1990 Der Spiegel, dessen Weg durch stumme Zeugen zum Ende führt 1991 Live - Festival d'Etage 1991 Das schwarze Wesen 1992: Das Sterben ist ästhetisch bunt 1992: Der Traum an die Erinnerung 1993: Leben im Niemandsland 1994: Tote Augen sehen Leben 1994: Erstes Kapitel 1995: Goethes Erben 1997: Schach ist nicht das Leben 1999: Gewaltberechtigt? 1999: Kondition: Macht! – Das Musikwerk 2001: Nichts bleibt wie es war 2005: Dazwischen 1993: "Die Brut" 1995: "Der Die Das" 1997: "Sitz der Gnade" 1998: "Marionetten" 2001: "Der Eissturm" 2001: "Glasgarten" 2005: "Alptraumstudio" 2006: "Tage des Wassers" 1996: Live im Planetarium 1998: Kondition: Macht! – Das Musiktheaterstück 1999: Epochenspiel 1999: Goethes Erben - 10 Jahre 2000: Bittersüß und schmerzvoll 2000: Königlich und doch rebellisch 2000: Gewalttätige Gedanken 2001: 1302 km Island – Auf der Suche nach dem Glasgarten 2002: Was war bleibt 2002: Iphigenies Tagebuch 2003: Leibhaftig 2004: Blau Rebell & Gewinn für die Vergangenheit 2006: Traumaspiele 2010: Zeitlupe Official website Goethes Erben at laut.de Works by and about Goethes Erben at the German National Library
Integrated Authority File
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used for documentation in libraries and also by archives and museums; the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero licence; the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, an approach to unambiguous identification of single elements. It comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format; the Integrated Authority File became operational in April 2012 and integrates the content of the following authority files, which have since been discontinued: Name Authority File Corporate Bodies Authority File Subject Headings Authority File Uniform Title File of the Deutsches Musikarchiv At the time of its introduction on 5 April 2012, the GND held 9,493,860 files, including 2,650,000 personalised names.
There are seven main types of GND entities: LIBRIS Virtual International Authority File Information pages about the GND from the German National Library Search via OGND Bereitstellung des ersten GND-Grundbestandes DNB, 19 April 2012 From Authority Control to Linked Authority Data Presentation given by Reinhold Heuvelmann to the ALA MARC Formats Interest Group, June 2012
Christopher Hamill, better known by his stage name Limahl, is an English pop singer. He rose to fame as the lead singer of the 1980s pop group Kajagoogoo, before embarking on a successful solo career, which reached its peak with the 1984 hit "The NeverEnding Story", the theme song for the film of the same name. Hamill was born in Pemberton, Lancashire in North West England to Eric and Cynthia Hamill, he has two brothers. He attended Abraham Guest High School in Orrell, before enrolling at the Westcliff-on-Sea Palace Theatre Repertory Company. With aspirations to be an actor, Chris Hamill toured with the company in a production of Joseph and the Amazing Technicolor Dreamcoat. In 1980, he was given a small role in an episode of the ITV police series The Gentle Touch. In 1981, he appeared as an extra in the promotional video for Adam and the Ants' number one UK single "Stand and Deliver", he had a keen interest in music, forming a short-lived punk band called Vox Deus. Next he left a band called Crossword.
He answered an advert in the music press to join a band to be called Brooks with Mike Nolan. He adopted his stage name at the time he was recruited by the existing members of Kajagoogoo, who were performing under the name Art Nouveau; the four members of Art Nouveau, the band who were yet to become Kajagoogoo, had placed an advertisement in the music magazine Melody Maker, asking for a'front man who could sing and look good'. Hamill attended the audition and subsequently joined the band, after some deliberation, renamed Kajagoogoo. Soon after he had joined, Limahl met Nick Rhodes, keyboardist of the group Duran Duran, while Limahl was working as a waiter at the Embassy Club in London. Rhodes agreed to co-produce the band's first single, "Too Shy". Limahl said: "I met Nick Rhodes and it changed my life." Kajagoogoo signed a deal with EMI, due in part to Rhodes' involvement with the band, the single "Too Shy" was released in January 1983. It went to number 1 in the UK Singles Chart and made the top 5 on the US Billboard Hot 100 stood in position 45th in Billboard Hot 100.
The group had further hits with "Ooh to Be Ah" and "Hang on Now", with their debut album White Feathers reaching UK No. 5. Their first major UK tour was attended by 60,000 people, the final show at the Hammersmith Odeon in London was recorded and released on home video/Laserdisc. In mid-1983, soon after the end of the White Feathers concert tour, the band sacked him by telephone. Limahl was quoted in the press as saying: "I've been betrayed!", "I was sacked for making them a success". Limahl said of his sacking: "I was in utter disbelief but the overwhelming emotion was anger towards the manager at first, but as I mulled over the'betrayal', I was angry at my four professional colleagues, who I had viewed not only as friends but as family." The band themselves stated Limahl had become difficult to work with as they didn't share his vision for the band's future. Soon after Limahl's departure, bassist Nick Beggs commented: "It was a business decision and not one we took lightly, he wanted the band to go in a different direction to the rest of us.
We realised we were on a different planet to Limahl." Beggs stated the band harboured no ill-will towards Limahl, blamed the press for sensationalising the matter. Guitarist Steve Askew commented: "At first...we did everything possible to make Limahl feel like part of the furniture but, you know, his lifestyle is so different from ours. We're normal people whereas Limahl likes the bright lights." After leaving the band, Limahl launched a solo career, achieving hits with "Only for Love" in 1983, with "The NeverEnding Story" in 1984. The latter was the title theme from the film of the same name, composed by Giorgio Moroder; the English version was sung with Beth Anderson. The French version was performed with translated lyrics by Pierre-André Dousset; the single reached the Top 5 in several countries and was number one in Spain and Norway. His debut album, 1984's Don't Suppose, was a commercial failure in the UK, peaking at No. 63. It was better received in continental Europe with it topping the Norwegian album chart and reaching the Top 10 in Austria and Switzerland.
Following this, Limahl released two more albums: 1986's Colour All My Days and Love Is Blind in 1992, both of which failed to chart in the UK but found moderate success in Italy and Germany. Limahl, with the hairstyle he sported circa 1984, was illustrator Arthur Adams' inspiration for the look of the Marvel Comics X-Men character Longshot. In late 2003, Limahl reunited with the other members of Kajagoogoo for the VH1 special Bands Reunited, but this did not lead to a permanent reunion. In 2004, Limahl took part in the musical reality show Comeback on German TV channel Pro7. A year in 2005, he appeared in a similar UK show, Hit Me Baby One More Time on ITV; the episode in which Limahl appeared featured Howard Jones, who had enlisted the services of Kajagoogoo bass player Nick Beggs to support him during his own performance. Limahl reunited with Kajagoogoo again in 2008. Now reformed in their original five-piece line-up, the band took part in various music festivals in Europe. For the next few years he continued performing live with solo.
In 2011, the band released a new track, "Death-Defying Headlines", as a digital single. Limahl as a solo artist released a new single in 2012 called "1983", co-written/produced with Norwegians Tommy Olsen, Rune Maurtvedt and Sti
Where the Wild Roses Grow
"Where the Wild Roses Grow" is a duet by Australian rock band Nick Cave and the Bad Seeds and pop singer Kylie Minogue. It is the fifth song and lead single from the band's ninth studio album, Murder Ballads, released on Mute Records, it was produced by Tony Cohen and Victor Van Vugt. The song received a positive reception from music critics and became the band's most successful single worldwide reaching No. 3 in Norway, the top five in Australia, the top twenty in the United Kingdom, Ireland and New Zealand. It received a limited promotional release in the United States; the song was certified Gold in Germany in 1996 for 250,000 copies sold, despite never reaching the top ten in that country. It charted again at the bottom of the German Top 100 in 2008 because of digital downloads after it was used in a soap opera. "Where the Wild Roses Grow" was certified Gold in Australia for selling 50,000 copies. Cave was inspired to write "Where the Wild Roses Grow" after listening to the traditional song, "Down in the Willow Garden", a tale of a man courting a woman and killing her while they are out together.
Cave arranged this tale as second of two B-sides, "The Ballad of Robert Moore & Betty Coltrane" / "The Willow Garden", released on the CD-Maxi single version. Although the song does not feature on a Minogue studio album, it can be found on her compilations Hits+, Greatest Hits 1987–1999, Ultimate Kylie and The Abbey Road Sessions. Minogue performed a chorus of the song during her Homecoming tours, it reached number 8 in Triple J's Hottest 100 1995. In 2012, NME listed the song in the "100 Best Songs of the 1990s" at number 35. Cave described writing the song: "Where The Wild Roses Grow" was written much with Kylie in mind. I'd wanted to write a song for Kylie for many years. I had a quiet obsession with her for about six years. I wrote several songs for her, none of which I felt was appropriate to give her, it was only when I wrote this song, a dialogue between a killer and his victim, that I thought I'd written the right song for Kylie to sing. I sent the song to her and she replied the next day.
A CD of the track—which had Blixa Bargeld singing Minogue's lines—when sent to Minogue's parents' house prior to her recording the song. Nick Cave and the Bad Seeds and Kylie Minogue first performed the song publicly on 4 August 1995 in Cork, Republic of Ireland. According to the sheet music edition published by OnlineSheetMusic.com, "Where The Wild Roses Grow" is written in the compound time signature of 6/8 and is set in the key signature of G minor, at a tempo of 56 beats per minute. The video for this song, commissioned by Emma Davies for Mute Records, shot by director Rocky Schenck and produced by Nick Verden for Atlas Films, shows Kylie Minogue in character having been murdered by Nick Cave's character. We see her in ghost-like form and in a river in a pose reminiscent of Millais' painting Ophelia; the video ends with Cave's character closing her eyelids. Cave and Minogue performed the song together live on stage in London on 3 June 2018 when Kylie made a surprise appearance during the Nick Cave and The Bad Seeds set at All Points East festival.
Minogue performed the song on the following concert tours: Showgirl: The Greatest Hits Tour Showgirl: The Homecoming Tour For You, for Me Golden Tour Minogue appeared as a surprise guest at Coldplay's Enmore Theatre show in Sydney, Australia on 19 June 2014, where they performed the song as a duet. A guide track with The Bad Seeds guitarist, Blixa Bargeld, singing Kylie Minogue's vocal part was released on the compilation B-Sides & Rarities. 1996 ARIA Awards:'Single of the Year','Song of the Year' &'Best Pop Release'. These are the formats and track listings of major single releases of "Where the Wild Roses Grow". UK 7" single"Where the Wild Roses Grow" – 3:58 "The Ballad of Robert Moore & Betty Coltrane" – 3:34UK cassette single"Where the Wild Roses Grow" – 3:58 "The Ballad of Robert Moore & Betty Coltrane" – 3:34EU CD single"Where the Wild Roses Grow" – 3:58 "The Ballad of Robert Moore & Betty Coltrane" – 3:34 "The Willow Garden" – 3:57Australian CD single"Where the Wild Roses Grow" – 3:58 "The Ballad of Robert Moore & Betty Coltrane" – 3:34 "The Willow Garden" – 3:57 Nick Cave – official website.
Kylie.com – official website. Critical analysis of video, Rachael Zeleny
Forensic biology is the application of biology to associate a person, whether suspect or victim, to a location, an item, another person. It can be utilized to further investigations for both civil cases. Two of the most important factors to be considered throughout the collection and analysis of evidence, are the maintenance of chain of custody as well as contamination prevention considering the nature of the majority of biological evidence. Forensic biology is incorporated into and is a significant aspect of numerous forensic disciplines, some of which include forensic anthropology, forensic entomology, forensic odontology, forensic pathology, forensic toxicology; when the phrase "forensic biology" is utilized, it is regarded as synonymous with DNA analysis of biological evidence. DNA, or deoxyribonucleic acid, is one of the most popular pieces of evidence to recover at a crime scene. More than not, evidence containing DNA is regarded to as biological evidence. With all of the substantial advances that have been made regarding DNA, biological evidence is recognized to be the golden standard in forensic science.
At the scene, biological evidence must be visibly recognized. Sometimes this is not always possible and the aid of an alternative light source, or ALS, is required. Once identified as a potential source, presumptive tests are conducted to establish the possibility of the specified biological presence. If positive, samples are collected and submitted for analysis in the laboratory, where confirmatory tests and further tests are performed. DNA analysis has numerous applications such as paternity testing, identifications of unknown human remains, cold case breakthroughs, as well as connecting suspects and/or victims to a piece of evidence, a scene, or to another person. Nuclear DNA evidence can be recovered from blood, saliva, epithelial cells and hair. Furthermore, Mitochondrial DNA can be recovered from the shaft of hair and the roots of teeth. For most forensic DNA samples, STR analysis of autosomal short tandem repeats is performed in an attempt to individualize the sample to one person with a high degree of statistical confidence.
Laboratory analysis of DNA evidence involves the sample DNA being extracted, quantitated and visualized. There are several methods of DNA extraction possible including organic extraction, Chelex extraction, differential extraction. Quantitation is conducted using a form of the polymerase chain reaction, known as real-time PCR, quantitative PCR, or qPCR. qPCR is the preferred method of DNA quantitation for forensic cases because it is precise, human-specific and quantitative. This technique analyses changes in fluorescence signals of amplified DNA fragments between each PCR cycle without needing to pause the reaction or open the temperature-sensitive PCR tubes. In addition to the components necessary for standard a PCR reaction, qPCR reactions involve fluorescent dye-labelled probes that complement and anneal to the DNA sequence of interest that lies between the two primers. A “reporter” dye is attached at the 5’ end of the fluorescent probe while a “quencher” dye is attached at the 3’ end. Before the DNA strands are extended by the polymerase, the reporter and quencher are close enough in space that no fluorescence is detected by the instrument.
As the polymerase begins to extend the strand, the 5' end of the probe is degraded by the polymerase due to its exonuclease activity. The reporter dye is released from the 5’ end and is no longer quenched, thus enabling detection of fluorescence. A graph is constructed for the sample DNA comparing the presence of fluorescence to cycle number of the qPCR process; this is compared to a standard curve of the cycle fluorescence threshold versus the log of known DNA concentrations. By comparing the sample data to the standard curve, one may extrapolate the DNA concentration in the sample, essential to move forward with PCR amplification and capillary electrophoresis to obtain a DNA profile. DNA profiles are produced in the form of an electropherogram; the obtained profile can be compared to known samples such as those in CODIS in order to identify a possible suspect. Based on known frequencies of the genotype found in the DNA profile, the DNA analyst may place a statistical measure of confidence on DNA match.
Mitochondrial DNA is used instead of nuclear DNA when forensic samples have been degraded, are damaged, or are in small quantities. In many cases there may be human remains that are older, sometimes ancient, the only options for DNA collection are the bone, teeth, or hair of the body. MtDNA is able to be extracted from such degraded samples because its presence in cells is much higher than nuclear DNA. There can be more than 1,000 copies of mtDNA in a cell, while there are only two copies of nuclear DNA. Nuclear DNA is inherited from both the mother and the father but mtDNA is passed down from only the mother to all of her offspring. Due to this type of inheritance, mtDNA is useful for identification purposes in forensic work but can be used for mass disasters, missing persons cases, complex kinship, genetic genealogy; as mentioned, the main advantage of using mtDNA is its high copy number. However, there are a few disadvantages of using mtDNA as opposed to nuclear DNA. Since mtDNA is inherited maternally and
Dark wave is a music genre that emerged from the new wave and post-punk movement of the late 1970s. Dark wave compositions are based on minor key tonality and introspective lyrics, have been perceived as being dark and bleak, with an undertone of sorrow. Common features include the use of chordophones such as electric and acoustic guitar and piano, as well as electronic instruments such as synthesizer and drum machine; the genre embraces a range of styles including cold wave, ethereal wave, gothic rock, neoclassical dark wave, neofolk. In the 1980s, a subculture developed in Europe alongside dark wave music, whose followers were called wavers or dark wavers. In some countries such as Germany, the movement included fans of gothic rock. Since the 1980s, the term has been used in Europe to describe the gloomy and melancholy variant of new wave and post-punk music. At that time, the term "goth" was inseparably connected with gothic rock, whereas "dark wave" acquired a broader meaning, including music artists that were associated with gothic rock and synthesizer-based new wave music, such as Bauhaus, Joy Division, The Cure and the Banshees, The Sisters of Mercy, Anne Clark, Depeche Mode, Gary Numan, The Chameleons.
The term darkwave originated in the 1980s as an indicator of the dark counterpart of new wave. Bands such as Cocteau Twins, Soft Cell, Depeche Mode are exponents of this first generation of darkwave. Darkwave... employs slower tempos, lower pitches, more minor keys in its musical settings of melancholy texts than new wave. The movement spread internationally, developing such strands as ethereal wave, with bands such as Cocteau Twins, neoclassical dark wave, initiated by the music of Dead Can Dance and In the Nursery. French cold wave groups such as Clair Obscur and Opera Multi Steel have been associated with the dark wave scene. Different substyles associated with the new wave and dark wave movements started to merge and influence each other, e.g. synth-wave with gothic rock, or began to borrow elements of post-industrial music. Attrition, Die Form, Pink Industry, Kirlian Camera, Clan of Xymox performed this music in the 1980s. Other bands such as Malaria!, The Vyllies added elements of chanson and cabaret music.
This sort of dark wave music became known as cabaret noir. German dark wave bands were associated with the Neue Deutsche Welle, included Xmal Deutschland, Mask For, Asmodi Bizarr, II. Invasion, Unlimited Systems, Moloko †, Cyan Revue, Leningrad Sandwich, Stimmen der Stille and Pink Turns Blue. After the new wave and post-punk movements faded in the mid-1980s, dark wave was renewed as an underground movement by German bands such as Girls Under Glass, Deine Lakaien, Love Like Blood, Love Is Colder Than Death, Diary of Dreams, The Eternal Afflict, Wolfsheim, as well as Project Pitchfork and its offshoot Aurora Sutra. Ataraxia and The Frozen Autumn from Italy, the French Corpus Delicti evolved from this movement and became the leading artists of the west Romanesque scene. All of these bands followed a path based on the new wave and post-punk music of the 1980s. In the 1990s, a second generation of darkwave bands became popular, including Diary of Dreams, Deine Lakaien, The Frozen Autumn... The German band Deine Lakaien... is audibly influenced by the dark synthesizer sounds of Depeche Mode.
At the same time, a number of German artists, including Das Ich, Goethes Erben, Relatives Menschsein, Endraum, developed a more theatrical style, interspersed with German poetic, metaphorical lyrics, called Neue Deutsche Todeskunst. Other bands, such as Silke Bischoff, In My Rosary and Impressions of Winter combined synthesizers with elements of neofolk and neoclassical dark wave. After 1993, in the United States the term dark wave became associated with the Projekt Records label, because it was adopted by label founder Sam Rosenthal after leafing through the pages of German music magazines such as Zillo, has been used to promote and market artists from German label Hyperium Records in the U. S. e.g. Chandeen and Love Is Colder Than Death. I first became aware of the term "Dark Wave" back in 1992, it appeared in German magazines – such as Zillo – describing a style of European music that followed other "waves" such as New Wave... I found those two words quite interesting; this was something underground, obscure... which swept over you, immersed you, surrounded you.
It was a poetic phrase. At the time, I was looking for a name for my little mail-order company. I wanted something. Projekt features bands such as Lycia, Black Tape for a Blue Girl, Love Spirals Downwards, some of these characterized by atmospheric guitar and synth-sounds and female vocals; this style took cues from 1980s bands like Cocteau Twins and is referred to as ethereal dark wave. Projekt has had a long association with Attrition, who appeared on the label's earliest compilations. Another American record label in this vein was Tess Records, which featured This Ascension and the Muse, the reunited Clan of Xymox. Joshua Gunn, a professor of communication studies at Louisiana University, described the U. S. type of dark wave
Electro-industrial is a music genre that emerged from industrial music in the mid-1980s. While EBM has a minimal structure and clean production, electro-industrial has a deep and layered sound; the style was pioneered by Skinny Puppy, Front Line Assembly, other groups, either from Canada or the Benelux. In the early 1990s, the style spawned the dark electro genre, in the mid-/late-1990s, the aggrotech offshoot; the fan base for the style is linked to the rivethead subculture. After the EBM movement faded in the early 1990s, electro-industrial attained popularity in the international club scene. In contrast to the straight EBM style, electro-industrial groups use harsher beats and raspy, distorted, or digitized vocals. In contrast to industrial rock, electro-industrial groups avoided guitars, other than Skinny Puppy, who used E-Guitar Elements since the mid 80s in songs like Testure or Dig It. Electro-industrial was anticipated by 1980s groups such as SPK, Die Form, Klinik, Skinny Puppy, Front Line Assembly.
Prominent electro-industrial groups of the 1990s include Mentallo and the Fixer, Yeht Mae, Velvet Acid Christ, KMFDM and Pulse Legion. Since the mid-1990s, some electro-industrial groups added guitars and became associated with industrial metal. Skinny Puppy, Download and Haujobb, have incorporated elements of experimental electronic music styles like drum and bass, IDM, glitch and other electronica genres. Electro-industrial groups tend to feature themes of control and science fiction. Electro-industrial groups sometimes take aesthetic inspiration from horror films, including The Exorcist and the work of Roman Polanski, the science fiction films Blade Runner and Alien. Dark electro is a similar style, developed in the early 1990s in central Europe; the term describes groups such as yelworC and Placebo Effect, was first used in December 1992 with the album announcement of Brainstorming, yelworC's debut. The style was inspired by the music of The Skinny Puppy. Compositions included horror soundscapes, grunts or distorted vocals.
YelworC were a music group from Munich, formed in 1988. They laid the foundations of the dark electro movement in the early 1990s, were the first artist on the German label Celtic Circle Productions. In subsequent years, dark electro was displaced by techno-influenced styles such as aggrotech and futurepop. Other groups to practice the style included Das Ich, amGod, Nurgul Jones, early Evil's Toy, Mortal Constraint, Arcana Obscura, Splatter Squall, Seven Trees, Tri-State, GGFH, Ice Ages. Aggrotech, is a derivative form of electro-industrial with a strong influence from the hardstyle/hard trance music that first surfaced in the mid-late-1990s. Aggrotech employs aggressive beats, prominent lead synth lines, lyrics of a dark nature. Vocals are distorted and pitch-shifted to sound harsh and synthetic and static and glitching effects are added. Aggrotech musicians include AciDrome, Aesthetic Perfection, Alien Vampires, Cenobita, Die Sektor, Dark Liner, Das Ich, Dawn of Ashes, Detroit Diesel, Dulce Liquido, DYM, Flesh Field, Front Line Assembly, Funker Vogt, God Module, Hocico, iVardensphere, Panic Lift, Psyclon Nine, Suicide Commando, Tactical Sekt, The Retrosic, Ritual Aesthetic, Unter Null, Virtual Embrace, X-Fusion, X-RX, among many.
List of industrial music festivals List of electro-industrial bands