Real Steel is a 2011 American science fiction sports film starring Hugh Jackman and Dakota Goyo and co-produced and directed by Shawn Levy for DreamWorks Pictures. The film is based on the short story "Steel", written by Richard Matheson, published in the May 1956 edition of The Magazine of Fantasy & Science Fiction, adapted into a 1963 Twilight Zone episode. Real Steel was in development for several years before production began on June 24, 2010. Filming took place in the U. S. state of Michigan. Animatronic robots were built for the film, motion capture technology was used to depict the brawling of computer-generated robots and animatronics. Real Steel was released by Touchstone Pictures in Australia on October 6, 2011, by Walt Disney Studios Motion Pictures in the United States and Canada on October 7, 2011, grossing nearly $300 million at the box office, it received mixed reviews, with criticism for the formulaic nature of the plot and the fact that elements remained unresolved or were predictable, but praise for the visual effects, action sequences and acting performances.
The film was nominated for the Academy Award for Best Visual Effects at the 84th Academy Awards, but lost to Hugo. In 2020, human boxers are replaced by robots. Charlie Kenton, a former boxer, owns "Ambush", but loses it in a fight against a bull belonging to promoter and carnival owner Ricky, who rigged the fight to mess with Charlie as he sees him as a joke because he beat him up the last time they competed for bailing on the bet. Having made a bet that Ambush would win as a result, Charlie now has a debt to Ricky that he can't pay—which he runs out on. After the fight, Charlie learns that his ex-girlfriend died and he must attend a hearing deciding the future of their son, Max Kenton, whom Charlie has had zero contact with and complete apathy towards since he was born. There, Max's aunt and her wealthy husband, request full custody, which Charlie concedes for $100,000, half in advance, on the condition that Charlie retains Max for three months while they are on vacation and the other half when they return.
Thereupon, Charlie and Bailey Tallet, the daughter of Charlie's former boxing coach, acquire the once-famous "Noisy Boy", but it is destroyed in a subsequent fight against "Midas". As he and Charlie attempt to scavenge parts to make a new robot from a junkyard, Max discovers "Atom", an obsolete but intact sparring robot designed to withstand severe damage, capable of mirroring opponent and handler movements and storing them in its memory due to its rare "shadow function". At Max's behest, Charlie pits Atom against "Metro". Max programs Noisy Boy's vocal-respond controls in Atom, convinces Charlie to help him with Atom's fighting move memory, resulting in a series of victories and culminating to being offered a fight in World Robot Boxing against national champion "Twin Cities". After reaching the arena, the owner of global champion "Zeus" offers to buy Atom, which Max rejects. Charlie disagrees, but takes Max's side; the fight starts with Atom on the attack, but Twin Cities takes the offensive and corners Atom.
While their opponent has no blind spot, Charlie notices a hitch whenever Twin Cities throws a right jab. Using this, Charlie is able to get Atom out of the corner and win by knockout. Elated by their success, Max challenges Zeus, with the audience squarely on their side. After the fight and his two henchmen ambush Charlie for bailing earlier and rob them of their winnings, prompting Charlie to return Max to Debra; this upsets Max, when Charlie tries convincing him it is better for Max to live without him, Max says he always wanted Charlie to fight for him and be there as a father. After Max leaves, Charlie returns to Bailey. While talking with her about the events, the two kiss. Persuaded by Bailey, Charlie arranges the challenge offered by Max and convinces Debra to allow Max to witness the fight. Zeus starts the fight by knocking Atom down with its first punch, but Atom gets up, Zeus continues its assault, knocking Atom down multiple times. However, each time Atom gets back up, is able to land its first punch allowing Atom to survive the first round.
Ricky, who had made a bet with a friend of Charlie's of $100,000 that Atom would not last the round, tries to slip away, but is cornered by the fight's bookmakers. The fight continues with Atom landing multiple punches but getting knocked down many times and recovering each time. Late in the fourth round, Atom's vocal-respond controls are damaged, forcing Charlie to use its visual "shadow function" to make it visually mimic his boxing skills. This, the fact that Zeus starts running out of power from its constant offense, tip the odds in Atom's favor, forcing Zeus' programmer to manually control it, Max and Bailey both watch Charlie doing what he was meant to do, are touched by seeing him fighting for his son. Zeus gets a sound beating, once hitting the ground and avoiding losing by knockout, but survives the final round and wins the match by the judges' decision; the technologically superior machine remains undefeated, although with the humiliation of being fought to a near-loss, Atom is hailed as the "People's Champion".
Hugh Jackman as Charlie Kenton Dakota Goyo as Max Kenton Evangeline Lilly as Bailey Tallet Anthony Mackie as Finn Olga Fonda as Farra Lemkova Karl Yune as Tak Mashido Kevin Durand as Ricky Hope Davis as Aunt Debra James Rebhorn as Marvin Gregory Sims as Bill Panner Based on Richard Matheson's 1956 short story "Steel." The original screenplay was written by Dan Gilroy and was purchased by DreamWorks for $850,000 in 2003 or 2005. The pr
The Austin Chronicle
The Austin Chronicle is an alternative weekly newspaper published every Thursday in Austin, United States. The paper is distributed through free news-stands at local eateries or coffee houses frequented by its targeted demographic; the newspaper reported a weekly readership of 545,500. It is part of the Association of Alternative Newsmedia and it emulates the typical publications of the 1960s counter-culture movement; the Chronicle was co-founded in 1981 by Nick Barbaro and Louis Black, with assistance from others who met through the graduate film studies program at the University of Texas. Barbaro and Black are co-founders of the South by Southwest Festival, although the festival operates as a separate company; the paper was published bi-weekly, weekly. Its precursor in style and format was the Austin Sun, a bi-weekly that had ceased operations in 1978, after four years of publication; the first issue of the Chronicle was distributed on September 4, 1981. With a progressive point of view and irreverent voice, the Chronicle covers local and state news as well as the Austin food, theater and music communities.
The paper has a number of annual features, including the'Best of Austin' awards, cut-out masks for Halloween, the April Fool's edition, the First Plates Restaurant Awards. The Chronicle produces the annual Austin Chronicle Hot Sauce Festival held in late August, it is a profit-oriented business. The newspaper endorses its reporters check official sources. Tennant, J. Ian. "Free Newspapers in the United States: Alive and Kicking". International Journal on Media Management. 16: 105–121. Doi:10.1080/14241277.2014.974244. Official website
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Will Hermes is an American author, broadcaster and critic who has written extensively about popular music. He is a longtime contributor to National Public Radio's All Things Considered, his work has appeared in Spin, The New York Times, The Village Voice, The Believer, GQ, Entertainment Weekly, City Pages, The Windy City Times, Option. He is the author of Love Goes To Buildings On Fire: Five Years in New York That Changed Music Forever, a history of the New York City music scene in the 1970s. In the late 1980s Hermes began writing for Option, a Los Angeles-based small-press magazine that covered a wide range of music. In 1993 he became the Arts & Music Editor for City Pages, an alternative newsweekly based in Minneapolis. In 1997 was hired as a Senior Editor for Spin magazine in New York City. Hermes began contributing to Rolling Stone in the ‘00s and became a frequent voice in the magazine’s review section. Hermes co-edited SPIN: 20 Years of Alternative Music, an anthology of writing from Spin magazine published in 2006, with Sia Michel the magazine’s editor-in-chief.
His writing was included in Da Capo's Best Music Writing 2006 and Best Music Writing 2007. In 2011, Farrar and Giroux/Faber and Faber published his book Love Goes To Buildings On Fire: Five Years in New York That Changed Music Forever, a history of New York City music culture in the 1970s, covering the nascent punk rock, hip hop and disco scenes, along with salsa, loft jazz, the downtown composers known as minimalists, it was selected as the top music book of 2011 by NPR, it was an Editor’s Choice title in The New York Times Book Review, which called it a "prodigious work of contemporary music history". Hermes, Will. Spin: 20 years of alternative music: original writing on rock, hip-hop and beyond. New York: Three Rivers Press. Love Goes To Buildings On Fire: Five Years in New York That Changed Music Forever. Farrar and Giroux/Faber and Faber, 2011. ISBN 978-0-86547-980-7 Hermes, Will. "Natalie Prass". The Future is Now. Rolling Stone. 762: 47. Love Goes To Buildings On Fire blog NPR review of Love Goes To Buildings On Fire" New York Times review of Love Goes To Buildings On Fire
Post-rock is a form of experimental rock characterized by a focus on exploring textures and timbre over traditional rock song structures, chords or riffs. Post-rock artists are instrumental combining rock guitars and drums with electronic instruments; the genre emerged within the indie and underground music scene of early 1990s. However, due to its abandonment of rock conventions, it bears little resemblance musically to contemporary indie rock, borrowing instead from diverse sources including ambient music and minimalist classical; the individual styles of bands that have been described as post-rock differ making the term controversial among listeners and artists alike. The concept of "post-rock" was coined by critic Simon Reynolds in his review of Bark Psychosis' album Hex, published in the March 1994 issue of Mojo magazine. Reynolds expanded upon the idea in the May 1994 issue of The Wire. Writing about artists like Seefeel, Disco Inferno, Techno Animal, Robert Hampson, Insides, Reynolds used the term to describe music "using rock instrumentation for non-rock purposes, using guitars as facilitators of timbre and textures rather than riffs and power chords".
He further expounded on the term, Perhaps the provocative area for future development lies... in cyborg rock. Reynolds, in a July 2005 entry in his blog, claimed he had used the concept of "post-rock" before using it in Mojo referencing it in a feature on Insides for music newspaper Melody Maker, he said he found the term itself not to be of his own coinage, saying in his blog, "I discovered many years it had been floating around for over a decade." The term was used by American journalist James Wolcott in a 1975 article about musician Todd Rundgren, although with a different meaning. It was used in the Rolling Stone Album Guide to name a style corresponding to "avant-rock" or "out-rock"; the earliest use of the term dates back as far as September 1967. In a Time cover story feature on the Beatles, writer Christopher Porterfield hails the band and producer George Martin's creative use of the recording studio, declaring that this is "leading an evolution in which the best of current post-rock sounds are becoming something that pop music has never been before: an art form."
Another pre-1994 example of the term in use can be found in an April 1992 review of 1990s noise-pop band The Earthmen by Steven Walker in Melbourne music publication Juke, where he describes a "post-rock noisefest". The post-rock sound incorporates characteristics from a variety of musical genres, including krautrock, psychedelia, prog rock, space rock, math rock, tape music, minimalist classical, British IDM, dub reggae, as well as post-punk, free jazz, contemporary classical, avant-garde electronica, it bears similarities to drone music. Early post-rock groups often exhibited strong influence from the krautrock of the 1970s borrowing elements of "motorik", the characteristic krautrock rhythm. Post-rock compositions make use of repetition of musical motifs and subtle changes with an wide range of dynamics. In some respects, this is similar to the music of Steve Reich, Philip Glass and Brian Eno, pioneers of minimalism. Post-rock pieces are lengthy and instrumental, containing repetitive build-ups of timbre and texture.
Vocals are omitted from post-rock. When vocals are included, the use is non-traditional: some post-rock bands employ vocals as purely instrumental efforts and incidental to the sound, rather than a more traditional use where "clean" interpretable vocals are important for poetic and lyrical meaning; when present, post-rock vocals are soft or droning and are infrequent or present in irregular intervals. Sigur Rós, a band known for their distinctive vocals, fabricated a language they called "Hopelandic", which they described as "a form of gibberish vocals that fits to the music and acts as another instrument."In lieu of typical rock structures like the verse-chorus form, post-rock groups make greater use of soundscapes. Simon Reynolds states in his "Post-Rock" from Audio Culture that "A band's journey through rock to post-rock involves a trajectory from narrative lyrics to stream-of-consciousness to voice-as-texture to purely instrumental music". Reynolds' conclusion defines the sporadic progression from rock, with its field of sound and lyrics to post-rock, where samples are stretched and looped.
Wider experimentation and blending of other genres have taken hold in the post-rock scene. Cult of Luna, Russian Circles, Palms and Pelican have fused metal with post-rock styles; the resulting sound has been termed post-metal. More sludge metal has grown and evolved to include some elements of post-rock; this second wave of sludge metal has been pioneered by bands such as Giant Battle of Mice. This new sound is seen on the label of Neurot Recordings. Bands such as Altar of Plagues, Lantlôs and Agalloch blend between post-rock and black metal, incorporating elements of the former while using the latter. In some cases, this sort of experimentation and blending has gone beyond the fusion of post-rock with a single genre, as in the case of post-metal, in favor of an wider embrace of disparate musical influences as it can be heard in bands like Deafheaven. Post-rock appears to take a heavy influence from late 1960s
Under Armour, Inc. is an American company that manufactures footwear and casual apparel. Under Armour's global headquarters are located in Baltimore, Maryland with additional offices located in Amsterdam, Guangzhou, Hong Kong, Jakarta, Mexico City, New York City, Panama City, Pittsburgh, San Francisco, São Paulo, Seoul and Toronto. Under Armour was founded on September 25, 1996 by Kevin Plank, a 24-year-old former special teams captain of the University of Maryland football team. Plank began the business from his grandmother's basement in Washington, D. C, he spent his time traveling up and down the East Coast with nothing but apparel in the trunk of his car. His first team sale came at the end of 1996 with a $17,000 sale. From his grandmother's basement, Plank moved to Baltimore. After a few moves in the city he landed at his current headquarters in Tide Point; as a fullback at the University of Maryland, Plank got tired of having to change out of the sweat-soaked T-shirts worn under his jersey.
This inspired him to make a T-shirt using moisture-wicking synthetic fabric. After graduating from the University of Maryland, Plank developed his first prototype of the shirt, which he gave to his Maryland teammates and friends who had gone on to play in the NFL. Plank soon perfected the design creating a new T-shirt built from microfibers that wicked moisture and kept athletes cool and light. Major competing brands including Nike and Reebok would soon follow in Plank's footsteps with their own moisture-wicking apparel. Plank opted to use the British spelling "armour" in the company name because the toll-free vanity number was still available for that version. People began to take notice of the brand when a front page photo of USA Today featured Oakland Raiders quarterback Jeff George wearing an Under Armour mock turtleneck. Following that front page, Under Armour's first major sale came, when an equipment manager from Georgia Tech requested 10 shirts from Plank; this deal opened the door to a contract with NC State, Arizona State, other Division I football teams.
With positive reviews from players, word began to spread and orders began to increase. That same year, Under Armour launched with several new apparel lines including ColdGear, TurfGear, AllseasonGear, StreetGear. By the end of 1996, Under Armour had sold 500 Under Armour HeatGear shirts, generating $17,000 for the company. In 1997, Plank found a factory in Ohio to make the shirts. Under Armour received its first big break in 1999 when Warner Brothers contacted Under Armour to outfit two of its feature films, Oliver Stone's Any Given Sunday and The Replacements. In Any Given Sunday, Willie Beamen wears an Under Armour jockstrap. Leveraging the release of Any Given Sunday, Plank purchased an ad in ESPN The Magazine; the ad generated close to $750,000 in sales. The following year, Under Armour became the outfitter of the new XFL football league, gaining more attention during the league's debut on national television. In 2003, consumer sector focused private equity firm Rosewood Capital invested $12 million into the company.
The same year, the company launched its first television commercial, which centered on their motto, "Protect this house." The company IPO'd on the NASDAQ in November 2005. In late 2007, Under Armour opened its first full-line full-price retail location at the Westfield Annapolis mall in Annapolis, Maryland, it has opened several specialty stores and factory outlet locations in Canada, 39 states including the opening of its first Brand House in Baltimore in 2013 and second Brand House in Tyson's Corner, Virginia. In 2009, baseball Hall of Famer Cal Ripken Jr. formed an alliance under which the company would have significant presence at several venues and events under the auspices of Ripken Baseball, including providing uniforms for the minor league Aberdeen IronBirds and youth teams participating in the Cal Ripken World Series. The company is reported to be the major commercial sponsor for the reality TV show Duck Dynasty and has garnered attention for taking a stand supporting show "patriarch" Phil Robertson.
Under Armour provided the suits worn by speedskaters in the 2014 Winter Olympics. The US speedskaters were losing while wearing the new Mach 39 speedsuits, but when they reverted to the previous model suits, the skaters continued to lose. Although there did not appear to be a design flaw in the suit that caused the poor results, the news of the suits caused Under Armour stock to drop 2.38%. The company, offering a reported US$250,000,000 over 10 years bid hard over Nike to sign NBA MVP Kevin Durant to an endorsement deal. However, Nike re-signed Durant after agreeing to structure a contract, offering US$300,000,000. On January 21, 2014, it was announced that the University of Notre Dame and Under Armour had come to terms on providing uniforms and athletic equipment for the university; this 10-year deal was the largest of its kind in the history of college athletics and became effective July 1, 2014. As of 2014, Under Armour has operated revenue and operating profit more than 30%, accelerating from their 2013 pace.
Its share price has soared 62.5% this year. After its November 2013 acquisition of digital app maker MapMyFitness for US$150,000,000, in February 2015 Under Armour announced it had purchased the calorie and nutrition counting app maker MyFitnessPal for $475m, as well as the fitness app maker Endomondo for US$85,000,000. On January 6, 2016, Under Armour announced a strategic partnership with IBM to use IBM Watson's
Explosions in the Sky
Explosions in the Sky is an American post-rock band from Texas. The quartet played under the name Breaker Morant changed to the current name in 1999; the band has garnered popularity beyond the post-rock scene for their elaborately developed guitar work, narratively styled instrumentals - what they refer to as "cathartic mini-symphonies" - and their enthusiastic and emotional live shows. They play with three electric guitars and a drum kit, although band member Michael James will at times exchange his electric guitar for a bass guitar; the band has added a fifth member to their live performances. The band's music is purely instrumental. Called Breaker Morant, Explosions in the Sky was formed in Austin, Texas in 1999. Drummer Chris Hrasky is from Rockford and the rest of the band hails from Midland, Texas; the new name of "Explosions in the Sky" came from a comment Hrasky made in reference to the noise or sight of fireworks when they left KVRX on the night they played their first set and recorded their first track, "Remember Me as a Time of Day", that would be released on a compilation.
Their 2000 debut album, How Strange, was locally distributed in the form of CD-Rs. Rehearsal footage is featured on the feature film Cicadas. Explosions in the Sky gained a reputation for themselves among other established bands such as Lift to Experience. Temporary Residence Limited signed the band on the strength of their demo after only half a listen; the band denied any connection in interviews. The album art shows an airplane with the caption "This plane will crash tomorrow." There were false reports that the last track was called "This Plane Will Crash Tomorrow" and that the album was released on September 10, 2001. Bassist Michael James was detained in an airport as a threat to security, had to explain why his guitar contained the words "this plane will crash tomorrow"; the band received a considerable amount of attention playing before large audiences as the opening act of Fugazi's spring 2002 US tour in support of The Argument. After being contacted by Brian Reitzell, Explosions in the Sky wrote the soundtrack for the 2004 film Friday Night Lights.
Despite having access to rare equipment in the studio for that project, the band kept to their songwriting style in creating original material. Their album The Rescue was written and recorded in eight days as part of the TRL Travels in Constants series; as such, the album was only available at the band's live shows. Explosions in the Sky's fifth studio album, All of a Sudden I Miss Everyone, which debuted February 20, 2007, exists as both a one-disc version and a two-disc special edition featuring remixes by multiple artists; the band began touring on February 19 in the U. S. and Canada. On April 26, 2011, the band released their sixth studio album, Take Care, Take Care, they were one of the support acts for Nine Inch Nails on their North American leg of the Twenty Thirteen Tour in late 2013, alternating dates with Godspeed You! Black Emperor. Although the band's music deviates from pop, Hrasky said that they have similar goals "like grabbing your attention and getting to your emotions." Rayani said, "We don't consider ourselves post-rock at all.
We just didn't go back to it because we were comfortable enough." Drummer Chris Hrasky added, "I think we just liked the idea of a band that there was not a leader or main songwriter, everyone sort of collaborating and has their own say. I don't think any of us want the sort of'leader role', so a leaderless band is kind of the best option for us." Most notably, Explosions in the Sky's music is featured in the Friday Night Lights movie and television show. It is a common misconception that the band recorded the television show's theme song. Instead, it is an original composition by W. G. Snuffy Walden. Music by Explosions in the Sky has been used in several television programs and commercials: "The Birth and Death of the Day" for the BBC documentary Lost Land of the Jaguar, All the Real Girls, One Tree Hill, Love the Beast and The Diving Bell and the Butterfly, as well as various songs for the PBS documentary The Street Stops Here. A number of One Tree Hill episodes are named after the band's songs.
The song "It's Natural To Be Afraid" is featured in the narrative sports documentary series 24/7, "Mayweather vs. De La Hoya", was used in the season 8 finale of CSI: Crime Scene Investigation, "For Gedda"; the song "Catastrophe and the Cure" is used during the intro to Get Collins, an Irish documentary on Michael Collins and the film Kaboom by director Gregg Araki in which the male lead is given a signed copy of All of a Sudden I Miss Everyone as a birthday gift. In 2009, the song "First Breath After Coma" is used for the introduction of feature presentations on the television network, Versus; the song is used in the trailer for the documentary Focus, directed by Steve Hwang. "First Breath After Coma", along with "Six Days at the Bottom of the Ocean", were featured in the 2010 film Kalamity. The song "The Only Mome