And the Big Red Nebula Band
And the Big Red Nebula Band was the third album by Fingathing. It was released in May 2004 on Grand Central Records in the UK, licensed from them by Ninja Tune in the U. S. & Canada. "Walk In Space" – 5:01 "Reanimo" – 4:52 "Lava" – 4:32 "Open A Door" – 1:27 "Themes From The Big Red" – 5:18 "Bolus" – 4:42 "Rock The Whole Planet" – 3:39 "Big Bang" – 4:41 "Cluster Buster" – 5:10 "Lady Nebula" – 3:44 "Music To Watch Aliens By" – 2:47 "Synergy" – 5:29 "Return To ERT" – 7:47In the UK, a Best of compilation entitled Time Capsule: The First Five Years of Fingathing has since been released. However, the American edition of And The Big Red Nebula Band contains a bonus audio CD called Time Capsule, but only containing 5 tracks: "Head 2 Head" – 4:09 "Big Monsters Crush Cities" – 5:54 "Wasting Time" – 5:53 "You Fly Me" – 3:11 "Superhero Music" – 5:51 ^ Taken from The Main Event LP. ^ Taken from the Superhero Music LP
A time capsule is a historic cache of goods or information intended as a method of communication with future people and to help future archaeologists, anthropologists, or historians. Time capsules are sometimes created and buried during celebrations such as a world's fair, a cornerstone laying for a building, or at other events. Time capsules are placed with the intention that they will be accessed at a future date. One of the earliest time capsules known was discovered in November 2017 in Burgos, Spain. A wooden statue of Jesus Christ had hidden inside it a document with economic and cultural information, written by Joaquín Mínguez, chaplain of the Cathedral of Burgo de Osma in 1777. An early example of the use of a time capsule was the Detroit Century Box; the brainchild of Detroit mayor William C. Maybury, it was created on December 31, 1900, scheduled to be opened 100 years later, it was filled with photographs and letters from 56 prominent residents describing life in 1900 and making predictions for the future, included a letter by Maybury addressed to the mayor of Detroit in 2000.
The capsule was opened by city officials on December 31, 2000, in a ceremony presided over by mayor Dennis Archer. The 1939 New York World's Fair time capsule was created by Westinghouse as part of their exhibit, it was 90 inches long, with an interior diameter of 6.5 inches, weighed 800 pounds. Westinghouse named the copper and silver alloy "Cupaloy", claiming it had the same strength as mild steel, it contained everyday items such as a spool of thread and doll, a Book of Record, a vial of staple food crop seeds, a microscope and a 15-minute RKO Pathé Pictures newsreel. Microfilm spools condensed the contents of a Sears Roebuck catalog, dictionary and other texts; this first modern time capsule was followed in 1965 by a second capsule at the same site, but 10 feet to the north of the original. Both capsules are buried 50 feet below site of the Fair. Both the 1939 and 1965 Westinghouse Time Capsules are meant to be opened in 6939. More in 1985, Westinghouse created a smaller, Plexiglas shell to be buried beneath the New York Marriott Marquis hotel, in the heart of New York's theater district.
However, this time capsule was never put in place. The Crypt of Civilization at Oglethorpe University, intended to be opened in 8113, is regarded as the first modern time capsule, although it was not called one at the time. George Edward Pendray is responsible for coining the term "time capsule." During the socialist period in the USSR, many time capsules were buried with messages to a future communist society. Four time capsules are "buried" in space; the two Pioneer Plaques and the two Voyager Golden Records have been attached to spacecraft for the possible benefit of spacefarers in the distant future. A fifth time capsule, the KEO satellite, was scheduled to be launched in 2015-16. However, it has been delayed several times and an actual launch date has not been given. After launch, it will carry individual messages from Earth's inhabitants addressed to earthlings around the year 52,000, when it is due to return to Earth, it is debated when time capsules were first used but current evidence shows it was used as early as 1876, the principle is simple and the idea and first use of time capsules could be much older than we know.
In 2014, a Revolutionary-era time capsule was found at the Massachusetts State House dating to 1795 and credited to Samuel Adams and Paul Revere. It was opened in 1855 with some contents added. A time capsule dating 1777 was discovered within a religious statute in Sotillo de la Ribera; the International Time Capsule Society was created to maintain a global database of all existing time capsules. According to time capsule historian William Jarvis, most intentional time capsules do not provide much useful historical information: they are filled with "useless junk", new and pristine in condition, that tells little about the people of the time. Many time capsules today contain only artifacts of limited value to future historians. Historians suggest that items which describe the daily lives of the people who created them, such as personal notes and documents, would increase the value of the time capsule to future historians. If time capsules have a museum-like goal of preserving the culture of a particular time and place for study, they fulfill this goal poorly in that they, by definition, are kept sealed for a particular length of time.
Subsequent generations between the launch date and the target date will have no direct access to the artifacts and therefore these generations are prevented from learning from the contents directly. Therefore, time capsules can be seen, in respect to their usefulness to historians, as dormant museums, their releases timed for some date so far in the future that the building in question is no longer intact. Historians concede that there are many preservation issues surrounding the selection of the media to transmit this information to the future; some of these issues include the obsolescence of technology and the deterioration of electronic and magnetic storage media, possible language problems if the capsule is dug up in the distant future. Many buried time capsules are lost, as interest in them fades and the exact location is forgotten, or they are destroyed within a few years by groundwater. Archives and archival materials, including videos, might be the best types of time capsules, as long as the medium can still be used, or the data can be read by the latest technologies and software.
The 1947 docudrama The Beginning or the End is a semi-his
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