Podcasts about One More Kiss

Whilst Frey and Jasper face up to Julian and the Armed Forces Organization, Fergus discovers an enemy surveillance infiltration. Lucian makes a bold move against Wyatt, forcing the Interface team into a race against time to save Wyatt's life. This Audio Production is a Red Empire Productions x SoundVisionGC Original, produced in association with Organic Media Group. Produced by Amie Casey and Roberto Merlini, Executive Produced by Steve Chicorel, Ellie Popov, Charles Jazz Terrier, Shari Hamrick-Grewal and Wade Boyes. Co-Produced by Tom Cramsie and Alex Contis. Sound & Music by Roberto Merlini and Tom Cramsie. This episode is Narrated by Ellie Popov and Charles Jazz Terrier. The original songs featured, 'Hurricane' and 'One More Kiss' are by Ellie Popov and Tom Cramsie and are able to be found on Spotify. For more information contact us at info@redempireproductions.com and ⁠www.redempireproductions.com/podcasts⁠

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With episodes nearing 350 in the STAGES archive, it's time to revisit conversations featured in our previous seasons. STAGES spotlights such episodes, in case you missed them the first time ‘round - or so you can simply savour, a second listen. Either way, you'll be accessing precious oral histories from the people who were there, on and around our stages. In February 2020 we lost a great artist. Maureen Howard was a star across many platforms - radio, television, musical theatre, operetta and opera. STAGES was enraptured to be in her company and record a conversation of such extraordinary history, contagious humour and fierce reflection. Long after the recording stopped, Maureen entertained with anecdote and cheeky reminiscence. It was a thrill to be in her audience - even in her kitchen! A brief stint as a hairdresser lead Maureen Howard to a career in musical theatre and then Opera, after a customer enquired if she'd planned to do anything with her singing. Maureen had been a regular performer on Channel 7's Sunnyside Up in the early years of television in Australia. Roles in The Music Man, Man of La Mancha and The Most Happy Fella for the Garnett Carroll organisation quickly followed, allowing her to explore the dynamic quality of her voice. Proving that she had an instrument that could extend to Opera, she soon established herself as one of the country's leading voices, singing roles in Madama Butterfly, Tosca and La Boheme during the 1970's. In recent years she returned to Opera Australia to perform in Shostakovich's Lady Macbeth of Mtsensk and as The Witch in Humperdink's Hansel and Gretel. Her final performance was that of Old Heidi in Sondheim's Follies - in Concert, singing the ethereal ‘One More Kiss'. Maureen was a wonderful human being. She was also a very fine artist of whichever form she chose to interpret. Please enjoy this treasured memory from the STAGES archive. The Stages podcast is available from Apple podcasts, Spotify, and where you find your favourite podcasts. www.stagespodcast.com.au

We have a "feel good' show for you ,it's sure to help you relax and release anything that doesn't feel good. We're bringing some excitement to your life! Thank you for allowing us to be your weekend pleasure. Enjoy! Set 1: Jacks Jazz-52 In A 35 Isaac Norris ft. Nathan Mitchell-Dancing On Air Jay Rowe-There She Goes The Moore Twins-Versatility Blake Drive Set 2: Phillip Doc Martin-PillowTalk Chan Hall-Let's Talk Matt Lee-One More Kiss Rodney Kelley Jr.-Ascensions Cameron Sankey-What You Won't Do For Love Set 3: Marcus Adams-TJ's Groove Erin Stevenson ft. Paul Brown-Believe The Smooth Jazz Alley ft. Blake Aaron-Deep Into You Hosted on Acast. See acast.com/privacy for more information.

This week, a podcast favorite stopped by the Legere Booth at the NAMM Show 2022. Donna spoke with saxophonist, Matt Lee, who now has a new single, Panama City Groove, which is streaming now. His prior single, One More Kiss, was #1 for 7 consecutive weeks in the Groove Jazz charts. Matt also has a […]

Who sang the Cole Porter songs in the 1972 film "Sleuth"? This is an episode of our bonus patron-only show, Overunderstood. To support the show and hear Overunderstood every week, join our Patreon! Show notes: Sleuth (Wikipedia) Sleuth (IMDb) The Sleuth Saga Carries On (Reddit) The scene in question (YouTube) Cole Porter sings "Anything Goes" (YouTube) Thread on the Soundtrack Collector forum Massive thread on the IMDb 2.1 forum "One More Kiss, Dear" (YouTube) A page of the Sleuth cue sheet

Gabby kisses Tom. Lynette kisses Carlos. Andrew kisses Justin. Julie kisses Zach. Susan kisses Mike's ass. We chat about our confusion about where the season is heading and how everyone is sucking someones face. Buckle up!

The Jungle Giants perform 'Love Signs' before covering Calvin Harris & Dua Lipa's 'One Kiss' for Like A Version

它待在神坛上，发出的声音却静悄悄。你看过或听说过《银翼杀手》，知道这是一部「好」电影，却未必知道它的配乐深深影响了电子音乐的历史。今天想和你分享这部电影的配乐，以及其配乐音乐家——Vangelis。跟着这期节目，沉下心来再次感受，一起再回顾这部名垂青史的电影配乐神作。

Anuel AA, KAROL G - Culpables 李雨寰 - One More Kiss

In this episode of 'Tales From Wisteria Lane' we, the boyfriends, review Season Two - Episode Eleven of Desperate Housewives, 'One More Kiss'. Lets see what the ladies get up to this time! You can also follow us on: Instagram: @boyfriendsreview Twitter: @bfsreview Email: boyfriendsreview@outlook.com And follow our friend Louie who designs our art work on instagram @docredmonkdesign which also has a link to his Etsy page, he takes commissions guys!

In this episode we discuss the resurrection of Mike x Susan, custom bowling balls, and MILF magnetism.HOSTS - Liz Burton (@thepigeonwizard) & McKenzie Wilkes (@mckenziewilkes). FIND US AT - @wisteriagays on Twitter & @wisteriagays_ Instagram. OFFICIAL WEBSITE - wisteriagays.comPATREON - patreon.com/wisteriagaysMUSIC CREDIT - Fancy Family by Rafael Crux (orchestralis.net)

One More Kiss was cut from the original Broadway cast album. That's a shame because it just might be the most thematically rich song of the entire show. Marco DeNinis joins Kyle to explore operetta, ghosts, and beautiful things dying.

Leah McSweeney, the newest New York housewife and founder of the clothing brand Married to the Mob, discusses her first fashion epiphany, her views on sexuality, and gives the exclusive story on how she really became the newest member of RHONY.

Del cilindro de cera al disco de vinilo y al resto del naufragio de soportes con la llegada de internet. De "One More Kiss" de "Blade Runner" a " Burlesque" de Cher, varietés puestas al día, un mundo en la memoria. Pregúntale a mamá o a la abuelita. Caruso grabando en una sola toma "O Sole mío", fundamental para el gramófono. Elvis, "That's all Right", sin el que los Beatles no hubieran existido. "A Day in the Life" el momento en el que el rock se hizo "avant garde". El ragtime, el swing, los autores, los DJ, los grandes momentos, los míticos lugares. "Your Mother Should Know", como decía McCartney, "tu madre debería saberlo". Si no es así, siempre puedes invitarla a subir a nuestro carrusel. La historia se repite y los únicos modernos, con certeza, los clásicos. Escuchar audio

Melbourne born soprano Maureen Howard was beloved by audiences and critics alike. At twelve years of age, she was a regular voice on the weekly 3DB Radio programme Swallows Juniorsand she later won the Vocal Section of television’s Swallow’s Parade. Though she studied singing from an early age, she wanted to be a hairdresser and, it was serendipitous that one of her ‘clients’ was associated with the two major theatre entrepreneurs J.C. Williamson and Garnet H. Carroll Management. A simple conversation during a hairdressing appointment gained Maureen a stage audition for J.C.Williamson at Her Majesty’s Theatre in Melbourne . They had just opened their production of My Fair Lady. The following week, the same ‘client’ arranged an audition for Garnet H. Carroll at the Princess Theatre in Melbourne and she was immediately offered a contract for Chorus - and later ‘stand-by’ for Marian the Librarian - in The Music Man. As would occur many times during her early career, Maureen went on in the star’s role. In April of 1961, she was cast in Lock Up Your Daughters with an additional song especially written for her character by the conductor Dobbs Franks. In August that year, she performed in Loesser’s Most Happy Fella with Inia Te Wiata and Ronal Jackson. Later that year, Garnett H. Carroll Management cast her as June Bronhill’s ‘stand-by’ in The Sound of Music and, again, Maureen was frequently seen in the role of Maria. In 1962, Maureen Howard won First Prize in the celebrated Sun Aria and left her contract for The Sound of Music. She was a frequent face and voice on television especially on the popular Sunny Side Up in 1963.After study, a year in Italy and then London – with the noted teacher Vera Rózsa - her operatic career started with Puccini’s Tosca in 1967 – starting her career at the top – with the Elizabethan Trust Opera. The production opened at the Perth Festival on February 11th and featured Reginald Byers and the Hungarian baritone Alexander Major as Cavaradossi and Scarpia along with the twenty-seven years old Maureen Howard. Her operatic debut was a success, with one critic writing “She may not be as imperious as some Toscas, but she certainly is more vocally secure than many … A powerful voice which is always beautifully controlled, and dominated the stage.”The same year, she performed Zerlina in Don Giovanni with a stellar cast featuring Neil Warren-Smith, Marcella Reale, Rosemary Gordon, Robert Gard, Ronald Maconaghie and John Germain. It was a controversial production directed by the young Jim Sharman. A production of Die Fledermaus as Rosalinda (and June Bronhill as the maid, Adele) was a hit with audiences. Next came performances of Venus in Tannhäuser, Tebaldo in Don Carlo, Liù in Turandot, Micaela in Carmen and the cover of Minnie in the Australian premiere of Puccini’s La fanciulla del West. Her career reached a new high with her assumption of Cio Cio San in Madama Butterfly in 1969 with a new production mounted especially for her talents. As a company member, she was also cast as Felice in Wolf-Ferrari’s School for Fathers, Josephine in HMS Pinafore, Elsie Maynard in Yeoman of the Guard along with Giulietta in a concert version of The Tales of Hoffmann.Along with Cio Cio San in Madama Butterfly, the roles of Nedda in Pagliacci and Musetta in La bohème fitted Maureen Howard to a tee. To many audiences, her performances in all three roles have never been surpassed by an Australian born performer. She created Musetta in the famous La bohème production by Tom Lingwood in 1971. “Maureen Howard’s Musetta stole the show … she has the wonderful ability for stance, stage presence and poise of hand which just fix one’s eyes upon her.” During the following season, she performed her first Mimi in the same production. Her debut as Nedda came in 1972 and she was usually cast alongside the Canio of Donald Smith – who also seemed ‘born for the role’. Sparks flew on stage when they ignited each other’s performances. “Maureen Howard was attractively wayward, singing powerfully in the final scene, yet making something tender of the ballatella.”From 1976, Maureen Howard appeared in various operatic and music theatre productions. Man of La Mancha and La belle Hélène were prominent during this time. Other operetta roles ensued – Kathy in The Student Prince, Eurydice in Orpheus in the Underworld, Violet Gray in The Belle of New York, Angèle in The Count of Luxembourg (with Robert Gard as her René), Ottilie Giesecke in White Horse Inn, Marianne in New Moon (with John Larsen as her leading man), Yum Yum in The Mikado and Phyllis in Iolanthe. She returned to Opera Australia for the role of the Foreign Woman in Menotti’s The Consul in 1986 after a decade hiatus from that company.A decade later, she appeared as a guest at the Robert Allman Farewell Gala at the Sydney Opera House singing the Pagliacci duet with her long-time colleague. This led to her being contracted Lady Macbeth in Verdi’s opera and the Witch in Hansel and Gretel. Her stage farewell came in 1998 in Sondheim’s Follies when she performed Heidi Schiller – singing “One More Kiss” to perfection. The career of Maureen Howard was as varied as the roles and styles she played. She was a Star of each medium (radio, television and stage) and was adored by a myriad of fans.

We wrap up our coverage of the ‘75 Tony awards by discussing how the aftershocks of the Vietnam War were still sending tremors through Broadway via The Lieutenant and Shenandoah, having a pretty okay time with Goodtime Charley, and attempting to (finally) pay some attention to this season’s plays. Follow us on Twitter and Instagram (@mylittletonys) for additional content about this season’s shows! Works referenced/cited: Dietz, Dan. The Complete Book of 1970s Broadway Musicals. Rowman & Littlefield, 2017. Hischak, Thomas S. The Oxford Companion to the American Musical: Theatre, Film, and Television. Oxford University Press, 2008. Filichia, Peter. Broadway Musicals: The Biggest Hit & the Biggest Flop of the Season 1959 to 2009. Applause Books, 2010. Mordden, Ethan. One More Kiss: the Broadway Musical in the 1970s. Palgrave MacMillan, 2004. Bloom, Ken, and Frank Vlastnik. Broadway Musicals: the 101 Greatest Shows of All Time. Black Dog & Leventhal Pubs., 2010. Mandelbaum, Ken. Not since Carrie: Forty Years of Broadway Musical Flops. St. Martin's Press, 1992. Barnes, Clive. “A 'Charley' Full of Song and Effort.” The New York Times, 4 Mar. 1975. Barnes, Clive. “Albee's 'Seascape' Is a Major Event.” The New York Times, The New York Times, 27 Jan. 1975l. Barnes, Clive. “'Doctor Jazz' Opens at Winter Garden.” The New York Times, 20 Mar. 1975. Barnes, Clive. “'Equus' a New Success on Broadway.” The New York Times, 25 Oct. 1974. Barnes, Clive. “'Lieutenant', Musical With Something Worth Singing.” The New York Times, 10 Mar. 1975. Barnes, Clive. “'Shenandoah' Is Musical of Civil War.” The New York Times, 8 Jan. 1975l. Bertolini, Diana. “The Lost Musicals: Joel Grey's Star Vehicles, Part One: ‘Goodtime Charley.’” The New York Public Library, 27 Oct. 2015. Goulding, Susan Christian. “Tustin Woman Aims to Revive Vietnam War-Era Broadway Musical in Honor of Her Late Dad, the Lead Guitarist.” Orange County Register, 18 June 2017. Gussow, Mel. “Recalling Evolution of 'Seascape' Play, Albee Sees Tale Not of Lizard, but of Life.” The New York Times, 21 Jan. 1975. Holden, Stephen. “Review/Theater; 'Shenandoah' Is Back, but the Era Has Changed.” The New York Times, 9 Aug. 1989. Isherwood, Charles. “In South Africa, This Dead Man Does Tell Tales.” The New York Times, 11 Apr. 2008. Kerr, Walter. “STAGE VIEW.” The New York Times, 4 May 1975. Klein, Alvin. “THEATER; After 20 Years, Goodspeed Opera's 'Shenandoah' Back Again.” The New York Times 21 Aug. 1994. Sanford Gifford, M.d. “Psychoanalyst Says Nay To 'Equus'.” The New York Times, 15 Dec. 1974. “Sizwe Banzi Is Dead by Athol Fugard, John Kani and Winston Ntshona | English Teachers in South Africa.” Scoop.it, 12 Apr. 2013. The Magic Show. “Tony‐Award Nominee From Queens.” The New York Times, 6 Apr. 1975. Wilson, John S. “The 'Shenandoah' Saga.” The New York Times, 16 Feb. 1975. Winchester, Nick. “Why The Rocky Horror Show Is Still as Popular as Ever.” Newsweek, 13 May 2017. Athol Fugard: Sizwe Bansi is Dead

In this episode covering the first half of an extremely crowded season, we try to unpack the truly bizarre ceremony for the 1975 Tonys. We also gush over the many talents of Geoffrey Holder, uncover a Wikipedia conspiracy about The Wiz, and separate fact & fiction in Mack & Mabel. Follow us on Twitter and Instagram (@mylittletonys) for additional content about this season’s shows! Works referenced/cited: Hischak, Thomas S. The Oxford Companion to the American Musical: Theatre, Film, and Television. Oxford University Press, 2008. Filichia, Peter. Broadway Musicals: The Biggest Hit & the Biggest Flop of the Season 1959 to 2009. Applause Books, 2010. Mordden, Ethan. One More Kiss: the Broadway Musical in the 1970s. Palgrave MacMillan, 2004. Bloom, Ken, and Frank Vlastnik. Broadway Musicals: the 101 Greatest Shows of All Time. Black Dog & Leventhal Pubs., 2010. Mandelbaum, Ken. Not since Carrie: Forty Years of Broadway Musical Flops. St. Martin's Press, 1992. Barnes, Clive. “Stage: 'The Wiz' (of Oz).” The New York Times. Brantley, Ben. “THEATER REVIEW; Pie Fights, Keystone Kops and Pain.” The New York Times, The New York Times, 3 July 1999. Dietz, Dan. The Complete Book of 1970s Broadway Musicals. Rowman & Littlefield, 2017. “Ease on Down the Road.” National Museum of African American History and Culture, 30 Jan. 2019. Gray, Tim. “'The Wiz': How TV Turned a Troubled Stage Show Into a Smash.” Variety, 3 Dec. 2015. Harris, Hark. “'Mack & Mabel' and Silent Film Era.” The New York Times, 7 Oct. 1974. Herman, Jerry, and Ken Bloom. Jerry Herman: the Lyrics: a Celebration. Routledge, 2003. Hirschhorn, Clive. “Will Sondheim Succeed In Being Genuinely Japanese?” The New York Times, The New York Times, 4 Jan. 1976. Klein, Alvin. “THEATER; 'MACK AND MABEL' IN A REVIVAL.” The New York Times, The New York Times, 9 June 1985. Klein, Alvin. “THEATER; 'Mack and Mabel' With a New Finale.” The New York Times, The New York Times, 3 July 1988. Lester, Elenore. “Geoffrey Holder‐The Whiz Who Rescued 'The Wiz'.” The New York Times, 25 May 1975. McOUISTON, JOHN T. “'The Wiz,' Best Musical, Wins 7 Tonys.” The New York Times, 21 Apr. 1975. Rollins, Bryant. “Does 'The Wiz' Say Something Extra to Blacks?” The New York Times, 28 Dec. 1975. Stock, Ellen. “Mack & Mabel: Getting the Show Off the Road.” New York Magazine, 7 Oct. 1974, pp. 49–52. “'The Wiz' Misses.” The New York Times, 12 Jan. 1975. Viertel, Jack. Secret Life of the American Musical: How Broadway Shows Are Built. Sarah Crichton Books,Farrar, Straus and Grioux, 2017. Weinstock, Matt. “Angela Lansbury on Mack & Mabel.” New York City Center, 2 Oct. 2014. Wilson, John S. “RECORDINGS VIEW.” The New York Times, 1 June 1975. Longworth, Karina. “Mabel Normand (Fake News: Fact Checking Hollywood Babylon Episode 5).” You Must Remember This, 31 July 2018. Anger, Kenneth. Hollywood Babylon. Rogner & Bernhard Bei Zweitausendeins, 2011. Peters, Bernadette, and Véronique Hyland. “Broadway Legend Bernadette Peters on Meditation and Italian Feasts.” The Cut, 3 Mar. 2016.

赛博世界的迷失和伤感聊《银翼杀手》原声音乐作者：马海平从《银翼杀手》到《银翼杀手：2049》整整三十五年，这部史上最重要的科幻电影把人工智能和生物科技的主题推到人类的面前。《银翼杀手》的地位如此崇高，除了其科技上的前瞻性和寓言性，还因为它建立了“赛博朋克”美学的模板，影响了之后的影视，音乐，时尚，游戏众多领域。如今我们可以把《银翼杀手》看成一个系列，按照时间线来看还包括1997年的同名电子游戏，和今年的三部短片《银翼杀手：2022黑暗浩劫》，《银翼杀手：2048无处可逃》，《银翼杀手：2036复制人黎明》，这里我想来聊的是这个系列的原声音乐。由于1982年版《银翼杀手》影片票房惨败的副作用，其原声唱片同样扑朔迷离，版本混乱。直到影片上映十二年后的1994年才发行了官方版本的电影原声，但这并不影响非官方的版本在粉丝之间疯狂流传。正如电影本身的意义在十多年后才开始发酵一样，希腊音乐家Vangelis的这部作品已经影响了80年代至今的几乎所有流派的电子音乐。Vangelis在采访中提到，他在创作《银翼杀手》的原声之初就和导演Ridley Scott达成一致，音乐将不同于《漫游太空2001》的古典音乐嫁接，也会区别于《星球大战》的史诗风格，《银翼杀手》大量运用电子合成器的音色作为声音的基调。“我首先用电子乐器找寻和搭建曲子的基础结构，然后往上加我想要的管弦乐，定音鼓，木琴和打击乐等音色。我创作并非靠纸和笔写乐谱，更多的是依靠磁带录音机记录我所演奏的内容。一层一层的叠加尝试着不同的可能性，最后确定我想要的声音。” Vangelis在采访中说道。 也正因为如此，Vangelis一个人几乎掌控了该电影的原声的所有作曲、演奏、录音、后期的工作，他把所有的素材都录制在磁带录音机上，在工作室里一边看着电影片段一边实时作曲，这和传统的电影音乐制作方式完全不同。更像如今的电子音乐家在自己的“卧室工作室”工作。事实上范吉利斯在八十年代的作品已经大量采用合成器作曲。在制作《银翼杀手》原声音乐的这段时间里，他的工作室里堆满了各种电子乐器，最主要的是Yamaha公司出品的CS-80电子合成器，我们在影片中听到的大多数高声部的电子管弦乐和贝斯都来自这台乐器。Roland 公司出品的VP-330合成器则负责的电影原声中的音效。传奇的Rhodes Fender电钢琴也在影片中有着出色表现。制作过程中还使用的乐器包括Prophet 10, Roland Jupiter 4,MiniMoog一系列经典的合成器…这些乐器依然足以让现在的电子音乐家两眼放光。除了电子乐器以外Vangelis还收集大量不同的打击乐器，我们在影片开场听到的辉宏的定音鼓，动物市场那场戏的非洲鼓，这些声音都来自他的工作室。1997年出版的电子游戏版本中也套用了82年电影的原声。 也许是因为82年版本的原声音乐太难以超越，《银翼杀手：2049》的原声却十分难产，导演Denis Villeneuve曾经邀请与其合作过多部电影的冰岛作曲家Johann Jahannsson 为《银翼杀手：2049》作曲，但最后导演觉得他的作曲离原版风格太远，转投近年好莱坞炙手可热的配乐大咖Hans Zimmer和Benjamin Wallfisch。笔者虽然非常喜欢Johann Jahannsson为《降临》做的原声音乐,但也相信如果配成极简主义的学院派风格，所有的粉丝都会骂街。Villeneuve没有下错棋，最终在电影院里我们再次体验到电子合成器音乐的魅力。电影系列还推出三部短片，也同样依照Vangelis的风格制作配乐，值得一提的是渡边信一郎执导的动画短片《银翼杀手：2022黑暗浩劫》的配乐找来黑人音乐家Flying Lotus操刀制作，结尾曲《Almost Human》的歌词 “I'm almost human. Finally breathing, what is this feeling? ”,点出仿生人身份迷失的主题。预料之中，无论新版制作再精良也无法动摇Vangelis版本的原声在粉丝心中的地位，老版的声音更细腻清晰，每首曲子更像一首完整的作品，可以在家细细回味。而《银翼杀手：2049》的原声唱片在声音设计上更花功夫，也许在影院的体验更为震撼，但整体可听性不如原版，也许由于近年来Hans Zimmer参与太多的好莱坞大片配乐，又正值《敦刻尔克》刚刚下线，这种声音炸耳朵的配乐让听众有些审美疲劳。 新旧两个版本的电影原声有些地方相互呼应。都有一首叫作《blade Runner》的曲子，都出现在片尾字幕处，老版本合成器琶音带来紧张的压迫感，而新版的《blade Runner》简直是老版本的加强版。同样的调式，更重的节奏，声音处理更震撼。新老版本都为女主角设计了专有的配乐，老版是《Rachel's song》新版是《Joi》。新旧两个版本中唯一一处旋律相同的曲子是《Tears in Rain》，这也是整个电影系列中最著名的曲子，老版中这段音乐出现老版在仿生人Roy临死前说完那段 “Tears in Rain”的经典台词之后，新版则出现在主角K完成自己的使命后倒在雪地里的奄奄一息的段落。 爵士老歌也是《银翼杀手》电影系列的特点，老版本的《One More Kiss, Dear》和新版本的《One for My Baby》,以及断断续续出现在地下舞厅那段戏的猫王名曲《Can't Help Falling in Love》。导演运用爵士歌曲和电子乐拉开音乐质感，凸显出剧情的张力，这些曲子都出现在激烈的打斗后，老版出现在Deckard猎杀仿生人Zhora之后，而新版则是在Reckard和K的打斗结束后，短暂的舒缓了观众的紧张情绪，也让我们深信仿生人是一种活生生的存在，他们拥有自己的情绪，性格甚至是音乐品味。日本动画导演押井守在他的影片《攻克机动队：无罪》和《空中杀手》故技重施，也用了爵士歌曲点缀影片的情绪。可以看出《银翼杀手》的影响力远远大于电影本身。就电子音乐来说，Vangelis影响了80年代众多的合成器摇滚乐队，而在美国芝加哥和底特律在80年代中后期兴起的House和Techno音乐从来不避讳的这张原声唱片对自己的影响，很多音乐家作品可以看做把《银翼杀手》的配乐舞曲化，唱片中的曲子也被后来的音乐人当做采样无数次的使用。再让我们回看《银翼杀手》的精神内核，人类与未来科技碰撞后的无助，无论是人类还是仿生人，他们依赖科技生活甚至因为科技而诞生，而“高科技”带来的却是“低生活”。整个电影的呈现出感觉光怪陆离的诡异感，但如果你只把好奇心放在视听的刺激上，那可能你并没有抓到重点。因为在我看来《银翼杀手》传递的是一种迷失和伤感。这部电影原声就是一个很好的证明，尤其是82版中大量的蓝调音乐元素，《love Theme》和《Blade Runner Blues》都加入了萨克斯风的演奏，这样忧伤的音乐，无论你身处洛杉矶，伦敦或是北京上海，生活在当下大都市的人们能感受到这种迷茫的共鸣。而政治和社会的因素也埋藏在电影中，比如《银翼杀手：2049》出现的苏联CCCP标志和俄国芭蕾舞的虚拟投影，是因为在Philip K. Dick的原著小说《仿生人会梦见电子羊》的世界设定中苏联是依然存在的。82版电影中大量日本和东方的元素，是由于80年代日本经济对世界经济的巨大影响，正因为如此，影片中也出现了日本能剧的音乐。 谈论科幻电影绕不过《银翼杀手》，谈论电子音乐绕不过《银翼杀手》的电影原声。无论是“赛博朋克”或者“废土文化”这些名词其实都无法精准的定义《银翼杀手》这个电影系列，严格的说,如果“赛博朋克”以1984年William Ford Gibson的小说《神经漫游者》为起点的话，《银翼杀手》要比其早两年上映。所以我并不想对《银翼杀手》系列过度解读，因为正如电影本身一样，很多经典的桥段出于歪打正着的偶然，有些是出于拍摄经费捉襟见肘的无奈之举，而电影上映之初票房和人气也算不上一部成功的商业电影，哪怕《银翼杀手：2049》这样新世纪的大制作依然属于较好不叫座。应该说《银翼杀手》虽然名气很大，但始终是一部小众才能理解的电影，而正是这样的小众艺术潜移默化的影响了当今的科技和文化发展。《银翼杀手》系列配乐是《银翼杀手》美学的重要组成部分，在下一个三十五年里，这种音乐美学还会在电子音乐的世界里蔓延。 。

赛博世界的迷失和伤感聊《银翼杀手》原声音乐作者：马海平从《银翼杀手》到《银翼杀手：2049》整整三十五年，这部史上最重要的科幻电影把人工智能和生物科技的主题推到人类的面前。《银翼杀手》的地位如此崇高，除了其科技上的前瞻性和寓言性，还因为它建立了“赛博朋克”美学的模板，影响了之后的影视，音乐，时尚，游戏众多领域。如今我们可以把《银翼杀手》看成一个系列，按照时间线来看还包括1997年的同名电子游戏，和今年的三部短片《银翼杀手：2022黑暗浩劫》，《银翼杀手：2048无处可逃》，《银翼杀手：2036复制人黎明》，这里我想来聊的是这个系列的原声音乐。由于1982年版《银翼杀手》影片票房惨败的副作用，其原声唱片同样扑朔迷离，版本混乱。直到影片上映十二年后的1994年才发行了官方版本的电影原声，但这并不影响非官方的版本在粉丝之间疯狂流传。正如电影本身的意义在十多年后才开始发酵一样，希腊音乐家Vangelis的这部作品已经影响了80年代至今的几乎所有流派的电子音乐。Vangelis在采访中提到，他在创作《银翼杀手》的原声之初就和导演Ridley Scott达成一致，音乐将不同于《漫游太空2001》的古典音乐嫁接，也会区别于《星球大战》的史诗风格，《银翼杀手》大量运用电子合成器的音色作为声音的基调。“我首先用电子乐器找寻和搭建曲子的基础结构，然后往上加我想要的管弦乐，定音鼓，木琴和打击乐等音色。我创作并非靠纸和笔写乐谱，更多的是依靠磁带录音机记录我所演奏的内容。一层一层的叠加尝试着不同的可能性，最后确定我想要的声音。” Vangelis在采访中说道。 也正因为如此，Vangelis一个人几乎掌控了该电影的原声的所有作曲、演奏、录音、后期的工作，他把所有的素材都录制在磁带录音机上，在工作室里一边看着电影片段一边实时作曲，这和传统的电影音乐制作方式完全不同。更像如今的电子音乐家在自己的“卧室工作室”工作。事实上范吉利斯在八十年代的作品已经大量采用合成器作曲。在制作《银翼杀手》原声音乐的这段时间里，他的工作室里堆满了各种电子乐器，最主要的是Yamaha公司出品的CS-80电子合成器，我们在影片中听到的大多数高声部的电子管弦乐和贝斯都来自这台乐器。Roland 公司出品的VP-330合成器则负责的电影原声中的音效。传奇的Rhodes Fender电钢琴也在影片中有着出色表现。制作过程中还使用的乐器包括Prophet 10, Roland Jupiter 4,MiniMoog一系列经典的合成器…这些乐器依然足以让现在的电子音乐家两眼放光。除了电子乐器以外Vangelis还收集大量不同的打击乐器，我们在影片开场听到的辉宏的定音鼓，动物市场那场戏的非洲鼓，这些声音都来自他的工作室。1997年出版的电子游戏版本中也套用了82年电影的原声。 也许是因为82年版本的原声音乐太难以超越，《银翼杀手：2049》的原声却十分难产，导演Denis Villeneuve曾经邀请与其合作过多部电影的冰岛作曲家Johann Jahannsson 为《银翼杀手：2049》作曲，但最后导演觉得他的作曲离原版风格太远，转投近年好莱坞炙手可热的配乐大咖Hans Zimmer和Benjamin Wallfisch。笔者虽然非常喜欢Johann Jahannsson为《降临》做的原声音乐,但也相信如果配成极简主义的学院派风格，所有的粉丝都会骂街。Villeneuve没有下错棋，最终在电影院里我们再次体验到电子合成器音乐的魅力。电影系列还推出三部短片，也同样依照Vangelis的风格制作配乐，值得一提的是渡边信一郎执导的动画短片《银翼杀手：2022黑暗浩劫》的配乐找来黑人音乐家Flying Lotus操刀制作，结尾曲《Almost Human》的歌词 “I'm almost human. Finally breathing, what is this feeling? ”,点出仿生人身份迷失的主题。预料之中，无论新版制作再精良也无法动摇Vangelis版本的原声在粉丝心中的地位，老版的声音更细腻清晰，每首曲子更像一首完整的作品，可以在家细细回味。而《银翼杀手：2049》的原声唱片在声音设计上更花功夫，也许在影院的体验更为震撼，但整体可听性不如原版，也许由于近年来Hans Zimmer参与太多的好莱坞大片配乐，又正值《敦刻尔克》刚刚下线，这种声音炸耳朵的配乐让听众有些审美疲劳。 新旧两个版本的电影原声有些地方相互呼应。都有一首叫作《blade Runner》的曲子，都出现在片尾字幕处，老版本合成器琶音带来紧张的压迫感，而新版的《blade Runner》简直是老版本的加强版。同样的调式，更重的节奏，声音处理更震撼。新老版本都为女主角设计了专有的配乐，老版是《Rachel’s song》新版是《Joi》。新旧两个版本中唯一一处旋律相同的曲子是《Tears in Rain》，这也是整个电影系列中最著名的曲子，老版中这段音乐出现老版在仿生人Roy临死前说完那段 “Tears in Rain”的经典台词之后，新版则出现在主角K完成自己的使命后倒在雪地里的奄奄一息的段落。 爵士老歌也是《银翼杀手》电影系列的特点，老版本的《One More Kiss, Dear》和新版本的《One for My Baby》,以及断断续续出现在地下舞厅那段戏的猫王名曲《Can't Help Falling in Love》。导演运用爵士歌曲和电子乐拉开音乐质感，凸显出剧情的张力，这些曲子都出现在激烈的打斗后，老版出现在Deckard猎杀仿生人Zhora之后，而新版则是在Reckard和K的打斗结束后，短暂的舒缓了观众的紧张情绪，也让我们深信仿生人是一种活生生的存在，他们拥有自己的情绪，性格甚至是音乐品味。日本动画导演押井守在他的影片《攻克机动队：无罪》和《空中杀手》故技重施，也用了爵士歌曲点缀影片的情绪。可以看出《银翼杀手》的影响力远远大于电影本身。就电子音乐来说，Vangelis影响了80年代众多的合成器摇滚乐队，而在美国芝加哥和底特律在80年代中后期兴起的House和Techno音乐从来不避讳的这张原声唱片对自己的影响，很多音乐家作品可以看做把《银翼杀手》的配乐舞曲化，唱片中的曲子也被后来的音乐人当做采样无数次的使用。再让我们回看《银翼杀手》的精神内核，人类与未来科技碰撞后的无助，无论是人类还是仿生人，他们依赖科技生活甚至因为科技而诞生，而“高科技”带来的却是“低生活”。整个电影的呈现出感觉光怪陆离的诡异感，但如果你只把好奇心放在视听的刺激上，那可能你并没有抓到重点。因为在我看来《银翼杀手》传递的是一种迷失和伤感。这部电影原声就是一个很好的证明，尤其是82版中大量的蓝调音乐元素，《love Theme》和《Blade Runner Blues》都加入了萨克斯风的演奏，这样忧伤的音乐，无论你身处洛杉矶，伦敦或是北京上海，生活在当下大都市的人们能感受到这种迷茫的共鸣。而政治和社会的因素也埋藏在电影中，比如《银翼杀手：2049》出现的苏联CCCP标志和俄国芭蕾舞的虚拟投影，是因为在Philip K. Dick的原著小说《仿生人会梦见电子羊》的世界设定中苏联是依然存在的。82版电影中大量日本和东方的元素，是由于80年代日本经济对世界经济的巨大影响，正因为如此，影片中也出现了日本能剧的音乐。 谈论科幻电影绕不过《银翼杀手》，谈论电子音乐绕不过《银翼杀手》的电影原声。无论是“赛博朋克”或者“废土文化”这些名词其实都无法精准的定义《银翼杀手》这个电影系列，严格的说,如果“赛博朋克”以1984年William Ford Gibson的小说《神经漫游者》为起点的话，《银翼杀手》要比其早两年上映。所以我并不想对《银翼杀手》系列过度解读，因为正如电影本身一样，很多经典的桥段出于歪打正着的偶然，有些是出于拍摄经费捉襟见肘的无奈之举，而电影上映之初票房和人气也算不上一部成功的商业电影，哪怕《银翼杀手：2049》这样新世纪的大制作依然属于较好不叫座。应该说《银翼杀手》虽然名气很大，但始终是一部小众才能理解的电影，而正是这样的小众艺术潜移默化的影响了当今的科技和文化发展。《银翼杀手》系列配乐是《银翼杀手》美学的重要组成部分，在下一个三十五年里，这种音乐美学还会在电子音乐的世界里蔓延。 。

Hampton Fancher, screenwriter/architect for BLADE RUNNER both then & now, joins us to discuss all of the impossibly random steps that led us back to 2049, including: bumping into Ray Bradbury on the street, chasing Charles Bukowski down in New York, and what a Nazi officer's diary taught Philip K. Dick about empathy. When the legend becomes fact, (still) print the fact.

With three Alberta Country Music Association Group of the Year nominations to their name, along with nominations for Fans' Choice, Song of the Year and Album of the Year, Alberta's DOMINO is on their way to even bigger success in country music. Coming from various backgrounds in music, the group consists of: Kent Nixon on lead guitar and vocals – One will most likely find Kent at rodeos, having bbq parties (mixes a mean martini) and spending time with family. He also has his sights on getting his pilot's license! Luanne Carl on bass and vocals – When not songwriting and performing you can find Luanne watching horror movies or in the mountains, hiking and camping with family. Scott McKnight drummer and vocals – Scott is an avid hockey player, loves to golf and travel. You might even catch him honing some guitar playing skills! Russ Carl on guitar, mandolin and vocals – Russ enjoys reading, painting and a good round of golf as well as camping with the family. No soggy chips or warm beer for this guy! Other singles they have released include; “One Day At A Time”, “In A Small Town” and the ACMA nominated song “All We Need Tonight”. A video for “One Day At A Time” from the album “Scrapbook” was recorded by the town’s local high school video & film students. Domino has established a brand of their own that shines through on their forthcoming album called Ghost to be released in June 2015. It features the first single out at country radio now called One More Kiss.  

Mashup of "Hold That Sucker Down" - OT Quartet, vs "One More Kiss" - Dave Matthias

We have a "feel good' show for you ,it's sure to help you relax and release anything that doesn't feel good. We're bringing some excitement to your life! Thank you for allowing us to be your weekend pleasure. Enjoy! Set 1: Jacks Jazz-52 In A 35 Isaac Norris ft. Nathan Mitchell-Dancing On Air Jay Rowe-There She Goes The Moore Twins-Versatility Blake Drive Set 2: Phillip Doc Martin-PillowTalk Chan Hall-Let's Talk Matt Lee-One More Kiss Rodney Kelley Jr.-Ascensions Cameron Sankey-What You Won't Do For Love Set 3: Marcus Adams-TJ's Groove Erin Stevenson ft. Paul Brown-Believe The Smooth Jazz Alley ft. Blake Aaron-Deep Into You