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Cool Britannia is a media term that was used in the late 1990s to describe the contemporary culture of the United Kingdom. It was closely associated with the early years of the "New Labour" government of Tony Blair. It is a pun on the title of the patriotic song "Rule, Britannia".
[edit] Origins of the term
The phrase "Cool Britannia" was first used in 1967 as a song title by the Bonzo Dog Doo Dah Band, but there is probably no connection between that usage and the modern coining of the term. The phrase "Cool Britannia" reappeared in the mid-1990s as a registered trade mark for one of Ben & Jerry's ice-creams (vanilla with strawberries and chocolate-covered shortbread). The ice cream name and recipe was coined in early 1996 by an American lawyer living in London, Sarah Moynihan-Williams, as a winning entry in a Ben and Jerry's ice cream competition. Her name for the ice cream as "Cool Britannia" was meant to presage the era of New Labour, which came about with their election win in May 1997. The phrase was quickly adopted in the media and in advertising, seeming to capture the "It" quality of London at the time. The election of Blair's government in 1997 on a platform of modernisation and with Blair as a relatively young Prime Minister gave the idea fresh currency. (There is a strong parallel between this and the catch-phrase "Swinging London" during the early years of Harold Wilson's Labour government.)
[edit] 1990s culture
Geri Halliwell, Wearing a Union Flag dress, on stage at the Brit Awards 1997. An iconic image from "Cool Britannia" yearsTo the extent that it had any real meaning, "Cool Britannia" referred to the transient fashionable London scene, 1990s bands such as Blur and Oasis, fashion designers, the Young British Artists and magazines. Cool Britannia also summed up the mood in Britain during the mid-1990s Britpop movement, when there was a sudden influx of lively British rock and pop music from bands such as Oasis, Blur, Suede, Supergrass, Pulp and The Verve. Many link popularity of the Austin Powers films and the resurgence of 007 as factors of the spread of Cool Britannia. The movement, along with political factors, saw a renewal in British pride, typified by such things as Noel Gallagher's Union Flag guitar and Geri Halliwell's iconic skimpy Union Flag dress. In March 1997 Vanity Fair published a special edition on Cool Britannia with Liam Gallagher and Patsy Kensit on the cover with the title 'London Swings! Again!'. Figures in the issues included Alexander McQueen, Damien Hirst, Graham Coxon and the editorial staff of Loaded. By 1998 The Economist was commenting that "many people are already sick of the phrase," and by 2000 - after the fall of Britpop - it was being used mainly in a mocking or ironic way.
Although "Britannia" usually refers to the whole of Great Britain, and not just England, similar terms for Wales and Scotland, "Cool Cymru" and "Cool Caledonia" respectively, were also coined, but never gained any real popular currency.
6.28.2007
Honky tonk
From Wikipedia, the free encyclopedia
(Redirected from Honky-tonk)
Jump to: navigation, search
A vintage belt buckle from Gilley's, a large honky tonk featured in the movie Urban Cowboy.For the Canadian television series, see Honky Tonk (television series).
A honky tonk is a type of bar with musical entertainment common in the Southwestern and Southern United States, also called honkatonks, honkey-tonks, tonks or tunks. The term has also been attached to various styles of 20th-century American music. As of 2007, honky tonk seems to be the most recognized and mainstream subgenre of country music.
Honky tonk music
The first genre of music to be commonly known as honky tonk music was a style of piano playing related to ragtime, but emphasizing rhythm more than melody or harmony, since the style evolved in response to an environment where the pianos were often poorly cared for, tending to be out of tune and having some nonfunctioning keys. (Hence an out-of-tune upright piano is sometimes called a honky-tonk piano, e.g. in the General MIDI set of standard electronic music sounds.)
Such honky tonk music was an important influence on the formation of the boogie woogie piano style, as indicated by Jelly Roll Morton's 1938 record "Honky Tonk Music" (recalling the music of his youth, see quotation below), and Meade "Lux" Lewis's big hit "Honky Tonk Train Blues" which Lewis recorded many times from 1927 into the 1950s and was covered by many other musicians from the 1930s on, including Oscar Peterson and Keith Emerson.
The 12-bar blues instrumental "Honky Tonk" by the Bill Doggett Combo with a sinuous saxophone line and driving, slow beat, was an early rock and roll hit. New Orleans native Antoine "Fats" Domino was another legendary honky tonk piano man, whose "Blueberry Hill" (originally recorded by singing cowboy Gene Autry) and "Walkin' to New Orleans" became hits on the popular music charts.
During the pre-World War II years, the music industry began to refer to the Honky Tonk music being played from Texas and Oklahoma to the West Coast as Hillbilly music. More recently it has come to refer primarily to the primary sound in country music, which developed in Nashville as Western Swing became accepted there. Originally, it featured the guitar, fiddle, string bass and steel guitar (an importation from Hawaiian folk music), and is one of the early sources of electric guitar in country music. The vocals were originally rough and nasal, like singer-songwriters Floyd Tillman and Hank Williams, but later developed a clear and sharp sound with singers like George Jones. Lyrics tended to focus on working-class life, with frequently tragic themes of lost love, adultery, loneliness, alcoholism, and self-pity. Ted Daffin's "Born To Lose" is the prototype song.
During World War II, honky tonk country was popularized by Ernest Tubb ("I'm Walking The Floor Over You") who took the sound to Nashville, where he was the first musician to play electric guitar on Grand Ole Opry. In the 1950s, though, honky tonk entered its golden age with the massive popularity of Webb Pierce, Hank Locklin, Lefty Frizzell, George Jones and Hank Williams. In the mid to late 1950s, rockabilly, which melded honky tonk country to rock and roll, and the slick country music of the Nashville sound ended honky tonk's initial period of dominance.
In the 1970s, outlaw country music was the most popular genre, and its brand of rough honky tonk gradually influenced the rock-influenced alternative country in the 1990s. During the 1980s, a revival of slicker honky tonk took over the charts. Beginning with Dwight Yoakam and George Strait in the middle of the decade, a more pop-oriented version of honky tonk became massively popular. It crossed over into the mainstream in the early 1990s with singers like Garth Brooks, Alan Jackson and Clint Black. Later in the 90s, country music became more pop-oriented and even farther removed from its rough roots with the mainstream success of slickly produced female singers like Shania Twain and Faith Hill.
(Redirected from Honky-tonk)
Jump to: navigation, search
A vintage belt buckle from Gilley's, a large honky tonk featured in the movie Urban Cowboy.For the Canadian television series, see Honky Tonk (television series).
A honky tonk is a type of bar with musical entertainment common in the Southwestern and Southern United States, also called honkatonks, honkey-tonks, tonks or tunks. The term has also been attached to various styles of 20th-century American music. As of 2007, honky tonk seems to be the most recognized and mainstream subgenre of country music.
Honky tonk music
The first genre of music to be commonly known as honky tonk music was a style of piano playing related to ragtime, but emphasizing rhythm more than melody or harmony, since the style evolved in response to an environment where the pianos were often poorly cared for, tending to be out of tune and having some nonfunctioning keys. (Hence an out-of-tune upright piano is sometimes called a honky-tonk piano, e.g. in the General MIDI set of standard electronic music sounds.)
Such honky tonk music was an important influence on the formation of the boogie woogie piano style, as indicated by Jelly Roll Morton's 1938 record "Honky Tonk Music" (recalling the music of his youth, see quotation below), and Meade "Lux" Lewis's big hit "Honky Tonk Train Blues" which Lewis recorded many times from 1927 into the 1950s and was covered by many other musicians from the 1930s on, including Oscar Peterson and Keith Emerson.
The 12-bar blues instrumental "Honky Tonk" by the Bill Doggett Combo with a sinuous saxophone line and driving, slow beat, was an early rock and roll hit. New Orleans native Antoine "Fats" Domino was another legendary honky tonk piano man, whose "Blueberry Hill" (originally recorded by singing cowboy Gene Autry) and "Walkin' to New Orleans" became hits on the popular music charts.
During the pre-World War II years, the music industry began to refer to the Honky Tonk music being played from Texas and Oklahoma to the West Coast as Hillbilly music. More recently it has come to refer primarily to the primary sound in country music, which developed in Nashville as Western Swing became accepted there. Originally, it featured the guitar, fiddle, string bass and steel guitar (an importation from Hawaiian folk music), and is one of the early sources of electric guitar in country music. The vocals were originally rough and nasal, like singer-songwriters Floyd Tillman and Hank Williams, but later developed a clear and sharp sound with singers like George Jones. Lyrics tended to focus on working-class life, with frequently tragic themes of lost love, adultery, loneliness, alcoholism, and self-pity. Ted Daffin's "Born To Lose" is the prototype song.
During World War II, honky tonk country was popularized by Ernest Tubb ("I'm Walking The Floor Over You") who took the sound to Nashville, where he was the first musician to play electric guitar on Grand Ole Opry. In the 1950s, though, honky tonk entered its golden age with the massive popularity of Webb Pierce, Hank Locklin, Lefty Frizzell, George Jones and Hank Williams. In the mid to late 1950s, rockabilly, which melded honky tonk country to rock and roll, and the slick country music of the Nashville sound ended honky tonk's initial period of dominance.
In the 1970s, outlaw country music was the most popular genre, and its brand of rough honky tonk gradually influenced the rock-influenced alternative country in the 1990s. During the 1980s, a revival of slicker honky tonk took over the charts. Beginning with Dwight Yoakam and George Strait in the middle of the decade, a more pop-oriented version of honky tonk became massively popular. It crossed over into the mainstream in the early 1990s with singers like Garth Brooks, Alan Jackson and Clint Black. Later in the 90s, country music became more pop-oriented and even farther removed from its rough roots with the mainstream success of slickly produced female singers like Shania Twain and Faith Hill.
歌劇《西遊記》將在曼城藝術節首映
作者： 【英华新闻】 作者：【英華新聞】
2007-06-01
【英华新闻报道】根据中国名著《西游记》改编的歌剧，正在巴黎做最后的排练，将在首届曼彻斯特国际艺术节(Manchester International Festival)上首次公映。【英華新聞報道】根據中國名著《西遊記》改編的歌劇，正在巴黎做最後的排練，將在首屆曼徹斯特國際藝術節(ManchesterInternationalFestival)上首次公映。
歌剧《西游记》是一部东西艺术形式融合、传统与现代交织的艺术作品，由90年代英国著名流行乐队 Blur 的主唱和作者 Damon Albarn 作曲，陈士争导演，全部演员包括50名前台演员，15名后台伴唱来自中国，全部用普通话演唱，同时伴以舞蹈、武术、杂技，而服装舞台设计则由曾和 Damon Albarn 合作组建动画乐队 Gorillaz 的动画师和设计师 Jamie Hewlett 负责。
《西游记》曾多次被改编成戏曲、电影、电视、动画，然而改编成西方歌剧还是第一次。《西遊記》曾多次被改編成戲曲、電影、電視、動畫，然而改編成西方歌劇還是第一次。 而启用没有经典音乐背景的 Damon Albarn 作曲也是一个大胆的决定。而啟用沒有經典音樂背景的DamonAlbarn作曲也是一個大膽的決定。 此项计划首先由巴黎的著名剧院 Théâtre du Châtelet 邀请陈士争导演。此項計劃首先由巴黎的著名劇院ThéâtreduChâtelet邀請陳士爭導演。 DamonAlbarn和JamieHewlett都是由陳士爭邀請加入，他們對於《西遊記》的認識，基本來自一部70年代曾經在英國播出的日本電視連續劇。 在加入计划前，两人特别到中国旅行了三个星期，熟悉中国的地理、文化和音乐。在加入計劃前，兩人特別到中國旅行了三個星期，熟悉中國的地理、文化和音樂。
歌剧《西游记》(Monkey: Journe to the West) 将于6月28日在曼彻斯特国际艺术节首映。歌劇《西遊記》(Monkey:JournetotheWest)將於6月28日在曼徹斯特國際藝術節首映。 订票详情訂票詳情
演出期間，曼徹斯特中國文化中心(ChineseArtsCentre)將舉辦活動，向當地中小學生和社區組織介紹《西遊記》和孫悟空的背景。 曼彻斯特艺术节还会邀请当地社区组织根据《西游记》故事编写歌曲。曼徹斯特藝術節還會邀請當地社區組織根據《西遊記》故事編寫歌曲。
最近更新 ( 2007-06-01 )最近更新(2007-06-01)
2007-06-01
【英华新闻报道】根据中国名著《西游记》改编的歌剧，正在巴黎做最后的排练，将在首届曼彻斯特国际艺术节(Manchester International Festival)上首次公映。【英華新聞報道】根據中國名著《西遊記》改編的歌劇，正在巴黎做最後的排練，將在首屆曼徹斯特國際藝術節(ManchesterInternationalFestival)上首次公映。
歌剧《西游记》是一部东西艺术形式融合、传统与现代交织的艺术作品，由90年代英国著名流行乐队 Blur 的主唱和作者 Damon Albarn 作曲，陈士争导演，全部演员包括50名前台演员，15名后台伴唱来自中国，全部用普通话演唱，同时伴以舞蹈、武术、杂技，而服装舞台设计则由曾和 Damon Albarn 合作组建动画乐队 Gorillaz 的动画师和设计师 Jamie Hewlett 负责。
《西游记》曾多次被改编成戏曲、电影、电视、动画，然而改编成西方歌剧还是第一次。《西遊記》曾多次被改編成戲曲、電影、電視、動畫，然而改編成西方歌劇還是第一次。 而启用没有经典音乐背景的 Damon Albarn 作曲也是一个大胆的决定。而啟用沒有經典音樂背景的DamonAlbarn作曲也是一個大膽的決定。 此项计划首先由巴黎的著名剧院 Théâtre du Châtelet 邀请陈士争导演。此項計劃首先由巴黎的著名劇院ThéâtreduChâtelet邀請陳士爭導演。 DamonAlbarn和JamieHewlett都是由陳士爭邀請加入，他們對於《西遊記》的認識，基本來自一部70年代曾經在英國播出的日本電視連續劇。 在加入计划前，两人特别到中国旅行了三个星期，熟悉中国的地理、文化和音乐。在加入計劃前，兩人特別到中國旅行了三個星期，熟悉中國的地理、文化和音樂。
歌剧《西游记》(Monkey: Journe to the West) 将于6月28日在曼彻斯特国际艺术节首映。歌劇《西遊記》(Monkey:JournetotheWest)將於6月28日在曼徹斯特國際藝術節首映。 订票详情訂票詳情
演出期間，曼徹斯特中國文化中心(ChineseArtsCentre)將舉辦活動，向當地中小學生和社區組織介紹《西遊記》和孫悟空的背景。 曼彻斯特艺术节还会邀请当地社区组织根据《西游记》故事编写歌曲。曼徹斯特藝術節還會邀請當地社區組織根據《西遊記》故事編寫歌曲。
最近更新 ( 2007-06-01 )最近更新(2007-06-01)
6.24.2007
電吉他的天龍八步
from 豆芽菜圃 http://www.guitarplayer.com.tw/index.html
『調音』Part 1
吉他上調音方式很多，這裡先介紹標準調音 (E.A.D.G.B.E / Mi.La.Re.Sol.Ti.Mi) <= 這是什麼意思？就是每根弦要調出的音啦。不管他，先看了再說… 調音之前，先看懂以下指板圖：(粉重要)
調音方法有下列幾種方式：
用調音笛或其他標準樂器調音 樂器行可以買得到調音笛，但是我來沒買過啦。有分單支〈只有發一個音〉或整組的笛調音，運用聽力把每一弦調整至與整組笛聲同音高。或利用其他標準樂器〈如鋼琴彈出E.A.D.G.B.E / Mi.La.Re.Sol.Ti.Mi〉來幫助。將上圖的音調出………哦，調斷弦了！…我代替樂器行老闆感謝您的消費，再去買吧…( 這段當我沒說好了)
反正就是要將六弦的其中任何一弦調正確就是了。可以從調音笛〈只有發一個音那種〉或其他任何樂器取得一個音準，將吉他的其中一弦調正確後，再利用吉他本身各弦同音位置來調整即可。什麼？窮到什麼都沒有，那就勉強先把第六弦當做是已調正確吧.. 現在就開始了。
再來依樣畫葫蘆，
利用第五弦的第五格音高，來調整第四弦的空弦音。
利用第四弦的第五格音高，來調整第三弦的空弦音。
利用第三弦的第四格音高，來調整第二弦的空弦音。〈是第四格哦〉
利用第二弦的第五格音高，來調整第一弦的空弦音。
這樣就完成啦…知道這些相關位置，以後只要將任何一弦先調準了，其餘皆可陸續調出。
但是我沒有調音笛，連任何一弦都沒辦法調準ㄚ…有辦法的，至少還有台電腦吧，電腦粉有用的
其他方式下回聊了…我睏了
『調音』Part 1
吉他上調音方式很多，這裡先介紹標準調音 (E.A.D.G.B.E / Mi.La.Re.Sol.Ti.Mi) <= 這是什麼意思？就是每根弦要調出的音啦。不管他，先看了再說… 調音之前，先看懂以下指板圖：(粉重要)
調音方法有下列幾種方式：
用調音笛或其他標準樂器調音 樂器行可以買得到調音笛，但是我來沒買過啦。有分單支〈只有發一個音〉或整組的笛調音，運用聽力把每一弦調整至與整組笛聲同音高。或利用其他標準樂器〈如鋼琴彈出E.A.D.G.B.E / Mi.La.Re.Sol.Ti.Mi〉來幫助。將上圖的音調出………哦，調斷弦了！…我代替樂器行老闆感謝您的消費，再去買吧…( 這段當我沒說好了)
反正就是要將六弦的其中任何一弦調正確就是了。可以從調音笛〈只有發一個音那種〉或其他任何樂器取得一個音準，將吉他的其中一弦調正確後，再利用吉他本身各弦同音位置來調整即可。什麼？窮到什麼都沒有，那就勉強先把第六弦當做是已調正確吧.. 現在就開始了。
再來依樣畫葫蘆，
利用第五弦的第五格音高，來調整第四弦的空弦音。
利用第四弦的第五格音高，來調整第三弦的空弦音。
利用第三弦的第四格音高，來調整第二弦的空弦音。〈是第四格哦〉
利用第二弦的第五格音高，來調整第一弦的空弦音。
這樣就完成啦…知道這些相關位置，以後只要將任何一弦先調準了，其餘皆可陸續調出。
但是我沒有調音笛，連任何一弦都沒辦法調準ㄚ…有辦法的，至少還有台電腦吧，電腦粉有用的
其他方式下回聊了…我睏了
Comic Relief – Kuso Tony Blair
引用 the inferno lab book
星期五 16.03.07, 英國紅鼻日 (Red Nose Day)。
根本上, 是每兩年一度, 規模上很大的慈善籌款(Comic Relief)日。 Comic Relief 是由一班著名的英國喜劇演員企劃的救濟金, 意圖用滑稽, 幽默的方法帶動全國的人民為貧窮與有困難的人們籌款。
通常, 當天都會是便服日, 而且四處都會看到大大小小的人們載着買來的紅鼻子上班/上街。紅鼻子每個售99便士(約15港元)作慈善用途, 每次的紅鼻子款式都不同。
另外很多學校和基構都會個別地舉行活動來籌款。另外亦會有個別的人/ 小組會花盡心思做些「特別的傻事」來吸引身邊的人贊助損款, 例如, 贊助某人在當天一整日不說話, 或一整天頭頂上縛着一顆番茄等。 以前在大學時代我亦贊助過我的一位男同學在當天把身體和四肢的體毛蠟光…(好痛的樣子, 尤其是外國人毛很多。 所以我們全系的同學每人都有支持)。
至於名人方面, 大都會在當晚聚集在BBC台的特備節日中演出籌款。 節目中不會見到那些甚麽集團總理以一大筆捐款贊助某些藝人/名人去表演什麼特技式或「心口碎大石」的功夫。 取而代之的是一大班歌手, 體育名人, 來自各電視台的藝人, 新閒報道員, 甚至連卡通人物, 政治人等名人, 一起聯手參與演出刻日的特備節目。 我很欣賞亦很喜歡這種團結和有心思的表演, 那是我每次都必定會待在家中收看的節目。
今年的精華片段是 – 我們的Tony, 呃抱歉, 應該說, 我們的英國首相貝利雅...本尊(Tony Blair)的惡搞劇場。
其實以前貝利雅也有在comic relief 的特備節目很簡短地客串演出過, 不過, 本年的可是長達五分鐘多, 與喜劇演員catherine tate合作的kuso演出:
内容大約是早前在英大熱的喜劇The Catherine Tate Show 中的角色, Lauren Couper, 去Downing Street (唐寧街) 做 Work Experience的簡單小故事。 Lauren Cooper 是一個用來諷刺及反映英國時下年輕人的角色。 此角色在劇中的口頭蟬“'Am I bovvered? ” (其實即是讀得不好聽, 充滿懶音的 “Am I bothered?”), 更成為英國本年最流行的諺語。 當然, 這句諺語始終還是對朋友開玩笑的時候用用好了, 好像貝利雅那樣用來「以牙還牙」氣一下討厭的人也不錯。
下期待續: 2005年的Comic Relief Special: 蜘蛛(草)俠!
相關連結:
想看多年來紅鼻子的款式嗎? 按這裡!
Comic Relief Website
Catherine Tate's 'bovvered' set to be included in Oxford dictionary
The Catherine Tate Show Unofficial Website
Posted by 山米蟲, MountainRice at 1:16 AM
星期五 16.03.07, 英國紅鼻日 (Red Nose Day)。
根本上, 是每兩年一度, 規模上很大的慈善籌款(Comic Relief)日。 Comic Relief 是由一班著名的英國喜劇演員企劃的救濟金, 意圖用滑稽, 幽默的方法帶動全國的人民為貧窮與有困難的人們籌款。
通常, 當天都會是便服日, 而且四處都會看到大大小小的人們載着買來的紅鼻子上班/上街。紅鼻子每個售99便士(約15港元)作慈善用途, 每次的紅鼻子款式都不同。
另外很多學校和基構都會個別地舉行活動來籌款。另外亦會有個別的人/ 小組會花盡心思做些「特別的傻事」來吸引身邊的人贊助損款, 例如, 贊助某人在當天一整日不說話, 或一整天頭頂上縛着一顆番茄等。 以前在大學時代我亦贊助過我的一位男同學在當天把身體和四肢的體毛蠟光…(好痛的樣子, 尤其是外國人毛很多。 所以我們全系的同學每人都有支持)。
至於名人方面, 大都會在當晚聚集在BBC台的特備節日中演出籌款。 節目中不會見到那些甚麽集團總理以一大筆捐款贊助某些藝人/名人去表演什麼特技式或「心口碎大石」的功夫。 取而代之的是一大班歌手, 體育名人, 來自各電視台的藝人, 新閒報道員, 甚至連卡通人物, 政治人等名人, 一起聯手參與演出刻日的特備節目。 我很欣賞亦很喜歡這種團結和有心思的表演, 那是我每次都必定會待在家中收看的節目。
今年的精華片段是 – 我們的Tony, 呃抱歉, 應該說, 我們的英國首相貝利雅...本尊(Tony Blair)的惡搞劇場。
其實以前貝利雅也有在comic relief 的特備節目很簡短地客串演出過, 不過, 本年的可是長達五分鐘多, 與喜劇演員catherine tate合作的kuso演出:
内容大約是早前在英大熱的喜劇The Catherine Tate Show 中的角色, Lauren Couper, 去Downing Street (唐寧街) 做 Work Experience的簡單小故事。 Lauren Cooper 是一個用來諷刺及反映英國時下年輕人的角色。 此角色在劇中的口頭蟬“'Am I bovvered? ” (其實即是讀得不好聽, 充滿懶音的 “Am I bothered?”), 更成為英國本年最流行的諺語。 當然, 這句諺語始終還是對朋友開玩笑的時候用用好了, 好像貝利雅那樣用來「以牙還牙」氣一下討厭的人也不錯。
下期待續: 2005年的Comic Relief Special: 蜘蛛(草)俠!
相關連結:
想看多年來紅鼻子的款式嗎? 按這裡!
Comic Relief Website
Catherine Tate's 'bovvered' set to be included in Oxford dictionary
The Catherine Tate Show Unofficial Website
Posted by 山米蟲, MountainRice at 1:16 AM
6.23.2007
山中伸彌
Public release date: 10-Aug-2006
[ Print Article | E-mail Article | Close Window ]
Contact: Heidi Hardman
hhardman@cell.com
617-397-2879
Cell Press
With few factors, adult cells take on character of embryonic stem cells
With the introduction of just four factors, researchers have successfully induced differentiated cells taken from mouse embryos or adult mice to behave like embryonic stem cells. The researchers reported their findings in an immediate early publication of the journal Cell.
The cells--which the researchers designate "induced pluripotent stem cells" (iPS)--exhibit the physical, growth, and genetic characteristics typical of embryonic stem cells, they reported. "Pluripotent" refers to the ability to differentiate into most other cell types.
"Human embryonic stem cells might be used to treat a host of diseases, such as Parkinson's disease, spinal cord injury, and diabetes," said Shinya Yamanaka of Kyoto University in Japan. "However, there are ethical difficulties regarding the use of human embryos, as well as the problem of tissue rejection following transplantation into patients."
Those problems could be circumvented if pluripotent cells could be obtained directly from the patients' own cells.
"We have demonstrated that pluripotent stem cells can be directly generated from fibroblast cultures by the addition of only a few defined factors," Yamanaka said. Fibroblasts make up structural fibers found in connective tissue.
Embryonic stem cells are derived from inner cells of the mammalian blastocyst, a ball of cells that develops after fertilization and goes on to form a developing embryo. Cells from other parts of the body can also be "reprogrammed" by transferring their nuclear contents into egg cell precursors called oocytes or by fusion with embryonic stem cells, earlier studies showed.
Those findings provided evidence that unfertilized eggs and embryonic stem cells contain factors that can confer pluripotency to differentiated cells, Yamanaka said.
"We hypothesized that the factors that play important roles in the maintenance of embryonic stem cell identity also play pivotal roles in the induction of pluripotency" in other body cells, he explained.
The researchers selected 24 genes--all previously found to play a role in early embryos and embryonic stem cell identity--as candidate factors that might give body cells the ability to become other cell types.
The researchers found that four of those factors, known as Oct3/4, Sox2, c-Myc, and Klf4, could lend differentiated fibroblast cells taken from embryonic or adult mice the pluripotency normally reserved for embryonic stem cells.
They further reported that transplantation of the iPS cells under the skin of mice resulted in tumors containing a variety of tissues representing the three primary types found in mammalian embryos. Those primary "germ layers" in embryos eventually give rise to all an animal's tissues and organs.
Following injection into blastocysts, iPS cells also contributed to mouse embryonic development.
"The finding is an important step in controlling pluripotency, which may eventually allow the creation of pluripotent cells directly from somatic cells of patients," Yamanaka said.
While the findings could have wide applications, stem cell experts caution that the study of embryonic stem cells has much further to go.
"We still do not know whether the four factors can generate pluripotent cells from human somatic cells," Yamanaka said. Use of c-Myc, a gene implicated in many human cancers, may not be suitable for clinical applications, they added, and the process may require specific culture environments. It also remains unclear whether iPS cells can do everything that embryonic stem cells can.
###
The researchers include Kazutoshi Takahashi of the Institute for Frontier Medical Sciences, Kyoto University in Kyoto, Japan and Shinya Yamanaka of the Institute for Frontier Medical Sciences, Kyoto University in Kyoto, Japan and CREST, Japan Science and Technology Agency in Kawaguchi, Japan.
This work was supported in part by research grants from the Ministry of Education, Culture, Sports, Science and Technology of Japan to S.Y. This work is also supported in part by the Takeda Science Foundation, the Osaka Cancer Research Foundation, the Inamori Foundation, the Mitsubishi Pharma Research Foundation, and the Sankyo Foundation of Life Science and by a Grant-in-Aid from the Japan Medical Association to S.Y. K.T. was supported by a fellowship from the Japan Society for the Promotion of Science.
Takahashi et al.: "Induction of Pluripotent Stem Cells from Mouse Embryonic and Adult Fibroblast Cultures by Defined Factors" Publishing online August 10; Scheduled for the August 25, 2006 issue of Cell.
[ Print Article | E-mail Article | Close Window ]
Contact: Heidi Hardman
hhardman@cell.com
617-397-2879
Cell Press
With few factors, adult cells take on character of embryonic stem cells
With the introduction of just four factors, researchers have successfully induced differentiated cells taken from mouse embryos or adult mice to behave like embryonic stem cells. The researchers reported their findings in an immediate early publication of the journal Cell.
The cells--which the researchers designate "induced pluripotent stem cells" (iPS)--exhibit the physical, growth, and genetic characteristics typical of embryonic stem cells, they reported. "Pluripotent" refers to the ability to differentiate into most other cell types.
"Human embryonic stem cells might be used to treat a host of diseases, such as Parkinson's disease, spinal cord injury, and diabetes," said Shinya Yamanaka of Kyoto University in Japan. "However, there are ethical difficulties regarding the use of human embryos, as well as the problem of tissue rejection following transplantation into patients."
Those problems could be circumvented if pluripotent cells could be obtained directly from the patients' own cells.
"We have demonstrated that pluripotent stem cells can be directly generated from fibroblast cultures by the addition of only a few defined factors," Yamanaka said. Fibroblasts make up structural fibers found in connective tissue.
Embryonic stem cells are derived from inner cells of the mammalian blastocyst, a ball of cells that develops after fertilization and goes on to form a developing embryo. Cells from other parts of the body can also be "reprogrammed" by transferring their nuclear contents into egg cell precursors called oocytes or by fusion with embryonic stem cells, earlier studies showed.
Those findings provided evidence that unfertilized eggs and embryonic stem cells contain factors that can confer pluripotency to differentiated cells, Yamanaka said.
"We hypothesized that the factors that play important roles in the maintenance of embryonic stem cell identity also play pivotal roles in the induction of pluripotency" in other body cells, he explained.
The researchers selected 24 genes--all previously found to play a role in early embryos and embryonic stem cell identity--as candidate factors that might give body cells the ability to become other cell types.
The researchers found that four of those factors, known as Oct3/4, Sox2, c-Myc, and Klf4, could lend differentiated fibroblast cells taken from embryonic or adult mice the pluripotency normally reserved for embryonic stem cells.
They further reported that transplantation of the iPS cells under the skin of mice resulted in tumors containing a variety of tissues representing the three primary types found in mammalian embryos. Those primary "germ layers" in embryos eventually give rise to all an animal's tissues and organs.
Following injection into blastocysts, iPS cells also contributed to mouse embryonic development.
"The finding is an important step in controlling pluripotency, which may eventually allow the creation of pluripotent cells directly from somatic cells of patients," Yamanaka said.
While the findings could have wide applications, stem cell experts caution that the study of embryonic stem cells has much further to go.
"We still do not know whether the four factors can generate pluripotent cells from human somatic cells," Yamanaka said. Use of c-Myc, a gene implicated in many human cancers, may not be suitable for clinical applications, they added, and the process may require specific culture environments. It also remains unclear whether iPS cells can do everything that embryonic stem cells can.
###
The researchers include Kazutoshi Takahashi of the Institute for Frontier Medical Sciences, Kyoto University in Kyoto, Japan and Shinya Yamanaka of the Institute for Frontier Medical Sciences, Kyoto University in Kyoto, Japan and CREST, Japan Science and Technology Agency in Kawaguchi, Japan.
This work was supported in part by research grants from the Ministry of Education, Culture, Sports, Science and Technology of Japan to S.Y. This work is also supported in part by the Takeda Science Foundation, the Osaka Cancer Research Foundation, the Inamori Foundation, the Mitsubishi Pharma Research Foundation, and the Sankyo Foundation of Life Science and by a Grant-in-Aid from the Japan Medical Association to S.Y. K.T. was supported by a fellowship from the Japan Society for the Promotion of Science.
Takahashi et al.: "Induction of Pluripotent Stem Cells from Mouse Embryonic and Adult Fibroblast Cultures by Defined Factors" Publishing online August 10; Scheduled for the August 25, 2006 issue of Cell.
幹細胞(真的)來了
胚胎幹細胞的點石成金術
作者:Jun-An Chen
2007/06/08
幹細胞的魔術師們再度向世人展現不可思議的胚胎幹細胞點石成金術，這回他們把體細胞 ”返老還童”變成胚胎幹細胞了!
在生命科學研究的領域裡，大概很能再找到一個比“胚胎幹細胞”還要炙手可熱的話題。生物學家對胚胎幹細胞愛不釋手，因為到目前為止，沒有任何一種成體幹細胞能比胚胎幹細胞更具分化的全能性。生物學家目前已能利用各種適當的細胞訊息傳遞分子，在培養皿裡忠實地將胚胎幹細胞引導成為各種不同的體細胞 (像是運動神經元，多巴胺分泌神經元，肝臟細胞等)。這也是為何大家對於胚胎幹細胞寄予厚望，希望有朝一日胚胎幹細胞能完成治癒人類各種難纏的神經退化性疾病以及糖尿病的夢想。然而，相對於生物學家對胚胎幹細胞的愛不釋手，宗教人士卻對胚胎幹細胞的研究恨之入骨，因為要建立人類胚胎幹細胞株，首先必須先摧毀來自臨床使用剩餘的體外人工受精胚囊 (blastocyst)，然後再從內質團 （inner cell mass) 裡分離出幹細胞培養。雖然生物學家認為此時的胚囊尚未具有神經系統，根本稱不上是“胚胎”，但摧毀任何形式的授精卵，還是具有一定程度的道德爭議。因此，如何能在這場愛恨交加的掙扎裡尋覓一個平衡點，就成為當前研究以及使用胚胎幹細胞的一門重要課題。
2003年時，英國劍橋大學的 John Gurdon研究小組發現，如果將已完全分化的小鼠胸腺細胞注射至非洲爪蟾的卵母細胞時，卵母細胞的某種天然神奇配方會重新設定胸腺細胞並讓其開始表現胚胎幹細胞的特殊轉錄因子 - Oct4 (1)。這項突破性的研究開啟了胚胎幹細胞點石成金術的濫觴。2006年時，日本京都大學山中伸（Shinya Yamanaka) 教授的研究小組進一步解開這個神奇配方，根據他們的研究結果，只需要將四種基因 -Oct3/4, Sox2, c-Myc, Klf4- 送入已完全分化的纖維母細胞，即可以把纖維母細胞重新設定變回幹細胞。他們將這種 ”返老還童”的重新設定細胞稱之為”誘導式多能性幹細胞” (induced pluripotent stem cells, iPS cells) (2)。 iPS細胞的特質類似胚胎幹細胞，只要經由特殊訊號分子的引導，即可將它們轉換成為各種體細胞 (神經細胞或肝臟細胞)。更重要的是，移植到小鼠皮下組織的 iPS細胞也會導致畸胎瘤 (teratomas)，這也是胚胎幹細胞的一個重要特質。
許多幹細胞的研究學者對這項石破天驚的研究成果存著半信半疑的態度，畢竟四個轉錄因子就可以點石成金的確是太不可思議。然而，山中伸的研究小組在這星期又發表了第二代改良的 iPS細胞 (3)。第一代的 iPS細胞的基因甲基化程度與胚胎幹細胞有著顯著的差異。此外，第一代的 iPS細胞並沒有辦法和成鼠形成嵌合體 (chimera)。為了能更精確地將纖維母細胞完全的轉變成真正的胚胎幹細胞，他們這次還是使用原本的四個轉錄因子，但卻利用另一個特異表現在胚胎幹細胞裡的分子 -Nanog作為鑑定 iPS細胞的標記。另外，他們也在 Nanog載體後接上一段抗藥性基因，如此唯有真正被轉型成功的iPS細胞在加了抗生素的培養皿內才可以生存下來。利用這個改良方式所得到的第二代 iPS細胞不但俱有和胚胎幹細胞幾乎雷同的基因印痕 (imprinting) 模式，它們也可順利地和成鼠形成嵌合體並產生後代。這項結果顯示藉由體細胞 ”返老還童”的第二代 iPS細胞已經跟胚胎幹細胞幾乎是具有一模ㄧ樣的特質了!更令人興奮的是，另外兩個美國的實驗室也利用這四個相同的轉錄因子成功地將體細胞轉變成iPS細胞 (4-5)，他們的實驗數據也幾乎完全符合山中伸研究小組發表的結果。這些幹細胞魔術師已儼然成為貨真價實的胚胎幹細胞煉丹士!
筆者去年發表在 Sciscape的“幹細胞的魔術師 - 解開長生不老的轉錄迴圈”文末提到: 這三篇論文已初步地解開幹細胞”永保青春”的神祕面紗，接下來如何利用這個”幹細胞轉錄程式”讓其他體細胞可以”返老還童”變成幹細胞將是更大的挑戰。未來如果能比較癌症細胞，體細胞，與幹細胞在染色質和組蛋白間的協調有何異同，更能實質的為臨床醫學帶來莫大的貢獻。但筆者萬萬沒想到不到一年的光景，這樣的夢想就能完全實現!身為一位科學家，看到這樣的實驗結果固然異常興奮，但看著生物學者與上帝幾乎就是一步之遙時，不免感嘆: How far can we go?
作者:Jun-An Chen
2007/06/08
幹細胞的魔術師們再度向世人展現不可思議的胚胎幹細胞點石成金術，這回他們把體細胞 ”返老還童”變成胚胎幹細胞了!
在生命科學研究的領域裡，大概很能再找到一個比“胚胎幹細胞”還要炙手可熱的話題。生物學家對胚胎幹細胞愛不釋手，因為到目前為止，沒有任何一種成體幹細胞能比胚胎幹細胞更具分化的全能性。生物學家目前已能利用各種適當的細胞訊息傳遞分子，在培養皿裡忠實地將胚胎幹細胞引導成為各種不同的體細胞 (像是運動神經元，多巴胺分泌神經元，肝臟細胞等)。這也是為何大家對於胚胎幹細胞寄予厚望，希望有朝一日胚胎幹細胞能完成治癒人類各種難纏的神經退化性疾病以及糖尿病的夢想。然而，相對於生物學家對胚胎幹細胞的愛不釋手，宗教人士卻對胚胎幹細胞的研究恨之入骨，因為要建立人類胚胎幹細胞株，首先必須先摧毀來自臨床使用剩餘的體外人工受精胚囊 (blastocyst)，然後再從內質團 （inner cell mass) 裡分離出幹細胞培養。雖然生物學家認為此時的胚囊尚未具有神經系統，根本稱不上是“胚胎”，但摧毀任何形式的授精卵，還是具有一定程度的道德爭議。因此，如何能在這場愛恨交加的掙扎裡尋覓一個平衡點，就成為當前研究以及使用胚胎幹細胞的一門重要課題。
2003年時，英國劍橋大學的 John Gurdon研究小組發現，如果將已完全分化的小鼠胸腺細胞注射至非洲爪蟾的卵母細胞時，卵母細胞的某種天然神奇配方會重新設定胸腺細胞並讓其開始表現胚胎幹細胞的特殊轉錄因子 - Oct4 (1)。這項突破性的研究開啟了胚胎幹細胞點石成金術的濫觴。2006年時，日本京都大學山中伸（Shinya Yamanaka) 教授的研究小組進一步解開這個神奇配方，根據他們的研究結果，只需要將四種基因 -Oct3/4, Sox2, c-Myc, Klf4- 送入已完全分化的纖維母細胞，即可以把纖維母細胞重新設定變回幹細胞。他們將這種 ”返老還童”的重新設定細胞稱之為”誘導式多能性幹細胞” (induced pluripotent stem cells, iPS cells) (2)。 iPS細胞的特質類似胚胎幹細胞，只要經由特殊訊號分子的引導，即可將它們轉換成為各種體細胞 (神經細胞或肝臟細胞)。更重要的是，移植到小鼠皮下組織的 iPS細胞也會導致畸胎瘤 (teratomas)，這也是胚胎幹細胞的一個重要特質。
許多幹細胞的研究學者對這項石破天驚的研究成果存著半信半疑的態度，畢竟四個轉錄因子就可以點石成金的確是太不可思議。然而，山中伸的研究小組在這星期又發表了第二代改良的 iPS細胞 (3)。第一代的 iPS細胞的基因甲基化程度與胚胎幹細胞有著顯著的差異。此外，第一代的 iPS細胞並沒有辦法和成鼠形成嵌合體 (chimera)。為了能更精確地將纖維母細胞完全的轉變成真正的胚胎幹細胞，他們這次還是使用原本的四個轉錄因子，但卻利用另一個特異表現在胚胎幹細胞裡的分子 -Nanog作為鑑定 iPS細胞的標記。另外，他們也在 Nanog載體後接上一段抗藥性基因，如此唯有真正被轉型成功的iPS細胞在加了抗生素的培養皿內才可以生存下來。利用這個改良方式所得到的第二代 iPS細胞不但俱有和胚胎幹細胞幾乎雷同的基因印痕 (imprinting) 模式，它們也可順利地和成鼠形成嵌合體並產生後代。這項結果顯示藉由體細胞 ”返老還童”的第二代 iPS細胞已經跟胚胎幹細胞幾乎是具有一模ㄧ樣的特質了!更令人興奮的是，另外兩個美國的實驗室也利用這四個相同的轉錄因子成功地將體細胞轉變成iPS細胞 (4-5)，他們的實驗數據也幾乎完全符合山中伸研究小組發表的結果。這些幹細胞魔術師已儼然成為貨真價實的胚胎幹細胞煉丹士!
筆者去年發表在 Sciscape的“幹細胞的魔術師 - 解開長生不老的轉錄迴圈”文末提到: 這三篇論文已初步地解開幹細胞”永保青春”的神祕面紗，接下來如何利用這個”幹細胞轉錄程式”讓其他體細胞可以”返老還童”變成幹細胞將是更大的挑戰。未來如果能比較癌症細胞，體細胞，與幹細胞在染色質和組蛋白間的協調有何異同，更能實質的為臨床醫學帶來莫大的貢獻。但筆者萬萬沒想到不到一年的光景，這樣的夢想就能完全實現!身為一位科學家，看到這樣的實驗結果固然異常興奮，但看著生物學者與上帝幾乎就是一步之遙時，不免感嘆: How far can we go?
研究發現 長子IQ最高
【聯合報╱美聯社華盛頓二十一日電】 2007.06.23 02:35 am
兩名挪威科學家通過對約廿四萬名男子的研究發現，家庭中排行在前的男孩，智商一般略高於排行在後的孩子。排行在前的男孩不僅指第一胎。這說明影響智商的因素不是生育順序，而是孩子在家庭中的成長過程。
頭胎是否比弟妹更聰明的問題，科學界爭論了一百多年。科學雜誌廿二日刊登挪威國立職業健康研究所研究員柯里斯坦森和挪威陸軍醫院專家布捷克達的研究報告顯示：孩子智商與是否頭胎無關，但被家中視為長子的孩子智商一般比較高。
柯里斯坦森和布捷克達研究廿四萬一千三百一十名挪威役男的智商測試結果之後發現，頭胎男子的平均智商為一○三點二；第二胎的智商為一○一點二，但如果頭胎在幼時死亡，第二胎的智商則為一○二點九；第三胎的智商為一○○點○。
他們的結論是，這些發現「證實，智商與出生順序的關係，並不取決於孩子的出生先後，而取決於孩子在家庭中的社會地位」。這是迄今對這個問題進行的最大規模研究。
【2007/06/23 聯合報】
兩名挪威科學家通過對約廿四萬名男子的研究發現，家庭中排行在前的男孩，智商一般略高於排行在後的孩子。排行在前的男孩不僅指第一胎。這說明影響智商的因素不是生育順序，而是孩子在家庭中的成長過程。
頭胎是否比弟妹更聰明的問題，科學界爭論了一百多年。科學雜誌廿二日刊登挪威國立職業健康研究所研究員柯里斯坦森和挪威陸軍醫院專家布捷克達的研究報告顯示：孩子智商與是否頭胎無關，但被家中視為長子的孩子智商一般比較高。
柯里斯坦森和布捷克達研究廿四萬一千三百一十名挪威役男的智商測試結果之後發現，頭胎男子的平均智商為一○三點二；第二胎的智商為一○一點二，但如果頭胎在幼時死亡，第二胎的智商則為一○二點九；第三胎的智商為一○○點○。
他們的結論是，這些發現「證實，智商與出生順序的關係，並不取決於孩子的出生先後，而取決於孩子在家庭中的社會地位」。這是迄今對這個問題進行的最大規模研究。
【2007/06/23 聯合報】
6.22.2007
Johnny Cash Says Unlike Most Videos, 'Hurt' Wasn't Too Painful
from mtv.com
Clip for NIN cover is up for six VMAs, including Video of the Year.
By Joe D'Angelo
Since it's the clips that got them there, most VMA-nominated artists would be hesitant to admit any ill will toward the music video. Then again, Johnny Cash never really was one to cater to popular opinion.
"I don't especially like making videos," Cash told MTV News' Kurt Loder. "It's just work. Sometimes it's really fun and I enjoy it very much, but the getting there and all that usually just isn't."
The 71-year-old living legend makes an exception when it comes to his latest clip, "Hurt," which received six nominations at the 2003 Video Music Awards, including one for Video of the Year (see "Missy, Justin, Johnny Cash, 50 And Eminem Top VMA Nominees List").
(Click here for the complete list of the 2003 MTV Video Music Awards nominees.)
"I enjoyed doing the 'Hurt' video because I felt we were doing something worthwhile, that it was something kind of special. ... I was there right in the middle of the thing. So after it was put together, I watched with a critical eye to see what I could find wrong with it. And I didn't find much wrong with it."
The emotionally poignant clip, directed by Mark Romanek, recontextualizes the lyrics of the Nine Inch Nails angst anthem to reflect on Cash's life and career, which spans nearly 50 years. Images of the strapping Man in Black flicker with dusty portraits of a white-haired senior weakened by age and adventures, as moments from Cash's memory drift by like pages from a calendar (see "Johnny Cash's 'Hurt' Delves Into Life of Former Hell-Raiser: VMA Lens Recap").
"It's all fleeting," Cash said. "As fame is fleeing, so are all the trappings of fame fleeting. The money, the clothes, the furniture."
If covering a NIN song seems strange for someone who loaded up a third of his quintessential box set, Love, God, Murder, with hymns, you haven't heard Cash personalize oddities like Nick Cave's "The Mercy Seat," Beck's "Rowboat," Danzig's "Thirteen" and Soundgarden's "Rusty Cage," all of which appear on the four-volume Rick Rubin-produced American series.
"I didn't get any direct criticism about 'Hurt,' " he explained. "I didn't get any preachers calling me or anything like that. People who I expected to not like it let me know that they turned a deaf ear to it. It would be all right as long as I didn't play that video for them. Ninety-eight percent of them were complimentary; I didn't get very much flack at all. My children, my grandchildren, they all love it."
There was almost nothing to love, however. At first Rubin didn't want to present the tune to Cash because of song's sole cuss word, which appears in the line, "I wear my crown of sh--." He wound up substituting the word "thorns," instead.
When he first played the song for Cash, it was the tune itself that made Cash taciturn.
"When I heard the record, I said, 'I can't do that song,'" Cash recalled. "'It's not my style.' [Rick] said, 'Well, let's try it another way.' He put down a track and I listened to it. ... From there we started working on it until we got the record made."
Clip for NIN cover is up for six VMAs, including Video of the Year.
By Joe D'Angelo
Since it's the clips that got them there, most VMA-nominated artists would be hesitant to admit any ill will toward the music video. Then again, Johnny Cash never really was one to cater to popular opinion.
"I don't especially like making videos," Cash told MTV News' Kurt Loder. "It's just work. Sometimes it's really fun and I enjoy it very much, but the getting there and all that usually just isn't."
The 71-year-old living legend makes an exception when it comes to his latest clip, "Hurt," which received six nominations at the 2003 Video Music Awards, including one for Video of the Year (see "Missy, Justin, Johnny Cash, 50 And Eminem Top VMA Nominees List").
(Click here for the complete list of the 2003 MTV Video Music Awards nominees.)
"I enjoyed doing the 'Hurt' video because I felt we were doing something worthwhile, that it was something kind of special. ... I was there right in the middle of the thing. So after it was put together, I watched with a critical eye to see what I could find wrong with it. And I didn't find much wrong with it."
The emotionally poignant clip, directed by Mark Romanek, recontextualizes the lyrics of the Nine Inch Nails angst anthem to reflect on Cash's life and career, which spans nearly 50 years. Images of the strapping Man in Black flicker with dusty portraits of a white-haired senior weakened by age and adventures, as moments from Cash's memory drift by like pages from a calendar (see "Johnny Cash's 'Hurt' Delves Into Life of Former Hell-Raiser: VMA Lens Recap").
"It's all fleeting," Cash said. "As fame is fleeing, so are all the trappings of fame fleeting. The money, the clothes, the furniture."
If covering a NIN song seems strange for someone who loaded up a third of his quintessential box set, Love, God, Murder, with hymns, you haven't heard Cash personalize oddities like Nick Cave's "The Mercy Seat," Beck's "Rowboat," Danzig's "Thirteen" and Soundgarden's "Rusty Cage," all of which appear on the four-volume Rick Rubin-produced American series.
"I didn't get any direct criticism about 'Hurt,' " he explained. "I didn't get any preachers calling me or anything like that. People who I expected to not like it let me know that they turned a deaf ear to it. It would be all right as long as I didn't play that video for them. Ninety-eight percent of them were complimentary; I didn't get very much flack at all. My children, my grandchildren, they all love it."
There was almost nothing to love, however. At first Rubin didn't want to present the tune to Cash because of song's sole cuss word, which appears in the line, "I wear my crown of sh--." He wound up substituting the word "thorns," instead.
When he first played the song for Cash, it was the tune itself that made Cash taciturn.
"When I heard the record, I said, 'I can't do that song,'" Cash recalled. "'It's not my style.' [Rick] said, 'Well, let's try it another way.' He put down a track and I listened to it. ... From there we started working on it until we got the record made."
Nine Inch Nails
From Wikipedia, the free encyclopedia
Background information
Origin Cleveland, Ohio, USA
Genre(s) Alternative rock
Industrial rock
Years active 1988–present
Label(s) Interscope, Nothing, Island, TVT, Rykodisc
Website nin.com
Members
Trent Reznor
Live band
“NIN” redirects here. For other meanings, see Nin.
Nine Inch Nails (abbreviated as NIN) is an American industrial rock band formed in Cleveland, Ohio circa 1988 by Trent Reznor. As its main producer, singer, songwriter, and instrumentalist, Reznor is the only official member of Nine Inch Nails and remains solely responsible for the musical direction of the band. His lyrics are largely concerned with dark explorations of the self, and the time between major studio albums (bridged by releases of remixes and live albums) has been extended by Reznor's battles with personal issues. After recording a new album, Reznor usually assembles a live band to tour with him extensively; this live component is generally considered a separate entity from Nine Inch Nails in the recording studio. On stage, NIN employs spectacular visual elements, and the performances often culminate in the destruction of musical instruments.[1]
NIN's music straddles a wide range of genres and techniques while retaining a characteristically intense sound. Underground music audiences warmly received the band's early activity, and Nine Inch Nails went on to produce several highly influential releases in the 1990s to international acclaim, including two Grammy Awards. Media coverage of NIN reached a peak in 1997, when Time magazine named Trent Reznor one of the 25 most influential people in America.[2] The RIAA estimates that Nine Inch Nails has sold at least 10.5 million units of all of its albums in the United States alone.[3] In 2004, Rolling Stone placed Nine Inch Nails at 94 on their list of the 100 greatest music artists of all time.[4]
Background information
Origin Cleveland, Ohio, USA
Genre(s) Alternative rock
Industrial rock
Years active 1988–present
Label(s) Interscope, Nothing, Island, TVT, Rykodisc
Website nin.com
Members
Trent Reznor
Live band
“NIN” redirects here. For other meanings, see Nin.
Nine Inch Nails (abbreviated as NIN) is an American industrial rock band formed in Cleveland, Ohio circa 1988 by Trent Reznor. As its main producer, singer, songwriter, and instrumentalist, Reznor is the only official member of Nine Inch Nails and remains solely responsible for the musical direction of the band. His lyrics are largely concerned with dark explorations of the self, and the time between major studio albums (bridged by releases of remixes and live albums) has been extended by Reznor's battles with personal issues. After recording a new album, Reznor usually assembles a live band to tour with him extensively; this live component is generally considered a separate entity from Nine Inch Nails in the recording studio. On stage, NIN employs spectacular visual elements, and the performances often culminate in the destruction of musical instruments.[1]
NIN's music straddles a wide range of genres and techniques while retaining a characteristically intense sound. Underground music audiences warmly received the band's early activity, and Nine Inch Nails went on to produce several highly influential releases in the 1990s to international acclaim, including two Grammy Awards. Media coverage of NIN reached a peak in 1997, when Time magazine named Trent Reznor one of the 25 most influential people in America.[2] The RIAA estimates that Nine Inch Nails has sold at least 10.5 million units of all of its albums in the United States alone.[3] In 2004, Rolling Stone placed Nine Inch Nails at 94 on their list of the 100 greatest music artists of all time.[4]
"Hurt"
I hurt myself today
To see if I still feel
I focus on the pain
The only thing that's real
The needle tears a hole
The old familiar sting
Try to kill it all away
But I remember everything
What have I become?
My sweetest friend
Everyone I know
Goes away in the end
You could have it all
My empire of dirt
I will let you down
I will make you hurt
I wear this crown of shit
Upon my liar's chair
Full of broken thoughts
I cannot repair
Beneath the stains of time
The feelings disappear
You are someone else
I am still right here
What have I become?
My sweetest friend
Everyone I know
Goes away in the end
You could have it all
My empire of dirt
I will let you down
I will make you hurt
If I could start again
A million miles away
I would keep myself
I would find a way
To see if I still feel
I focus on the pain
The only thing that's real
The needle tears a hole
The old familiar sting
Try to kill it all away
But I remember everything
What have I become?
My sweetest friend
Everyone I know
Goes away in the end
You could have it all
My empire of dirt
I will let you down
I will make you hurt
I wear this crown of shit
Upon my liar's chair
Full of broken thoughts
I cannot repair
Beneath the stains of time
The feelings disappear
You are someone else
I am still right here
What have I become?
My sweetest friend
Everyone I know
Goes away in the end
You could have it all
My empire of dirt
I will let you down
I will make you hurt
If I could start again
A million miles away
I would keep myself
I would find a way
6.21.2007
電吉他
http://www.ginifab.com.tw/promo/electricguitar.html
認識電吉他
說起吉他這東西，歸功於市場的普及與平民化，讓大多數的人對它都不陌生，也因為在民國六十幾年至七十幾年時，鼎盛的校園民歌，更讓千萬莘莘學子總想像著抱支吉他，在夕陽餘暉中，彈唱著多愁善感的青春。早年的校園中，大家所使用的多是木吉他，有尼龍弦的也有鋼弦的，琴身有著厚厚的共鳴箱，不需繁雜的設備，不管在哪兒都可自在的彈唱。
在吉他的發展歷史中，約在西元1500年時，一種10或是12條弦的撥弦樂器誕生（是2條弦一組），不大的共鳴琴身，雕琢精緻的響孔，琴頸上也已有了琴格，這樣的形體已經具備現代吉他的雛型，直到西元1700年左右，出現的「西班牙吉他（Spanish Guitar）」，基本上就是現在大家常見的「古典吉他（Classic Guitar）」特徵是琴頸與琴身相接在第12格琴格，有著葫蘆狀的琴身，琴頸寬且厚，使用的琴弦聲音溫潤厚實，現代多是使用尼龍材質（1~3弦），早年應是使用動物的腸子所製作的琴弦。
而在十九世紀後，一些新的改良的吉他出現，這些琴有著更大的琴身，較細的琴頸，這樣的變化讓演奏較容易，音量也因為共鳴箱的加大而得到改善，而在製琴師傅的設計下，支撐琴身面板的響條也有不同的配置方式，另一較大的改變是琴身與琴頸相接在第14格，且琴弦全部改成了金屬弦「Steel String」，如此得到比較響亮與清脆的聲音。www.ginifab.com.tw
在西元1894年成立的GIBSON公司，在優秀的製琴師傅「Ovell Gibson」領導下，為了解決吉他音量不足的問題，不斷增加琴身共鳴箱的大小，會增加演奏上的困難，加上電子科技日趨成熟，因而發展出「Archtop」的吉他，這也是最早期的電吉他，在空心的琴身上，裝上了磁鐵與漆包線作成的「Pickup（拾音器）」，將訊號經過音箱（Amp）而得到放大的效果，這樣的吉他聲音有著琴身的共鳴，卻又加上了電子放大的科技感，與傳統吉他有著很大的不同，也開創了吉他這樂器的新生命，因為音量的增加，在樂團中吉他的地位不再只是伴奏的位置，也可以是很好的獨奏的角色。
不過因為空心的琴身，很容易會造成「迴授（Feedback）」，在現場的控制上造成一些技術上的問題，在西元1948年由「Leo Fender」所成立的公司，將琴身改成使用實心的木材，厚度約在5公分左右，如此解決了Feedback的問題，且造成了整個吉他歷史的改變，這樣的吉他我們稱為「Solid Body」，為了高把位的彈奏，琴身造型也做了改變，整個琴頸也增加到21~24格，在後來的50年發展中 ，更是有了各式各樣的改變，拾音器有單、雙線圈，琴橋也由固定式增加了「搖座（Tremolo Arm）」，當然琴身造型更是千變萬化。
除了琴體的改良與變化外，也因為科技的日新月異，讓吉他所能發出的聲音，已不可同日而喻，音箱的設計更加精細，以及各種改變聲音的「效果器（Effect）」問世，讓每個彈奏者都可以發揮無限創意，也造就了眾多的吉他英雄，而各家獨創的演奏手法，讓人眼花撩亂，這也是當今年輕學子不再以一把木吉他而滿足的原因，小型樂團的盛起，讓舞台的表演也有了革命的改變，這也是我們要談論的主角「電吉他」興起的原因。
認識電吉他
說起吉他這東西，歸功於市場的普及與平民化，讓大多數的人對它都不陌生，也因為在民國六十幾年至七十幾年時，鼎盛的校園民歌，更讓千萬莘莘學子總想像著抱支吉他，在夕陽餘暉中，彈唱著多愁善感的青春。早年的校園中，大家所使用的多是木吉他，有尼龍弦的也有鋼弦的，琴身有著厚厚的共鳴箱，不需繁雜的設備，不管在哪兒都可自在的彈唱。
在吉他的發展歷史中，約在西元1500年時，一種10或是12條弦的撥弦樂器誕生（是2條弦一組），不大的共鳴琴身，雕琢精緻的響孔，琴頸上也已有了琴格，這樣的形體已經具備現代吉他的雛型，直到西元1700年左右，出現的「西班牙吉他（Spanish Guitar）」，基本上就是現在大家常見的「古典吉他（Classic Guitar）」特徵是琴頸與琴身相接在第12格琴格，有著葫蘆狀的琴身，琴頸寬且厚，使用的琴弦聲音溫潤厚實，現代多是使用尼龍材質（1~3弦），早年應是使用動物的腸子所製作的琴弦。
而在十九世紀後，一些新的改良的吉他出現，這些琴有著更大的琴身，較細的琴頸，這樣的變化讓演奏較容易，音量也因為共鳴箱的加大而得到改善，而在製琴師傅的設計下，支撐琴身面板的響條也有不同的配置方式，另一較大的改變是琴身與琴頸相接在第14格，且琴弦全部改成了金屬弦「Steel String」，如此得到比較響亮與清脆的聲音。www.ginifab.com.tw
在西元1894年成立的GIBSON公司，在優秀的製琴師傅「Ovell Gibson」領導下，為了解決吉他音量不足的問題，不斷增加琴身共鳴箱的大小，會增加演奏上的困難，加上電子科技日趨成熟，因而發展出「Archtop」的吉他，這也是最早期的電吉他，在空心的琴身上，裝上了磁鐵與漆包線作成的「Pickup（拾音器）」，將訊號經過音箱（Amp）而得到放大的效果，這樣的吉他聲音有著琴身的共鳴，卻又加上了電子放大的科技感，與傳統吉他有著很大的不同，也開創了吉他這樂器的新生命，因為音量的增加，在樂團中吉他的地位不再只是伴奏的位置，也可以是很好的獨奏的角色。
不過因為空心的琴身，很容易會造成「迴授（Feedback）」，在現場的控制上造成一些技術上的問題，在西元1948年由「Leo Fender」所成立的公司，將琴身改成使用實心的木材，厚度約在5公分左右，如此解決了Feedback的問題，且造成了整個吉他歷史的改變，這樣的吉他我們稱為「Solid Body」，為了高把位的彈奏，琴身造型也做了改變，整個琴頸也增加到21~24格，在後來的50年發展中 ，更是有了各式各樣的改變，拾音器有單、雙線圈，琴橋也由固定式增加了「搖座（Tremolo Arm）」，當然琴身造型更是千變萬化。
除了琴體的改良與變化外，也因為科技的日新月異，讓吉他所能發出的聲音，已不可同日而喻，音箱的設計更加精細，以及各種改變聲音的「效果器（Effect）」問世，讓每個彈奏者都可以發揮無限創意，也造就了眾多的吉他英雄，而各家獨創的演奏手法，讓人眼花撩亂，這也是當今年輕學子不再以一把木吉他而滿足的原因，小型樂團的盛起，讓舞台的表演也有了革命的改變，這也是我們要談論的主角「電吉他」興起的原因。
書店的人可為讀者做些什麼
from 台灣好生活電子報
作者:果子離
＊淡水有河book店員一號／攝影／關魚／2007
最近才知道，小說家荊棘是朱邦復的妹妹。這是在郝明義＜網路書店與實體書店之互補＞一文讀到的。郝明義提到，八○年代，他去上電腦課，聽到朱邦復的傳奇事蹟。農學系畢業後，赴巴西拓荒，回台後發明倉頡輸入法和中文字形產生器，卻放棄專利。有錢賺卻不賺，這麼特立獨行，到底是什麼樣的人？
好奇心起，郝明義想了解此人的來龍去脈。到朱邦復創辦的電腦公司去問，員工說，老闆避居美國去了。朱邦復因為放棄專利，被檢舉有共產思想。白色恐怖，人人皆怕。他只好出國避難。
郝明義後來向朱邦復的高中同學，攝影家莊靈探聽。莊靈記得朱邦復寫過書，講他在巴西的經歷。書交給一家基督教出版社出版。
書海尋書，好鑰匙靠閱讀熱情
哪一家？不知道。書名？也不知道。
郝明義去道聲出版社問。提示：朱邦復／巴西。店員不知道，無從查起。
郝明義敗興離開，在樓下等車，這時一名道聲員工跑來。這名員工在店裡聽到他們對話，想起樓上庫存書堆有一本書。主題內容，好像是；一找，果然是。書名叫《巴西狂歡節的迷惘》，作者用了筆名朱復，不是朱邦復。
難怪找不到。
但還是找到了，憑著那位店員的熱情，以及最重要的，他讀過，或至少略為翻過，知道書裡講些什麼。
後來郝明義在報紙副刊看到荊棘發表一篇文章，回憶童年時光。根據《巴西狂歡節的迷惘》得來的印象，郝明義認定，荊棘文章裡提到的哥哥，應該就是朱邦復。於是綜合這些資料，寫了文章，介紹朱邦復。兩人日後成為好朋友。
「一個書店的人可以為一個讀者做些什麼？」藉由這個例子，郝明義在文章裡問道。
現在有了網路，透過搜索引擎，我們鍵入「朱邦復」，就查到書名了。就算作者名姓不詳，只知道書裡提到巴西，我們在博客來網路書店鍵入「巴西」，在一串書單中，交叉比對，一樣找得到《巴西狂歡節的迷惘》。
但很多時候，我們面對浩瀚書海，一臉茫然。
那是搜索引擎和網路書店、大型連鎖書店，都解決不了的茫然。
＊淡水有河book壁畫／攝影／關魚／2007
書店買書，好經驗靠人文互動
我們有時候不確知要買哪一本書，不知道某一類主題要看哪一本書，這時大型書店變得大而無當。多，反而讓人眼花撩亂，無所適從。（在沒有網路的時代，有一天，我為了想知道簡體字是怎麼變出來的，差點把一家書店翻過來）
這個時候，你多渴望書店像西藥房：我們諱疾忌醫，有點小病，往往就近去西藥房抓點成藥。當然有病不求醫而買成藥是不對的，但有些小毛病，的確問過西藥房的藥劑師就解決了。
專業的獨立書店就像西藥房一樣，老闆懂他所引進的商品，以及商品背後所需要的專業知識；甚至於這種書店就如圖書館，擁有較為齊全的相關書目，更重要的，有專業知識的老闆，亦師亦友，提供你協助。
當你一臉茫然，想了解台灣歷史和風土人情，茫茫書海，無從下手。想開口詢問，從一般書店裡問不出個所以然來，去「台灣的店」就對了。
當你詩興大發，想從某種風格的現代詩集看起，去到書店，不知道詩人誰是誰，別渴望金石堂、誠品的店員或老闆告訴你。聽說淡水有店曰「有河book」，除了男主人精通電影等文化論述，那位長得不錯看的女老闆本身就是詩人，對詩集頗有概念，去問，去聊，答案就出來了，很快也會買到需要的詩本。
同樣的，喜歡文學，苦於作品良莠不齊，想讀一些經典級的，到「小小書房」，貓老闆已經幫你過濾了，這類小美獨書店（小而美的獨立書店，我亂發明的詞）風格獨特，定位清楚，不會什麼書種都擺，什麼都擺一點點。（像台北市很多小坪數的金石堂書店）
進書選書，書店主人親自操盤，他對進出的書有知識、有感情，顧客和主人，顧客和顧客之間，很容易變成朋友。（同樣是座談演講，在「誠品講堂」，就是一般上課，學員和學員之間，學員和老師之間，單向，直線，向左走向右走；在「小小書房」，形態比較接近讀書會，同好，交流，形成網絡關係。）
現在開小書店，沒有特色便存活不了，獨立書店，個性要鮮明，更重要的，要給人一種感覺：知識的氣味，人文的氣息，書與人的互動，人與人的互動。
書店的人可以為讀者做些什麼？
不必做什麼。
為讀者保留那一份感覺，就夠了。
作者:果子離
＊淡水有河book店員一號／攝影／關魚／2007
最近才知道，小說家荊棘是朱邦復的妹妹。這是在郝明義＜網路書店與實體書店之互補＞一文讀到的。郝明義提到，八○年代，他去上電腦課，聽到朱邦復的傳奇事蹟。農學系畢業後，赴巴西拓荒，回台後發明倉頡輸入法和中文字形產生器，卻放棄專利。有錢賺卻不賺，這麼特立獨行，到底是什麼樣的人？
好奇心起，郝明義想了解此人的來龍去脈。到朱邦復創辦的電腦公司去問，員工說，老闆避居美國去了。朱邦復因為放棄專利，被檢舉有共產思想。白色恐怖，人人皆怕。他只好出國避難。
郝明義後來向朱邦復的高中同學，攝影家莊靈探聽。莊靈記得朱邦復寫過書，講他在巴西的經歷。書交給一家基督教出版社出版。
書海尋書，好鑰匙靠閱讀熱情
哪一家？不知道。書名？也不知道。
郝明義去道聲出版社問。提示：朱邦復／巴西。店員不知道，無從查起。
郝明義敗興離開，在樓下等車，這時一名道聲員工跑來。這名員工在店裡聽到他們對話，想起樓上庫存書堆有一本書。主題內容，好像是；一找，果然是。書名叫《巴西狂歡節的迷惘》，作者用了筆名朱復，不是朱邦復。
難怪找不到。
但還是找到了，憑著那位店員的熱情，以及最重要的，他讀過，或至少略為翻過，知道書裡講些什麼。
後來郝明義在報紙副刊看到荊棘發表一篇文章，回憶童年時光。根據《巴西狂歡節的迷惘》得來的印象，郝明義認定，荊棘文章裡提到的哥哥，應該就是朱邦復。於是綜合這些資料，寫了文章，介紹朱邦復。兩人日後成為好朋友。
「一個書店的人可以為一個讀者做些什麼？」藉由這個例子，郝明義在文章裡問道。
現在有了網路，透過搜索引擎，我們鍵入「朱邦復」，就查到書名了。就算作者名姓不詳，只知道書裡提到巴西，我們在博客來網路書店鍵入「巴西」，在一串書單中，交叉比對，一樣找得到《巴西狂歡節的迷惘》。
但很多時候，我們面對浩瀚書海，一臉茫然。
那是搜索引擎和網路書店、大型連鎖書店，都解決不了的茫然。
＊淡水有河book壁畫／攝影／關魚／2007
書店買書，好經驗靠人文互動
我們有時候不確知要買哪一本書，不知道某一類主題要看哪一本書，這時大型書店變得大而無當。多，反而讓人眼花撩亂，無所適從。（在沒有網路的時代，有一天，我為了想知道簡體字是怎麼變出來的，差點把一家書店翻過來）
這個時候，你多渴望書店像西藥房：我們諱疾忌醫，有點小病，往往就近去西藥房抓點成藥。當然有病不求醫而買成藥是不對的，但有些小毛病，的確問過西藥房的藥劑師就解決了。
專業的獨立書店就像西藥房一樣，老闆懂他所引進的商品，以及商品背後所需要的專業知識；甚至於這種書店就如圖書館，擁有較為齊全的相關書目，更重要的，有專業知識的老闆，亦師亦友，提供你協助。
當你一臉茫然，想了解台灣歷史和風土人情，茫茫書海，無從下手。想開口詢問，從一般書店裡問不出個所以然來，去「台灣的店」就對了。
當你詩興大發，想從某種風格的現代詩集看起，去到書店，不知道詩人誰是誰，別渴望金石堂、誠品的店員或老闆告訴你。聽說淡水有店曰「有河book」，除了男主人精通電影等文化論述，那位長得不錯看的女老闆本身就是詩人，對詩集頗有概念，去問，去聊，答案就出來了，很快也會買到需要的詩本。
同樣的，喜歡文學，苦於作品良莠不齊，想讀一些經典級的，到「小小書房」，貓老闆已經幫你過濾了，這類小美獨書店（小而美的獨立書店，我亂發明的詞）風格獨特，定位清楚，不會什麼書種都擺，什麼都擺一點點。（像台北市很多小坪數的金石堂書店）
進書選書，書店主人親自操盤，他對進出的書有知識、有感情，顧客和主人，顧客和顧客之間，很容易變成朋友。（同樣是座談演講，在「誠品講堂」，就是一般上課，學員和學員之間，學員和老師之間，單向，直線，向左走向右走；在「小小書房」，形態比較接近讀書會，同好，交流，形成網絡關係。）
現在開小書店，沒有特色便存活不了，獨立書店，個性要鮮明，更重要的，要給人一種感覺：知識的氣味，人文的氣息，書與人的互動，人與人的互動。
書店的人可以為讀者做些什麼？
不必做什麼。
為讀者保留那一份感覺，就夠了。
Helmut Newton
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Helmut Newton, born Helmut Neustädter (October 31, 1920, Berlin, Germany – January 23, 2004, West Hollywood, California, USA) born at Innsbrucker Straße 24 in Berlin- Schöneberg, Germany, was a German-Australian fashion photographer noted for his nude studies of women.
The son of a German-Jewish button-factory owner and an American mother, Newton attended the Heinrich-von-Treitschke-Realgymnasium and the American School in Berlin. Interested in photography from a young age, he worked for the German photographer Yva (Else Neulander Simon). Fleeing Nazi Germany in 1938 to escape persecution as a Jew, Newton worked briefly in Singapore as a photographer for the Straits Times before settling in Melbourne, Australia.
Helmut Newton's 1952 portrait of Laurel Martyn, National Library of Australia
Helmut Newton's 1952 portrait of Laurel Martyn, National Library of Australia
Once he arrived in Australia he was first interned, along with many other "enemy aliens", before serving with the Australian Army during World War II as a truck driver. In 1946, Newton set up a studio in Flinders Lane and worked primarily on fashion photography in the affluent post-war years. In 1948 Newton married actress June Browne, who later became a successful photographer under the ironic pseudonym 'Alice Springs' (after the central Australian town). He also assumed Australian nationality. He went into partnership with fellow photographer Henry Talbot in 1956, and his association with the studio continued even after 1959 when he left Australia for London. The studio was renamed 'Helmut Newton and Henry Talbot'.
Newton settled in Paris in 1961 and began extensive work as a fashion photographer. His works appeared in magazines including, most significantly, French Vogue. He established a particular style marked by erotic, stylised scenes, often with sado-masochistic and fetishistic subtexts. A heart attack in 1970 slowed his output somewhat but he extended his work and his notoriety/fame greatly increased, notably with his 1980 "Big Nudes" series which marked the pinnacle of his erotic-urban style, underpinned with excellent technical skills. He also worked in portraiture and more fantastical studies.
Newton was extremely fond of his hometown of Berlin, and in October 2003 he donated an extensive photo collection to the Prussian Cultural Heritage Foundation. It is currently on display at the Museum of Photography near the Berlin-Zoo railway station.
In his later life, Newton lived in Monte Carlo and Los Angeles. He was killed when his car hit a wall in the driveway of the famous Chateau Marmont, the hotel on Sunset Boulevard which had for several years served as his residence in Southern California. It has been speculated that Newton suffered a heart attack in the moments before the collision.[citation needed] His ashes are buried next to Marlene Dietrich at the Städtischen Friedhof III, in Berlin-Schöneberg, Stubenrauchstraße 43-45. Schöneberg in Berlin, Germany.
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Helmut Newton, born Helmut Neustädter (October 31, 1920, Berlin, Germany – January 23, 2004, West Hollywood, California, USA) born at Innsbrucker Straße 24 in Berlin- Schöneberg, Germany, was a German-Australian fashion photographer noted for his nude studies of women.
The son of a German-Jewish button-factory owner and an American mother, Newton attended the Heinrich-von-Treitschke-Realgymnasium and the American School in Berlin. Interested in photography from a young age, he worked for the German photographer Yva (Else Neulander Simon). Fleeing Nazi Germany in 1938 to escape persecution as a Jew, Newton worked briefly in Singapore as a photographer for the Straits Times before settling in Melbourne, Australia.
Helmut Newton's 1952 portrait of Laurel Martyn, National Library of Australia
Helmut Newton's 1952 portrait of Laurel Martyn, National Library of Australia
Once he arrived in Australia he was first interned, along with many other "enemy aliens", before serving with the Australian Army during World War II as a truck driver. In 1946, Newton set up a studio in Flinders Lane and worked primarily on fashion photography in the affluent post-war years. In 1948 Newton married actress June Browne, who later became a successful photographer under the ironic pseudonym 'Alice Springs' (after the central Australian town). He also assumed Australian nationality. He went into partnership with fellow photographer Henry Talbot in 1956, and his association with the studio continued even after 1959 when he left Australia for London. The studio was renamed 'Helmut Newton and Henry Talbot'.
Newton settled in Paris in 1961 and began extensive work as a fashion photographer. His works appeared in magazines including, most significantly, French Vogue. He established a particular style marked by erotic, stylised scenes, often with sado-masochistic and fetishistic subtexts. A heart attack in 1970 slowed his output somewhat but he extended his work and his notoriety/fame greatly increased, notably with his 1980 "Big Nudes" series which marked the pinnacle of his erotic-urban style, underpinned with excellent technical skills. He also worked in portraiture and more fantastical studies.
Newton was extremely fond of his hometown of Berlin, and in October 2003 he donated an extensive photo collection to the Prussian Cultural Heritage Foundation. It is currently on display at the Museum of Photography near the Berlin-Zoo railway station.
In his later life, Newton lived in Monte Carlo and Los Angeles. He was killed when his car hit a wall in the driveway of the famous Chateau Marmont, the hotel on Sunset Boulevard which had for several years served as his residence in Southern California. It has been speculated that Newton suffered a heart attack in the moments before the collision.[citation needed] His ashes are buried next to Marlene Dietrich at the Städtischen Friedhof III, in Berlin-Schöneberg, Stubenrauchstraße 43-45. Schöneberg in Berlin, Germany.
6.20.2007
Interpol
Biography by Andy Kellman
New York's Interpol reminds anyone who has ever heard post-punk bands like Joy Division and the Chameleons of those exact bands, plus a few more. The roots of the band — as far as its members are considered — can be traced back to a partnership between Daniel Kessler (a guitarist and vocalist) and a fellow New York University student named Greg Drudy (a drummer). Kessler struck up a friendship with another NYU student, Carlos Dengler, who had previously played guitar and felt like becoming involved with music for a second time. He took up the bass and keyboard duties. And by sheer coincidence, Kessler later bumped into Paul Banks, a guitarist/vocalist he knew from time spent in France. With the lineup settled, Interpol became a fully active band in 1998. After the band's first gigs in early 2000, Drudy vacated his position and was replaced by Sam Fogarino.
They started playing out frequently, including regular appearances at clubs in and around New York like Brownie's and the Mercury Lounge. A brief tour of the U.K. in April of 2001 was punctuated by a radio session for John Peel's BBC program; at that point, the band was touring in support of a limited-edition EP released through the Chemikal Underground label's Fukd I.D. series. (They had also appeared on a compilation that was released just prior to Fukd I.D. called Clooney Tunes for another U.K. indie, Fierce Panda.) 2001 also saw a self-released EP from the band and another compilation appearance on Arena Rock's This Is Next Year, a double-disc set of Brooklyn-area acts. Matador signed the band in 2002 and issued a three-song single and the band's debut LP (Turn on the Bright Lights) by year's end. The album made the band indie stars, and extensive touring around the world followed. Just prior to releasing their second album (Antics) in September of 2004, they opened for the Cure as part of that band's Curiosa Festival.
New York's Interpol reminds anyone who has ever heard post-punk bands like Joy Division and the Chameleons of those exact bands, plus a few more. The roots of the band — as far as its members are considered — can be traced back to a partnership between Daniel Kessler (a guitarist and vocalist) and a fellow New York University student named Greg Drudy (a drummer). Kessler struck up a friendship with another NYU student, Carlos Dengler, who had previously played guitar and felt like becoming involved with music for a second time. He took up the bass and keyboard duties. And by sheer coincidence, Kessler later bumped into Paul Banks, a guitarist/vocalist he knew from time spent in France. With the lineup settled, Interpol became a fully active band in 1998. After the band's first gigs in early 2000, Drudy vacated his position and was replaced by Sam Fogarino.
They started playing out frequently, including regular appearances at clubs in and around New York like Brownie's and the Mercury Lounge. A brief tour of the U.K. in April of 2001 was punctuated by a radio session for John Peel's BBC program; at that point, the band was touring in support of a limited-edition EP released through the Chemikal Underground label's Fukd I.D. series. (They had also appeared on a compilation that was released just prior to Fukd I.D. called Clooney Tunes for another U.K. indie, Fierce Panda.) 2001 also saw a self-released EP from the band and another compilation appearance on Arena Rock's This Is Next Year, a double-disc set of Brooklyn-area acts. Matador signed the band in 2002 and issued a three-song single and the band's debut LP (Turn on the Bright Lights) by year's end. The album made the band indie stars, and extensive touring around the world followed. Just prior to releasing their second album (Antics) in September of 2004, they opened for the Cure as part of that band's Curiosa Festival.
6.16.2007
笑過死亡線
美死刑犯網路徵求笑話做最後遺言
（中央社華盛頓十五日法新電）美國德州一名揹負兩條人命的死刑犯，在網路上舉辦笑話比賽，當他本月二十六日被注射毒液處死前，最好笑的笑話將成為他最後的遺言。
現年三十九歲的奈特今天接受美國有線電視新聞網（CNN）的訪問時指出；「我會好好享受在世上最後幾天的日子，我要求你們告訴大家我正在舉行一項比賽，希望大家把他們認為最好笑的笑話傳給我，讓我和其他死刑犯笑著受刑。」
笑話比賽的構想來自他所讀過的書「越過死亡線」，本書由羅馬天主教會修女海倫普雷金所著，內容精神主張廢除死刑。這本書後來被好萊塢翻拍成同名電影，由西恩潘和蘇珊莎蘭登主演。
所以，奈特開玩笑的在他自己的網頁寫下「笑過死亡線」的標題。
奈特因謀殺兩名鄰居於一九九一年遭定罪，過去十六年都待在德州的死囚室中。德州一九七六年恢復死刑後，全美超過三分之一的死刑都在德州執行。
輕鬆地說著笑話，奈特卻一臉正經的解釋為什麼死囚室裡需要注入幽默。
「在那裡有些人真的是無辜的... 但我不是... 那裡需要點東西，像笑話之類的來緩解緊張的情緒。」
當他談到死亡時，一點都沒有流露出緊張的表情，他說：「死亡是我的懲罰，我已經接受這個事實，它一定會發生。如果你必須死，就帶著微笑去吧。」
奈特承諾當他在六月二十六日被處死前，被問到最後遺言時，會大聲的唸出獲選的笑話內容。
（中央社華盛頓十五日法新電）美國德州一名揹負兩條人命的死刑犯，在網路上舉辦笑話比賽，當他本月二十六日被注射毒液處死前，最好笑的笑話將成為他最後的遺言。
現年三十九歲的奈特今天接受美國有線電視新聞網（CNN）的訪問時指出；「我會好好享受在世上最後幾天的日子，我要求你們告訴大家我正在舉行一項比賽，希望大家把他們認為最好笑的笑話傳給我，讓我和其他死刑犯笑著受刑。」
笑話比賽的構想來自他所讀過的書「越過死亡線」，本書由羅馬天主教會修女海倫普雷金所著，內容精神主張廢除死刑。這本書後來被好萊塢翻拍成同名電影，由西恩潘和蘇珊莎蘭登主演。
所以，奈特開玩笑的在他自己的網頁寫下「笑過死亡線」的標題。
奈特因謀殺兩名鄰居於一九九一年遭定罪，過去十六年都待在德州的死囚室中。德州一九七六年恢復死刑後，全美超過三分之一的死刑都在德州執行。
輕鬆地說著笑話，奈特卻一臉正經的解釋為什麼死囚室裡需要注入幽默。
「在那裡有些人真的是無辜的... 但我不是... 那裡需要點東西，像笑話之類的來緩解緊張的情緒。」
當他談到死亡時，一點都沒有流露出緊張的表情，他說：「死亡是我的懲罰，我已經接受這個事實，它一定會發生。如果你必須死，就帶著微笑去吧。」
奈特承諾當他在六月二十六日被處死前，被問到最後遺言時，會大聲的唸出獲選的笑話內容。
First Impressions of Earth (The Strokes)
Review by Heather Phares
Why would a comeback from one of the most talked-about rock acts of the 2000s arrive just after the holidays, when the music industry is usually still hibernating (or hungover)? Optimistically, they could be taking advantage of holiday money and gift certificates burning holes in the pockets of their fan base. Less charitably, they may be trying to avoid tougher competition later in the year -- or worse, just trying to bury the album altogether. With the Strokes and First Impressions of Earth, it's difficult to tell exactly what the motivation was, but by releasing it so early in 2006, it ends up not being just one of the year's first albums, but one of its first disappointments as well. To be fair, First Impressions starts out strong. "You Only Live Once" is everything a fan could want from a Strokes song, with a joyful melody, skipping rhythm, and cheerfully snotty lyrics. "Juicebox," meanwhile, moves from a bassline nicked from the Peter Gunn theme to ragged grunge before landing on a soaring, plaintive chorus. Love it or hate it, the song has a boldness and creativity that is in short supply elsewhere on First Impressions of Earth. On the other hand, the similarly experimental "15 Minutes," a shambling mess of a ballad that eventually ignites into a rocker, is so odd that it ends up being more surprising than disappointing. That honor goes to the songs that sound like the band is just tracing over its own work -- and not especially well. Waiting for memorable hooks and lyrics to emerge from "Heart in a Cage," "Electricityscape," and other half-formed songs is a lot more depressing than the occasional failed experiment. Indeed, depression is a big theme on First Impressions of Earth; while jaded and bruised lyrical territory is nothing new for the Strokes, now they sound boring instead of just bored with everything around them. On "Ask Me Anything," an otherwise pretty ballad, Julian Casablancas repeats "I've got nothing to say" so often that the listener has no choice but to believe him. There are a few bright moments: "Ize of the World" and "Razorblade" channel the bite of the band's older work without rehashing it entirely. Still, at just under an hour long First Impressions of Earth is nearly the length of the Strokes' first two albums combined. They used to be impeccable editors, both in the length of their songs and which ones ended up on their albums. Is This It was a debut album so solid, it felt like a greatest-hits comp; hints of reggae, soul, and '80s pop flavored Room on Fire without overwhelming it. Here, the Strokes indulge their every whim, and the results are their weakest album yet. It seems that less really was more with them, and now more is simply too much.
Why would a comeback from one of the most talked-about rock acts of the 2000s arrive just after the holidays, when the music industry is usually still hibernating (or hungover)? Optimistically, they could be taking advantage of holiday money and gift certificates burning holes in the pockets of their fan base. Less charitably, they may be trying to avoid tougher competition later in the year -- or worse, just trying to bury the album altogether. With the Strokes and First Impressions of Earth, it's difficult to tell exactly what the motivation was, but by releasing it so early in 2006, it ends up not being just one of the year's first albums, but one of its first disappointments as well. To be fair, First Impressions starts out strong. "You Only Live Once" is everything a fan could want from a Strokes song, with a joyful melody, skipping rhythm, and cheerfully snotty lyrics. "Juicebox," meanwhile, moves from a bassline nicked from the Peter Gunn theme to ragged grunge before landing on a soaring, plaintive chorus. Love it or hate it, the song has a boldness and creativity that is in short supply elsewhere on First Impressions of Earth. On the other hand, the similarly experimental "15 Minutes," a shambling mess of a ballad that eventually ignites into a rocker, is so odd that it ends up being more surprising than disappointing. That honor goes to the songs that sound like the band is just tracing over its own work -- and not especially well. Waiting for memorable hooks and lyrics to emerge from "Heart in a Cage," "Electricityscape," and other half-formed songs is a lot more depressing than the occasional failed experiment. Indeed, depression is a big theme on First Impressions of Earth; while jaded and bruised lyrical territory is nothing new for the Strokes, now they sound boring instead of just bored with everything around them. On "Ask Me Anything," an otherwise pretty ballad, Julian Casablancas repeats "I've got nothing to say" so often that the listener has no choice but to believe him. There are a few bright moments: "Ize of the World" and "Razorblade" channel the bite of the band's older work without rehashing it entirely. Still, at just under an hour long First Impressions of Earth is nearly the length of the Strokes' first two albums combined. They used to be impeccable editors, both in the length of their songs and which ones ended up on their albums. Is This It was a debut album so solid, it felt like a greatest-hits comp; hints of reggae, soul, and '80s pop flavored Room on Fire without overwhelming it. Here, the Strokes indulge their every whim, and the results are their weakest album yet. It seems that less really was more with them, and now more is simply too much.
The Strokes
Biography by Heather Phares
Equally inspired by classic tunesmiths like Buddy Holly and John Lennon as well as the attitude and angular riffs of fellow New Yorkers Television and the Velvet Underground, the Strokes were also equally blessed and cursed with an enormous amount of hype -- particularly from the U.K. music press, whose adulation for the group rivaled their fervor for Oasis in the early '90s. Barely in their twenties by the time their debut album, Is This It, arrived in 2001, singer/songwriter Julian Casablancas, guitarists Nick Valensi and Albert Hammond, Jr., bassist Nikolai Fraiture, and drummer Fabrizio Moretti's success wasn't quite of the overnight variety, but it still arrived pretty swiftly.
Casablancas (the son of Elite Model Agency Group kingpin John Casablancas), Moretti (who began playing drums at age five), and Valensi started playing together in 1998 while they attended the Dwight School, a private prep school in Manhattan. Soon thereafter they met Fraiture, who attended the Upper East Side's Lycee Français, and added him to their ranks. Hammond (the son of singer/songwriter Albert Hammond, whose songs include "It Never Rains in Southern California," "When I Need You," and "To All the Girls I've Loved Before") came from Los Angeles to attend film school at NYU and was invited into the band by Casablancas; the two met at L'Institut le Rosey in Switzerland when they were kids.
Casablancas officially christened the quintet the Strokes in 1999, and the group spent most of that year writing and rehearsing material in New York City's Music Building. They made their live debut that fall at the Spiral, and word of mouth about the Strokes' incendiary live show propelled them to gigs at venues like Under the Acme, Lower East Side clubs such as Arlene Grocery, Baby Jupiter, and Luna. The Strokes' December 2000 dates at the Mercury Lounge and the Bowery Ballroom not only gained them a manager (Ryan Gentles, who booked them at those clubs), but also helped Strokes mania reach critical mass in New York. Rough Trade released the group's three-song demo as The Modern Age EP in January 2001, which sparked a bidding war from which RCA emerged as the victors.
Meanwhile, the Strokes' acclaim reached the U.K. and grew to massive proportions over the course of the year. NME quickly became their champions, profiling them several times that spring and summer as the Strokes' live act and singles like Hard to Explain (which debuted at number 16 in the U.K. charts) won them a rabid British following. That spring, the band also completed its first U.S. tour as the opening act for the Doves and proceeded to play dates with Guided by Voices and ...And You Will Know Us by the Trail of Dead in the U.S. and the U.K. The group's popularity continued to snowball in the U.K., with a side-stage slot at the NME Carling Weekender changed to a main-stage performance for fear of people trampling each other to see the band.
In late summer of that year, Rough Trade released Is This It with an album cover featuring a sexy, Helmut Newton-esque photo of a woman's nude behind and hip with a leather-gloved hand resting on it; the U.K. chains Woolworth's and HMV objected to its controversial nature. The U.S. version of Is This It was released in October and featured a few changes from the U.K. edition. The Strokes opted for an abstract pattern on the cover and removed the song "New York City Cops," feeling the song was inappropriate in the wake of the terrorist attacks that struck New York prior to the album's release; the planned B-side, "When It Started," took its place. The group closed out the fall with an extended tour of the U.S., culminating with a Halloween gig at New York's Hammerstein Ballroom.
The remainder of 2001 and 2002 saw the group's profile continue to rise. Is This It and the Strokes were lauded in many ways, ranging from This Isn't It, an EP of instrumental versions of some of the album's songs performed by a mystery band called the Diff'rent Strokes (Pulp's Jarvis Cocker was rumored to be a member) to 2001 NME Carling Awards for Best New Act, Band of the Year, and Album of the Year. The band toured extensively throughout 2002, including a series of dates that summer in New York and Detroit with the White Stripes, summer festivals at Reading and Leeds, and a string of gigs supporting Weezer, some of which were canceled due to a leg injury Casablancas suffered. During these shows, their fall tour, and their dates opening for the Rolling Stones, the Strokes debuted some new songs, including "Meet Me in the Bathroom," "You Talk Way Too Much," and "The Way It Is."
By March 2003, the band was ready to start recording its new album, but instead of working with Is This It producer Gordon Raphael as previously reported, the Strokes began recording with Nigel Godrich of Radiohead and Beck fame. That May, however, the Strokes' sessions with Godrich came to an end, and they returned to Raphael to finish the album, Room on Fire. The single 12:51 introduced the more meticulous, new wave-inspired sound of Room on Fire, which arrived in fall 2003. Just before the album's release, the Strokes hit the road once again, taking Kings of Leon with them. Early in 2006, they returned with the even poppier and more polished First Impressions of Earth.
Equally inspired by classic tunesmiths like Buddy Holly and John Lennon as well as the attitude and angular riffs of fellow New Yorkers Television and the Velvet Underground, the Strokes were also equally blessed and cursed with an enormous amount of hype -- particularly from the U.K. music press, whose adulation for the group rivaled their fervor for Oasis in the early '90s. Barely in their twenties by the time their debut album, Is This It, arrived in 2001, singer/songwriter Julian Casablancas, guitarists Nick Valensi and Albert Hammond, Jr., bassist Nikolai Fraiture, and drummer Fabrizio Moretti's success wasn't quite of the overnight variety, but it still arrived pretty swiftly.
Casablancas (the son of Elite Model Agency Group kingpin John Casablancas), Moretti (who began playing drums at age five), and Valensi started playing together in 1998 while they attended the Dwight School, a private prep school in Manhattan. Soon thereafter they met Fraiture, who attended the Upper East Side's Lycee Français, and added him to their ranks. Hammond (the son of singer/songwriter Albert Hammond, whose songs include "It Never Rains in Southern California," "When I Need You," and "To All the Girls I've Loved Before") came from Los Angeles to attend film school at NYU and was invited into the band by Casablancas; the two met at L'Institut le Rosey in Switzerland when they were kids.
Casablancas officially christened the quintet the Strokes in 1999, and the group spent most of that year writing and rehearsing material in New York City's Music Building. They made their live debut that fall at the Spiral, and word of mouth about the Strokes' incendiary live show propelled them to gigs at venues like Under the Acme, Lower East Side clubs such as Arlene Grocery, Baby Jupiter, and Luna. The Strokes' December 2000 dates at the Mercury Lounge and the Bowery Ballroom not only gained them a manager (Ryan Gentles, who booked them at those clubs), but also helped Strokes mania reach critical mass in New York. Rough Trade released the group's three-song demo as The Modern Age EP in January 2001, which sparked a bidding war from which RCA emerged as the victors.
Meanwhile, the Strokes' acclaim reached the U.K. and grew to massive proportions over the course of the year. NME quickly became their champions, profiling them several times that spring and summer as the Strokes' live act and singles like Hard to Explain (which debuted at number 16 in the U.K. charts) won them a rabid British following. That spring, the band also completed its first U.S. tour as the opening act for the Doves and proceeded to play dates with Guided by Voices and ...And You Will Know Us by the Trail of Dead in the U.S. and the U.K. The group's popularity continued to snowball in the U.K., with a side-stage slot at the NME Carling Weekender changed to a main-stage performance for fear of people trampling each other to see the band.
In late summer of that year, Rough Trade released Is This It with an album cover featuring a sexy, Helmut Newton-esque photo of a woman's nude behind and hip with a leather-gloved hand resting on it; the U.K. chains Woolworth's and HMV objected to its controversial nature. The U.S. version of Is This It was released in October and featured a few changes from the U.K. edition. The Strokes opted for an abstract pattern on the cover and removed the song "New York City Cops," feeling the song was inappropriate in the wake of the terrorist attacks that struck New York prior to the album's release; the planned B-side, "When It Started," took its place. The group closed out the fall with an extended tour of the U.S., culminating with a Halloween gig at New York's Hammerstein Ballroom.
The remainder of 2001 and 2002 saw the group's profile continue to rise. Is This It and the Strokes were lauded in many ways, ranging from This Isn't It, an EP of instrumental versions of some of the album's songs performed by a mystery band called the Diff'rent Strokes (Pulp's Jarvis Cocker was rumored to be a member) to 2001 NME Carling Awards for Best New Act, Band of the Year, and Album of the Year. The band toured extensively throughout 2002, including a series of dates that summer in New York and Detroit with the White Stripes, summer festivals at Reading and Leeds, and a string of gigs supporting Weezer, some of which were canceled due to a leg injury Casablancas suffered. During these shows, their fall tour, and their dates opening for the Rolling Stones, the Strokes debuted some new songs, including "Meet Me in the Bathroom," "You Talk Way Too Much," and "The Way It Is."
By March 2003, the band was ready to start recording its new album, but instead of working with Is This It producer Gordon Raphael as previously reported, the Strokes began recording with Nigel Godrich of Radiohead and Beck fame. That May, however, the Strokes' sessions with Godrich came to an end, and they returned to Raphael to finish the album, Room on Fire. The single 12:51 introduced the more meticulous, new wave-inspired sound of Room on Fire, which arrived in fall 2003. Just before the album's release, the Strokes hit the road once again, taking Kings of Leon with them. Early in 2006, they returned with the even poppier and more polished First Impressions of Earth.
Mazzy Star and Hope Sandoval
Biography by Richie Unterberger
If psychedelic music had a voice in '90s post-punk, Mazzy Star may have been its strongest reincarnation. That doesn't necessarily mean that fans of the Jefferson Airplane and the Grateful Dead will find the band to their liking, however. Mazzy Star much prefered the dark side of psychedelia, as exemplified by the most distended tracks of the Doors and the Velvet Underground. Their fuzzy guitar workouts and plaintive folky compositions are often suffused in a dissociative ennui that is very much of the 1990s, however much their textures may recall the drug-induced states of vintage psychedelia.
Although Mazzy Star was nominally a full band, they were basically the core duo of guitarist David Roback and singer Hope Sandoval with backing musicians. Roback boasts a long history in the paisley underground, with the Rain Parade and Opal. He came across Sandoval after hearing a tape she had made as part of a folky duo, Going Home. (The Going Home album that Roback subsequently produced remains unissued.) Sandoval ended up replacing Kendra Smith on Opal's final tours. After Opal dissolved, Roback and Sandoval continued to work together as Mazzy Star, and released their first album for Rough Trade, She Hangs Brightly, in 1990.
Rough Trade's U.S. branch went under shortly afterwards, but luckily Mazzy Star were picked up by Capitol, who kept the debut in print and issued their follow-up, 1993's So Tonight That I Might See. There isn't much to differentiate the two albums, though that's not necessarily a criticism. Both share similar strengths and weaknesses: appealingly dreamy and atmospheric arrangements, rambling distorted guitar workouts, and lyrics that mix the haunting and the meaninglessly vague. Tonight That I Might See had been around for about a year before it suddenly got hot, reaching the Top 40, and spinning off a small hit single, "Fade Into You." Even in the wake of this surprise success, Roback and Sandoval remained as enigmatic and aloof as their music, rarely submitting to interviews, and offering mysterious, unhelpful replies when journalists did manage to talk with them.
Biography by Stacia Proefrock
After the breakup of Mazzy Star, vocalist Hope Sandoval joined with Colm O'Ciosoig (formerly of My Bloody Valentine) to form Hope Sandoval & the Warm Inventions. The project retained the laid-back, slowcore sound of Mazzy Star, and much like Mazzy Star, featured Sandoval's sensuous, hypnotic voice. However, it replaced the psychedelic leanings that Mazzy Star was known for with spare, subtle arrangements that reinforced Sandoval's gentle vocal style. In 2000, Sandoval issued her first EP with the Warm Inventions, At the Doorway Again, and followed it up with her debut full-length, Bavarian Fruit Bread, a year later.
If psychedelic music had a voice in '90s post-punk, Mazzy Star may have been its strongest reincarnation. That doesn't necessarily mean that fans of the Jefferson Airplane and the Grateful Dead will find the band to their liking, however. Mazzy Star much prefered the dark side of psychedelia, as exemplified by the most distended tracks of the Doors and the Velvet Underground. Their fuzzy guitar workouts and plaintive folky compositions are often suffused in a dissociative ennui that is very much of the 1990s, however much their textures may recall the drug-induced states of vintage psychedelia.
Although Mazzy Star was nominally a full band, they were basically the core duo of guitarist David Roback and singer Hope Sandoval with backing musicians. Roback boasts a long history in the paisley underground, with the Rain Parade and Opal. He came across Sandoval after hearing a tape she had made as part of a folky duo, Going Home. (The Going Home album that Roback subsequently produced remains unissued.) Sandoval ended up replacing Kendra Smith on Opal's final tours. After Opal dissolved, Roback and Sandoval continued to work together as Mazzy Star, and released their first album for Rough Trade, She Hangs Brightly, in 1990.
Rough Trade's U.S. branch went under shortly afterwards, but luckily Mazzy Star were picked up by Capitol, who kept the debut in print and issued their follow-up, 1993's So Tonight That I Might See. There isn't much to differentiate the two albums, though that's not necessarily a criticism. Both share similar strengths and weaknesses: appealingly dreamy and atmospheric arrangements, rambling distorted guitar workouts, and lyrics that mix the haunting and the meaninglessly vague. Tonight That I Might See had been around for about a year before it suddenly got hot, reaching the Top 40, and spinning off a small hit single, "Fade Into You." Even in the wake of this surprise success, Roback and Sandoval remained as enigmatic and aloof as their music, rarely submitting to interviews, and offering mysterious, unhelpful replies when journalists did manage to talk with them.
Biography by Stacia Proefrock
After the breakup of Mazzy Star, vocalist Hope Sandoval joined with Colm O'Ciosoig (formerly of My Bloody Valentine) to form Hope Sandoval & the Warm Inventions. The project retained the laid-back, slowcore sound of Mazzy Star, and much like Mazzy Star, featured Sandoval's sensuous, hypnotic voice. However, it replaced the psychedelic leanings that Mazzy Star was known for with spare, subtle arrangements that reinforced Sandoval's gentle vocal style. In 2000, Sandoval issued her first EP with the Warm Inventions, At the Doorway Again, and followed it up with her debut full-length, Bavarian Fruit Bread, a year later.
Tanya Donelly
Biography by Jason Ankeny
A founding member of three of the most successful bands of the post-punk era, singer/songwriter Tanya Donelly was born July 14, 1966, in Newport, RI. At the age of 16, she and stepsister Kristin Hersh formed Throwing Muses, which in 1985 became the first American band ever signed to the influential British label 4AD; not only did the Muses' dreamy, swirling guitar sound prove highly influential on many of the alternative acts to emerge in their wake, but they also made any number of unprecedented advances into the male-dominated world of underground rock. The group was primarily Hersh's project, however, and in 1989 Donelly sidelined with Pixies bassist Kim Deal in the Breeders, appearing on their debut LP, Pod. While originally designed as a forum for both Donelly and Deal, the latter soon assumed control of the group, and by 1991 Donelly had exited both the Breeders and Throwing Muses to form her own band, Belly. After issuing a pair of well-received EPs, Belly released their 1993 full-length debut, Star -- a superb collection of luminous, fairy tale-like guitar pop songs -- and for the first time in her career, Donelly earned commercial success commensurate to her usual critical accolades; not only did the record go gold on the strength of the hit single "Feed the Tree," but the band even garnered a Grammy nomination for Best New Artist. However, when 1995's King failed to live up to high expectations, Donelly disbanded Belly to pursue a career as a solo artist; Lovesongs for Underdogs, her debut LP, appeared in 1997. After a tour in support of the album, she and husband Dean Fisher took a break and traveled to Central America. Two years later, she and Fisher welcomed a daughter whom they named Gracie. Motherhood was now Donelly's focus, but she still found time for music. In between raising a child and weekend trips to the studio, she issued the Storm EP in 2002. A month later, her long-awaited sophomore effort, Beautysleep, was released. Whiskey Tango Ghosts followed in 2004. For her fourth album, Donelly and a host of musicians gathered at an old hotel in Bellows Falls, VT, to record This Hungry Life before a small club audience. The ten-song set arrived on Eleven Thirty Records in October 2006.
A founding member of three of the most successful bands of the post-punk era, singer/songwriter Tanya Donelly was born July 14, 1966, in Newport, RI. At the age of 16, she and stepsister Kristin Hersh formed Throwing Muses, which in 1985 became the first American band ever signed to the influential British label 4AD; not only did the Muses' dreamy, swirling guitar sound prove highly influential on many of the alternative acts to emerge in their wake, but they also made any number of unprecedented advances into the male-dominated world of underground rock. The group was primarily Hersh's project, however, and in 1989 Donelly sidelined with Pixies bassist Kim Deal in the Breeders, appearing on their debut LP, Pod. While originally designed as a forum for both Donelly and Deal, the latter soon assumed control of the group, and by 1991 Donelly had exited both the Breeders and Throwing Muses to form her own band, Belly. After issuing a pair of well-received EPs, Belly released their 1993 full-length debut, Star -- a superb collection of luminous, fairy tale-like guitar pop songs -- and for the first time in her career, Donelly earned commercial success commensurate to her usual critical accolades; not only did the record go gold on the strength of the hit single "Feed the Tree," but the band even garnered a Grammy nomination for Best New Artist. However, when 1995's King failed to live up to high expectations, Donelly disbanded Belly to pursue a career as a solo artist; Lovesongs for Underdogs, her debut LP, appeared in 1997. After a tour in support of the album, she and husband Dean Fisher took a break and traveled to Central America. Two years later, she and Fisher welcomed a daughter whom they named Gracie. Motherhood was now Donelly's focus, but she still found time for music. In between raising a child and weekend trips to the studio, she issued the Storm EP in 2002. A month later, her long-awaited sophomore effort, Beautysleep, was released. Whiskey Tango Ghosts followed in 2004. For her fourth album, Donelly and a host of musicians gathered at an old hotel in Bellows Falls, VT, to record This Hungry Life before a small club audience. The ten-song set arrived on Eleven Thirty Records in October 2006.
King (Belly)
Review by Stephen Thomas Erlewine
By developing a flair for tight, melodic hooks on Star, Tanya Donelly unexpectedly achieved the crossover success with Belly that eluded her with the Throwing Muses and the Breeders. Evidently inspired by such success and eager to prove that Belly was a full-fledged band, not just a solo project, Donelly and company made a bid for stardom with their second album, King. Veteran producer Glyn Johns gives the band an appealingly punchy sheen, and with the assistance of Tom Gorman and new bassist Gail Greenwood, Donelly cuts away her remaining arty preciousness, concentrating solely on big pop songs. While some fans will miss the occasional detour into spacy dream pop, Belly's makeover is quite convincing, and the cloaked stardom of "Super-Connected," the quirky hooks of "Now They'll Sleep," and the epic ballad "Judas My Heart" are neglected gems of post-alternative modern rock. Ironically, such shiny hooks didn't make Belly stars -- it lost them their original fan base, and by the time the record was released in 1995, modern rock radio was concentrating solely on harder guitar rock, so King was overlooked and the band broke up shortly afterward. The album and the group deserved a better fate.
By developing a flair for tight, melodic hooks on Star, Tanya Donelly unexpectedly achieved the crossover success with Belly that eluded her with the Throwing Muses and the Breeders. Evidently inspired by such success and eager to prove that Belly was a full-fledged band, not just a solo project, Donelly and company made a bid for stardom with their second album, King. Veteran producer Glyn Johns gives the band an appealingly punchy sheen, and with the assistance of Tom Gorman and new bassist Gail Greenwood, Donelly cuts away her remaining arty preciousness, concentrating solely on big pop songs. While some fans will miss the occasional detour into spacy dream pop, Belly's makeover is quite convincing, and the cloaked stardom of "Super-Connected," the quirky hooks of "Now They'll Sleep," and the epic ballad "Judas My Heart" are neglected gems of post-alternative modern rock. Ironically, such shiny hooks didn't make Belly stars -- it lost them their original fan base, and by the time the record was released in 1995, modern rock radio was concentrating solely on harder guitar rock, so King was overlooked and the band broke up shortly afterward. The album and the group deserved a better fate.
Kristin Hersh
Biography by Stephen Thomas Erlewine
After the release of Throwing Muses' fifth album, Red Heaven, Kristin Hersh, the band's lead singer/songwriter, took a break from the group and issued her first solo album, the acoustic Hips and Makers, in early 1994. Thanks to the airplay the single "Your Ghost" -- a duet with R.E.M.'s Michael Stipe -- received, the album sold more copies than any of the Muses' releases. Later that year, Hersh also released the Strings EP, which featured versions of selected songs from the album recorded with a string quartet, and did a solo tour. Despite her success as a solo artist, she kept the Muses going as well, releasing their next record, University, in February 1995. Throwing Muses and Hersh as a solo artist moved from Sire to Rykodisc, forming the boutique label Throwing Music in 1996; the label's first release was the final Muses album, Limbo, which appeared that summer. Before the Muses hit the road in support of Limbo, Hersh began work on her second solo album, wrapping it up in early 1997. At the completion of the Limbo tour, Hersh disbanded Throwing Muses, claiming that it was no longer economically feasible to continue with the band. The acoustic-based Strange Angels, her first post-Muses album, was released by Rykodisc in February 1998. That year, she also released Murder, Misery and Then Goodnight, a collection of lullabies and Appalachian folk songs, as a Throwing Music exclusive. In 1999, Hersh and Throwing Music returned to her original label, 4AD, for Sky Motel, 2001's Sunny Border Blue, and 2003's The Grotto. Hersh also established the Works in Progress series, a subscription service of exclusive rarities, through Throwing Music's website, www.throwingmusic.com.Hersh also released another Throwing Muses album in 2003, then collaborated with Muses bassist Bernard Georges in 50 Foot Wave, a more rock-oriented expression of her sound, for 2004's self-titled EP, 2005's Golden Ocean, and 2006's digitally released Free Music EP. In 2007, Hersh released another solo album, the intense Learn to Sing Like a Star.
After the release of Throwing Muses' fifth album, Red Heaven, Kristin Hersh, the band's lead singer/songwriter, took a break from the group and issued her first solo album, the acoustic Hips and Makers, in early 1994. Thanks to the airplay the single "Your Ghost" -- a duet with R.E.M.'s Michael Stipe -- received, the album sold more copies than any of the Muses' releases. Later that year, Hersh also released the Strings EP, which featured versions of selected songs from the album recorded with a string quartet, and did a solo tour. Despite her success as a solo artist, she kept the Muses going as well, releasing their next record, University, in February 1995. Throwing Muses and Hersh as a solo artist moved from Sire to Rykodisc, forming the boutique label Throwing Music in 1996; the label's first release was the final Muses album, Limbo, which appeared that summer. Before the Muses hit the road in support of Limbo, Hersh began work on her second solo album, wrapping it up in early 1997. At the completion of the Limbo tour, Hersh disbanded Throwing Muses, claiming that it was no longer economically feasible to continue with the band. The acoustic-based Strange Angels, her first post-Muses album, was released by Rykodisc in February 1998. That year, she also released Murder, Misery and Then Goodnight, a collection of lullabies and Appalachian folk songs, as a Throwing Music exclusive. In 1999, Hersh and Throwing Music returned to her original label, 4AD, for Sky Motel, 2001's Sunny Border Blue, and 2003's The Grotto. Hersh also established the Works in Progress series, a subscription service of exclusive rarities, through Throwing Music's website, www.throwingmusic.com.Hersh also released another Throwing Muses album in 2003, then collaborated with Muses bassist Bernard Georges in 50 Foot Wave, a more rock-oriented expression of her sound, for 2004's self-titled EP, 2005's Golden Ocean, and 2006's digitally released Free Music EP. In 2007, Hersh released another solo album, the intense Learn to Sing Like a Star.
6.14.2007
蠢老美 想把敵人炸成同性戀
似乎不是第一次聽說...
****************
更新日期:2007/06/14 11:10 記者:編譯王麗娟／綜合報導
英國「衛報」十三日報導，美國空軍確曾在一九九四年提出以「同性戀炸彈」讓敵人潰不成軍的研究計畫。根據構想，這種炸彈會釋出氣體春藥，讓敵人聞了春心大發，變得「只想做愛不想作戰」。
德州奧斯丁生物武器觀察組織「陽光計畫」取得的文件證實，美軍確實曾研究過上述構想的可行性。二○○○年美國軍方將此構想製成一張光碟，並在二○○二年將它提交給「國家科學院」。文件顯示，研發這項武器需要經費七百五十萬美元（合台幣兩億四千八百萬元）。
「陽光計畫」根據資訊自由法取得名為「騷擾、困擾與壞人辨識化學物質」的文件。文件作者向軍方提出在敵陣散播化學物質作戰的多項建議。俄亥俄州達頓市的美國空軍「萊特實驗室」提出建議說：「這個建議可能引起反感，但它是不會致命的作戰方法。軍方可使用能產生強烈情慾的化學物質，而且以能引起同性戀行為者為佳。」
國防部不否認有人提出此議，但表示國防部致力於尋找、研發能支援部隊的任何非致命武器。
加州大學麥可‧帕姆中心的主任貝爾金認為，以催情噴霧改變敵人性行為的構想十分荒唐。
****************
更新日期:2007/06/14 11:10 記者:編譯王麗娟／綜合報導
英國「衛報」十三日報導，美國空軍確曾在一九九四年提出以「同性戀炸彈」讓敵人潰不成軍的研究計畫。根據構想，這種炸彈會釋出氣體春藥，讓敵人聞了春心大發，變得「只想做愛不想作戰」。
德州奧斯丁生物武器觀察組織「陽光計畫」取得的文件證實，美軍確實曾研究過上述構想的可行性。二○○○年美國軍方將此構想製成一張光碟，並在二○○二年將它提交給「國家科學院」。文件顯示，研發這項武器需要經費七百五十萬美元（合台幣兩億四千八百萬元）。
「陽光計畫」根據資訊自由法取得名為「騷擾、困擾與壞人辨識化學物質」的文件。文件作者向軍方提出在敵陣散播化學物質作戰的多項建議。俄亥俄州達頓市的美國空軍「萊特實驗室」提出建議說：「這個建議可能引起反感，但它是不會致命的作戰方法。軍方可使用能產生強烈情慾的化學物質，而且以能引起同性戀行為者為佳。」
國防部不否認有人提出此議，但表示國防部致力於尋找、研發能支援部隊的任何非致命武器。
加州大學麥可‧帕姆中心的主任貝爾金認為，以催情噴霧改變敵人性行為的構想十分荒唐。
The Same as a Flower
Review by Tim Sendra
Nagisa Ni Te's fifth album, The Same As a Flower, is their most assured and melodically interesting record yet. The Japanese indie pop/free folk duo have never been about songs as much as about sounds and fragile emotions. This album is not that different. There are scant hooks or singalong choruses to be found (with one exception to be discussed later). In their place are meandering, lazy meditations that drift and eddy like lazy mountain streams. Much like their previous record, Feel, the subtle use of a wide range of instrumentation gives the songs a feeling of a late-night casual musical get-together. That impression is illusory, however, because Masako Takeda and Shinji Shibayama have strict control over the sound and their very precise playing and arranging are stronger than ever. The usual excellent folky ballads like the delicate and exquisite "A Light" and the loping "The Same As a Flower" predominate, but there are a couple of surprises, such as the epic ballad "Bramble." Sung tenderly by Shibayama and Takeda, the track spreads languorously over 11 and a half minutes, culminating in a spiraling guitar solo and great washes of Mellotron strings and brass. They have never sounded so compelling before. The group also makes a tentative step toward pop songcraft with "After a Song," which features an actual straight 4/4 drumbeat, fully strummed guitars, a dual slide guitar lead break, and a sweetly sung, very poppy chorus. The shock after almost 40 minutes of pastoral drift is a very pleasant one. If they wanted, the band could head in this direction and make a very good straight indie pop record. As it is, they have made an inventive, daring, and warmly satisfying record that should please anyone who already dug them and should win them some new fans as well.
Nagisa Ni Te's fifth album, The Same As a Flower, is their most assured and melodically interesting record yet. The Japanese indie pop/free folk duo have never been about songs as much as about sounds and fragile emotions. This album is not that different. There are scant hooks or singalong choruses to be found (with one exception to be discussed later). In their place are meandering, lazy meditations that drift and eddy like lazy mountain streams. Much like their previous record, Feel, the subtle use of a wide range of instrumentation gives the songs a feeling of a late-night casual musical get-together. That impression is illusory, however, because Masako Takeda and Shinji Shibayama have strict control over the sound and their very precise playing and arranging are stronger than ever. The usual excellent folky ballads like the delicate and exquisite "A Light" and the loping "The Same As a Flower" predominate, but there are a couple of surprises, such as the epic ballad "Bramble." Sung tenderly by Shibayama and Takeda, the track spreads languorously over 11 and a half minutes, culminating in a spiraling guitar solo and great washes of Mellotron strings and brass. They have never sounded so compelling before. The group also makes a tentative step toward pop songcraft with "After a Song," which features an actual straight 4/4 drumbeat, fully strummed guitars, a dual slide guitar lead break, and a sweetly sung, very poppy chorus. The shock after almost 40 minutes of pastoral drift is a very pleasant one. If they wanted, the band could head in this direction and make a very good straight indie pop record. As it is, they have made an inventive, daring, and warmly satisfying record that should please anyone who already dug them and should win them some new fans as well.
6.12.2007
Alamo Race Track
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Alamo Race Track
Background information
Origin Amsterdam, Netherlands
Genre(s) Alternative rock
Years active 2001- present
Label(s) Excelsior Recordings
Website Official website
Members
David Corel
Guy Bours
Len Lucieer
Ralph Mulder
Alamo Race Track is a rock band from Amsterdam. They have released two full-length albums. Their last album, Black Cat John Brown, was released on October 28, 2006. The title track of the album became a successful video on the popular site YouTube (view video).
[edit] History
[edit] Early days (2001-2002)
When in 2001 the band Redivider loses keyboard player Diederik Nomden the remaining members decide to carry on. As they feel that Nomden’s departure affected the band’s sound they take on a new band name, Alamo Race Track. Under this name, David Corel, Guy Bours, Len Lucieer and Ralph Mulder start to record new demo tracks.
After supporting Daryll-Ann on a tour in early 2002, Excelsior Recordings signs the band. The following year the band plays numerous high profile shows, resulting in raving reviews from various Dutch magazines (amongst others 3voor12 and OOR).
[edit] Birds At Home (2003-2005)
After completing several side by side projects, playing with Daryll-Ann and Bram Vermeulen, the four members reconvene in early 2003. Together with producer Frans Hagenaars the band records the tracks for their debut album, Birds At Home. Sessions take place in Hagenaars’ studio Sound Enterprise in Weesp. By June the album is completed.
Birds At Home is released in the Netherlands on September 1, 2003. The album becomes a moderate success in the Dutch pop music charts.
2003 is also a year with a lot of concerts. The band plays a number of prestigious festivals in the Netherlands such as Noorderslag, The Music in My Head and Lowlands. In addition to this Alamo Race Track visits Great Britain, playing at The City in Manchester and during the MusicWork showcase in Glasgow.
While playing at the South by South West festival in Austin, Texas the band is spotted by a representative of Fargo records. This meeting leads to a licensing deal for the French territory. Consecutively Birds At Home is released in France in early 2005. Following this the band tours France in June. Almost all shows on this tour are sold out. At this point the band's popularity in France exceeds that of their home country the Netherlands.
[edit] Black Cat John Brown (2006-present)
In mid-2006 recordings for Black Cat John Brown start. Just as with the first album the band records in the ‘‘SSE Studios with Hagenaars producing. Meanwhile a dressing room performance of the song Black Cat John Brown finds its way to popular video website YouTube. Within two weeks the song is viewed by more than 170.000 people. This success translates in widespread media exposure in the Netherlands with items in the national news broadcast (NOS) and De Wereld Draait Door .
When the album is released in October it is received well amongst press and record buying audience. There is a string of very positive reviews and the initial sales numbers are promising. Consecutively Black Cat John Brown reaches the number one spot in the Scherpe Rand Van Platenland, an important alternative music chart in the Netherlands.
In December the band tours as part of the Fine Fine Music tour. Together with labelmates Ghost Trucker, Spinvis, Do-The-Undo and El Pino & the Volunteers the band visits numerous venues in the Netherlands.
The band opens 2007 with a show at the Noorderslag festival in Groningen. In early January the band also records a video for the song Northern Territory (video).
After the Noorderslag show on January 13th the rest of January and February are dedicated to touring abroad. Alamo Race Track plays at the De Nachten festival in Antwerp and follows this up with a three week streak of shows in France. This tour is a great success as almost all venues are sold out. In addition to this the band makes several performances in the French media.
Jump to: navigation, search
Alamo Race Track
Background information
Origin Amsterdam, Netherlands
Genre(s) Alternative rock
Years active 2001- present
Label(s) Excelsior Recordings
Website Official website
Members
David Corel
Guy Bours
Len Lucieer
Ralph Mulder
Alamo Race Track is a rock band from Amsterdam. They have released two full-length albums. Their last album, Black Cat John Brown, was released on October 28, 2006. The title track of the album became a successful video on the popular site YouTube (view video).
[edit] History
[edit] Early days (2001-2002)
When in 2001 the band Redivider loses keyboard player Diederik Nomden the remaining members decide to carry on. As they feel that Nomden’s departure affected the band’s sound they take on a new band name, Alamo Race Track. Under this name, David Corel, Guy Bours, Len Lucieer and Ralph Mulder start to record new demo tracks.
After supporting Daryll-Ann on a tour in early 2002, Excelsior Recordings signs the band. The following year the band plays numerous high profile shows, resulting in raving reviews from various Dutch magazines (amongst others 3voor12 and OOR).
[edit] Birds At Home (2003-2005)
After completing several side by side projects, playing with Daryll-Ann and Bram Vermeulen, the four members reconvene in early 2003. Together with producer Frans Hagenaars the band records the tracks for their debut album, Birds At Home. Sessions take place in Hagenaars’ studio Sound Enterprise in Weesp. By June the album is completed.
Birds At Home is released in the Netherlands on September 1, 2003. The album becomes a moderate success in the Dutch pop music charts.
2003 is also a year with a lot of concerts. The band plays a number of prestigious festivals in the Netherlands such as Noorderslag, The Music in My Head and Lowlands. In addition to this Alamo Race Track visits Great Britain, playing at The City in Manchester and during the MusicWork showcase in Glasgow.
While playing at the South by South West festival in Austin, Texas the band is spotted by a representative of Fargo records. This meeting leads to a licensing deal for the French territory. Consecutively Birds At Home is released in France in early 2005. Following this the band tours France in June. Almost all shows on this tour are sold out. At this point the band's popularity in France exceeds that of their home country the Netherlands.
[edit] Black Cat John Brown (2006-present)
In mid-2006 recordings for Black Cat John Brown start. Just as with the first album the band records in the ‘‘SSE Studios with Hagenaars producing. Meanwhile a dressing room performance of the song Black Cat John Brown finds its way to popular video website YouTube. Within two weeks the song is viewed by more than 170.000 people. This success translates in widespread media exposure in the Netherlands with items in the national news broadcast (NOS) and De Wereld Draait Door .
When the album is released in October it is received well amongst press and record buying audience. There is a string of very positive reviews and the initial sales numbers are promising. Consecutively Black Cat John Brown reaches the number one spot in the Scherpe Rand Van Platenland, an important alternative music chart in the Netherlands.
In December the band tours as part of the Fine Fine Music tour. Together with labelmates Ghost Trucker, Spinvis, Do-The-Undo and El Pino & the Volunteers the band visits numerous venues in the Netherlands.
The band opens 2007 with a show at the Noorderslag festival in Groningen. In early January the band also records a video for the song Northern Territory (video).
After the Noorderslag show on January 13th the rest of January and February are dedicated to touring abroad. Alamo Race Track plays at the De Nachten festival in Antwerp and follows this up with a three week streak of shows in France. This tour is a great success as almost all venues are sold out. In addition to this the band makes several performances in the French media.
The Veils
Biography by MacKenzie Wilson
As the son of keyboardist Barry Andrews (XTC, Shriekback), the Veils' Finn Andrews knew nothing else except a world full of music and art. He had plans to become a painter as a young lad; however, a move to his grandmother's abode in Devonport, New Zealand (near Auckland) with his mother pointed Andrews in a different direction during his teenage years. He frequented the local folk scene to escape the ho-hum of country living. Once consumed with his father's electronic work from the 1980s, Andrews was now interested in Patti Smith, Bob Dylan, and Tom Waits.
In 2001, Andrews (vocals/guitar), then 18, returned to London. He befriended Ben Woollacott (drums), Adam Kinsella (bass), and Oliver Drake (guitar), and in a few months time the Veils were born. By fall, Rough Trade's Geoff Travis signed the foursome to the Blanco y Negro imprint, and immediately the Veils began working on their first album. They issued the single "Guiding Light" in 2002; however, contractual disparities and artistic differences with Blanco y Negro turned into a two-year battle until Travis signed the Veils to Rough Trade proper in mid-2003. Luckily, the Veils were able to keep songs recorded during that time. A second single, the lovelorn "Lavinia," was well received at indie rock radio in the U.K.. Shared dates with the Raveonettes, Beth Orton, and British Sea Power preceded the spring 2004 release of the Veils' debut, The Runaway Found.
The album had only been out two months when Andrews announced the departure of Woollacott, Kinsella, and Drake. In late June 2004, Andrews explained via the Veils' website (www.theveils.com) that a second album was already in the works, but that the original members would not be involved. Instead, he had returned to New Zealand, where he met up with former high-school classmates Sophia Burn (bass) and Liam Gerard (piano, organ), who then went back with him to London to begin Nux Vomica, the Veils' sophomore release, an album that then came out in the winter of 2006 (and the spring of 2007 in the U.S.). For the accompanying tour Andrews added drummer Henning Dietz and guitarist Dan Raishbrook to the band.
As the son of keyboardist Barry Andrews (XTC, Shriekback), the Veils' Finn Andrews knew nothing else except a world full of music and art. He had plans to become a painter as a young lad; however, a move to his grandmother's abode in Devonport, New Zealand (near Auckland) with his mother pointed Andrews in a different direction during his teenage years. He frequented the local folk scene to escape the ho-hum of country living. Once consumed with his father's electronic work from the 1980s, Andrews was now interested in Patti Smith, Bob Dylan, and Tom Waits.
In 2001, Andrews (vocals/guitar), then 18, returned to London. He befriended Ben Woollacott (drums), Adam Kinsella (bass), and Oliver Drake (guitar), and in a few months time the Veils were born. By fall, Rough Trade's Geoff Travis signed the foursome to the Blanco y Negro imprint, and immediately the Veils began working on their first album. They issued the single "Guiding Light" in 2002; however, contractual disparities and artistic differences with Blanco y Negro turned into a two-year battle until Travis signed the Veils to Rough Trade proper in mid-2003. Luckily, the Veils were able to keep songs recorded during that time. A second single, the lovelorn "Lavinia," was well received at indie rock radio in the U.K.. Shared dates with the Raveonettes, Beth Orton, and British Sea Power preceded the spring 2004 release of the Veils' debut, The Runaway Found.
The album had only been out two months when Andrews announced the departure of Woollacott, Kinsella, and Drake. In late June 2004, Andrews explained via the Veils' website (www.theveils.com) that a second album was already in the works, but that the original members would not be involved. Instead, he had returned to New Zealand, where he met up with former high-school classmates Sophia Burn (bass) and Liam Gerard (piano, organ), who then went back with him to London to begin Nux Vomica, the Veils' sophomore release, an album that then came out in the winter of 2006 (and the spring of 2007 in the U.S.). For the accompanying tour Andrews added drummer Henning Dietz and guitarist Dan Raishbrook to the band.
Maximo Park
Biography by Heather Phares
Newcastle's angular pop quintet Maxïmo Park consists of singer Paul Smith, guitarist Duncan Lloyd, bassist Archie Tiku, keyboardist Lukas Wooller, and drummer Tom English. Like their friends and neighbors the Futureheads, Maxïmo Park craft smart, sharply catchy songs inspired by post-punk and new wave legends like the Jam, XTC, Wire, and the Smiths. Maxïmo Park issued their debut 7", The Coast Is Always Changing/The Night I Lost My Head, in 2004; it caught the ears of Warp Records, which despite being a mostly electronic label signed them and released their second single, "Apply Some Pressure," early in 2005. It made the Top 20 in the U.K.'s national charts. At that time, Warp also released the Apply Some Pressure EP, which featured tracks from both of the band's singles, in the U.S.
Maxïmo Park also finished recording their debut album with producer Paul Epworth (who also worked with Bloc Party and Baby Shambles) that winter and spent the spring touring the U.K., Japan, and the U.S., making an appearance at South by Southwest. The "Graffiti" single heralded the arrival of the band's full-length debut, A Certain Trigger, late that spring. More tours of the U.S. and U.K., including gigs at Glastonbury and Reading, kept the band busy that summer. Early in 2006, the B-sides collection Missing Songs was released; Maxïmo Park also maintained their hectic touring schedule and returned to the studio late that year, teaming with producer Gil Norton. Our Earthly Pleasures arrived in spring 2007.
Newcastle's angular pop quintet Maxïmo Park consists of singer Paul Smith, guitarist Duncan Lloyd, bassist Archie Tiku, keyboardist Lukas Wooller, and drummer Tom English. Like their friends and neighbors the Futureheads, Maxïmo Park craft smart, sharply catchy songs inspired by post-punk and new wave legends like the Jam, XTC, Wire, and the Smiths. Maxïmo Park issued their debut 7", The Coast Is Always Changing/The Night I Lost My Head, in 2004; it caught the ears of Warp Records, which despite being a mostly electronic label signed them and released their second single, "Apply Some Pressure," early in 2005. It made the Top 20 in the U.K.'s national charts. At that time, Warp also released the Apply Some Pressure EP, which featured tracks from both of the band's singles, in the U.S.
Maxïmo Park also finished recording their debut album with producer Paul Epworth (who also worked with Bloc Party and Baby Shambles) that winter and spent the spring touring the U.K., Japan, and the U.S., making an appearance at South by Southwest. The "Graffiti" single heralded the arrival of the band's full-length debut, A Certain Trigger, late that spring. More tours of the U.S. and U.K., including gigs at Glastonbury and Reading, kept the band busy that summer. Early in 2006, the B-sides collection Missing Songs was released; Maxïmo Park also maintained their hectic touring schedule and returned to the studio late that year, teaming with producer Gil Norton. Our Earthly Pleasures arrived in spring 2007.
Men's Needs, Women's Needs, Whatever (Cribs)
Review by Heather Phares
With each album, the Cribs have gotten a little sharper and more focused, and nowhere is this clearer than on the brilliantly named Men's Needs, Women's Needs, Whatever, the band's major-label debut. The Cribs enlisted Franz Ferdinand's Alex Kapranos as producer, and it's a good match: while he doesn't impose too much of Franz's clockwork precision on the band, Kapranos reins in the Cribs' more shambling tendencies just enough to make Men's Needs, Women's Needs, Whatever their most listenable, and diverse, work yet. The album kicks off with a slew of bouncy, angular songs about awkward relationships and killer crushes that sound like state-of-the-art British indie circa the late 2000s -- in particular, "Our Bovine Public"'s ridiculously catchy melody and punchy drums feel like the results of an experiment to fuse together Maxïmo Park, the Futureheads, and Good Shoes in some secret lab. "Girls Like Mystery" and "I'm a Realist" (which states, bluntly, "I'm an indecisive piece of sh*t") follow suit with more witty lyrics, sweet harmonies, and big, rousing choruses. As good as these songs are, they're so much in the template of this kind of British indie that they run the risk of sounding like caricatures. However, as Men's Needs, Women's Needs, Whatever unfolds, the Cribs expand their sound. Interestingly, they distinguish themselves from other likeminded British bands by adding influences from American acts like Weezer and the Strokes. Ryan Jarman often sounds like a British Rivers Cuomo, especially on "Moving Pictures," while jaunty, vulnerable songs about emptiness like "I've Tried Everything" and "My Life Flashed Before My Eyes" would fit right in with the work of Julian Casablancas and company. "Be Safe" boasts a poetic rant by Sonic Youth's Lee Ranaldo and sounds, in the best possible way, like some great lost alt-rock song from 1995. It's easily the best song on the album, which is kind of a shame since the Cribs (probably) can't recruit Ranaldo to be their full-time frontman. Fortunately, the tracks that follow it -- especially "Shoot the Poets," the pretty, slightly twangy acoustic song that closes the album -- show that the Cribs' music can't be typecast quite as easily as earlier songs suggested. The Cribs aren't strikingly original -- yet -- but this album sums up where they've been, and where they could go, nicely.
With each album, the Cribs have gotten a little sharper and more focused, and nowhere is this clearer than on the brilliantly named Men's Needs, Women's Needs, Whatever, the band's major-label debut. The Cribs enlisted Franz Ferdinand's Alex Kapranos as producer, and it's a good match: while he doesn't impose too much of Franz's clockwork precision on the band, Kapranos reins in the Cribs' more shambling tendencies just enough to make Men's Needs, Women's Needs, Whatever their most listenable, and diverse, work yet. The album kicks off with a slew of bouncy, angular songs about awkward relationships and killer crushes that sound like state-of-the-art British indie circa the late 2000s -- in particular, "Our Bovine Public"'s ridiculously catchy melody and punchy drums feel like the results of an experiment to fuse together Maxïmo Park, the Futureheads, and Good Shoes in some secret lab. "Girls Like Mystery" and "I'm a Realist" (which states, bluntly, "I'm an indecisive piece of sh*t") follow suit with more witty lyrics, sweet harmonies, and big, rousing choruses. As good as these songs are, they're so much in the template of this kind of British indie that they run the risk of sounding like caricatures. However, as Men's Needs, Women's Needs, Whatever unfolds, the Cribs expand their sound. Interestingly, they distinguish themselves from other likeminded British bands by adding influences from American acts like Weezer and the Strokes. Ryan Jarman often sounds like a British Rivers Cuomo, especially on "Moving Pictures," while jaunty, vulnerable songs about emptiness like "I've Tried Everything" and "My Life Flashed Before My Eyes" would fit right in with the work of Julian Casablancas and company. "Be Safe" boasts a poetic rant by Sonic Youth's Lee Ranaldo and sounds, in the best possible way, like some great lost alt-rock song from 1995. It's easily the best song on the album, which is kind of a shame since the Cribs (probably) can't recruit Ranaldo to be their full-time frontman. Fortunately, the tracks that follow it -- especially "Shoot the Poets," the pretty, slightly twangy acoustic song that closes the album -- show that the Cribs' music can't be typecast quite as easily as earlier songs suggested. The Cribs aren't strikingly original -- yet -- but this album sums up where they've been, and where they could go, nicely.
The Cribs
(from allmusic.com)
Biography by Heather Phares
Yorkshire, England's the Cribs feature three brothers: vocalists/guitarist Ryan Jarman, bassist/vocalist Gary, and drummer Ross. The trio began playing together at an early age, making their debut at a family party in the late '80s when twins Gary and Ryan were nine years old and Ross was just five. The brothers grew up with similar musical tastes, blending quintessentially British influences like the Beatles, Sex Pistols, and Smiths with American indie rock like Beat Happening and Bobby Conn. Eventually, the Cribs got to play with both Beat Happening's Calvin Johnson and Conn; Conn liked the band so much that he invited them to record with him in his Chicago studio. The Cribs released three singles, Another Number, What About Me, and You Were Always the One, before signing to Wichita Records in late 2003. The band spent 2004 readying their self-titled debut album, which was recorded in London's famed Toerag Studios, touring with the Datsuns and performing at that year's CMJ Festival. Late that year they began working on their second album with Orange Juice's Edwyn Collins as producer. The Cribs was released in the U.S. in early 2005. Later in the year, the band issued their second album, The New Fellas. Men's Needs, Women's Needs, Whatever, which boasted production by Franz Ferdinand's Alex Kapranos, arrived in 2007.
Biography by Heather Phares
Yorkshire, England's the Cribs feature three brothers: vocalists/guitarist Ryan Jarman, bassist/vocalist Gary, and drummer Ross. The trio began playing together at an early age, making their debut at a family party in the late '80s when twins Gary and Ryan were nine years old and Ross was just five. The brothers grew up with similar musical tastes, blending quintessentially British influences like the Beatles, Sex Pistols, and Smiths with American indie rock like Beat Happening and Bobby Conn. Eventually, the Cribs got to play with both Beat Happening's Calvin Johnson and Conn; Conn liked the band so much that he invited them to record with him in his Chicago studio. The Cribs released three singles, Another Number, What About Me, and You Were Always the One, before signing to Wichita Records in late 2003. The band spent 2004 readying their self-titled debut album, which was recorded in London's famed Toerag Studios, touring with the Datsuns and performing at that year's CMJ Festival. Late that year they began working on their second album with Orange Juice's Edwyn Collins as producer. The Cribs was released in the U.S. in early 2005. Later in the year, the band issued their second album, The New Fellas. Men's Needs, Women's Needs, Whatever, which boasted production by Franz Ferdinand's Alex Kapranos, arrived in 2007.
6.10.2007
Sarah Bettens
From Wikipedia, the free encyclopedia
Sarah Bettens at the Utah Pride Festival 2006
Sarah Bettens-Wills (born September 23, 1972, Kapellen) is the former lead singer of the Belgian band K's Choice. She, with her brother Gert Bettens, is the face of the band. She is known for her enigmatic, smoky, raspy, husky voice. The band was popular in Belgium, the Netherlands and France, and had toured in the U.S. with The Verve Pipe, Tonic, Alanis Morissette and the Indigo Girls, as well as on their own. Sarah had maintained a successful solo career as well by providing vocals for music soundtracks, including "Wild Things", "Zus and Zo" and more recently "Leef!".
In 2003 K's Choice decided to split ways for a while, with siblings Gert and Sarah exploring solo projects. Sarah made a mini-album of her own, called Go. Her first full-length solo album, Scream, was released in Europe on March 14, 2005, and in the USA on August 23, 2005. Sarah currently lives in the USA.
Sarah has had a large lesbian fanbase since the beginning of her career with K's Choice, but it wasn't until recently that she came out. She discusses this on FaceCulture.nl, as well as on AfterEllen.com.
One of her - European - singles off "Scream", Come Over Here, has been licensed for the American series L Word for episode 409 of season 4. (Sarah will be playing at the L-Word party at the Dinah Shore Weekend.) The song also appears on the premier Music With a Twist compilation (Sony). Sarah is also working on another solo album with producer Brad Wood (Placebo, Smashing Pumpkins, Sunny Day Real Estate, Ben Lee), planned for release sometime in 2007. Working title of the new CD is "Shine!".
After having played Michigan's Womyn's Music Festival in 2006 solo, she's putting together an all female band for her performance planned in 2007 (the exact date is yet to be announced).
Sarah Bettens at the Utah Pride Festival 2006
Sarah Bettens-Wills (born September 23, 1972, Kapellen) is the former lead singer of the Belgian band K's Choice. She, with her brother Gert Bettens, is the face of the band. She is known for her enigmatic, smoky, raspy, husky voice. The band was popular in Belgium, the Netherlands and France, and had toured in the U.S. with The Verve Pipe, Tonic, Alanis Morissette and the Indigo Girls, as well as on their own. Sarah had maintained a successful solo career as well by providing vocals for music soundtracks, including "Wild Things", "Zus and Zo" and more recently "Leef!".
In 2003 K's Choice decided to split ways for a while, with siblings Gert and Sarah exploring solo projects. Sarah made a mini-album of her own, called Go. Her first full-length solo album, Scream, was released in Europe on March 14, 2005, and in the USA on August 23, 2005. Sarah currently lives in the USA.
Sarah has had a large lesbian fanbase since the beginning of her career with K's Choice, but it wasn't until recently that she came out. She discusses this on FaceCulture.nl, as well as on AfterEllen.com.
One of her - European - singles off "Scream", Come Over Here, has been licensed for the American series L Word for episode 409 of season 4. (Sarah will be playing at the L-Word party at the Dinah Shore Weekend.) The song also appears on the premier Music With a Twist compilation (Sony). Sarah is also working on another solo album with producer Brad Wood (Placebo, Smashing Pumpkins, Sunny Day Real Estate, Ben Lee), planned for release sometime in 2007. Working title of the new CD is "Shine!".
After having played Michigan's Womyn's Music Festival in 2006 solo, she's putting together an all female band for her performance planned in 2007 (the exact date is yet to be announced).
6.08.2007
Belly (the band)
(from wikipedia)
Country Boston, Massachusetts, USA
Years active 1991–1996
Genres Alternative
Dream Pop
Labels Sire/Reprise
Members Tanya Donelly (guitar/vocals)
Thomas Gorman (organ/guitar)
Fred Abong (bass) (1991-1993)
Gail Greenwood (bass) (1993-1996)
Chris Gorman (drums)
Belly was a rock band formed in 1991 by former Throwing Muses members Tanya Donelly (also in The Breeders with Kim Deal) and Fred Abong. Based in Boston, Massachusetts, the band consisted of Tanya Donelly on lead vocals, Fred Abong on bass, Tom Gorman on guitar, and Chris Gorman on drums. The band had an alternative rock sound that was uniquely mixed with both a twist of pop-reminiscent, haunted, melodies, (much like those of Julee Cruise and the Cocteau Twins) and an occasional country music-like twang, which made it popular with college students searching for indie rock bands.
[edit] Rise to stardom
Donelly's unique voice helped bring out both fury and sweetness, a talent that attracted the teenage misfits similar to those who helped The Cure to become so famous in the 1980s. Quickly rocketing to more wide-spread popularity with their EP Slow Dust (1992), Belly made number one in the British indie chart. Soon after, their single "Feed the Tree" made the top 40 in the British chart and their first album, Star (1993), got good reviews from newspapers and rock magazines and nabbed them a larger audience when it hit number two in the British chart.
In the United States, the album was RIAA Certified Gold, largely based on the success of "Feed the Tree," on Modern Rock radio stations and MTV, where the video was featured as part of MTV's Buzz Bin videos and Alternative Nation video show for much of 1993. Two follow-up singles were released, "Gepetto" and "Slow Dog," but neither matched the initial success of "Feed the Tree." Star was consequently nominated for two Grammys.
[edit] King Era
Just after the release of Star, bassist Fred Abong left and was replaced by Gail Greenwood. According to an MTV News report at the time, Greenwood was originally a guitar player in a Boston-area metal band before being recruited to play bass in Belly. She became a main attraction at their shows, her hair wildly flying into her face as she stormed around the stage. The live sound of the band evolved to accommodate her style, with its shows featuring more electric guitar than before and less of the dreamy quality of its 1st album.
As a result, the group's next album, King (1995), was more rock and roll-oriented. The album was not a popular success and the band was stuck between mainstream and underground acceptance. King, saw its numerous singles fail to sustain any significant airplay on Modern Rock radio. The videos for "Now They'll Sleep" and "Super Connected" received little airplay on MTV outside of limited airings on 120 Minutes. Belly graced the April 20, 1995, cover of Rolling Stone magazine.[1]
By 1997, Donelly had decided to break up the band. Donelly has since released several albums as a solo artist.
[edit] Discography
Albums
Star (1993)
King (1995)
Sweet Ride: The Best of Belly (2002)
Singles
Now They'll Sleep (1995)
Are You Experienced (1994)
Feed The Tree (1993)
Compilations
Generation X
Stone Free: A Tribute to Jimi Hendrix (1993)
Double Shot: Pop Alternative (2000)
Lifetime Intimate Portrait: Women In Rock (1999)
Out Of Bounds: A Journey Through Modern Rock (1999)
The Rolling Stone Women In Rock Collection (1998)
Safe And Sound (1996)
A Bunch O' Hits: The Best Rock...Volume 1 (1996)
In Defense Of Animals, Volume 2 (1996)
Twister (1996)
UMPF (1995)
Mallrats (1995)
Sharks Patrol These Waters (1995)
This Is Fort Apache (1995)
Tank Girl (1995)
Just Say Roe (Just Say Yes Vol. 7) (1994)
With Honors (1994)
Stone Free: Tribute To Jimi Hendrix (1993)
[edit] References
^ Belly - RS 706 (April 20, 1995). Rolling Stone. Retrieved on 2007-03-04.
Retrieved from "http://en.wikipedia.org/wiki/Belly_%28band%29"
Country Boston, Massachusetts, USA
Years active 1991–1996
Genres Alternative
Dream Pop
Labels Sire/Reprise
Members Tanya Donelly (guitar/vocals)
Thomas Gorman (organ/guitar)
Fred Abong (bass) (1991-1993)
Gail Greenwood (bass) (1993-1996)
Chris Gorman (drums)
Belly was a rock band formed in 1991 by former Throwing Muses members Tanya Donelly (also in The Breeders with Kim Deal) and Fred Abong. Based in Boston, Massachusetts, the band consisted of Tanya Donelly on lead vocals, Fred Abong on bass, Tom Gorman on guitar, and Chris Gorman on drums. The band had an alternative rock sound that was uniquely mixed with both a twist of pop-reminiscent, haunted, melodies, (much like those of Julee Cruise and the Cocteau Twins) and an occasional country music-like twang, which made it popular with college students searching for indie rock bands.
[edit] Rise to stardom
Donelly's unique voice helped bring out both fury and sweetness, a talent that attracted the teenage misfits similar to those who helped The Cure to become so famous in the 1980s. Quickly rocketing to more wide-spread popularity with their EP Slow Dust (1992), Belly made number one in the British indie chart. Soon after, their single "Feed the Tree" made the top 40 in the British chart and their first album, Star (1993), got good reviews from newspapers and rock magazines and nabbed them a larger audience when it hit number two in the British chart.
In the United States, the album was RIAA Certified Gold, largely based on the success of "Feed the Tree," on Modern Rock radio stations and MTV, where the video was featured as part of MTV's Buzz Bin videos and Alternative Nation video show for much of 1993. Two follow-up singles were released, "Gepetto" and "Slow Dog," but neither matched the initial success of "Feed the Tree." Star was consequently nominated for two Grammys.
[edit] King Era
Just after the release of Star, bassist Fred Abong left and was replaced by Gail Greenwood. According to an MTV News report at the time, Greenwood was originally a guitar player in a Boston-area metal band before being recruited to play bass in Belly. She became a main attraction at their shows, her hair wildly flying into her face as she stormed around the stage. The live sound of the band evolved to accommodate her style, with its shows featuring more electric guitar than before and less of the dreamy quality of its 1st album.
As a result, the group's next album, King (1995), was more rock and roll-oriented. The album was not a popular success and the band was stuck between mainstream and underground acceptance. King, saw its numerous singles fail to sustain any significant airplay on Modern Rock radio. The videos for "Now They'll Sleep" and "Super Connected" received little airplay on MTV outside of limited airings on 120 Minutes. Belly graced the April 20, 1995, cover of Rolling Stone magazine.[1]
By 1997, Donelly had decided to break up the band. Donelly has since released several albums as a solo artist.
[edit] Discography
Albums
Star (1993)
King (1995)
Sweet Ride: The Best of Belly (2002)
Singles
Now They'll Sleep (1995)
Are You Experienced (1994)
Feed The Tree (1993)
Compilations
Generation X
Stone Free: A Tribute to Jimi Hendrix (1993)
Double Shot: Pop Alternative (2000)
Lifetime Intimate Portrait: Women In Rock (1999)
Out Of Bounds: A Journey Through Modern Rock (1999)
The Rolling Stone Women In Rock Collection (1998)
Safe And Sound (1996)
A Bunch O' Hits: The Best Rock...Volume 1 (1996)
In Defense Of Animals, Volume 2 (1996)
Twister (1996)
UMPF (1995)
Mallrats (1995)
Sharks Patrol These Waters (1995)
This Is Fort Apache (1995)
Tank Girl (1995)
Just Say Roe (Just Say Yes Vol. 7) (1994)
With Honors (1994)
Stone Free: Tribute To Jimi Hendrix (1993)
[edit] References
^ Belly - RS 706 (April 20, 1995). Rolling Stone. Retrieved on 2007-03-04.
Retrieved from "http://en.wikipedia.org/wiki/Belly_%28band%29"
當遊戲取代了生活
‧銀狐 2007/06/08 (轉載聯合新聞網 遊戲紀元)
對於不玩線上遊戲的人來說，看到一個個沉迷於線上遊戲的玩家總會覺得有些不可思議。看到新聞中有人為了玩線上遊戲翹家、翹課，或是因為玩線上遊戲導致暴斃死在網咖的新聞，讓不瞭解線上遊戲的人更是無法理解這是怎麼一回事...
對於不玩線上遊戲的人來說，看到一個個沉迷於線上遊戲的玩家總會覺得有些不可思議。看到新聞中有人為了玩線上遊戲翹家、翹課，或是因為玩線上遊戲導致暴斃死在網咖的新聞，讓不瞭解線上遊戲的人更是無法理解這是怎麼一回事。事實上，線上遊戲雖然是建構一個虛擬的世界，不過投入其中的玩家卻可以在遊戲中享受到真實世界所無法體驗到的許多事物。因此當遊戲取代了生活，成為線上遊戲玩家生活的重心時，這樣的現象並不會讓人感到意外。
為什麼線上遊戲會取代了生活；為什麼有些人會沉迷於線上遊戲有些人卻不會。在我們討論這個問題之前，要先來看看線上遊戲的特色。以目前線上遊戲市場上最熱門的MMORPG(多人線上角色扮演遊戲)來看，這一類的遊戲創造了一個全新的虛擬世界，讓在進入遊戲的玩家可以在遊戲中扮演一個角色，享受遊戲中的一切樂趣。這種『角色扮演』的趣味，其實正是線上遊戲最重要的本質之一。無論你在現實的社會中是什麼身份、什麼職業，到了線上遊戲的領域裡都可以扮演完全不同的角色。
試著去想想看，當你在現實的社會中只不過是個小職員，每天在工作上都要受到老闆、上級的責罵，在工作上有一狗票的壓力。但是到了遊戲中，你可以扮演一個舉世無雙的勇者，手中拿著長劍穿著盔甲，打倒遊戲中可怕的惡魔，成為其他玩家眼中的英雄。這種受人尊重、受人重視的感覺，可能是身為上班族的你一輩子都無法享受到的。另一個場景，在現實的社會中你可能只不過是個國中學生，但是在線上遊戲的世界裡，你是一個大公會的領導人，公會有上百個成員，他們都聽從你的指揮，為了爭奪遊戲中的城堡發動戰爭。這種一呼百諾、受人尊敬的狀況，也是你在現實生活中無法擁有的。
當然線上遊戲會改變生活並不單純的因為可以在遊戲中扮演其他身份，每個人沉迷於線上遊戲的理由各有不同。以目前線上遊戲的主流～角色扮演遊戲來說，這類遊戲的另一大特色就是『競爭』。在遊戲中無論是玩家的等級、身上的裝備，每一項每一項都是可以提供玩家互相競爭的標的。或許是長期受到聯考制度的影響吧，台灣的線上遊戲玩家(特別是學生族群)非常喜歡在遊戲中和人比強弱。今天比誰的等級高、明天比誰身上的裝備好，把現實世界裡比考試成績、比工作業績那一套也搞到遊戲中。在這樣的現象下，導致有部份的玩家幾乎是住在遊戲中。輕微一點的是下課下班後立刻回家鑽到遊戲裡面；嚴重一點則是翹班翹課每天窩在線上遊戲裡。當生活被線上遊戲完全取代後，各種奇怪的現象也隨著產生。
這幾年，隨著線上遊戲的熱門及全民化，開始有人以玩線上遊戲為業。這種利用虛擬世界的道具、貨幣換取現實金錢的行為，在筆者的前幾篇文章有大略的提到。這一類靠著在線上遊戲中賺錢的人，有個『打錢工』的名稱。在對岸的中國，由於個人平均所得遠遠低於台灣，因此從事這個行業的人更是多。曾經看過一篇相關的報導，裡面就指出這些從事打錢工行業的人，幾乎每天除了睡覺以外的時間都在泡在遊戲裡。這一類人，遊戲對他們來說已經超過了娛樂的這個範圍，成為工作的一部份。當線上遊戲已經變成工作，就自然取代了原本正常生活。生活在台灣的我們也許無法想像，這些打錢工每天在線上遊戲裡泡上超過12個小時，靠遊戲中賺取的金錢來換得他們每個月少少的幾百元人民幣的工資。但現實上，這少少的幾百元人民幣也許比他們去從事其他工作的收入要更高。
筆者並不喜歡部份媒體老是將線上遊戲妖魔化，因為就算沒有線上遊戲，這些沉迷於線上遊戲的人還是可能會沉迷於其他的東西。當我們在看這個現象的時候，其實應該要回過頭來看看造成這個現象的原因。線上遊戲可以提供娛樂、可以創造成就感、甚至可以賺取金錢時，線上遊戲取代了生活的現象就不是那麼奇怪了。
對於不玩線上遊戲的人來說，看到一個個沉迷於線上遊戲的玩家總會覺得有些不可思議。看到新聞中有人為了玩線上遊戲翹家、翹課，或是因為玩線上遊戲導致暴斃死在網咖的新聞，讓不瞭解線上遊戲的人更是無法理解這是怎麼一回事...
對於不玩線上遊戲的人來說，看到一個個沉迷於線上遊戲的玩家總會覺得有些不可思議。看到新聞中有人為了玩線上遊戲翹家、翹課，或是因為玩線上遊戲導致暴斃死在網咖的新聞，讓不瞭解線上遊戲的人更是無法理解這是怎麼一回事。事實上，線上遊戲雖然是建構一個虛擬的世界，不過投入其中的玩家卻可以在遊戲中享受到真實世界所無法體驗到的許多事物。因此當遊戲取代了生活，成為線上遊戲玩家生活的重心時，這樣的現象並不會讓人感到意外。
為什麼線上遊戲會取代了生活；為什麼有些人會沉迷於線上遊戲有些人卻不會。在我們討論這個問題之前，要先來看看線上遊戲的特色。以目前線上遊戲市場上最熱門的MMORPG(多人線上角色扮演遊戲)來看，這一類的遊戲創造了一個全新的虛擬世界，讓在進入遊戲的玩家可以在遊戲中扮演一個角色，享受遊戲中的一切樂趣。這種『角色扮演』的趣味，其實正是線上遊戲最重要的本質之一。無論你在現實的社會中是什麼身份、什麼職業，到了線上遊戲的領域裡都可以扮演完全不同的角色。
試著去想想看，當你在現實的社會中只不過是個小職員，每天在工作上都要受到老闆、上級的責罵，在工作上有一狗票的壓力。但是到了遊戲中，你可以扮演一個舉世無雙的勇者，手中拿著長劍穿著盔甲，打倒遊戲中可怕的惡魔，成為其他玩家眼中的英雄。這種受人尊重、受人重視的感覺，可能是身為上班族的你一輩子都無法享受到的。另一個場景，在現實的社會中你可能只不過是個國中學生，但是在線上遊戲的世界裡，你是一個大公會的領導人，公會有上百個成員，他們都聽從你的指揮，為了爭奪遊戲中的城堡發動戰爭。這種一呼百諾、受人尊敬的狀況，也是你在現實生活中無法擁有的。
當然線上遊戲會改變生活並不單純的因為可以在遊戲中扮演其他身份，每個人沉迷於線上遊戲的理由各有不同。以目前線上遊戲的主流～角色扮演遊戲來說，這類遊戲的另一大特色就是『競爭』。在遊戲中無論是玩家的等級、身上的裝備，每一項每一項都是可以提供玩家互相競爭的標的。或許是長期受到聯考制度的影響吧，台灣的線上遊戲玩家(特別是學生族群)非常喜歡在遊戲中和人比強弱。今天比誰的等級高、明天比誰身上的裝備好，把現實世界裡比考試成績、比工作業績那一套也搞到遊戲中。在這樣的現象下，導致有部份的玩家幾乎是住在遊戲中。輕微一點的是下課下班後立刻回家鑽到遊戲裡面；嚴重一點則是翹班翹課每天窩在線上遊戲裡。當生活被線上遊戲完全取代後，各種奇怪的現象也隨著產生。
這幾年，隨著線上遊戲的熱門及全民化，開始有人以玩線上遊戲為業。這種利用虛擬世界的道具、貨幣換取現實金錢的行為，在筆者的前幾篇文章有大略的提到。這一類靠著在線上遊戲中賺錢的人，有個『打錢工』的名稱。在對岸的中國，由於個人平均所得遠遠低於台灣，因此從事這個行業的人更是多。曾經看過一篇相關的報導，裡面就指出這些從事打錢工行業的人，幾乎每天除了睡覺以外的時間都在泡在遊戲裡。這一類人，遊戲對他們來說已經超過了娛樂的這個範圍，成為工作的一部份。當線上遊戲已經變成工作，就自然取代了原本正常生活。生活在台灣的我們也許無法想像，這些打錢工每天在線上遊戲裡泡上超過12個小時，靠遊戲中賺取的金錢來換得他們每個月少少的幾百元人民幣的工資。但現實上，這少少的幾百元人民幣也許比他們去從事其他工作的收入要更高。
筆者並不喜歡部份媒體老是將線上遊戲妖魔化，因為就算沒有線上遊戲，這些沉迷於線上遊戲的人還是可能會沉迷於其他的東西。當我們在看這個現象的時候，其實應該要回過頭來看看造成這個現象的原因。線上遊戲可以提供娛樂、可以創造成就感、甚至可以賺取金錢時，線上遊戲取代了生活的現象就不是那麼奇怪了。
6.06.2007
Arab-Israeli conflict
(from Wikipedia)
History of the conflict
Main article: History of the Arab-Israeli conflict
[edit] End of 19th century-1948
A declared Jewish immigration into the Land of Israel, Palestine under the Ottoman rule (and later under British mandate), combined with the economic changes in the land, which in turn contributed to a large Arab immigration, increased tensions between the Jewish population and the Arab population in the region.[5][6]
By the end of World War II, the conflict became a major international issue. The United Nations, the United States, and the Soviet Union were determined to initiate a two-state solution. The UN mandated partition was put into effect in 1948, but was rejected by the Palestinians and many Arab states.[7]
Israel declared its independence on May 14, 1948. Almost immediately, Egypt, Lebanon, Syria, Transjordan, and Iraq declared war on the nascent nation. By the conclusion of the 1948 Arab-Israeli War, Israel had greatly expanded its borders, and signed ceasefire agreements with all its Arab neighbors.[8]
[edit] 1949-June 11, 1967
In 1949, Egypt closed the Straits of Tiran to Israeli shipping, and blockaded the Gulf of Aqaba, in contradiction to the terms of the Constantinople Convention of 1888. Many argued that this action also constituted a violation of the Rhodes armistice agreement.[9][10] On July 26, 1956, Egypt nationalized the Suez Canal Company, and closed the canal to Israeli shipping.[11]
Israel responded on October 29, 1956, by invading the Sinai Peninsula with British and French support. During the Suez Canal Crisis, Israel captured the Gaza Strip and Sinai Peninsula. The United States and the United Nations soon pressured it into a ceasefire,[11][12] which secured open shipping in the region, complete Israeli withdrawal from Egyptian territory, and the total demilitarization of the Sinai. The United Nations Emergency Force (UNEF) was deployed to oversee said demilitarization.[13]. The UNEF was only deployed on the Egyptian side of the border, as Israel refused to allow them on its territory.[14]
On May 19, 1967, Egypt expelled UNEF observers,[15] and deployed 100,000 soldiers in the Sinai Peninsula.[16] It then closed the straits of Tiran to Israeli shipping,[17][18] catapulting the region back to the pre-1956 status quo. On May 30, 1967, Jordan entered into the mutual defense pact between Egypt and Syria. President Nasser declared: "Our basic objective is the destruction of Israel. The Arab people want to fight."[19]
In response, on June 5 Israel sent almost all of its planes on a preemptive mission in Egypt. The Israeli Air Force (AIF) destroyed most of the surprised Egyptian Air Force, then turned east to pulverize the Jordanian, Syrian and Iraqi air forces.[20] This strike was the crucial element in Israel's victory in the Six-Day War.[16][18
June 12, 1967-1973
In the summer of 1967, Arab leaders met in Khartoum in response to the war, to discuss the Arab position toward Israel. They reached consensus that there should be:
No recognition of the State of Israel.
No peace with Israel.
No negotiations with Israel.[21]
In 1969, Egypt initiated the War of Attrition, with the goal of exhausting Israel into surrendering the Sinai Peninsula.[22] The war ended following Nasser's death in 1970.
On October 6, 1973, Syria and Egypt attacked Israel on Yom Kippur, overwhelming the surprised Israeli military.[23][24] The Yom Kippur War accommodated indirect confrontation between the US and the Soviet Union. When Israel had turned the tide of war, the USSR threatened military intervention. The United States, wary of nuclear war, secured a ceasefire on October 25.[23][24]
History of the conflict
Main article: History of the Arab-Israeli conflict
[edit] End of 19th century-1948
A declared Jewish immigration into the Land of Israel, Palestine under the Ottoman rule (and later under British mandate), combined with the economic changes in the land, which in turn contributed to a large Arab immigration, increased tensions between the Jewish population and the Arab population in the region.[5][6]
By the end of World War II, the conflict became a major international issue. The United Nations, the United States, and the Soviet Union were determined to initiate a two-state solution. The UN mandated partition was put into effect in 1948, but was rejected by the Palestinians and many Arab states.[7]
Israel declared its independence on May 14, 1948. Almost immediately, Egypt, Lebanon, Syria, Transjordan, and Iraq declared war on the nascent nation. By the conclusion of the 1948 Arab-Israeli War, Israel had greatly expanded its borders, and signed ceasefire agreements with all its Arab neighbors.[8]
[edit] 1949-June 11, 1967
In 1949, Egypt closed the Straits of Tiran to Israeli shipping, and blockaded the Gulf of Aqaba, in contradiction to the terms of the Constantinople Convention of 1888. Many argued that this action also constituted a violation of the Rhodes armistice agreement.[9][10] On July 26, 1956, Egypt nationalized the Suez Canal Company, and closed the canal to Israeli shipping.[11]
Israel responded on October 29, 1956, by invading the Sinai Peninsula with British and French support. During the Suez Canal Crisis, Israel captured the Gaza Strip and Sinai Peninsula. The United States and the United Nations soon pressured it into a ceasefire,[11][12] which secured open shipping in the region, complete Israeli withdrawal from Egyptian territory, and the total demilitarization of the Sinai. The United Nations Emergency Force (UNEF) was deployed to oversee said demilitarization.[13]. The UNEF was only deployed on the Egyptian side of the border, as Israel refused to allow them on its territory.[14]
On May 19, 1967, Egypt expelled UNEF observers,[15] and deployed 100,000 soldiers in the Sinai Peninsula.[16] It then closed the straits of Tiran to Israeli shipping,[17][18] catapulting the region back to the pre-1956 status quo. On May 30, 1967, Jordan entered into the mutual defense pact between Egypt and Syria. President Nasser declared: "Our basic objective is the destruction of Israel. The Arab people want to fight."[19]
In response, on June 5 Israel sent almost all of its planes on a preemptive mission in Egypt. The Israeli Air Force (AIF) destroyed most of the surprised Egyptian Air Force, then turned east to pulverize the Jordanian, Syrian and Iraqi air forces.[20] This strike was the crucial element in Israel's victory in the Six-Day War.[16][18
June 12, 1967-1973
In the summer of 1967, Arab leaders met in Khartoum in response to the war, to discuss the Arab position toward Israel. They reached consensus that there should be:
No recognition of the State of Israel.
No peace with Israel.
No negotiations with Israel.[21]
In 1969, Egypt initiated the War of Attrition, with the goal of exhausting Israel into surrendering the Sinai Peninsula.[22] The war ended following Nasser's death in 1970.
On October 6, 1973, Syria and Egypt attacked Israel on Yom Kippur, overwhelming the surprised Israeli military.[23][24] The Yom Kippur War accommodated indirect confrontation between the US and the Soviet Union. When Israel had turned the tide of war, the USSR threatened military intervention. The United States, wary of nuclear war, secured a ceasefire on October 25.[23][24]
6.02.2007
網路 -- 威而剛，還是毒品？
網路賣A片好賺？ 美色情工業開始嚐到苦果
2007/06/02 15:12
記者周永旭／編譯
對色情工業來說，網路的出現讓他們找到了天堂，只要家中一台電腦加上無遠弗屆的網路，整個世界都成了色情工業的市場。有好一陣子，滾滾而來的鈔票讓業者笑得合不攏嘴；但水能載舟、也能覆舟，現在整個色情工業的營收持續滑落，禍首正是網路。
網路的普及性讓大量低成本的色情照片和影片湧入市場，使德業者拍攝的精緻X級DVD影片乏人問津。便宜的數位科技讓大量業餘人士紛紛搶進市場分食大餅，為了爭取顧客，業者紛紛播送更多免費影音，好誘使消費者上門。
色情片與一般歌曲或電影最大的不同特性是，消費者沒有品牌忠誠度，不在乎場景華麗與否，能不能看到要看的才是重點。不會有人去管影片是在片場或豪宅拍攝，還是在業餘攝影師的家中。
根據紐約時報報導，經過多年來銷售的穩定成長之後，去年色情影片的銷售與出租額開始滑落，從2005年的42億8千萬美元，變成去年的36億2千萬美元。AVN媒體網路總裁費許班說，如果這個情況無法改變，年產值超過130億美元的性娛樂工業市場今年可能會開始萎縮。他說，色情工業來自網路的收益成長不夠快，無法彌補影片收入的下滑。
一些老牌色情影片公司希望利用提昇產品價值與設計更細緻的網頁來吸引流失的客戶，但可惜事與願違，因為製造與行銷色情片變得更容易許多。前色情片製作人，現在成立GoGoBill.com，負責為色情網站處理線上付費事宜的卡普蘭說：「現在在家裏就能拍A片，整個市場因此都毀了」。
對一個經歷過網路轉型的工業來說，這是一個不尋常的轉折。網路在誕生之際，馬上成為平面媒體與音樂工業的挑戰，但卻讓色情工業歡喜不已。這些業者寸思，網路的匿名性讓他們挖到金礦。接下來出現的高速網路，更讓業者雀躍不已。
不料，高速網路讓用戶能更快下載免費電影，也讓業餘製片者能快速上傳自己的創作。結果，今年預計每月將有超過1千部X級DVD問市，而多數影片都是低成本製作。費許班說：「進入市場的障礙這麼低，你只需要一部攝影機，加上幾個人做愛就可以」。
一些公司宣稱，他們成功透過網站吸引訂戶，讓他們可以下載電影或是直接在網路上觀賞。但是這種網路營收雖然持續成長，力道卻已大不如前，而且不足以彌補租售影片率下滑所減少的收入。根據AVN的估計，2006年網路訂戶帶來的收益可達28億美元，比2005年增加3億；這種成長和一般企業的電子商務成長幅度差不多。
一些老牌色情片製作公司只好打出品質為號召。他們說，有朝一日觀眾一定會看出差別。過去兩年銷售額衰退3成的洛杉磯紅燈區製片公司的總裁約瑟夫就說，「我們的燈光和音效品質良好」，「我們的片子沒有浪費觀眾時間的對白」。
但是在一些網站上，動輒出現的10萬、20萬部影片，仍讓一些色情片公司望塵莫及。這些影片有很多來自業餘者的「貢獻」，讓這些網站彷彿成了色情業的「YouTube」。事實上，許多免費色情片其實是片商促銷的宣傳片，因此一些業者也開始質疑，這種促銷手法恐怕是個錯誤。
當然，也有業者不這麼認為，他們說，1千個觀賞免費影片的客戶中，至少會有1個人加入會員，公司的利潤就此產生。
ettoday
2007/06/02 15:12
記者周永旭／編譯
對色情工業來說，網路的出現讓他們找到了天堂，只要家中一台電腦加上無遠弗屆的網路，整個世界都成了色情工業的市場。有好一陣子，滾滾而來的鈔票讓業者笑得合不攏嘴；但水能載舟、也能覆舟，現在整個色情工業的營收持續滑落，禍首正是網路。
網路的普及性讓大量低成本的色情照片和影片湧入市場，使德業者拍攝的精緻X級DVD影片乏人問津。便宜的數位科技讓大量業餘人士紛紛搶進市場分食大餅，為了爭取顧客，業者紛紛播送更多免費影音，好誘使消費者上門。
色情片與一般歌曲或電影最大的不同特性是，消費者沒有品牌忠誠度，不在乎場景華麗與否，能不能看到要看的才是重點。不會有人去管影片是在片場或豪宅拍攝，還是在業餘攝影師的家中。
根據紐約時報報導，經過多年來銷售的穩定成長之後，去年色情影片的銷售與出租額開始滑落，從2005年的42億8千萬美元，變成去年的36億2千萬美元。AVN媒體網路總裁費許班說，如果這個情況無法改變，年產值超過130億美元的性娛樂工業市場今年可能會開始萎縮。他說，色情工業來自網路的收益成長不夠快，無法彌補影片收入的下滑。
一些老牌色情影片公司希望利用提昇產品價值與設計更細緻的網頁來吸引流失的客戶，但可惜事與願違，因為製造與行銷色情片變得更容易許多。前色情片製作人，現在成立GoGoBill.com，負責為色情網站處理線上付費事宜的卡普蘭說：「現在在家裏就能拍A片，整個市場因此都毀了」。
對一個經歷過網路轉型的工業來說，這是一個不尋常的轉折。網路在誕生之際，馬上成為平面媒體與音樂工業的挑戰，但卻讓色情工業歡喜不已。這些業者寸思，網路的匿名性讓他們挖到金礦。接下來出現的高速網路，更讓業者雀躍不已。
不料，高速網路讓用戶能更快下載免費電影，也讓業餘製片者能快速上傳自己的創作。結果，今年預計每月將有超過1千部X級DVD問市，而多數影片都是低成本製作。費許班說：「進入市場的障礙這麼低，你只需要一部攝影機，加上幾個人做愛就可以」。
一些公司宣稱，他們成功透過網站吸引訂戶，讓他們可以下載電影或是直接在網路上觀賞。但是這種網路營收雖然持續成長，力道卻已大不如前，而且不足以彌補租售影片率下滑所減少的收入。根據AVN的估計，2006年網路訂戶帶來的收益可達28億美元，比2005年增加3億；這種成長和一般企業的電子商務成長幅度差不多。
一些老牌色情片製作公司只好打出品質為號召。他們說，有朝一日觀眾一定會看出差別。過去兩年銷售額衰退3成的洛杉磯紅燈區製片公司的總裁約瑟夫就說，「我們的燈光和音效品質良好」，「我們的片子沒有浪費觀眾時間的對白」。
但是在一些網站上，動輒出現的10萬、20萬部影片，仍讓一些色情片公司望塵莫及。這些影片有很多來自業餘者的「貢獻」，讓這些網站彷彿成了色情業的「YouTube」。事實上，許多免費色情片其實是片商促銷的宣傳片，因此一些業者也開始質疑，這種促銷手法恐怕是個錯誤。
當然，也有業者不這麼認為，他們說，1千個觀賞免費影片的客戶中，至少會有1個人加入會員，公司的利潤就此產生。
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