Biography by Stephen Thomas Erlewine
The Sex Pistols may have been the first British punk rock band, but the Clash were the definitive British punk rockers. Where the Pistols were nihilistic, the Clash were fiery and idealistic, charged with righteousness and a leftist political ideology. From the outset, the band was more musically adventurous, expanding its hard rock & roll with reggae, dub, and rockabilly among other roots musics. Furthermore, they were blessed with two exceptional songwriters in Joe Strummer and Mick Jones, each with a distinctive voice and style. The Clash copped heavily from classic outlaw imagery, positioning themselves as rebels with a cause. As a result, they won a passionately devoted following on both sides of the Atlantic. While they became rock & roll heroes in the U.K., second only to the Jam in terms of popularity, it took the Clash several years to break into the American market, and when they finally did in 1982, they imploded several months later. Though the Clash never became the superstars they always threatened to become, they restored passion and protest to rock & roll. For a while, they really did seem like "the only band that mattered."
For a band that constantly sang about revolution and the working class, the Clash had surprisingly traditional roots. Joe Strummer (born John Graham Mellor, August 21, 1952) had spent most of his childhood in boarding school. By the time he was in his early twenties, he had busked on the streets of London and had formed a pub rock band called the 101'ers. Around the same time, Mick Jones (born June 26, 1955) was leading a hard rock group called the London SS. Unlike Strummer, Jones came from a working-class background in Brixton. Throughout his teens, he was fascinated with rock & roll, and he had formed the London SS with the intent of replicating the hard-driving sound of Mott the Hoople and Faces. Jones' childhood friend Paul Simonon (born December 15, 1956) joined the group as a bassist in 1976 after hearing the Sex Pistols; he replaced Tony James, who would later join Generation X and Sigue Sigue Sputnik. At the time, the band also featured drummer Tory Crimes (born Terry Chimes), who had recently replaced Topper Headon (born Nicky Headon, May 30, 1955). After witnessing the Sex Pistols in concert, Joe Strummer decided to break up the 101'ers in early 1976 in order to pursue a new, harder-edged musical direction. He left the band just before their first single, "Keys to Your Heart," was released. Along with fellow 101'er guitarist Keith Levene, Strummer joined the revamped London SS, now renamed the Clash.
The Clash performed its first concert in the summer of 1976, supporting the Sex Pistols in London. Levene left the band shortly afterward. Hiring as their manager Bernard Rhodes, a former business associate of Sex Pistols manager Malcolm McLaren, the Clash set out on the Pistols' notorious Anarchy Tour late in 1976. Though only three concerts were performed on the tour, it nevertheless raised the Clash's profile and the band secured a record contract in February of 1977 with British CBS. Over the course of three weekends, the group recorded their debut album. Once the sessions were completed, Terry Chimes left the group, and Headon came aboard as the band's drummer. In the spring, the Clash's first single, "White Riot," and eponymous debut album were released to great critical acclaim and sales in the U.K., peaking at number 12 on the charts. The American division of CBS decided The Clash wasn't fit for radio play, so it decided to not release the album. The import of the record became the largest-selling import of all time. Shortly after the U.K. release of The Clash, the band set out on the whirlwind White Riot tour supported by the Jam and the Buzzcocks; the tour was highlighted by a date at London's Rainbow Theatre, when the audience tore the seats out of the venue. During the White Riot tour, CBS pulled "Remote Control" off the album as a single, and as a response, the Clash recorded "Complete Control" with reggae icon Lee "Scratch" Perry.
Throughout 1977, Strummer and Jones were in and out of jail for a myriad of minor indiscretions, ranging from vandalism to stealing a pillowcase, while Simonon and Headon were arrested for shooting racing pigeons with an air gun. The Clash's outlaw image was bolstered considerably by such events, but the band also began to branch out into social activism, such as headlining a Rock Against Racism concert. Released in the summer of 1978, the single "(White Man) In Hammersmith Palais" demonstrated the band's growing social consciousness. Shortly after the single peaked at number 32, the Clash began working on their second album with producer Sandy Pearlman, a former member of Blue Öyster Cult. Pearlman gave Give 'Em Enough Rope a clean but powerful sound designed to break the American market. While that didn't happen -- the album peaked at 128 on the U.S. charts in the spring of 1979 -- the record became an enormous hit in Britain, debuting at number two on the charts.
Early in 1979, the Clash began their first American tour, entitled "Pearl Harbor '79." That summer, the band released the U.K.-only EP The Cost of Living, which featured a cover of the Bobby Fuller Four's "I Fought the Law." Following the later summer release of The Clash in America, the group set out on its second U.S. tour, hiring Mickey Gallagher of Ian Dury's Blockheads as a keyboardist. On both of their U.S. tours, the Clash had R&B acts like Bo Diddley, Sam & Dave, Lee Dorsey, and Screamin' Jay Hawkins support them, as well as neo-traditionalist country-rocker Joe Ely and the punk rockabilly band the Cramps. The choice of supporting acts indicated that the Clash were becoming fascinated with older rock & roll and all of its legends. That fascination became the driving force behind their breakthrough double album, London Calling. Produced by Guy Stevens, who formerly worked with Mott the Hoople, London Calling boasted an array of styles, ranging from rockabilly and New Orleans R&B to anthemic hard rock and reggae. Retailing at the price of a single album, the record debuted at number nine on the U.K. charts in late 1979 and climbed to number 27 on the U.S. charts in the spring of 1980.
The Clash successfully toured the U.S., the U.K., and Europe in early 1980, during which time the pseudo-documentary Rude Boy was released in England. During the summer, the band released the Dutch-only, dub-inflected single "Bankrobber," which they recorded with DJ Mikey Dread; by the fall, the British branch of CBS was forced to release the single due to popular demand. Shortly afterward, the band went to New York to begin the tension-filled, self-produced sessions for their follow-up to London Calling. In November, a U.S.-only EP of odds and ends entitled Black Market Clash was released. The following month, the triple-record set Sandinista! appeared in the U.K. and the U.S. The critical reaction to the album was decidedly mixed, with American critics reacting more favorably than their British counterparts. Furthermore, the band's audience in the U.K. was shrinking slightly -- Sandinista! was the first record the group released that sold more copies in the U.S. than the U.K.
After spending much of 1981 touring and resting, the Clash reconvened late in the year to record their fifth album, with producer Glyn Johns, a former engineer/producer for the Rolling Stones, Who, and Led Zeppelin. Headon left the band shortly after the sessions finished; the press statement said he parted with the group due to political differences, but it was later revealed that the split was due to his heavy drug use. The band replaced Headon with their old drummer, Terry Chimes, around the spring release of Combat Rock. The album was the Clash's most commercially successful effort, entering the U.K. charts at number two and climbing into the American Top Ten in early 1983, thanks to the Top Ten hit single "Rock the Casbah." During the fall of 1982, the Clash opened for the Who on their farewell tour. Though the tour helped Combat Rock scale the U.S. charts, the Clash were routinely booed off the stage on every date of the tour.
Although the Clash were at the height of their commercial powers in 1983, the band was beginning fall apart. Chimes was fired in the spring and was replaced by Pete Howard, formerly of Cold Fish. During the summer, the band headlined the U.S. Festival in California; it would be their last major appearance. In September, Joe Strummer and Paul Simonon fired Mick Jones because he "drifted apart from the original idea of the Clash." Jones formed Big Audio Dynamite the following year, while the Clash hired guitarists Vince White and Nick Sheppard to fill his vacancy. Throughout 1984, the band toured America and Europe, testing the new lineup. The revamped Clash finally released their first album, Cut the Crap, in November. The album was greeted with overwhelmingly poor reviews and sales; it would later be disowned by Strummer and Simonon.
Early in 1986, Strummer and Simonon decided to permanently disband the Clash. Several years later, Simonon formed the roots rock band Havana 3 A.M., which released only one album, in 1991; following the record's release, he concentrated on painting. After reuniting with Jones to write songs for Big Audio Dynamite's second album, 1986's No. 10 Upping Street, Strummer drifted between a musical and film career, appearing in Alex Cox's Straight to Hell (1986) and Jim Jarmusch's Mystery Train (1989). He also scored Permanent Record (1988) and Cox's Walker (1987). Strummer released a solo album, Earthquake Weather, in 1989. Shortly afterward, he joined the Pogues as a touring rhythm guitarist and vocalist. By 1991, he had quietly drifted away from the spotlight. For the remainder of the decade, Strummer was quiet, appearing on only one other recording -- Black Grape's 1996 Top Ten hit "England's Irie."
Though Strummer and Simonon were both quiet, and Jones was busy with various incarnations of Big Audio Dynamite, rumors of a Clash reunion continued to circulate throughout the '90s. When "Should I Stay or Should I Go?" appeared in a Levi's television commercial in 1992, the song was re-released in the U.K. by CBS, and it shot to number one, fueling reunion speculation. The rumors appeared again in 1995 and 1996, when the Sex Pistols decided to reunite, but the Clash remained quiet. Live: From Here to Eternity, assembling material recorded between 1978 and 1982, was released in 1999, shortly followed by the documentary film Westway to the World.
8.27.2007
8.18.2007
Joy Division
From Wikipedia, the free encyclopedia
Background information
Origin Salford, Greater Manchester & Macclesfield, Cheshire, England
Genre(s) Post-punk
Years active 1976–1980
Label(s) Factory Records
Associated
acts New Order
Former members
Ian Curtis (deceased)
Peter Hook
Stephen Morris
Bernard Sumner
Joy Division were an English rock band that formed in 1976 in Salford, Greater Manchester. With their dark, cavernous sound and use of guitars, throbbing bass, and electronics, they pioneered the post-punk sound of the late 1970s. In May 1980 their vocalist, Ian Curtis, committed suicide. In June, 1980, the band released their most popular song entitled Love Will Tear Us Apart. The remaining members reformed as New Order and went on to receive critical and commercial success.
The group achieved only modest success during their career, and released only two official albums, however they have since been acclaimed as one of the most inventive and influential bands of their era. Thom Jurek writes, "They left just a small bit of music and an echo that still rings".[1]
Their name is taken from the World War II historical novel “The House of Dolls,” wherin author Yehiel De-Nur described "Joy Divisions"—separate units within concentration camps where Jewish women were housed for sexual slavery.
Contents [hide]
1 History
1.1 Early years
1.2 Early work as Joy Division
1.3 Unknown Pleasures
1.4 European tour
1.5 Ian Curtis's suicide
1.6 Closer
1.7 The end of Joy Division
2 Legacy
3 Lyrics
4 Equipment
4.1 Synthesisers
4.2 Electric guitar
4.3 Bass guitar
4.4 Drums
4.5 Other equipment
5 Live performances
5.1 Dance
6 Accusations of neo-Nazism
7 Members
7.1 Members
7.2 Other members
8 Discography
8.1 Albums
8.1.1 Compilations
8.1.2 Live albums
8.2 Singles and EPs
8.3 Compilation appearances
8.4 Video
9 Film
9.1 Control
9.2 24 Hour Party People
10 References
11 Sources
12 External links
[edit] History
This section may need to be rewritten.
Reason: to flow better
Please discuss this issue on the talk page.
[edit] Early years
The famous Sex Pistols show at the Manchester Lesser Free Trade Hall on June 4 1976 inspired Bernard Sumner [2] and Peter Hook to form a band with their friend Terry Mason. Sumner bought a guitar, Hook a bass and Mason a drum kit. They placed an advertisement in a Manchester record store, Virgin Records, for a singer and recruited Ian Curtis. Curtis, who knew the others from previous gigs, had also attended the Sex Pistols concert, along with his wife, Deborah.
Just before their first gig on May 29, 1977 supporting the Buzzcocks and Penetration at the Electric Circus, the band renamed themselves Warsaw, even though they appeared on the bill as Stiff Kittens (suggested by Richard Boon and Pete Shelley of the Buzzcocks). (The name change to Warsaw was purportedly inspired by the David Bowie track "Warszawa", found on his 1977 album Low and not inspired by the Polish city of the same name). Five weeks and half a dozen gigs later, Warsaw replaced Mason with punk drummer Steve Brotherdale from another band called Panik. On July 18 1977, they recorded five crude punk songs that became The Warsaw Demo. Having recorded the demo, the band fired Brotherdale. Driving home from the studio, they pulled over and asked Brotherdale to check on a "flat tyre". When he got out of the car, they sped off. Brotherdale later tried to get Curtis to join Panik, but Curtis declined. The band put out an advertisement in a music shop window for a replacement drummer and hired respondent Stephen Morris. The band chose Morris because Curtis recalled him from his school days. Morris had attended the same school two years below Curtis. Unlike the band's previous drummers, Morris clicked well with the other members. His metronome-like drumming owed more to krautrock than the aggressiveness of punk.
[edit] Early work as Joy Division
Warsaw renamed themselves Joy Division in late 1977 in order to avoid confusion with the London punk band Warsaw Pakt, borrowing their new name from the prostitution wing of a concentration camp from the 1955 book The House of Dolls. "No Love Lost," an early Joy Division/Warsaw track, contains a lyrical reference to Yehiel De-Nur's book:
"...Through the wire screen, the eyes of those standing outside looked in at her as into the cage of some rare creature in a zoo.
In the hand of one of the assistants she saw the same instrument which they had that morning inserted deep into her body.
She shuddered instinctively.
No life at all in the house of dolls.
No love lost..."
The band's signature style began to take shape in late 1977. Sessions recorded in December 1977 were a departure from the sound of The Warsaw Demo. The group played their first gig as Joy Division on January 25, 1978. Regular gigs in the north of England throughout early 1978 provided the band with enough material and experience to record a debut album. However, after the producer added synthesizers to several tracks, the band scrapped the record. The album leaked as a bootleg recording called Warsaw in 1982 and has been re-pressed and re-released several times[3] since then. Rob Gretton became the band's manager in May 1978. Over the next twenty years, he contributed much to Joy Division and to New Order.
In the summer of 1978, the band debuted on vinyl with one Warsaw track on a compilation album entitled Short Circuit - Live At The Electric Circus which was recorded live on October 2, 1977. In June 1978, Joy Division released their December 1977 sessions as a 7" EP under the title An Ideal for Living. They remastered and re-released An Ideal for Living as a 12" in late 1978. On September 20, 1978, they performed on the local TV news show Granada Reports; then in December 1978, they appeared on the compilation double 7" EP A Factory Sample, contributing two tracks recorded a few months earlier. This EP sold out within a couple of months and was the first release to document the haunting and atmospheric sound they had been developing since that past summer. Early 1979 saw the band gain more publicity. Curtis appeared on the front cover of the New Musical Express and they recorded a radio session in January (aired on BBC Radio 1 on February 14 by John Peel). On March 4, they supported The Cure at the Marquee Club, a major venue in London.
[edit] Unknown Pleasures
In April 1979, the band began recording their debut album Unknown Pleasures. The record was bleaker and darker in tone than most of its contemporaries, featuring Hook's bass as the lead melodic instrument, drums treated with digital delay, Sumner's jagged guitar style and Curtis's baritone vocals that have been likened to Jim Morrison and Iggy Pop. Producer Martin Hannett contributed significantly to the final sound. (Coincidentally, a non-album track, "Digital" was the first song the band recorded with Hannett as producer as well as the last song the group performed live before Curtis' death). Whereas most punk rock bands had been extroverted and aggressive, Joy Division were more introverted and personal. Despite their insularity, however, their music could be very aggressive and chaotic. The album cover, designed by Peter Saville based on a graph of 100 consecutive pulses from the pulsar CP 1919, is regarded as a classic of minimalist design. The image represents the final life of a dying star.
Unknown Pleasures was released in June while Joy Division were recording five songs for Piccadilly Radio.
They performed on Granada TV again in July, made their only nationwide TV appearance in September on BBC2, supported the Buzzcocks in a 24-venue UK tour during October and November, and performed on Peel's show again in December. Despite the fact that Unknown Pleasures was selling well and receiving good reviews from the music press, all was not well. Diagnosed with epilepsy in January 1979, Curtis' illness worsened during 1979 and would often have tonic-clonic seizures on stage that resulted in convulsions, or absence seizures that would cause brief trance-like pauses.
[edit] European tour
Music samples:
"She's Lost Control" (file info) — play in browser (beta)
Sample of "She's Lost Control" from Unknown Pleasures
Problems listening to the file? See media help.
"Love Will Tear Us Apart" (file info) — play in browser (beta)
Sample of "Love Will Tear Us Apart" from Substance
Problems listening to the file? See media help.
"24 Hours" (file info) — play in browser (beta)
Sample of "24 Hours" from Closer
Problems listening to the file? See media help.
Joy Division had one European gig at Les Bains Douches on December 18th 1979, from which a popular live recording was taken. Their official tour started on January 11th 1980 at Paradiso in Amsterdam. They played 10 gigs in Europe, their last being on January 21st 1980 at Kant Kino, Berlin.
[edit] Ian Curtis's suicide
On May 18, 1980, the evening before Joy Division were to embark on their first American tour, Curtis returned to his home and convinced his wife, Deborah, to spend the evening at her parents' house. Curtis watched the Werner Herzog film Stroszek on television, then listened to the Iggy Pop album The Idiot and wrote a letter to his estranged wife. He then hanged himself in the kitchen. Deborah found him the following morning.
The exact reasons for his suicide have never fully been explained. However there are two factors which are thought to have affected his state of mind strongly. The first was his epilepsy, he was suffering worsening seizures and the band regularly had to cancel concerts to allow him sufficient time to recover. Some of the seizures occurred on stage during concerts. Curtis also attempted suicide several months before his death by overdosing on the medicine prescribed to control his epilepsy. The second factor affecting him was his marriage break down. He had engaged in an extra marital affair with a young Belgian woman called Annik Honoré, whom he met in Europe in late 1979. And his wife Deborah had filed for divorce.[4].
[edit] Closer
In July 1980 the band's second album, Closer, was released to overwhelmingly positive reviews. It charted, peaking at number 6 on the British album chart. Sales of Unknown Pleasures were also robust. Recording of the album began in late March 1980 and was complete before Curtis's death. It was produced by Martin Hannett. As with the early Warsaw/Joy Division track "No Love Lost" the band again featured a song with a literary reference. The opening track on Closer, "Atrocity Exhibition," shares its title with the novel The Atrocity Exhibition by J. G. Ballard.
[edit] The end of Joy Division
In the summer of 1980, "Love Will Tear Us Apart" hit number 13 on the British singles chart, their biggest commercial success to date. In June 1980, Hook, Morris and Sumner entered Graveyard Studios with fellow Factory act Kevin Hewick for a session, produced by Martin Hannett. The track was called 'Haystack'. It was not released as a single by Factory, but was later released on a Kevin Hewick compilation. Factory Records head Tony Wilson reportedly suggested to the band that Hewick replace Curtis as vocalist in the group. [5]
The members of Joy Division had made a pact that, should any member leave the group the remaining members would abandon the name "Joy Division" and all material associated with it. The remaining members held true to this commitment, and Joy Division was officially disbanded. The band was reborn as a three piece called New Order, later recruiting Morris' girlfriend Gillian Gilbert to round out the group on keyboards. Initially, the band was mum as to whether the name referred to the 'new order' of the band, or if it was a reference to Nazi Germany as was the name Joy Division. Alternating between guitar-drum-bass and electronic styles, the band's music reached and inspired a variety of listeners. New Order is often cited as one of the leading synthpop and dance music groups of their era, yet their use of traditional rock instruments such as guitars and live drums has reached a level of influence comparable with their landmark electronic works.
[edit] Legacy
The band, and especially Ian Curtis, has been an inspiration for a number of bands and musicians that include U2, The Smashing Pumpkins, Manic Street Preachers, Interpol, Trent Reznor (who, as Nine Inch Nails, covered "Dead Souls" for the soundtrack of the movie The Crow), Robert Smith of The Cure, and Red Hot Chili Peppers guitarist John Frusciante. The continuing importance of Joy Division was shown at the turn of the millennium when John Peel asked his listeners to vote for the all-time Festive 50. At number one was the haunting "Atmosphere," while "Love Will Tear Us Apart" sat at number three. Three more songs from the band sat on the list. The ending solo from "New Dawn Fades," as performed by Moby, was featured in the 1995 film Heat as Al Pacino chases down Robert De Niro. In 1999, a New Jersey band named Thursday recorded a song called "Ian Curtis" that included Joy Division song titles, such as Isolation, Heart & Soul and Twenty Four Hours, as lyrics. In 2005, Joy Division were inducted along with New Order into the UK Music Hall of Fame.
[edit] Lyrics
The band were described in the press at the time as "doom laden". This was due in part to the often dark lyrics written by Ian Curtis. Death, sadness, anger, bitterness or loss were recurrent themes. For example the 1979 song "Shadowplay" includes the line "In the shadowplay, acting out your own death, knowing no more". Ian Curtis denied the band were doom laden in a 1980 recorded interview. He said "people have been saying 'oh yeah, it's all about death and doom...' but we're not...none of the songs are...I think it's a heavy metal thing, that..."[6]. The biography of Joy Division at Billboard describe the lyrics as "isolated, tortured."[7]
[edit] Equipment
[edit] Synthesisers
Joy Division often experimented with different sounds, especially once in collaboration with Martin Hannett. Within the band it was said that Sumner was the driving force behind new instrumental ideas and he instigated the use of synthesizers in Joy Division's music. Synthesizers became common in the latter part of the band's career, featuring prominently in the songs "Isolation," "Decades" and "The Eternal" from the Closer album, as well as "Atmosphere" and "Something Must Break." Ironically the band had been unhappy with their 1978 scrapped RCA album recordings because the producer had used synthesizers.
Synthesizers at the time were notoriously prone to overheating and going out of tune. Joy Division's ARP String Machine and Powertran Transcendent were no exceptions, as the synthesizer on the live version of "Decades" featured on the "Still" compilation testifies.
An out-take from the Closer sessions, "As You Said" (sometimes called "Incubation 2") subsequently released on the FAC28 flexi-disk and on the CD box set Heart And Soul, is entirely electronic in its sound, and is one of only two Joy Division songs that doesn't include any vocals, the other track being "Incubation". In a 2005 Q magazine article the members of New Order claimed that Joy Division would have become an electronic band had Ian Curtis not died.
[edit] Electric guitar
Bernard Sumner was the group's lead guitarist. He played the Shergold Custom Masquerader and a Gibson SG Standard primarily. During the Warsaw days Sumner used a cheap SG copy, upgrading to a genuine Gibson after the success of Unknown Pleasures. He also played the synthesizers. For this reason on some live tracks Ian Curtis took over basic guitar duties. "I Remember Nothing," "Heart and Soul," "Atmosphere," "Love Will Tear Us Apart" and "Incubation" all featured Curtis playing the electric guitar live. Although a competent but not a skilled guitarist, Curtis' playing enhanced the band's sound at live gigs. It is unlikely that Curtis played guitar on studio recordings although this remains a possibility because no official word ever came from the band. Footage exists of Curtis playing Sumner's Shergold Custom Masquerader and Vox Phantom Mark VI guitar (often mistakenly attributed as being a Teardrop, Guitar Organ or ordinary Phantom).[citation needed]
[edit] Bass guitar
Peter Hook chose to play his bass guitar more like a lead guitar on many tracks. Hook started to use a Shergold Marathon six stringed bass guitar on the Closer album, which allowed for a scale of higher notes to be played. He continued to use the Marathon with New Order, as well as a conventional Yamaha BB1200 four-stringed bass. His original bass, a Hondo Rickenbacker copy, was damaged after an altercation during a gig in Manchester in September 1979. Some reports state that this bass was destroyed during this altercation, but the bass survived enough to be used on the band's January 1980 European Tour. Hook also performed backing vocals for the group and was the 'other voice' on the song "Interzone." On the tracks "Atrocity Exhibition" and "Sound of Music," Hook and Sumner swapped instruments so that Hook was playing electric guitar and Sumner bass guitar.
[edit] Drums
Stephen Morris used an extensive drum kit to allow a great range of rolls, rhythm shifts and beats. Morris was an active drummer, especially on the tracks "She's Lost Control" and "Transmission" where the insistent beat fueled Curtis' gyrations. Morris also used Simmonds and Synare electronic drumpads and a BOSS DR-55 drum machine on the songs "Insight," "She's Lost Control," "Isolation," and "Decades", in combination with conventional drums to broaden the tonal palette.
[edit] Other equipment
The melodica was an instrument used by Joy Division during a few recordings. It was used predominately on "In a Lonely Place," which only exists as a rehearsal recording that can be heard on the "Heart and Soul" box set. It was used briefly on the song "Decades". New Order used the melodica a number of times and were said to have "inherited" it from Curtis, who purchased one after hearing it used by dub-reggae artist Augustus Pablo.
[edit] Live performances
The usual scene at a Joy Division gig was Curtis in the middle at the front, Sumner to his right, Hook to his left and Morris with his drum kit at the back. After experimenting with strobe lighting the band played under white low level lights, without variation, due to Curtis's epilepsy.
Curtis usually held onto the microphone stand for most of a song, only leaving it to dance. He sometimes walked off stage after he had finished his vocals, leaving the rest of the band to finish without him. Curtis rarely spoke to the audience at gigs apart from the occasional "thank you" at the end of a song. At the Preston Warehouse gig in 1980 Curtis was unusually talkative in order to keep the audience informed of the equipment failure the band suffered part way through the set. This gig has since been issued on a CD and culminates in an intense version of "She's Lost Control" despite the equipment failures.
On April 8, Curtis was pulled out of hospital to play a gig at the Derby Hall in Bury. At the urging of Factory Records founder Tony Wilson, Joy Division's set began with Alan Hempstall of Crispy Ambulance and Simon Topping of A Certain Ratio filling in on vocals for Curtis, who was initially too ill to perform. However, members of the audience protested, turning the gig into a riot in which Hook, Gretton, and other crew members fought with angry onlookers. [8]
[edit] Dance
Curtis had a unique dance which he performed regularly. He rotated his arms very quickly back and forth in front of him as though fighting with a large wheel or attempting to swim. It is sometimes referred to as an 'epileptic dance' because the movements resemble someone having an epileptic fit.
[edit] Accusations of neo-Nazism
The band's name, along with Sumner reverting to his father's surname Albrecht, and the imagery used on early releases, garnered the band criticism for their perceived insensitivity. Accusations of neo-Nazism, a charge the group denied, dogged them for the remainder of the band's career. These accusations resurfaced after Joy Division ended and reformed as New Order, a name sometimes interpreted as a reference to Adolf Hitler's speeches promising "the new order of the Third Reich". The band later stated they got the name from a newspaper article on the new society the Khmer Rouge had envisaged for Cambodia and that a variety of other names had been considered, some more frivilous than others. Gillian Gilbert said in a television interview she simply considered it to mean the new order within the band as they moved on from Joy Division.
One reference to Nazism exists within Joy Division lyrics. Rudolf Hess's prisoner of war number is used in the song 'Warsaw'. On a later live album, the band's guitarist Bernard Sumner can be heard saying, "You all forgot Rudolf Hess", before the song At A Later Date.[citation needed]
[edit] Members
[edit] Members
Ian Curtis – lead vocals, guitar
Bernard Sumner – guitar, keyboards,
Peter Hook – bass guitar, vocals
Stephen Morris – drums, percussion
[edit] Other members
Terry Mason – drums (mid-1976 to May 1977)
Tony Tabac – drums (May to June 1977)
Steve Brotherdale – drums (June to August 1977)
[edit] Discography
[edit] Albums
Unknown Pleasures (1979)
Closer (1980)
[edit] Compilations
Still (1981) - collection of rare recordings along with their final concert performance
The Peel Sessions (LP, Strange Fruit SFRLP 211, 1986, 1987) - the band's two Peel Sessions combined on one album
Substance (1988) - singles compilation
Warsaw (1994) - very early recordings
Permanent (London 828624, 1995) - compilation; reached #16 on the UK album charts
Heart & Soul (1997) - 4 CD set of complete works
Joy Division The Complete BBC Recordings (CD, Strange Fruit SFRSCD094, 2000) - contains the two Peel Sessions, two songs from their 'Something Else' BBC TV appearance and an interview.
[edit] Live albums
Preston Warehouse (Factory FACD 2.60) - recorded February 28, 1980
Les Bains Douches (Factory FACD 2.61) - recorded December 18, 1979
Fractured (Factory FACD 2.61z) - box set combining Preston Warehouse and Les Bains Douches in special packaging
Re - Fractured (2004, limited release) - box set combining Preston Warehouse and Les Bains Douches, together with a third disc containing recordings from a concert in Amsterdam, and a poster and t-shirt sporting the word 'Refractured', all contained in a special box
[edit] Singles and EPs
An Ideal for Living (UK, Enigma PSS139, 1978)
"Transmission" (UK, Factory FAC 13, 1979)
Licht und Blindheit (France, SS33002, 1980)
"Komakino" (UK, Factory FAC 28, 1980)
"Love Will Tear Us Apart" (UK, Factory FAC 23, 1980)
"Atmosphere/She's Lost Control" (UK/US, Factory FACUS 2, 1980)
The First Peel Session (UK, Strange Fruit SFPS013, 1986)
The Second Peel Session (UK, Strange Fruit SFPS033, 1987)
"Atmosphere" (UK, Factory FAC 213, 1988)
"Love Will Tear Us Apart" (UK, London UK YOJ 1, 1995)
[edit] Compilation appearances
Short Circuit: Live at the Electric Circus (10" LP, Virgin VCL 5003, June 1978) — "At a Later Date"
A Factory Sample (2×7", Factory FAC 2, January 1979) — "Digital," "Glass"
Earcom 2: Contradiction (12"EP, Fast Product FAST 9B, October 1979) — "Autosuggestion," "From Safety to Where...?"
Left of the Dial: Dispatches from the '80s Underground (Rhino, 2004)
There are also a tremendous number of bootleg recordings, both live and studio.[9]
[edit] Video
Here Are All The Young Men (UK, Factory FACT 37, 1982). Live recordings of some of their gigs. Low quality, available on DVD.
Joy Division: Under Review Region 2 DVD only available Oct.31 2006. A documentary including interviews with the remaining former band members charting the band's history.
[edit] Film
[edit] Control
Main article: Control (2007 film)
In 2007 a new film Control, directed by Anton Corbijn was released. The film depicts Curtis' life and uses the Deborah Curtis biography as a basis, although the plot has been broadened to cover areas of Ian's life that Deborah was not privy. Other people close to Ian were consulted for the film, including Tony Wilson, and of course the band, who scored the film using the Joy Division name. Control had its international premiere on the first night of Director's Fortnight at the 2007 Cannes Film Festival (May 17, 2007; the twenty-seventh anniversary of Ian Curtis' final night alive). Curtis is played by 24 Hour Party People star Sam Riley, who played Mark E. Smith, while his wife Deborah is portrayed by Samantha Morton, and Alexandria Maria Lara plays Annik Honoré. The members of New Order attended the premiere. In 2007 the Belgian indie magazine Side-Line published an interview online with Annik Honoré originally made in 2005 in which she tells for the first time about her view on the upcoming film.[10]
[edit] 24 Hour Party People
Main article: 24 Hour Party People
Much of the history of Joy Division was portrayed in the 2002 MGM/United Artists released film 24 Hour Party People which presented a somewhat fictionalized account of the rise and fall of the Factory Records, with whom both Joy Division and New Order were signed.
Background information
Origin Salford, Greater Manchester & Macclesfield, Cheshire, England
Genre(s) Post-punk
Years active 1976–1980
Label(s) Factory Records
Associated
acts New Order
Former members
Ian Curtis (deceased)
Peter Hook
Stephen Morris
Bernard Sumner
Joy Division were an English rock band that formed in 1976 in Salford, Greater Manchester. With their dark, cavernous sound and use of guitars, throbbing bass, and electronics, they pioneered the post-punk sound of the late 1970s. In May 1980 their vocalist, Ian Curtis, committed suicide. In June, 1980, the band released their most popular song entitled Love Will Tear Us Apart. The remaining members reformed as New Order and went on to receive critical and commercial success.
The group achieved only modest success during their career, and released only two official albums, however they have since been acclaimed as one of the most inventive and influential bands of their era. Thom Jurek writes, "They left just a small bit of music and an echo that still rings".[1]
Their name is taken from the World War II historical novel “The House of Dolls,” wherin author Yehiel De-Nur described "Joy Divisions"—separate units within concentration camps where Jewish women were housed for sexual slavery.
Contents [hide]
1 History
1.1 Early years
1.2 Early work as Joy Division
1.3 Unknown Pleasures
1.4 European tour
1.5 Ian Curtis's suicide
1.6 Closer
1.7 The end of Joy Division
2 Legacy
3 Lyrics
4 Equipment
4.1 Synthesisers
4.2 Electric guitar
4.3 Bass guitar
4.4 Drums
4.5 Other equipment
5 Live performances
5.1 Dance
6 Accusations of neo-Nazism
7 Members
7.1 Members
7.2 Other members
8 Discography
8.1 Albums
8.1.1 Compilations
8.1.2 Live albums
8.2 Singles and EPs
8.3 Compilation appearances
8.4 Video
9 Film
9.1 Control
9.2 24 Hour Party People
10 References
11 Sources
12 External links
[edit] History
This section may need to be rewritten.
Reason: to flow better
Please discuss this issue on the talk page.
[edit] Early years
The famous Sex Pistols show at the Manchester Lesser Free Trade Hall on June 4 1976 inspired Bernard Sumner [2] and Peter Hook to form a band with their friend Terry Mason. Sumner bought a guitar, Hook a bass and Mason a drum kit. They placed an advertisement in a Manchester record store, Virgin Records, for a singer and recruited Ian Curtis. Curtis, who knew the others from previous gigs, had also attended the Sex Pistols concert, along with his wife, Deborah.
Just before their first gig on May 29, 1977 supporting the Buzzcocks and Penetration at the Electric Circus, the band renamed themselves Warsaw, even though they appeared on the bill as Stiff Kittens (suggested by Richard Boon and Pete Shelley of the Buzzcocks). (The name change to Warsaw was purportedly inspired by the David Bowie track "Warszawa", found on his 1977 album Low and not inspired by the Polish city of the same name). Five weeks and half a dozen gigs later, Warsaw replaced Mason with punk drummer Steve Brotherdale from another band called Panik. On July 18 1977, they recorded five crude punk songs that became The Warsaw Demo. Having recorded the demo, the band fired Brotherdale. Driving home from the studio, they pulled over and asked Brotherdale to check on a "flat tyre". When he got out of the car, they sped off. Brotherdale later tried to get Curtis to join Panik, but Curtis declined. The band put out an advertisement in a music shop window for a replacement drummer and hired respondent Stephen Morris. The band chose Morris because Curtis recalled him from his school days. Morris had attended the same school two years below Curtis. Unlike the band's previous drummers, Morris clicked well with the other members. His metronome-like drumming owed more to krautrock than the aggressiveness of punk.
[edit] Early work as Joy Division
Warsaw renamed themselves Joy Division in late 1977 in order to avoid confusion with the London punk band Warsaw Pakt, borrowing their new name from the prostitution wing of a concentration camp from the 1955 book The House of Dolls. "No Love Lost," an early Joy Division/Warsaw track, contains a lyrical reference to Yehiel De-Nur's book:
"...Through the wire screen, the eyes of those standing outside looked in at her as into the cage of some rare creature in a zoo.
In the hand of one of the assistants she saw the same instrument which they had that morning inserted deep into her body.
She shuddered instinctively.
No life at all in the house of dolls.
No love lost..."
The band's signature style began to take shape in late 1977. Sessions recorded in December 1977 were a departure from the sound of The Warsaw Demo. The group played their first gig as Joy Division on January 25, 1978. Regular gigs in the north of England throughout early 1978 provided the band with enough material and experience to record a debut album. However, after the producer added synthesizers to several tracks, the band scrapped the record. The album leaked as a bootleg recording called Warsaw in 1982 and has been re-pressed and re-released several times[3] since then. Rob Gretton became the band's manager in May 1978. Over the next twenty years, he contributed much to Joy Division and to New Order.
In the summer of 1978, the band debuted on vinyl with one Warsaw track on a compilation album entitled Short Circuit - Live At The Electric Circus which was recorded live on October 2, 1977. In June 1978, Joy Division released their December 1977 sessions as a 7" EP under the title An Ideal for Living. They remastered and re-released An Ideal for Living as a 12" in late 1978. On September 20, 1978, they performed on the local TV news show Granada Reports; then in December 1978, they appeared on the compilation double 7" EP A Factory Sample, contributing two tracks recorded a few months earlier. This EP sold out within a couple of months and was the first release to document the haunting and atmospheric sound they had been developing since that past summer. Early 1979 saw the band gain more publicity. Curtis appeared on the front cover of the New Musical Express and they recorded a radio session in January (aired on BBC Radio 1 on February 14 by John Peel). On March 4, they supported The Cure at the Marquee Club, a major venue in London.
[edit] Unknown Pleasures
In April 1979, the band began recording their debut album Unknown Pleasures. The record was bleaker and darker in tone than most of its contemporaries, featuring Hook's bass as the lead melodic instrument, drums treated with digital delay, Sumner's jagged guitar style and Curtis's baritone vocals that have been likened to Jim Morrison and Iggy Pop. Producer Martin Hannett contributed significantly to the final sound. (Coincidentally, a non-album track, "Digital" was the first song the band recorded with Hannett as producer as well as the last song the group performed live before Curtis' death). Whereas most punk rock bands had been extroverted and aggressive, Joy Division were more introverted and personal. Despite their insularity, however, their music could be very aggressive and chaotic. The album cover, designed by Peter Saville based on a graph of 100 consecutive pulses from the pulsar CP 1919, is regarded as a classic of minimalist design. The image represents the final life of a dying star.
Unknown Pleasures was released in June while Joy Division were recording five songs for Piccadilly Radio.
They performed on Granada TV again in July, made their only nationwide TV appearance in September on BBC2, supported the Buzzcocks in a 24-venue UK tour during October and November, and performed on Peel's show again in December. Despite the fact that Unknown Pleasures was selling well and receiving good reviews from the music press, all was not well. Diagnosed with epilepsy in January 1979, Curtis' illness worsened during 1979 and would often have tonic-clonic seizures on stage that resulted in convulsions, or absence seizures that would cause brief trance-like pauses.
[edit] European tour
Music samples:
"She's Lost Control" (file info) — play in browser (beta)
Sample of "She's Lost Control" from Unknown Pleasures
Problems listening to the file? See media help.
"Love Will Tear Us Apart" (file info) — play in browser (beta)
Sample of "Love Will Tear Us Apart" from Substance
Problems listening to the file? See media help.
"24 Hours" (file info) — play in browser (beta)
Sample of "24 Hours" from Closer
Problems listening to the file? See media help.
Joy Division had one European gig at Les Bains Douches on December 18th 1979, from which a popular live recording was taken. Their official tour started on January 11th 1980 at Paradiso in Amsterdam. They played 10 gigs in Europe, their last being on January 21st 1980 at Kant Kino, Berlin.
[edit] Ian Curtis's suicide
On May 18, 1980, the evening before Joy Division were to embark on their first American tour, Curtis returned to his home and convinced his wife, Deborah, to spend the evening at her parents' house. Curtis watched the Werner Herzog film Stroszek on television, then listened to the Iggy Pop album The Idiot and wrote a letter to his estranged wife. He then hanged himself in the kitchen. Deborah found him the following morning.
The exact reasons for his suicide have never fully been explained. However there are two factors which are thought to have affected his state of mind strongly. The first was his epilepsy, he was suffering worsening seizures and the band regularly had to cancel concerts to allow him sufficient time to recover. Some of the seizures occurred on stage during concerts. Curtis also attempted suicide several months before his death by overdosing on the medicine prescribed to control his epilepsy. The second factor affecting him was his marriage break down. He had engaged in an extra marital affair with a young Belgian woman called Annik Honoré, whom he met in Europe in late 1979. And his wife Deborah had filed for divorce.[4].
[edit] Closer
In July 1980 the band's second album, Closer, was released to overwhelmingly positive reviews. It charted, peaking at number 6 on the British album chart. Sales of Unknown Pleasures were also robust. Recording of the album began in late March 1980 and was complete before Curtis's death. It was produced by Martin Hannett. As with the early Warsaw/Joy Division track "No Love Lost" the band again featured a song with a literary reference. The opening track on Closer, "Atrocity Exhibition," shares its title with the novel The Atrocity Exhibition by J. G. Ballard.
[edit] The end of Joy Division
In the summer of 1980, "Love Will Tear Us Apart" hit number 13 on the British singles chart, their biggest commercial success to date. In June 1980, Hook, Morris and Sumner entered Graveyard Studios with fellow Factory act Kevin Hewick for a session, produced by Martin Hannett. The track was called 'Haystack'. It was not released as a single by Factory, but was later released on a Kevin Hewick compilation. Factory Records head Tony Wilson reportedly suggested to the band that Hewick replace Curtis as vocalist in the group. [5]
The members of Joy Division had made a pact that, should any member leave the group the remaining members would abandon the name "Joy Division" and all material associated with it. The remaining members held true to this commitment, and Joy Division was officially disbanded. The band was reborn as a three piece called New Order, later recruiting Morris' girlfriend Gillian Gilbert to round out the group on keyboards. Initially, the band was mum as to whether the name referred to the 'new order' of the band, or if it was a reference to Nazi Germany as was the name Joy Division. Alternating between guitar-drum-bass and electronic styles, the band's music reached and inspired a variety of listeners. New Order is often cited as one of the leading synthpop and dance music groups of their era, yet their use of traditional rock instruments such as guitars and live drums has reached a level of influence comparable with their landmark electronic works.
[edit] Legacy
The band, and especially Ian Curtis, has been an inspiration for a number of bands and musicians that include U2, The Smashing Pumpkins, Manic Street Preachers, Interpol, Trent Reznor (who, as Nine Inch Nails, covered "Dead Souls" for the soundtrack of the movie The Crow), Robert Smith of The Cure, and Red Hot Chili Peppers guitarist John Frusciante. The continuing importance of Joy Division was shown at the turn of the millennium when John Peel asked his listeners to vote for the all-time Festive 50. At number one was the haunting "Atmosphere," while "Love Will Tear Us Apart" sat at number three. Three more songs from the band sat on the list. The ending solo from "New Dawn Fades," as performed by Moby, was featured in the 1995 film Heat as Al Pacino chases down Robert De Niro. In 1999, a New Jersey band named Thursday recorded a song called "Ian Curtis" that included Joy Division song titles, such as Isolation, Heart & Soul and Twenty Four Hours, as lyrics. In 2005, Joy Division were inducted along with New Order into the UK Music Hall of Fame.
[edit] Lyrics
The band were described in the press at the time as "doom laden". This was due in part to the often dark lyrics written by Ian Curtis. Death, sadness, anger, bitterness or loss were recurrent themes. For example the 1979 song "Shadowplay" includes the line "In the shadowplay, acting out your own death, knowing no more". Ian Curtis denied the band were doom laden in a 1980 recorded interview. He said "people have been saying 'oh yeah, it's all about death and doom...' but we're not...none of the songs are...I think it's a heavy metal thing, that..."[6]. The biography of Joy Division at Billboard describe the lyrics as "isolated, tortured."[7]
[edit] Equipment
[edit] Synthesisers
Joy Division often experimented with different sounds, especially once in collaboration with Martin Hannett. Within the band it was said that Sumner was the driving force behind new instrumental ideas and he instigated the use of synthesizers in Joy Division's music. Synthesizers became common in the latter part of the band's career, featuring prominently in the songs "Isolation," "Decades" and "The Eternal" from the Closer album, as well as "Atmosphere" and "Something Must Break." Ironically the band had been unhappy with their 1978 scrapped RCA album recordings because the producer had used synthesizers.
Synthesizers at the time were notoriously prone to overheating and going out of tune. Joy Division's ARP String Machine and Powertran Transcendent were no exceptions, as the synthesizer on the live version of "Decades" featured on the "Still" compilation testifies.
An out-take from the Closer sessions, "As You Said" (sometimes called "Incubation 2") subsequently released on the FAC28 flexi-disk and on the CD box set Heart And Soul, is entirely electronic in its sound, and is one of only two Joy Division songs that doesn't include any vocals, the other track being "Incubation". In a 2005 Q magazine article the members of New Order claimed that Joy Division would have become an electronic band had Ian Curtis not died.
[edit] Electric guitar
Bernard Sumner was the group's lead guitarist. He played the Shergold Custom Masquerader and a Gibson SG Standard primarily. During the Warsaw days Sumner used a cheap SG copy, upgrading to a genuine Gibson after the success of Unknown Pleasures. He also played the synthesizers. For this reason on some live tracks Ian Curtis took over basic guitar duties. "I Remember Nothing," "Heart and Soul," "Atmosphere," "Love Will Tear Us Apart" and "Incubation" all featured Curtis playing the electric guitar live. Although a competent but not a skilled guitarist, Curtis' playing enhanced the band's sound at live gigs. It is unlikely that Curtis played guitar on studio recordings although this remains a possibility because no official word ever came from the band. Footage exists of Curtis playing Sumner's Shergold Custom Masquerader and Vox Phantom Mark VI guitar (often mistakenly attributed as being a Teardrop, Guitar Organ or ordinary Phantom).[citation needed]
[edit] Bass guitar
Peter Hook chose to play his bass guitar more like a lead guitar on many tracks. Hook started to use a Shergold Marathon six stringed bass guitar on the Closer album, which allowed for a scale of higher notes to be played. He continued to use the Marathon with New Order, as well as a conventional Yamaha BB1200 four-stringed bass. His original bass, a Hondo Rickenbacker copy, was damaged after an altercation during a gig in Manchester in September 1979. Some reports state that this bass was destroyed during this altercation, but the bass survived enough to be used on the band's January 1980 European Tour. Hook also performed backing vocals for the group and was the 'other voice' on the song "Interzone." On the tracks "Atrocity Exhibition" and "Sound of Music," Hook and Sumner swapped instruments so that Hook was playing electric guitar and Sumner bass guitar.
[edit] Drums
Stephen Morris used an extensive drum kit to allow a great range of rolls, rhythm shifts and beats. Morris was an active drummer, especially on the tracks "She's Lost Control" and "Transmission" where the insistent beat fueled Curtis' gyrations. Morris also used Simmonds and Synare electronic drumpads and a BOSS DR-55 drum machine on the songs "Insight," "She's Lost Control," "Isolation," and "Decades", in combination with conventional drums to broaden the tonal palette.
[edit] Other equipment
The melodica was an instrument used by Joy Division during a few recordings. It was used predominately on "In a Lonely Place," which only exists as a rehearsal recording that can be heard on the "Heart and Soul" box set. It was used briefly on the song "Decades". New Order used the melodica a number of times and were said to have "inherited" it from Curtis, who purchased one after hearing it used by dub-reggae artist Augustus Pablo.
[edit] Live performances
The usual scene at a Joy Division gig was Curtis in the middle at the front, Sumner to his right, Hook to his left and Morris with his drum kit at the back. After experimenting with strobe lighting the band played under white low level lights, without variation, due to Curtis's epilepsy.
Curtis usually held onto the microphone stand for most of a song, only leaving it to dance. He sometimes walked off stage after he had finished his vocals, leaving the rest of the band to finish without him. Curtis rarely spoke to the audience at gigs apart from the occasional "thank you" at the end of a song. At the Preston Warehouse gig in 1980 Curtis was unusually talkative in order to keep the audience informed of the equipment failure the band suffered part way through the set. This gig has since been issued on a CD and culminates in an intense version of "She's Lost Control" despite the equipment failures.
On April 8, Curtis was pulled out of hospital to play a gig at the Derby Hall in Bury. At the urging of Factory Records founder Tony Wilson, Joy Division's set began with Alan Hempstall of Crispy Ambulance and Simon Topping of A Certain Ratio filling in on vocals for Curtis, who was initially too ill to perform. However, members of the audience protested, turning the gig into a riot in which Hook, Gretton, and other crew members fought with angry onlookers. [8]
[edit] Dance
Curtis had a unique dance which he performed regularly. He rotated his arms very quickly back and forth in front of him as though fighting with a large wheel or attempting to swim. It is sometimes referred to as an 'epileptic dance' because the movements resemble someone having an epileptic fit.
[edit] Accusations of neo-Nazism
The band's name, along with Sumner reverting to his father's surname Albrecht, and the imagery used on early releases, garnered the band criticism for their perceived insensitivity. Accusations of neo-Nazism, a charge the group denied, dogged them for the remainder of the band's career. These accusations resurfaced after Joy Division ended and reformed as New Order, a name sometimes interpreted as a reference to Adolf Hitler's speeches promising "the new order of the Third Reich". The band later stated they got the name from a newspaper article on the new society the Khmer Rouge had envisaged for Cambodia and that a variety of other names had been considered, some more frivilous than others. Gillian Gilbert said in a television interview she simply considered it to mean the new order within the band as they moved on from Joy Division.
One reference to Nazism exists within Joy Division lyrics. Rudolf Hess's prisoner of war number is used in the song 'Warsaw'. On a later live album, the band's guitarist Bernard Sumner can be heard saying, "You all forgot Rudolf Hess", before the song At A Later Date.[citation needed]
[edit] Members
[edit] Members
Ian Curtis – lead vocals, guitar
Bernard Sumner – guitar, keyboards,
Peter Hook – bass guitar, vocals
Stephen Morris – drums, percussion
[edit] Other members
Terry Mason – drums (mid-1976 to May 1977)
Tony Tabac – drums (May to June 1977)
Steve Brotherdale – drums (June to August 1977)
[edit] Discography
[edit] Albums
Unknown Pleasures (1979)
Closer (1980)
[edit] Compilations
Still (1981) - collection of rare recordings along with their final concert performance
The Peel Sessions (LP, Strange Fruit SFRLP 211, 1986, 1987) - the band's two Peel Sessions combined on one album
Substance (1988) - singles compilation
Warsaw (1994) - very early recordings
Permanent (London 828624, 1995) - compilation; reached #16 on the UK album charts
Heart & Soul (1997) - 4 CD set of complete works
Joy Division The Complete BBC Recordings (CD, Strange Fruit SFRSCD094, 2000) - contains the two Peel Sessions, two songs from their 'Something Else' BBC TV appearance and an interview.
[edit] Live albums
Preston Warehouse (Factory FACD 2.60) - recorded February 28, 1980
Les Bains Douches (Factory FACD 2.61) - recorded December 18, 1979
Fractured (Factory FACD 2.61z) - box set combining Preston Warehouse and Les Bains Douches in special packaging
Re - Fractured (2004, limited release) - box set combining Preston Warehouse and Les Bains Douches, together with a third disc containing recordings from a concert in Amsterdam, and a poster and t-shirt sporting the word 'Refractured', all contained in a special box
[edit] Singles and EPs
An Ideal for Living (UK, Enigma PSS139, 1978)
"Transmission" (UK, Factory FAC 13, 1979)
Licht und Blindheit (France, SS33002, 1980)
"Komakino" (UK, Factory FAC 28, 1980)
"Love Will Tear Us Apart" (UK, Factory FAC 23, 1980)
"Atmosphere/She's Lost Control" (UK/US, Factory FACUS 2, 1980)
The First Peel Session (UK, Strange Fruit SFPS013, 1986)
The Second Peel Session (UK, Strange Fruit SFPS033, 1987)
"Atmosphere" (UK, Factory FAC 213, 1988)
"Love Will Tear Us Apart" (UK, London UK YOJ 1, 1995)
[edit] Compilation appearances
Short Circuit: Live at the Electric Circus (10" LP, Virgin VCL 5003, June 1978) — "At a Later Date"
A Factory Sample (2×7", Factory FAC 2, January 1979) — "Digital," "Glass"
Earcom 2: Contradiction (12"EP, Fast Product FAST 9B, October 1979) — "Autosuggestion," "From Safety to Where...?"
Left of the Dial: Dispatches from the '80s Underground (Rhino, 2004)
There are also a tremendous number of bootleg recordings, both live and studio.[9]
[edit] Video
Here Are All The Young Men (UK, Factory FACT 37, 1982). Live recordings of some of their gigs. Low quality, available on DVD.
Joy Division: Under Review Region 2 DVD only available Oct.31 2006. A documentary including interviews with the remaining former band members charting the band's history.
[edit] Film
[edit] Control
Main article: Control (2007 film)
In 2007 a new film Control, directed by Anton Corbijn was released. The film depicts Curtis' life and uses the Deborah Curtis biography as a basis, although the plot has been broadened to cover areas of Ian's life that Deborah was not privy. Other people close to Ian were consulted for the film, including Tony Wilson, and of course the band, who scored the film using the Joy Division name. Control had its international premiere on the first night of Director's Fortnight at the 2007 Cannes Film Festival (May 17, 2007; the twenty-seventh anniversary of Ian Curtis' final night alive). Curtis is played by 24 Hour Party People star Sam Riley, who played Mark E. Smith, while his wife Deborah is portrayed by Samantha Morton, and Alexandria Maria Lara plays Annik Honoré. The members of New Order attended the premiere. In 2007 the Belgian indie magazine Side-Line published an interview online with Annik Honoré originally made in 2005 in which she tells for the first time about her view on the upcoming film.[10]
[edit] 24 Hour Party People
Main article: 24 Hour Party People
Much of the history of Joy Division was portrayed in the 2002 MGM/United Artists released film 24 Hour Party People which presented a somewhat fictionalized account of the rise and fall of the Factory Records, with whom both Joy Division and New Order were signed.
8.17.2007
濁水溪公社
專輯列表
天涯棄逃人
臭死了
台客復仇
濁水溪公社 --- 台客復仇 專輯歌詞
1.農村出事情
2.沾到黑油的肉鯽仔
3.詛咒
4.老人失蹤
5.劍仙傳奇
6.男性尊嚴攻防戰
7.探功德
8.藍色的海邊
9.愛情青紅燈
10.加味人參姑嫂丸
11.缺乏交際能力
12.甜蜜的倫巴
13.紅龜粿
14.壞鐵仔賣
15.後記
1.農村出事情
有什麼理由 有什麼訴求 起毛不爽 放屎放不出 說出心裡的煩惱事
別再龜龜毛毛 假假仙仙 怕會出事情
為什麼怨嘆 為什麼賭爛 喝到巴拉松 哭都哭不出 親像海浪在浸海埔
就是雞雞巴巴 挈挈還環 海賊假抓魚
阿爸流鼻血 阿媽不害臊 領錢大家來相擠 果子在生蟲 濁水米嘛來幫忙
台票堆的滿山青紅 吃飽一頓 運命有光
沃落鄉土三點半 田園浸水肥 西瓜討賺不輕鬆 乎咱主人吃不空
2.沾到黑油的肉鯽仔
白色身影從我身邊游過 讓我想起你說的話 閃爍的光線
為何找不到來時的路途 憂悶天興乎心情一直振動
過去和未來都沒希望 站惦鐵軌旁邊轉頭分不清西東
關惦監獄內 判刑來受罪 想起當初的糊塗 踏錯誰人無
滿腹的辛酸 寄出最後一封信 不願耽誤你的青春 這是分手的時候
有錢人講話大聲 萬事佔贏 假情假愛 受人尊重是一條龍
沒錢人誰會瞭解他的目屎 他的無奈 每日為錢賭性命
坐車到土城的我 像沾到黑油的肉鯽仔 肉鯽仔 沾到黑油的肉鯽仔
3.詛咒
為什麼不行拿我的懶叫來輸贏 不識字兼沒衛生
為什麼不行拿我的懶叫來詛咒 沒水準兼沒讀書
黑又臭的屍體丟在你家溪溝裡 沒穿衫兼沒穿褲
垃圾車裝著你我早熟的青春 骯髒吃你就骯髒大
臭腳 癢啊癢啊
爛痘仔 癢啊癢啊
轉載來自 ※Mojim.com 魔鏡歌詞網
富貴手 癢啊癢啊
過敏 癢啊癢啊
沒洗頭 癢啊癢啊(為啥這麼癢、實在有夠癢)
大肚子 癢啊癢啊(一輩子在癢、跨下也在癢)
流鼻水 癢啊癢啊(菜捲有夠癢、豆皮擱卡癢)
香港腳 癢啊癢啊(奶頭嘛在癢、馬眼跟人癢)
4.老人失蹤
社會局不承認老人已經失蹤 廁所的屎沒沖市長在抓狂 大馬路破洞
養鬼害死人 豬母生病 醬油潑在三角褲 媳婦討客兄被兒子抓去揍
銀行總經理飆車跟人相撞 倒人會仔錢 準備欲跑路 保險費沒繳
破病沒人倘照顧 這是一個黑暗的所在 讓人分不出好壞 暗暝矇
不小心會來失蹤 若走失蹤
富貴盡人命落 找不到老人又一冬 政府改善的腳步真沉重
樓下垃圾堆這麼多天 得到皮膚病 屁股生蛔蟲
5.劍仙傳奇
是刀劍 還是慧眼 翻雲覆雨在名利之間那快樂和悲傷頓時化神龍空天
好深的內功 小弟甘拜下風 令人眼花撩亂 赤膽天罡劍
身形掠過天權 劍化繁星萬點 掌氣一吞再吐 騰身疾如閃電
你閉目等候 我卻無路可退 身手名不虛傳 達到借物傳力純青境界
一生狂傲卻來不及出招 因為你的眼睛已經
看穿這陷阱 當心中產生一種說不出的恐懼
才知道 "人外有人 天外有天" 的道理
意轉氣隨之際 妖孽真火相遇 舞起的勁風 狂殺路上行人絕跡
落在二丈之外 血影無所遁形 全身力道失盡 露出可乘之機
最後請求你 想丟根毛在水溝裡 讓這浪得虛名 隨流水潺潺裊不停
6.男性尊嚴攻防戰
心捻躁 想拿石頭敲老二 把這組沒擋頭的爛趴敲乎破 為怎樣?
你母仔要放棄你爸 穿拖鞋到西藥房四處逛 惦我面前 笑我是一隻軟腳蝦
回去眠床上 又嫌我爛鳥未起叛 拜託師傅阿 別在那裡剁磚頭 快救我一命阿
我實在見笑做一個男人
錢不嫌多 傢伙沒人嫌大 腰酸背痛 工作拼輸少年家 精門鎖不密 精水卻一直漏
人說工具勇健 是家庭幸福的溫泉
人生是黑白 每天被美妻瞪白眼 腦神經衰弱 卡輸來判無期徒刑
別人過五關斬六將 還有能力放火搶銀行 我剩一隻傻爛垂垂
在廁所門口賣衛生紙 盼望天公可憐我 給我一次自新的機會
我忍受不了這種黑暗沒自尊的日子 這隻傻爛你給我爬起來
九九神功 千年絕招武功 不怕艱苦 重振男性威風 衝破難關 發憤圖強
萬里路途府前豪氣壯
有反應了 師父 我的眼淚滴在碗公里面 入刀山 踏遍滿地的神通
證明阮猶原是正港的大英雄
7.探功德
初戀愛人根人走
一隻爛鳥硬邦邦
無論是颱風天下雨天日時暗暝
心裡想要幹
沒有一次吃到妹妹的碗粿
百善孝為先
三杯清茶敬神明
祝福一路順風
口袋一支起子
去老師他家搶補習費
鬧家庭
結流行
四界選愛情
無守本分跑酒家喊拳
8.藍色的海邊
藍色的海邊 想像著對你的依戀
模糊了世俗認同的界限
留下一片一片靈魂在身邊
點點的思念
編織成粗糙的畫面
保留著人獸交戰的空間
還有一聲一聲的淫蕩在耳邊
讓我倆看著夕陽
奔向大海
轉載來自 ※Mojim.com 魔鏡歌詞網
淪落在天涯
就好像拋開心中罪惡的枷鎖
我已不寂寞
讓神秘世界變得更加清晰
徜徉在這熱情的海浬
卻不管生命還有多少憂傷
盡情享受閃耀的太陽
9.愛情青紅燈
腳步剛才趕過一盞青燈
美的醜的短短一點交會
時機來是一盞一盞青燈
時機壞去是一盞一盞紅燈
愛情現在挈惦一盞紅燈
我的等待是潑落的硫酸雨
請你安奈我黑淥淥的鼻孔毛
十字路口 親像親像對我講
偷摸柳丁 射出牛奶
目睛放亮 勿失良機
愛情愛情青紅燈
對她唱著一條一條情歌
等會收到一張一張紅單
我的所愛是你的排骨便當
兩片交通 想要想要對我講
轉載來自 ※Mojim.com 魔鏡歌詞網
懶的吃煙 偷闖紅燈
把無七仔 問你阿嬤
愛情愛情青紅燈
世間冷暖親像一段一段不確定的愛情
男男女女喝著一杯一杯無糖的咖啡
夢中叫著愛人的名字
手中拿著淋血的傢私
阿標大哥
阿標大哥
事情不好了
寂寞風中傳來昨夜暝床的不幸
夢中叫著愛人的名字
手中拿著淋血的傢私
10.加味人參姑嫂丸
想不出來啥米所在給我心裡這麼大悲哀
放在冰箱那罐蘆筍汁是你爸送我的所愛
茫茫街燈照落三更時 血路不順體質是空虛 淒冷風 肝氣鬱結在丹田之內
偎在窗邊 火車傳來你的消息 不情不願的
來 沒說一聲惦惦離開
聽到笑聲 神經過敏走到床邊 慕情的歌詞
轉頭看你在吃麵
來 來 來 來一粒姑嫂丸 給我青春 給我快樂
面色黃酸 失眠厚夢 整日頭暈目暗 配合醫
生診斷 對症下藥 卻引起副作用
含露牡丹形影放未離 小便臭味會癢還會
轉載來自 ※Mojim.com 魔鏡歌詞網
熱 恨世間 誰人會知自古薄命女人心
偎在窗邊 火車傳來你的消息
不情不願的來 沒說一聲惦惦離開
聽到笑聲 神經過敏走到床邊
慕情的歌詞 轉頭看你在吃麵
來 來 來 來一粒姑嫂丸 給我青春 給我快樂
可愛的 閃亮的 大方的女孩你在哪裡
我樂切地呼喚著太陽下你的背影
好想聽聽你的聲音
彷彿是一場甜蜜的夢
來 來 來 來一粒姑嫂丸 給我青春 給我快樂
11.缺乏交際能力
告訴你我置身的境遇 世紀末主題有人類的
冷漠和迷惑 信心已擺脫 是混亂的邏輯
不必找尋眼前事件的意義 沒有象徵只是大
眾喧嘩的榮譽 界線並不清晰 漫無人影
齷齪與血淚中貪婪矇蔽 被遺忘的契機 意識
型態的先知滿足空虛心靈 卻消失了方向
氾濫語言淹沒了我的聲音 生存之道是妥協
非奇蹟 我獨自眺望著遠處的街道 喪失溝通
的存在 苦悶而美麗 在這冷冷夜裡(規範年代)
恍惚經驗中是否能回憶過去的夢 支離破碎
狀態中 無能的文化只能給我一些數據 強迫
回應的方式
轉載來自 ※Mojim.com 魔鏡歌詞網
12.甜蜜的倫巴
若是可以乎我走入你的夢 請你聽我講話 親
愛的媽媽 別再相信股市專家 多頭市場若是
可以煮來吃 放屎都是香
若是可以乎我進來你的盤 讓電子琴聲來稱
讚你的靈魂 震動的小腳步 滲著階級鬥爭麻
痺的力量 甜蜜跳倫巴
你早應該帶我豬腳來跳舞 你咁知影我的心
內在等待 你的老爸怎對待我不甘 你咁知影
我的心內在感慨 這款老爸 這麼無效
我相信我的豬腳不會放過你 你唔通對我跳倫巴
從今以後你就別吃豬肝 是不是只有夢一攤
13.紅龜粿
日頭已經將要落西 姑娘和我還沒認識戀夢小馬車 親像偉士牌
我做你的排氣管 你做我的土豆油 我要跟你認識認識
外面下雨要做颱風 孤鳥雲頂誰攏不知 紅燈
閃爍 黑雲白蒼蒼 老大抓去籠仔內 老二躲在
屁股內 誰人出去搖擺搖擺
檳榔好年東 長壽氣味永遠相同 經過這麼多人 紅龜粿已經送給別人
邊笑邊偷內衣 為了氣氛放火燒機車 寶貴的
青春 龜頭去撞壁 十五六歲就轉大人 十七八
歲殺死別人
比你老爸擱卡厲害 拖拉庫的司機真歹 要看
姑娘要摸雞巴 三年五年 撐著雨傘 不要我的
流血痔瘡 不要我的紅豆甜粿 我要和他
GOODBYE GOODBYE
14.壞鐵仔賣
壞鐵仔賣 報紙賣 報紙簿仔紙拿來賣 權狀拿來賣
課本拿來賣 三民主義五權憲法拿來賣
壞鐵仔賣 報紙賣 你家的錄影帶拿來賣 老二割來賣
蛤仔肉挖來賣 三更半夜小姐你要跑去叼位賣?
(口白:用小黃的綠豆屎治療受傷的龜頭)
壞鐵仔賣 報紙賣 報紙簿仔紙拿來賣 電話拿
來賣 冰箱拿來賣 乾脆咱來跳樓自殺死死去
鉛筆拿來賣 手錶拿來賣 你家的破銅爛鐵拿
來賣 壞鐵仔賣 報紙賣 報紙簿仔紙拿來賣
轉載來自 ※Mojim.com 魔鏡歌詞網
15.後記
一爐香火萬家香
渡男渡女渡子孫
獻紙獻錢買路過
草埔路上亦好走
空空瘋瘋落仙界
奈何橋上笑咳咳
畜生也懂修行路
奉勸大家在升時常唸彌陀佛
黃泉路上仙童護
轉載來自 ※Mojim.com 魔鏡歌詞網
寸寸報分明
金童玉女入宮來
保庇眾生永無災
想要捧一碗黑輪湯來喝
想要含先生娘的棒棒糖
一夜的夫妻
等百代的苦楚
專輯列表
天涯棄逃人
臭死了
台客復仇
濁水溪公社 --- 台客復仇 專輯歌詞
1.農村出事情
2.沾到黑油的肉鯽仔
3.詛咒
4.老人失蹤
5.劍仙傳奇
6.男性尊嚴攻防戰
7.探功德
8.藍色的海邊
9.愛情青紅燈
10.加味人參姑嫂丸
11.缺乏交際能力
12.甜蜜的倫巴
13.紅龜粿
14.壞鐵仔賣
15.後記
1.農村出事情
有什麼理由 有什麼訴求 起毛不爽 放屎放不出 說出心裡的煩惱事
別再龜龜毛毛 假假仙仙 怕會出事情
為什麼怨嘆 為什麼賭爛 喝到巴拉松 哭都哭不出 親像海浪在浸海埔
就是雞雞巴巴 挈挈還環 海賊假抓魚
阿爸流鼻血 阿媽不害臊 領錢大家來相擠 果子在生蟲 濁水米嘛來幫忙
台票堆的滿山青紅 吃飽一頓 運命有光
沃落鄉土三點半 田園浸水肥 西瓜討賺不輕鬆 乎咱主人吃不空
2.沾到黑油的肉鯽仔
白色身影從我身邊游過 讓我想起你說的話 閃爍的光線
為何找不到來時的路途 憂悶天興乎心情一直振動
過去和未來都沒希望 站惦鐵軌旁邊轉頭分不清西東
關惦監獄內 判刑來受罪 想起當初的糊塗 踏錯誰人無
滿腹的辛酸 寄出最後一封信 不願耽誤你的青春 這是分手的時候
有錢人講話大聲 萬事佔贏 假情假愛 受人尊重是一條龍
沒錢人誰會瞭解他的目屎 他的無奈 每日為錢賭性命
坐車到土城的我 像沾到黑油的肉鯽仔 肉鯽仔 沾到黑油的肉鯽仔
3.詛咒
為什麼不行拿我的懶叫來輸贏 不識字兼沒衛生
為什麼不行拿我的懶叫來詛咒 沒水準兼沒讀書
黑又臭的屍體丟在你家溪溝裡 沒穿衫兼沒穿褲
垃圾車裝著你我早熟的青春 骯髒吃你就骯髒大
臭腳 癢啊癢啊
爛痘仔 癢啊癢啊
轉載來自 ※Mojim.com 魔鏡歌詞網
富貴手 癢啊癢啊
過敏 癢啊癢啊
沒洗頭 癢啊癢啊(為啥這麼癢、實在有夠癢)
大肚子 癢啊癢啊(一輩子在癢、跨下也在癢)
流鼻水 癢啊癢啊(菜捲有夠癢、豆皮擱卡癢)
香港腳 癢啊癢啊(奶頭嘛在癢、馬眼跟人癢)
4.老人失蹤
社會局不承認老人已經失蹤 廁所的屎沒沖市長在抓狂 大馬路破洞
養鬼害死人 豬母生病 醬油潑在三角褲 媳婦討客兄被兒子抓去揍
銀行總經理飆車跟人相撞 倒人會仔錢 準備欲跑路 保險費沒繳
破病沒人倘照顧 這是一個黑暗的所在 讓人分不出好壞 暗暝矇
不小心會來失蹤 若走失蹤
富貴盡人命落 找不到老人又一冬 政府改善的腳步真沉重
樓下垃圾堆這麼多天 得到皮膚病 屁股生蛔蟲
5.劍仙傳奇
是刀劍 還是慧眼 翻雲覆雨在名利之間那快樂和悲傷頓時化神龍空天
好深的內功 小弟甘拜下風 令人眼花撩亂 赤膽天罡劍
身形掠過天權 劍化繁星萬點 掌氣一吞再吐 騰身疾如閃電
你閉目等候 我卻無路可退 身手名不虛傳 達到借物傳力純青境界
一生狂傲卻來不及出招 因為你的眼睛已經
看穿這陷阱 當心中產生一種說不出的恐懼
才知道 "人外有人 天外有天" 的道理
意轉氣隨之際 妖孽真火相遇 舞起的勁風 狂殺路上行人絕跡
落在二丈之外 血影無所遁形 全身力道失盡 露出可乘之機
最後請求你 想丟根毛在水溝裡 讓這浪得虛名 隨流水潺潺裊不停
6.男性尊嚴攻防戰
心捻躁 想拿石頭敲老二 把這組沒擋頭的爛趴敲乎破 為怎樣?
你母仔要放棄你爸 穿拖鞋到西藥房四處逛 惦我面前 笑我是一隻軟腳蝦
回去眠床上 又嫌我爛鳥未起叛 拜託師傅阿 別在那裡剁磚頭 快救我一命阿
我實在見笑做一個男人
錢不嫌多 傢伙沒人嫌大 腰酸背痛 工作拼輸少年家 精門鎖不密 精水卻一直漏
人說工具勇健 是家庭幸福的溫泉
人生是黑白 每天被美妻瞪白眼 腦神經衰弱 卡輸來判無期徒刑
別人過五關斬六將 還有能力放火搶銀行 我剩一隻傻爛垂垂
在廁所門口賣衛生紙 盼望天公可憐我 給我一次自新的機會
我忍受不了這種黑暗沒自尊的日子 這隻傻爛你給我爬起來
九九神功 千年絕招武功 不怕艱苦 重振男性威風 衝破難關 發憤圖強
萬里路途府前豪氣壯
有反應了 師父 我的眼淚滴在碗公里面 入刀山 踏遍滿地的神通
證明阮猶原是正港的大英雄
7.探功德
初戀愛人根人走
一隻爛鳥硬邦邦
無論是颱風天下雨天日時暗暝
心裡想要幹
沒有一次吃到妹妹的碗粿
百善孝為先
三杯清茶敬神明
祝福一路順風
口袋一支起子
去老師他家搶補習費
鬧家庭
結流行
四界選愛情
無守本分跑酒家喊拳
8.藍色的海邊
藍色的海邊 想像著對你的依戀
模糊了世俗認同的界限
留下一片一片靈魂在身邊
點點的思念
編織成粗糙的畫面
保留著人獸交戰的空間
還有一聲一聲的淫蕩在耳邊
讓我倆看著夕陽
奔向大海
轉載來自 ※Mojim.com 魔鏡歌詞網
淪落在天涯
就好像拋開心中罪惡的枷鎖
我已不寂寞
讓神秘世界變得更加清晰
徜徉在這熱情的海浬
卻不管生命還有多少憂傷
盡情享受閃耀的太陽
9.愛情青紅燈
腳步剛才趕過一盞青燈
美的醜的短短一點交會
時機來是一盞一盞青燈
時機壞去是一盞一盞紅燈
愛情現在挈惦一盞紅燈
我的等待是潑落的硫酸雨
請你安奈我黑淥淥的鼻孔毛
十字路口 親像親像對我講
偷摸柳丁 射出牛奶
目睛放亮 勿失良機
愛情愛情青紅燈
對她唱著一條一條情歌
等會收到一張一張紅單
我的所愛是你的排骨便當
兩片交通 想要想要對我講
轉載來自 ※Mojim.com 魔鏡歌詞網
懶的吃煙 偷闖紅燈
把無七仔 問你阿嬤
愛情愛情青紅燈
世間冷暖親像一段一段不確定的愛情
男男女女喝著一杯一杯無糖的咖啡
夢中叫著愛人的名字
手中拿著淋血的傢私
阿標大哥
阿標大哥
事情不好了
寂寞風中傳來昨夜暝床的不幸
夢中叫著愛人的名字
手中拿著淋血的傢私
10.加味人參姑嫂丸
想不出來啥米所在給我心裡這麼大悲哀
放在冰箱那罐蘆筍汁是你爸送我的所愛
茫茫街燈照落三更時 血路不順體質是空虛 淒冷風 肝氣鬱結在丹田之內
偎在窗邊 火車傳來你的消息 不情不願的
來 沒說一聲惦惦離開
聽到笑聲 神經過敏走到床邊 慕情的歌詞
轉頭看你在吃麵
來 來 來 來一粒姑嫂丸 給我青春 給我快樂
面色黃酸 失眠厚夢 整日頭暈目暗 配合醫
生診斷 對症下藥 卻引起副作用
含露牡丹形影放未離 小便臭味會癢還會
轉載來自 ※Mojim.com 魔鏡歌詞網
熱 恨世間 誰人會知自古薄命女人心
偎在窗邊 火車傳來你的消息
不情不願的來 沒說一聲惦惦離開
聽到笑聲 神經過敏走到床邊
慕情的歌詞 轉頭看你在吃麵
來 來 來 來一粒姑嫂丸 給我青春 給我快樂
可愛的 閃亮的 大方的女孩你在哪裡
我樂切地呼喚著太陽下你的背影
好想聽聽你的聲音
彷彿是一場甜蜜的夢
來 來 來 來一粒姑嫂丸 給我青春 給我快樂
11.缺乏交際能力
告訴你我置身的境遇 世紀末主題有人類的
冷漠和迷惑 信心已擺脫 是混亂的邏輯
不必找尋眼前事件的意義 沒有象徵只是大
眾喧嘩的榮譽 界線並不清晰 漫無人影
齷齪與血淚中貪婪矇蔽 被遺忘的契機 意識
型態的先知滿足空虛心靈 卻消失了方向
氾濫語言淹沒了我的聲音 生存之道是妥協
非奇蹟 我獨自眺望著遠處的街道 喪失溝通
的存在 苦悶而美麗 在這冷冷夜裡(規範年代)
恍惚經驗中是否能回憶過去的夢 支離破碎
狀態中 無能的文化只能給我一些數據 強迫
回應的方式
轉載來自 ※Mojim.com 魔鏡歌詞網
12.甜蜜的倫巴
若是可以乎我走入你的夢 請你聽我講話 親
愛的媽媽 別再相信股市專家 多頭市場若是
可以煮來吃 放屎都是香
若是可以乎我進來你的盤 讓電子琴聲來稱
讚你的靈魂 震動的小腳步 滲著階級鬥爭麻
痺的力量 甜蜜跳倫巴
你早應該帶我豬腳來跳舞 你咁知影我的心
內在等待 你的老爸怎對待我不甘 你咁知影
我的心內在感慨 這款老爸 這麼無效
我相信我的豬腳不會放過你 你唔通對我跳倫巴
從今以後你就別吃豬肝 是不是只有夢一攤
13.紅龜粿
日頭已經將要落西 姑娘和我還沒認識戀夢小馬車 親像偉士牌
我做你的排氣管 你做我的土豆油 我要跟你認識認識
外面下雨要做颱風 孤鳥雲頂誰攏不知 紅燈
閃爍 黑雲白蒼蒼 老大抓去籠仔內 老二躲在
屁股內 誰人出去搖擺搖擺
檳榔好年東 長壽氣味永遠相同 經過這麼多人 紅龜粿已經送給別人
邊笑邊偷內衣 為了氣氛放火燒機車 寶貴的
青春 龜頭去撞壁 十五六歲就轉大人 十七八
歲殺死別人
比你老爸擱卡厲害 拖拉庫的司機真歹 要看
姑娘要摸雞巴 三年五年 撐著雨傘 不要我的
流血痔瘡 不要我的紅豆甜粿 我要和他
GOODBYE GOODBYE
14.壞鐵仔賣
壞鐵仔賣 報紙賣 報紙簿仔紙拿來賣 權狀拿來賣
課本拿來賣 三民主義五權憲法拿來賣
壞鐵仔賣 報紙賣 你家的錄影帶拿來賣 老二割來賣
蛤仔肉挖來賣 三更半夜小姐你要跑去叼位賣?
(口白:用小黃的綠豆屎治療受傷的龜頭)
壞鐵仔賣 報紙賣 報紙簿仔紙拿來賣 電話拿
來賣 冰箱拿來賣 乾脆咱來跳樓自殺死死去
鉛筆拿來賣 手錶拿來賣 你家的破銅爛鐵拿
來賣 壞鐵仔賣 報紙賣 報紙簿仔紙拿來賣
轉載來自 ※Mojim.com 魔鏡歌詞網
15.後記
一爐香火萬家香
渡男渡女渡子孫
獻紙獻錢買路過
草埔路上亦好走
空空瘋瘋落仙界
奈何橋上笑咳咳
畜生也懂修行路
奉勸大家在升時常唸彌陀佛
黃泉路上仙童護
轉載來自 ※Mojim.com 魔鏡歌詞網
寸寸報分明
金童玉女入宮來
保庇眾生永無災
想要捧一碗黑輪湯來喝
想要含先生娘的棒棒糖
一夜的夫妻
等百代的苦楚
濁水溪公社：一場顛覆苦悶的台客革命
在這個苦悶與無聊的時代，還好我們有濁水溪。
時代進入九零年代，之前風起雲湧的學運在90年野百合和次年的抗議獨台會案、反閱兵廢惡法達到高潮後，開始精疲力衰。
於是，在校園的一角，想像力略嫌貧乏的我們這些學運份子繼續苦讀馬克斯和苦思學運革命策略。在校園的另一角落，另一群青年卻用他們的上半身和下半身用力以想像力解放一切的無聊與苦悶：他們在地下秘密製作暴力噪音叛客的手工音樂、發行台灣學生刊物史上最骯髒齷齪但又最純真誠實—「誠實」是因為揭露大學生高尚外表底下的種種騷亂慾望---的刊物「苦悶報」、他們在深夜匍匐前進到墳場挖出死人骨頭。然後被台大退學。
但他們並沒有遭到打擊---如果連時代的龐大苦悶與無聊都不能打敗他們，離開台大又算什麼？
接下來的十年，他們創造出一支台灣音樂史上在表演形式和歌詞音樂都最具原創意、也是最具有政治意識的樂隊：濁水溪公社。而這不過是繼續發揚光大濁水溪在台大時期的精神與美學罷了。
濁水溪的音樂質素和音樂美學似乎是典型的西方punk音樂，但他們的靈魂是「顛覆無聊」與「台客態度」。就前者來說，仔細想想，如果你的吉他和歌喉都無法超越那些偉大搖滾英雄，那麼又何必只是成為次級的翻版，或者，何苦在這個苦悶的時代多出一個五月天？還不如去解構傳統對搖滾樂團的想像。
而所謂「台客」，簡單來說可以理解為「台灣的龐客」，但這更是因為「台客」就是他們的音樂與表演形式的靈感來源，以及他們的生活方式本身。他們深愛高凌風、文夏；餐廳秀的唱歌加脫口秀加喜劇的表演方式也構成他們現場表演的原型；而更多的本土文化中，他們發掘到一種任意混種與自由實驗的精神，譬如電子花車放上鐵達尼號主題曲。正如他們所說：這些台灣本土文化「根本不怕，什麼東西拿來就用，就可以變成自已的東西，然後才有活力。」（參閱Jeph與濁水溪的訪問）
這在某種程度上是反映九零年代前半期本土化風潮的崛起，在各個藝術領域都開始重視原來被主流體制所制度化歧視為低俗的本土民間文化，並向這些素民文化取經，例如劇場界的台灣沃克等。
這樣的精神所製作出的三張創作專輯，張張足以入選台灣音樂史十大專輯。我們聽見樂曲編排的繁複性、歌曲的動聽旋律性，但是一切又這麼粗糙生猛，完全不像一般台灣樂團的蒼白貧血。在粗俗低級的文字底下，是對於台灣社會邊緣的宣洩，是苦悶青年的幹譙和潛藏的意淫；95年的第一張專輯〈肛門樂慾期作品〉更有許多歌反應他們九零年代初期的社運經驗。
他們的現場表演更是一刀劃破台灣音樂史。與其說濁水溪是搖滾樂的表演，毋寧說他們是一場前衛行動藝術；無論是粗糙的行動劇，賣藥的台語口白、或是用酒瓶用力敲打戴上安全帽的頭部，都是濁水溪用他們「挑戰無聊」的精神不斷去顛覆表演的界線。
而這一切都在他們的紀錄片〈爛頭殼〉中具體地呈現出來。2001年，兩個政大學生陳德政和毛致新拍攝了濁水溪公社紀錄片作為畢業製作，並由水晶發行。這可能是台灣出現過最好的樂團紀錄片---也可能是唯一一部認真而誠懇的樂團紀錄片？。〈爛頭殼〉不是平鋪直敘樂團成長的溫馨故事，更不是暢銷作品大集合，而是帶我們揭開一個傳奇樂團背後的焦慮與哀傷，以及激動表演背後的理性與感性。後者是因為在影片呈現出濁水溪在狂爆與無厘頭的表演背後，往往是精心策劃----雖然實際演出還是常常擦槍走火，不論是總統府的意外傷人事件、二二八公園表演使其染上惡名的語言暴力，或是「春天的吶喊」的舞台暴動。
焦慮與感傷則是拍片者進入時間恰好是濁水溪精神人物之一「左派」的離團前的幾個月，而使得〈爛頭殼〉深刻地呈現了樂團內部的緊張關係，和團員彼此間的矛盾與無力感。左派沒有在影片中清楚說明離團的理由。但或許從左派表示對又一次去春天吶喊的不情願，我們或許可以理解，即使是濁水溪這樣一個革命性樂隊，樂團生命的延續還是會面臨不斷重複的工作（錄音、演出等），以及無可避免的日常化、形式化與無趣化。
當濁水溪用台客搖滾為我們推翻這個時代的苦悶與無聊時，他們也終將面臨音樂這個武器被無聊這個玩意的內在顛覆。
(本文刪節版刊登於本週出刊的新新聞週刊947聽音樂專欄。
此處所刊登為一刀未剪完整版)
（註：關於濁水溪公社反抗無聊的宣戰書，請見發表在苦悶報上之「致全國青年公開信：花蕊望早春」。關於這篇文章和其他濁水溪資料，都在爛頭殼中有豐富收集。）
時代進入九零年代，之前風起雲湧的學運在90年野百合和次年的抗議獨台會案、反閱兵廢惡法達到高潮後，開始精疲力衰。
於是，在校園的一角，想像力略嫌貧乏的我們這些學運份子繼續苦讀馬克斯和苦思學運革命策略。在校園的另一角落，另一群青年卻用他們的上半身和下半身用力以想像力解放一切的無聊與苦悶：他們在地下秘密製作暴力噪音叛客的手工音樂、發行台灣學生刊物史上最骯髒齷齪但又最純真誠實—「誠實」是因為揭露大學生高尚外表底下的種種騷亂慾望---的刊物「苦悶報」、他們在深夜匍匐前進到墳場挖出死人骨頭。然後被台大退學。
但他們並沒有遭到打擊---如果連時代的龐大苦悶與無聊都不能打敗他們，離開台大又算什麼？
接下來的十年，他們創造出一支台灣音樂史上在表演形式和歌詞音樂都最具原創意、也是最具有政治意識的樂隊：濁水溪公社。而這不過是繼續發揚光大濁水溪在台大時期的精神與美學罷了。
濁水溪的音樂質素和音樂美學似乎是典型的西方punk音樂，但他們的靈魂是「顛覆無聊」與「台客態度」。就前者來說，仔細想想，如果你的吉他和歌喉都無法超越那些偉大搖滾英雄，那麼又何必只是成為次級的翻版，或者，何苦在這個苦悶的時代多出一個五月天？還不如去解構傳統對搖滾樂團的想像。
而所謂「台客」，簡單來說可以理解為「台灣的龐客」，但這更是因為「台客」就是他們的音樂與表演形式的靈感來源，以及他們的生活方式本身。他們深愛高凌風、文夏；餐廳秀的唱歌加脫口秀加喜劇的表演方式也構成他們現場表演的原型；而更多的本土文化中，他們發掘到一種任意混種與自由實驗的精神，譬如電子花車放上鐵達尼號主題曲。正如他們所說：這些台灣本土文化「根本不怕，什麼東西拿來就用，就可以變成自已的東西，然後才有活力。」（參閱Jeph與濁水溪的訪問）
這在某種程度上是反映九零年代前半期本土化風潮的崛起，在各個藝術領域都開始重視原來被主流體制所制度化歧視為低俗的本土民間文化，並向這些素民文化取經，例如劇場界的台灣沃克等。
這樣的精神所製作出的三張創作專輯，張張足以入選台灣音樂史十大專輯。我們聽見樂曲編排的繁複性、歌曲的動聽旋律性，但是一切又這麼粗糙生猛，完全不像一般台灣樂團的蒼白貧血。在粗俗低級的文字底下，是對於台灣社會邊緣的宣洩，是苦悶青年的幹譙和潛藏的意淫；95年的第一張專輯〈肛門樂慾期作品〉更有許多歌反應他們九零年代初期的社運經驗。
他們的現場表演更是一刀劃破台灣音樂史。與其說濁水溪是搖滾樂的表演，毋寧說他們是一場前衛行動藝術；無論是粗糙的行動劇，賣藥的台語口白、或是用酒瓶用力敲打戴上安全帽的頭部，都是濁水溪用他們「挑戰無聊」的精神不斷去顛覆表演的界線。
而這一切都在他們的紀錄片〈爛頭殼〉中具體地呈現出來。2001年，兩個政大學生陳德政和毛致新拍攝了濁水溪公社紀錄片作為畢業製作，並由水晶發行。這可能是台灣出現過最好的樂團紀錄片---也可能是唯一一部認真而誠懇的樂團紀錄片？。〈爛頭殼〉不是平鋪直敘樂團成長的溫馨故事，更不是暢銷作品大集合，而是帶我們揭開一個傳奇樂團背後的焦慮與哀傷，以及激動表演背後的理性與感性。後者是因為在影片呈現出濁水溪在狂爆與無厘頭的表演背後，往往是精心策劃----雖然實際演出還是常常擦槍走火，不論是總統府的意外傷人事件、二二八公園表演使其染上惡名的語言暴力，或是「春天的吶喊」的舞台暴動。
焦慮與感傷則是拍片者進入時間恰好是濁水溪精神人物之一「左派」的離團前的幾個月，而使得〈爛頭殼〉深刻地呈現了樂團內部的緊張關係，和團員彼此間的矛盾與無力感。左派沒有在影片中清楚說明離團的理由。但或許從左派表示對又一次去春天吶喊的不情願，我們或許可以理解，即使是濁水溪這樣一個革命性樂隊，樂團生命的延續還是會面臨不斷重複的工作（錄音、演出等），以及無可避免的日常化、形式化與無趣化。
當濁水溪用台客搖滾為我們推翻這個時代的苦悶與無聊時，他們也終將面臨音樂這個武器被無聊這個玩意的內在顛覆。
(本文刪節版刊登於本週出刊的新新聞週刊947聽音樂專欄。
此處所刊登為一刀未剪完整版)
（註：關於濁水溪公社反抗無聊的宣戰書，請見發表在苦悶報上之「致全國青年公開信：花蕊望早春」。關於這篇文章和其他濁水溪資料，都在爛頭殼中有豐富收集。）
8.12.2007
我，白領族 我迷「張小盒」
【聯合報╱記者汪莉絹／專題報導】 2007.08.12 02:49 am
大陸白領族現在流行些什麼？看四格的「張小盒」漫畫！
「大家好，我是張小盒，我擅長加班，不擅長追女孩，也不擅長討好老闆。」張小盒的官方網站這樣介紹張小盒的「個性」。大大的方型盒子頭，兩道八字眉，臉上貼著OK繃，天天辛勤加班，為生活打拚—這就是大陸當紅上班族漫畫的主角「張小盒」，也是當前三千萬白領族的「符號形象」。
共鳴…白領族看到自己
去年底，四個在廣州工作的年輕人，在網上推出四格卡通動漫「張小盒」，定位為「上班族漫畫」，透過輕鬆、幽默和自我嘲諷方式，描繪大陸都會白領的職場生活及故事。許多上班族看的張小盒漫畫故事，好像看到自己的影子，會心一笑間，產生一種遇到知音的共鳴。經過網路快速宣傳，大陸白領族間已掀起一股「張小盒旋風」。
故事的主角除張小盒外，還有一些大陸職場裡常見的人物，諸如女同事「莉莉盒」、老闆「VC高」，以及男同事「黃阿狗」。
VC高是白手起家的商人，有時免不了奸詐和刻薄員工，但有時也會心軟，有著大陸中年企業家的各種煩惱。莉莉盒則是愛漂亮、打扮，整天夢想嫁入豪門當貴婦的粉領族。黃阿狗則代表每個職場都會出現的「壞人」，愛貪小便宜，對人講話冷嘲熱諷，很現實和功利，不過，有時還會良心發現，壞中帶點可愛。
盒粉…從北到南人氣旺
張小盒故事的取材，幾乎都是大陸上班族每天會上演的戲碼；對未來懷著一點點夢想的張小盒，現實生活裡總是面對永遠加不完的班，偶爾跟同事發發牢騷，還要絞盡腦汁想方法應付老闆，甚至動動壞心眼。
無論是自嘲打卡機永遠正常或者感嘆自己可能會過勞死，都如同一面鏡子，一針見血地反映大陸都會白領族每天的所見、所聞、所感。
有人形容張小盒是「中國版的呆伯特」（呆伯特，風靡全球的漫畫人物，道出上班族的心聲），而三千萬穿梭在各大辦公樓之間的白領族，人人都是「張小盒」。正因人人都是「張小盒」，激發出強大的共鳴，張小盒漫畫的人氣指數在大陸白領族間快速竄升，從北京到廣州，上海到成都，都有自稱「盒粉」的張小盒迷。
創作…受「呆伯特」啟發
大陸社會學家認為，由於張小盒身上散發出當前大陸「辦公樓生物」的各種特點，白領族很容易在他身上找到自己的影子，從而在四格逗趣、幽默的漫畫中，找到舒緩情緒的出口。
因為，上百萬的「盒粉」多數和張小盒一樣，生活在城市的一個個盒子裡，缺少溝通。
創造張小盒的主創人陳東、彭陽軍和陳格雷，都是廣告人出身。在創作過程中，他們受到美國「呆伯特」漫畫啟發，選擇「上班族生活故事」作為創作內容，因為大陸有一大群上班族，但缺乏一個深入人心的辦公室漫畫形象。
會想到以盒子作為上班族漫畫的人物形象，是因為「辦公樓像個盒子，辦公室是盒子，家也是盒子，車、電梯、文件等一切都是盒子。每個人都在一個個盒子裡生存，所以，人也是盒子」。於是，他們把「張小盒」定義為「一個生活在盒子裡的人，永遠充滿理想，永遠對現實無奈──有理想，沒野心；有個性，沒脾氣；敢想不敢做，敢怒不敢言」，就像在職場中的你和我。
【2007/08/12 聯合報】@ http://udn.com
大陸白領族現在流行些什麼？看四格的「張小盒」漫畫！
「大家好，我是張小盒，我擅長加班，不擅長追女孩，也不擅長討好老闆。」張小盒的官方網站這樣介紹張小盒的「個性」。大大的方型盒子頭，兩道八字眉，臉上貼著OK繃，天天辛勤加班，為生活打拚—這就是大陸當紅上班族漫畫的主角「張小盒」，也是當前三千萬白領族的「符號形象」。
共鳴…白領族看到自己
去年底，四個在廣州工作的年輕人，在網上推出四格卡通動漫「張小盒」，定位為「上班族漫畫」，透過輕鬆、幽默和自我嘲諷方式，描繪大陸都會白領的職場生活及故事。許多上班族看的張小盒漫畫故事，好像看到自己的影子，會心一笑間，產生一種遇到知音的共鳴。經過網路快速宣傳，大陸白領族間已掀起一股「張小盒旋風」。
故事的主角除張小盒外，還有一些大陸職場裡常見的人物，諸如女同事「莉莉盒」、老闆「VC高」，以及男同事「黃阿狗」。
VC高是白手起家的商人，有時免不了奸詐和刻薄員工，但有時也會心軟，有著大陸中年企業家的各種煩惱。莉莉盒則是愛漂亮、打扮，整天夢想嫁入豪門當貴婦的粉領族。黃阿狗則代表每個職場都會出現的「壞人」，愛貪小便宜，對人講話冷嘲熱諷，很現實和功利，不過，有時還會良心發現，壞中帶點可愛。
盒粉…從北到南人氣旺
張小盒故事的取材，幾乎都是大陸上班族每天會上演的戲碼；對未來懷著一點點夢想的張小盒，現實生活裡總是面對永遠加不完的班，偶爾跟同事發發牢騷，還要絞盡腦汁想方法應付老闆，甚至動動壞心眼。
無論是自嘲打卡機永遠正常或者感嘆自己可能會過勞死，都如同一面鏡子，一針見血地反映大陸都會白領族每天的所見、所聞、所感。
有人形容張小盒是「中國版的呆伯特」（呆伯特，風靡全球的漫畫人物，道出上班族的心聲），而三千萬穿梭在各大辦公樓之間的白領族，人人都是「張小盒」。正因人人都是「張小盒」，激發出強大的共鳴，張小盒漫畫的人氣指數在大陸白領族間快速竄升，從北京到廣州，上海到成都，都有自稱「盒粉」的張小盒迷。
創作…受「呆伯特」啟發
大陸社會學家認為，由於張小盒身上散發出當前大陸「辦公樓生物」的各種特點，白領族很容易在他身上找到自己的影子，從而在四格逗趣、幽默的漫畫中，找到舒緩情緒的出口。
因為，上百萬的「盒粉」多數和張小盒一樣，生活在城市的一個個盒子裡，缺少溝通。
創造張小盒的主創人陳東、彭陽軍和陳格雷，都是廣告人出身。在創作過程中，他們受到美國「呆伯特」漫畫啟發，選擇「上班族生活故事」作為創作內容，因為大陸有一大群上班族，但缺乏一個深入人心的辦公室漫畫形象。
會想到以盒子作為上班族漫畫的人物形象，是因為「辦公樓像個盒子，辦公室是盒子，家也是盒子，車、電梯、文件等一切都是盒子。每個人都在一個個盒子裡生存，所以，人也是盒子」。於是，他們把「張小盒」定義為「一個生活在盒子裡的人，永遠充滿理想，永遠對現實無奈──有理想，沒野心；有個性，沒脾氣；敢想不敢做，敢怒不敢言」，就像在職場中的你和我。
【2007/08/12 聯合報】@ http://udn.com
Va Bene 點子很多的義麵和披薩
【聯合報／記者周立芸／報導．記者蘇健忠／攝影】
與多數平價義大利麵餐廳不同的是，「Va Bene」的menu選項超豐富，算算有23種麵、6種焗烤麵、還有12種披薩。老闆林志豪是個不喜墨守成規，設計菜單點子不斷的6年級生，義大利餐飲科班出身，在西華、遠東五星飯店的義大利廚房待過，還去義大利學廚藝。
他喜歡的麵，湯汁收乾滋味足。只是非常怕油的人還是會嫌油分多了點，不過滿香的。
紅咖哩奶油雞肉麵：這盤麵是東方遇到西方，紅咖哩的神祕與濃醇奶油醬，糾纏出粉紅色的慵懶風味，一盤夏日奇想。160 元
左圖：老闆林志豪不羈的外表，看得出做義大利麵也點子一堆。
右圖：香料小豬義大利麵，豬肉片用白酒和香料處理，蒜片、義大利香料煎香後加肉片燴拌麵條，是人氣麵點。160元
左圖：野菇培根pizza，人氣pizza，中間一顆將熟未熟的蛋像一輪明月，很有詩意。160元
右圖：花生小豬pizza，林志豪在歐洲時曾吃過花生醬+豬肉的三明治，好吃得讓他印象深刻。如法炮製，將pizza薄脆皮塗花生醬，再放以白酒香料醃漬過的豬肉。170元
■店家資訊
‧台北市南京東路5段123巷2弄9號
‧02-2746-8858
‧周日休
‧無刷卡
【2007/08/11 聯合報】
與多數平價義大利麵餐廳不同的是，「Va Bene」的menu選項超豐富，算算有23種麵、6種焗烤麵、還有12種披薩。老闆林志豪是個不喜墨守成規，設計菜單點子不斷的6年級生，義大利餐飲科班出身，在西華、遠東五星飯店的義大利廚房待過，還去義大利學廚藝。
他喜歡的麵，湯汁收乾滋味足。只是非常怕油的人還是會嫌油分多了點，不過滿香的。
紅咖哩奶油雞肉麵：這盤麵是東方遇到西方，紅咖哩的神祕與濃醇奶油醬，糾纏出粉紅色的慵懶風味，一盤夏日奇想。160 元
左圖：老闆林志豪不羈的外表，看得出做義大利麵也點子一堆。
右圖：香料小豬義大利麵，豬肉片用白酒和香料處理，蒜片、義大利香料煎香後加肉片燴拌麵條，是人氣麵點。160元
左圖：野菇培根pizza，人氣pizza，中間一顆將熟未熟的蛋像一輪明月，很有詩意。160元
右圖：花生小豬pizza，林志豪在歐洲時曾吃過花生醬+豬肉的三明治，好吃得讓他印象深刻。如法炮製，將pizza薄脆皮塗花生醬，再放以白酒香料醃漬過的豬肉。170元
■店家資訊
‧台北市南京東路5段123巷2弄9號
‧02-2746-8858
‧周日休
‧無刷卡
【2007/08/11 聯合報】
7.20.2007
Blondie
Biography by William Ruhlmann
Blondie was the most commercially successful band to emerge from the much-vaunted punk/new wave movement of the late '70s. The group was formed in New York City in August 1974 by singer Deborah Harry (b. July 1, 1945, Miami), formerly of Wind in the Willows, and guitarist Chris Stein (b. January 5, 1950, Brooklyn) out of the remnants of Harry's previous group, the Stilettos. The lineup fluctuated over the next year. Drummer Clement Burke (b. November 24, 1955, New York) joined in May 1975. Bassist Gary Valentine joined in August. In October, keyboard player James Destri (b. April 13, 1954) joined, to complete the initial permanent lineup. They released their first album, Blondie, on Private Stock Records in December 1976. In July 1977, Valentine was replaced by Frank Infante.
In August, Chrysalis Records bought their contract from Private Stock and in October reissued Blondie and released the second album, Plastic Letters. Blondie expanded to a sextet in November with the addition of bassist Nigel Harrison (born in Princes Risborough, Buckinghamshire, England), as Infante switched to guitar. Blondie broke commercially in the U.K. in March 1978, when their cover of Randy and the Rainbows' 1963 hit "Denise," renamed "Denis," became a Top Ten hit, as did Plastic Letters, followed by a second U.K. Top Ten, "(I'm Always Touched By Your) Presence, Dear." Blondie turned to U.K. producer/songwriter Mike Chapman for their third album, Parallel Lines, which was released in September 1978 and eventually broke them worldwide. "Picture This" became a U.K. Top 40 hit, and "Hanging on the Telephone" made the U.K. Top Ten, but it was the album's third single, the disco-influenced "Heart of Glass," that took Blondie to number one in both the U.K. and the U.S. "Sunday Girl" hit number one in the U.K. in May, and "One Way or Another" hit the U.S. Top 40 in August. Blondie followed with their fourth album, Eat to the Beat, in October. Its first single, "Dreaming," went Top Ten in the U.K., Top 40 in the U.S. The second U.K. single, "Union City Blue," went Top 40. In March 1980, the third U.K. single from Eat to the Beat, "Atomic," became the group's third British number one. (It later made the U.S. Top 40.)
Meanwhile, Harry was collaborating with German disco producer Giorgio Moroder on "Call Me," the theme from the movie American Gigolo. It became Blondie's second transatlantic chart-topper. Blondie's fifth album, Autoamerican, was released in November 1980, and its first single was the reggae-ish tune "The Tide Is High," which went to number one in the U.S. and U.K. The second single was the rap-oriented "Rapture," which topped the U.S. pop charts and went Top Ten in the U.K. But the band's eclectic style reflected a diminished participation by its members -- Infante sued, charging that he wasn't being used on the records, though he settled and stayed in the lineup. But in 1981, the members of Blondie worked on individual projects, notably Harry's gold-selling solo album, KooKoo. The Best of Blondie was released in the fall of the year. The Hunter, Blondie's sixth album, was released in May 1982, preceded by the single "Island of Lost Souls," a Top 40 hit in the U.S. and U.K. "War Child" also became a Top 40 hit in the U.K., but The Hunter was a commercial disappointment.
At the same time, Stein became seriously ill with the genetic disease pemphigus. As a result, Blondie broke up in October 1982, with Deborah Harry launching a part-time solo career while caring for Stein, who eventually recovered. In 1998, the original lineup of Harry, Stein, Destri, and Burke reunited to tour Europe, their first series of dates in 16 years; a new LP, No Exit, followed early the next year. After more touring, this was followed by another studio set, The Curse of Blondie, in 2003, and a DVD of the Live by Request program from A&E was released in 2004. In 2006, Blondie celebrated their 30th anniversary with induction into the Rock & Roll Hall of Fame and the release of Greatest Hits: Sound & Vision, a best-of collection that contained all their classic videos as well.
Blondie was the most commercially successful band to emerge from the much-vaunted punk/new wave movement of the late '70s. The group was formed in New York City in August 1974 by singer Deborah Harry (b. July 1, 1945, Miami), formerly of Wind in the Willows, and guitarist Chris Stein (b. January 5, 1950, Brooklyn) out of the remnants of Harry's previous group, the Stilettos. The lineup fluctuated over the next year. Drummer Clement Burke (b. November 24, 1955, New York) joined in May 1975. Bassist Gary Valentine joined in August. In October, keyboard player James Destri (b. April 13, 1954) joined, to complete the initial permanent lineup. They released their first album, Blondie, on Private Stock Records in December 1976. In July 1977, Valentine was replaced by Frank Infante.
In August, Chrysalis Records bought their contract from Private Stock and in October reissued Blondie and released the second album, Plastic Letters. Blondie expanded to a sextet in November with the addition of bassist Nigel Harrison (born in Princes Risborough, Buckinghamshire, England), as Infante switched to guitar. Blondie broke commercially in the U.K. in March 1978, when their cover of Randy and the Rainbows' 1963 hit "Denise," renamed "Denis," became a Top Ten hit, as did Plastic Letters, followed by a second U.K. Top Ten, "(I'm Always Touched By Your) Presence, Dear." Blondie turned to U.K. producer/songwriter Mike Chapman for their third album, Parallel Lines, which was released in September 1978 and eventually broke them worldwide. "Picture This" became a U.K. Top 40 hit, and "Hanging on the Telephone" made the U.K. Top Ten, but it was the album's third single, the disco-influenced "Heart of Glass," that took Blondie to number one in both the U.K. and the U.S. "Sunday Girl" hit number one in the U.K. in May, and "One Way or Another" hit the U.S. Top 40 in August. Blondie followed with their fourth album, Eat to the Beat, in October. Its first single, "Dreaming," went Top Ten in the U.K., Top 40 in the U.S. The second U.K. single, "Union City Blue," went Top 40. In March 1980, the third U.K. single from Eat to the Beat, "Atomic," became the group's third British number one. (It later made the U.S. Top 40.)
Meanwhile, Harry was collaborating with German disco producer Giorgio Moroder on "Call Me," the theme from the movie American Gigolo. It became Blondie's second transatlantic chart-topper. Blondie's fifth album, Autoamerican, was released in November 1980, and its first single was the reggae-ish tune "The Tide Is High," which went to number one in the U.S. and U.K. The second single was the rap-oriented "Rapture," which topped the U.S. pop charts and went Top Ten in the U.K. But the band's eclectic style reflected a diminished participation by its members -- Infante sued, charging that he wasn't being used on the records, though he settled and stayed in the lineup. But in 1981, the members of Blondie worked on individual projects, notably Harry's gold-selling solo album, KooKoo. The Best of Blondie was released in the fall of the year. The Hunter, Blondie's sixth album, was released in May 1982, preceded by the single "Island of Lost Souls," a Top 40 hit in the U.S. and U.K. "War Child" also became a Top 40 hit in the U.K., but The Hunter was a commercial disappointment.
At the same time, Stein became seriously ill with the genetic disease pemphigus. As a result, Blondie broke up in October 1982, with Deborah Harry launching a part-time solo career while caring for Stein, who eventually recovered. In 1998, the original lineup of Harry, Stein, Destri, and Burke reunited to tour Europe, their first series of dates in 16 years; a new LP, No Exit, followed early the next year. After more touring, this was followed by another studio set, The Curse of Blondie, in 2003, and a DVD of the Live by Request program from A&E was released in 2004. In 2006, Blondie celebrated their 30th anniversary with induction into the Rock & Roll Hall of Fame and the release of Greatest Hits: Sound & Vision, a best-of collection that contained all their classic videos as well.
7.19.2007
Internet meme
From Wikipedia, the free encyclopedia
(Redirected from Internet phenomenon)
Jump to: navigation, search
The Hampster Dance is one of the first widely distributed Internet Memes and illustrates the characteristic silliness of the genre.
The Hampster Dance is one of the first widely distributed Internet Memes and illustrates the characteristic silliness of the genre.
An Internet meme (often the early form of an Internet phenomenon) is a piece of digital content that spreads rapidly, widely, and organically from person to person on the Internet. The term is a reference to the memes as virus-like self-replicating packet of information.[1]
(Redirected from Internet phenomenon)
Jump to: navigation, search
The Hampster Dance is one of the first widely distributed Internet Memes and illustrates the characteristic silliness of the genre.
The Hampster Dance is one of the first widely distributed Internet Memes and illustrates the characteristic silliness of the genre.
An Internet meme (often the early form of an Internet phenomenon) is a piece of digital content that spreads rapidly, widely, and organically from person to person on the Internet. The term is a reference to the memes as virus-like self-replicating packet of information.[1]
Pitchfork Media
From Wikipedia, the free encyclopedia
(Redirected from Pitchforkmedia)
Jump to: navigation, search
The neutrality of this article is disputed.
Please see the discussion on the talk page.
Pitchfork Media Logo
A typical example of Pitchfork's main page, as of 12-12-06
Launched 1995
Based in Chicago, Illinois, US
Created by Ryan Schreiber
Owner Ryan Schreiber
Registration No
Type of website Music webzine
Status Active
URL pitchforkmedia.com
Pitchfork Media, usually known simply as Pitchfork and occasionally shortened to P4K or pfork,[1] is a United States-based daily Internet publication devoted to music criticism and commentary, music news, and artist interviews. Its focus is on independent music,[2] including indie rock. However, the range of musical genres reviewed extends to electronic, pop, hip hop, dance, folk, jazz, and experimental music.
The site, which was established in 1995, concentrates on new music, but Pitchfork journalists also review reissued albums and box sets. The site has published "best-of" lists – such as the best albums of the 1970s, 1980s and 1990s, and the best songs of the 1960s – as well as annual features detailing the best singles and albums of each year between 2001 and 2006. The site is reputed to have significant influence in the independent music world, although it is criticized by some for its "hipster" attitude, devotion to hype and trends, and a focus on obscure bands and musical styles.[citation needed]
(Redirected from Pitchforkmedia)
Jump to: navigation, search
The neutrality of this article is disputed.
Please see the discussion on the talk page.
Pitchfork Media Logo
A typical example of Pitchfork's main page, as of 12-12-06
Launched 1995
Based in Chicago, Illinois, US
Created by Ryan Schreiber
Owner Ryan Schreiber
Registration No
Type of website Music webzine
Status Active
URL pitchforkmedia.com
Pitchfork Media, usually known simply as Pitchfork and occasionally shortened to P4K or pfork,[1] is a United States-based daily Internet publication devoted to music criticism and commentary, music news, and artist interviews. Its focus is on independent music,[2] including indie rock. However, the range of musical genres reviewed extends to electronic, pop, hip hop, dance, folk, jazz, and experimental music.
The site, which was established in 1995, concentrates on new music, but Pitchfork journalists also review reissued albums and box sets. The site has published "best-of" lists – such as the best albums of the 1970s, 1980s and 1990s, and the best songs of the 1960s – as well as annual features detailing the best singles and albums of each year between 2001 and 2006. The site is reputed to have significant influence in the independent music world, although it is criticized by some for its "hipster" attitude, devotion to hype and trends, and a focus on obscure bands and musical styles.[citation needed]
7.11.2007
Modest Mouse
Biography by Jason Ankeny
Issaquah, WA, indie rock trio Modest Mouse was formed in 1993 by vocalist/guitarist Isaac Brock, bassist Eric Judy, and drummer Jeremiah Green. After honing their muscular sound in "The Shed" -- a makeshift practice space built by Brock on the land next to his mother's trailer -- Modest Mouse entered Calvin Johnson's Dub Narcotic Studios to cut their 1994 self-titled debut single, released on Johnson's K Records label. Following a move to the Up label, the trio issued two 1996 LPs, This Is a Long Drive for Someone With Nothing to Think About and Interstate 8. After returning to K, Modest Mouse released The Fruit That Ate Itself in 1997; its follow-up from later that year, The Lonesome Crowded West, was the band's breakthrough, and in the wake of a major-label bidding war, they signed to Sony. The rarities collection Building Nothing out of Something appeared on Up in early 2000, followed later that year by their long-awaited Epic debut, The Moon & Antarctica. In 2001, the band issued the Everywhere and His Nasty Parlor Tricks EP and K released Sad Sappy Sucker, a "lost album" that was intended to be the group's full-length debut back in 1994. Brock kept busy with his Ugly Casanova side project, which delivered Sharpen Your Teeth in 2002. Modest Mouse finally returned in 2004 with Good News for People Who Love Bad News, their best-received record and a Top 40 hit as well. For their next record, Brock enlisted the help of former Smiths guitarist Johnny Marr, who not only added his songwriting and playing skills to We Were Dead Before the Ship Even Sank -- which was released in early 2007 -- but also toured with the band as a member.
Issaquah, WA, indie rock trio Modest Mouse was formed in 1993 by vocalist/guitarist Isaac Brock, bassist Eric Judy, and drummer Jeremiah Green. After honing their muscular sound in "The Shed" -- a makeshift practice space built by Brock on the land next to his mother's trailer -- Modest Mouse entered Calvin Johnson's Dub Narcotic Studios to cut their 1994 self-titled debut single, released on Johnson's K Records label. Following a move to the Up label, the trio issued two 1996 LPs, This Is a Long Drive for Someone With Nothing to Think About and Interstate 8. After returning to K, Modest Mouse released The Fruit That Ate Itself in 1997; its follow-up from later that year, The Lonesome Crowded West, was the band's breakthrough, and in the wake of a major-label bidding war, they signed to Sony. The rarities collection Building Nothing out of Something appeared on Up in early 2000, followed later that year by their long-awaited Epic debut, The Moon & Antarctica. In 2001, the band issued the Everywhere and His Nasty Parlor Tricks EP and K released Sad Sappy Sucker, a "lost album" that was intended to be the group's full-length debut back in 1994. Brock kept busy with his Ugly Casanova side project, which delivered Sharpen Your Teeth in 2002. Modest Mouse finally returned in 2004 with Good News for People Who Love Bad News, their best-received record and a Top 40 hit as well. For their next record, Brock enlisted the help of former Smiths guitarist Johnny Marr, who not only added his songwriting and playing skills to We Were Dead Before the Ship Even Sank -- which was released in early 2007 -- but also toured with the band as a member.
7.10.2007
Funeral
Editorial Reviews
Amazon.com
"Wake Up," a track from the debut full-length by Montreal's Arcade Fire, builds from a midtempo strum into a "You Can't Hurry Love" gallop, which singer Win Butler interrupts with a yell: "You better look out below!" Somehow, none of this hits the ear as overemotional. Throughout Funeral, the band augments its five-piece lineup with string sections, weaving near-cinematic, folk-influenced chamber pop that slots in somewhere between Belle and Sebastian's delicacy and the robust classicism of ’80s New Zealand bands such as the Chills and the Verlaines. The album drips with enough romanticism to rival Jeff Buckley's Grace, from the dreamscape of "Neighborhood #1 (Tunnels)" ("Meet me in the middle of the town, forget all we used to know") to the epic realism of "In the Backseat." One of the indie rock community’s most beloved finds of 2004, Arcade Fire are poised to win over even more listeners. --Rickey Wright
Product Description
Montreal's Arcade Fire brings a theatricality, an intensity, an insanity, and a penchant for amazing hooks to their debut full-length. You've never heard such energy, beauty, and emotion from such a young band. Fans of Neutral Milk Hotel, Broken Social Scene, and Roxy Music's first two albums will have a new favorite band.
Amazon.com
"Wake Up," a track from the debut full-length by Montreal's Arcade Fire, builds from a midtempo strum into a "You Can't Hurry Love" gallop, which singer Win Butler interrupts with a yell: "You better look out below!" Somehow, none of this hits the ear as overemotional. Throughout Funeral, the band augments its five-piece lineup with string sections, weaving near-cinematic, folk-influenced chamber pop that slots in somewhere between Belle and Sebastian's delicacy and the robust classicism of ’80s New Zealand bands such as the Chills and the Verlaines. The album drips with enough romanticism to rival Jeff Buckley's Grace, from the dreamscape of "Neighborhood #1 (Tunnels)" ("Meet me in the middle of the town, forget all we used to know") to the epic realism of "In the Backseat." One of the indie rock community’s most beloved finds of 2004, Arcade Fire are poised to win over even more listeners. --Rickey Wright
Product Description
Montreal's Arcade Fire brings a theatricality, an intensity, an insanity, and a penchant for amazing hooks to their debut full-length. You've never heard such energy, beauty, and emotion from such a young band. Fans of Neutral Milk Hotel, Broken Social Scene, and Roxy Music's first two albums will have a new favorite band.
7.07.2007
65daysofstatic
Biography by Kenyon Hopkin
Focusing on instrumental post-rock with live and electronic percussion, 65daysofstatic is based in Sheffield, England. The band, whose name originates from an unreleased John Carpenter film, formed in 2001 as a trio (Joe Shrewsbury, Paul Wolinski, and Iain Armstrong). Armstrong left in May 2003 and by the end of the year Rob Jones (drums) and Gareth Hughes (bass) were added. The band released three albums: The Fall of Math (2004), One Time for All Time (2005), and The Destruction of Small Ideas (2007). As of spring 2007, the lineup included Shrewsbury (guitar), Wolinski (guitar, programming), Jones (drums), and Simon Wright (bass, programming).
Focusing on instrumental post-rock with live and electronic percussion, 65daysofstatic is based in Sheffield, England. The band, whose name originates from an unreleased John Carpenter film, formed in 2001 as a trio (Joe Shrewsbury, Paul Wolinski, and Iain Armstrong). Armstrong left in May 2003 and by the end of the year Rob Jones (drums) and Gareth Hughes (bass) were added. The band released three albums: The Fall of Math (2004), One Time for All Time (2005), and The Destruction of Small Ideas (2007). As of spring 2007, the lineup included Shrewsbury (guitar), Wolinski (guitar, programming), Jones (drums), and Simon Wright (bass, programming).
Morning Runners
Biography by Kenyon Hopkin
Despite several critics dismissing Morning Runner as yet another replica of Coldplay -- the band is even on the same U.K. label -- the piano-led group found some success in the U.K. since forming in 2003. Established in Reading, England, the group features Matthew Greener (vocals/guitars), Chris "Fields" Wheatcroft (keyboard/vocals), Tom Derrett (bass), and Ali Clewer (drums) in its lineup. The bandmembers had originally been more interested in garage rock, but Wheatcroft's playing led Morning Runner in a different direction. The band signed on with indie label Faith & Hope and, after issuing a 7" in 2004, made the move to U.K. major Parlophone. Morning Runner spent 2005 touring with Ian Brown, Bloc Party, the Magic Numbers, the Pogues, and Coldplay. In May 2005, they released their first EP with Parlophone, Drawing Shapes, followed by the debut single Gone Up in Flames. In February 2006, they released the single Burning Benches, which broke into the Top 20 of the U.K. singles chart. The full-length Wilderness Is Paradise Now was issued in March 2006.
Despite several critics dismissing Morning Runner as yet another replica of Coldplay -- the band is even on the same U.K. label -- the piano-led group found some success in the U.K. since forming in 2003. Established in Reading, England, the group features Matthew Greener (vocals/guitars), Chris "Fields" Wheatcroft (keyboard/vocals), Tom Derrett (bass), and Ali Clewer (drums) in its lineup. The bandmembers had originally been more interested in garage rock, but Wheatcroft's playing led Morning Runner in a different direction. The band signed on with indie label Faith & Hope and, after issuing a 7" in 2004, made the move to U.K. major Parlophone. Morning Runner spent 2005 touring with Ian Brown, Bloc Party, the Magic Numbers, the Pogues, and Coldplay. In May 2005, they released their first EP with Parlophone, Drawing Shapes, followed by the debut single Gone Up in Flames. In February 2006, they released the single Burning Benches, which broke into the Top 20 of the U.K. singles chart. The full-length Wilderness Is Paradise Now was issued in March 2006.
Funeral for a Friend
Biography by Ed Rivadavia
Welsh quintet Funeral for a Friend featured vocalist Matt Davies, guitarists Kris Roberts and Darran Smith, bassist Gareth Davies, and drummer Randy Richards. The quintet's energized blend of emo, metal, and post-hardcore first appeared in 2002 with a series of EPs and singles, including Between Order and Model, Four Ways to Scream Your Name, and "Juneau." The releases wound up landing them on the cover of Kerrang! magazine, instant hype that paid off in the shape of a record deal with Warner Music. Funeral for a Friend's debut full-length, Casually Dressed & Deep in Conversation, was issued in October 2003. It was not given a concurrent U.S. release; instead, the seven-track mini-CD Seven Ways to Scream Your Name (collecting non-album tracks from the earlier EPs) appeared domestically via the New Jersey indie Ferret. Meanwhile, Funeral for a Friend embarked on a series of high-profile touring engagements, including a series of European dates opening for Iron Maiden. Touring continued through summer 2004. The Spilling Blood in 8mm DVD appeared in September with live footage, videos, and a band documentary. Funeral for a Friend returned in June 2005 with Hours, their second full-length; more touring followed, including the band's first stint on the Warped Tour. The guys also picked up that year's Kerrang! award for Best British Band. Back at home by the end of 2005, Matt Davies used some downtime from touring to work on material for his first side project, the alt-country-inspired the Secret Show, whose debut album was released in February 2007. Three months later, Funeral for a Friend issued their next album, Tales Don't Tell Themselves, subsequently jumping on the road for headlining dates in the U.K. and U.S. before spending summer on the Warped Tour.
Welsh quintet Funeral for a Friend featured vocalist Matt Davies, guitarists Kris Roberts and Darran Smith, bassist Gareth Davies, and drummer Randy Richards. The quintet's energized blend of emo, metal, and post-hardcore first appeared in 2002 with a series of EPs and singles, including Between Order and Model, Four Ways to Scream Your Name, and "Juneau." The releases wound up landing them on the cover of Kerrang! magazine, instant hype that paid off in the shape of a record deal with Warner Music. Funeral for a Friend's debut full-length, Casually Dressed & Deep in Conversation, was issued in October 2003. It was not given a concurrent U.S. release; instead, the seven-track mini-CD Seven Ways to Scream Your Name (collecting non-album tracks from the earlier EPs) appeared domestically via the New Jersey indie Ferret. Meanwhile, Funeral for a Friend embarked on a series of high-profile touring engagements, including a series of European dates opening for Iron Maiden. Touring continued through summer 2004. The Spilling Blood in 8mm DVD appeared in September with live footage, videos, and a band documentary. Funeral for a Friend returned in June 2005 with Hours, their second full-length; more touring followed, including the band's first stint on the Warped Tour. The guys also picked up that year's Kerrang! award for Best British Band. Back at home by the end of 2005, Matt Davies used some downtime from touring to work on material for his first side project, the alt-country-inspired the Secret Show, whose debut album was released in February 2007. Three months later, Funeral for a Friend issued their next album, Tales Don't Tell Themselves, subsequently jumping on the road for headlining dates in the U.K. and U.S. before spending summer on the Warped Tour.
7.05.2007
Guillemots
Biography by Marisa Brown
The multinational Guillemots, comprised of English singer and classically trained pianist Fyfe Dangerfield, Brazilian guitarist MC Lord Magrao, Scottish percussionist Greig Stewart (aka Rican Caol), and Canadian double bassist Aristazabal Hawkes, use their eclectic influences and personal styles to create a catchy pop sound and energetic live show that has won them many fans in their British home base. In 2005, they opened for Rufus Wainwright during his U.K. tour and released the EP I Saw Such Things in My Sleep. The "mini-album" From the Cliffs (a collection of their early singles, including all four songs from the EP) came out in March 2006. The full-length, Through the Windowpane followed later that year.
The multinational Guillemots, comprised of English singer and classically trained pianist Fyfe Dangerfield, Brazilian guitarist MC Lord Magrao, Scottish percussionist Greig Stewart (aka Rican Caol), and Canadian double bassist Aristazabal Hawkes, use their eclectic influences and personal styles to create a catchy pop sound and energetic live show that has won them many fans in their British home base. In 2005, they opened for Rufus Wainwright during his U.K. tour and released the EP I Saw Such Things in My Sleep. The "mini-album" From the Cliffs (a collection of their early singles, including all four songs from the EP) came out in March 2006. The full-length, Through the Windowpane followed later that year.
+/- (plus or minus)
Biography by Margaret Reges
After spending a few years playing in his brother Ed Baluyut's band, Versus, James Baluyut opted to go solo in 2001. The project was called Plus/Minus (+/-), and after a whirlwind year of writing and recording material, Baluyut released his first album, Self-Titled Long-Playing Debut Album, on Teenbeat Records in 2002. Baluyut was joined by Margaret McCartney and former Versus member Patrick Ramos on the album, but by and large it was Baluyut's baby -- he sang the songs, he played the instruments, and he even produced the album. He recruited a couple old friends to fill out Plus/Minus shortly after the first album was released -- Ramos joined the group on guitar and vocals, and Chris Deaner joined on drums. They got to work on some new songs, cobbling together what would become the band's signature synthy, jumpy sound. The group released its first EP, Holding Patterns, in 2004, and followed it up a few months later with its second full-length album, You Are Here. The second full-length marked the crystallization of Plus/Minus's signature blend of dream pop and hyperactive drumming. They went on tour in Japan, necessitating a premature release of their third album, Let's Build a Fire, and they followed it up with performances at SXSW and the Noise Pop festival. Soon after that, they landed a deal with Absolutely Kosher Records, which allowed them to put the finishing touches on their third full-length effort, Let's Build a Fire. It was released in late 2006.
After spending a few years playing in his brother Ed Baluyut's band, Versus, James Baluyut opted to go solo in 2001. The project was called Plus/Minus (+/-), and after a whirlwind year of writing and recording material, Baluyut released his first album, Self-Titled Long-Playing Debut Album, on Teenbeat Records in 2002. Baluyut was joined by Margaret McCartney and former Versus member Patrick Ramos on the album, but by and large it was Baluyut's baby -- he sang the songs, he played the instruments, and he even produced the album. He recruited a couple old friends to fill out Plus/Minus shortly after the first album was released -- Ramos joined the group on guitar and vocals, and Chris Deaner joined on drums. They got to work on some new songs, cobbling together what would become the band's signature synthy, jumpy sound. The group released its first EP, Holding Patterns, in 2004, and followed it up a few months later with its second full-length album, You Are Here. The second full-length marked the crystallization of Plus/Minus's signature blend of dream pop and hyperactive drumming. They went on tour in Japan, necessitating a premature release of their third album, Let's Build a Fire, and they followed it up with performances at SXSW and the Noise Pop festival. Soon after that, they landed a deal with Absolutely Kosher Records, which allowed them to put the finishing touches on their third full-length effort, Let's Build a Fire. It was released in late 2006.
7.04.2007
一小塊長期吃 黑巧克力降血壓
【聯合晚報╱編譯夏嘉玲/美聯社芝加哥三日電】 2007.07.04 03:00 pm
每天吃一小塊黑巧克力可降血壓，但，吃多了可不好。
報系資料照片
可可對健康的好處再增一項。德國一項研究發現，長期吃含可可的黑巧克力，只要非常少量就有降低血壓的功效。這也是首度發現黑巧克力只要吃一點點就能裨益健康。
這項研究呼應多項研究對含可可食物有益健康的結論。可可含植物性化合物黃烷醇 (flavanols)，喝紅酒有益心臟，也是拜這種成分所賜。
不過，巧克力熱量高，專家不鼓勵把大吃特吃當成降血壓的手段，免得體重上升，反而導致更多健康風險。
科隆大學研究人員讓44名56歲到73歲的受試對象吃德國Ritter Sport方塊型黑巧克力，每天吃一小塊，等於攝取6公克多黑巧克力，或者吃大小分量差不多但不含可可的白巧克力。受試者體重大致正常，但血壓略高或有前高血壓，研究開始時血壓平均為收縮壓147毫米汞柱，舒張壓86毫米汞柱。18周後，吃黑巧克力的人平均收縮壓下降近3毫米汞柱，舒張壓下降近2毫米汞柱。吃白巧克力的人則血壓幾無變化。
研究論文已發表在最新一期「美國醫學會期刊」。論文主要執筆者陶伯特博士指出，吃黑巧克力所降血壓幅度不大，但已足夠減少罹患心血管疾病風險，不過該研究並未就心血管疾病進行後續追蹤研究。研究人員為了避免受試者吃進太多熱量，把他們每天攝取的巧克力量限制為30卡。
研究人員指出，長期攝取黑巧克力可擴張血管，維持血壓穩定。美國約翰霍普金斯醫學院艾佩表示，最有效的非藥物降血壓方法還是保持體重正常與減少鹽分攝取，如果再經常吃少量黑巧克力，或許更能事半功倍。
【2007/07/04 聯合晚報】@ http://udn
每天吃一小塊黑巧克力可降血壓，但，吃多了可不好。
報系資料照片
可可對健康的好處再增一項。德國一項研究發現，長期吃含可可的黑巧克力，只要非常少量就有降低血壓的功效。這也是首度發現黑巧克力只要吃一點點就能裨益健康。
這項研究呼應多項研究對含可可食物有益健康的結論。可可含植物性化合物黃烷醇 (flavanols)，喝紅酒有益心臟，也是拜這種成分所賜。
不過，巧克力熱量高，專家不鼓勵把大吃特吃當成降血壓的手段，免得體重上升，反而導致更多健康風險。
科隆大學研究人員讓44名56歲到73歲的受試對象吃德國Ritter Sport方塊型黑巧克力，每天吃一小塊，等於攝取6公克多黑巧克力，或者吃大小分量差不多但不含可可的白巧克力。受試者體重大致正常，但血壓略高或有前高血壓，研究開始時血壓平均為收縮壓147毫米汞柱，舒張壓86毫米汞柱。18周後，吃黑巧克力的人平均收縮壓下降近3毫米汞柱，舒張壓下降近2毫米汞柱。吃白巧克力的人則血壓幾無變化。
研究論文已發表在最新一期「美國醫學會期刊」。論文主要執筆者陶伯特博士指出，吃黑巧克力所降血壓幅度不大，但已足夠減少罹患心血管疾病風險，不過該研究並未就心血管疾病進行後續追蹤研究。研究人員為了避免受試者吃進太多熱量，把他們每天攝取的巧克力量限制為30卡。
研究人員指出，長期攝取黑巧克力可擴張血管，維持血壓穩定。美國約翰霍普金斯醫學院艾佩表示，最有效的非藥物降血壓方法還是保持體重正常與減少鹽分攝取，如果再經常吃少量黑巧克力，或許更能事半功倍。
【2007/07/04 聯合晚報】@ http://udn
中國摧毀中產階級
經濟學大師梭羅預言巨龍大未來：中國摧毀中產階級！
‧商業周刊 2007/07/04
世界級經濟學大師梭羅（Lester C. Thurow）與《商業周刊》一行人在香港九七回歸十週年前夕展開會談，在：「當中國成為第一（China as Number One）」的文章中指出，中國強勁的製造力，將使全球中產階級消失。中國質變、量變，改變了全世界，也改變你我處境。
【整理者／李郁怡】
世界級經濟學大師梭羅（Lester C. Thurow）與《商業周刊》一行人在香港九七回歸十週年前夕展開會談，在：「當中國成為第一（China as Number One）」的文章中指出，中國強勁的製造力，將使全球中產階級消失。中國質變、量變，改變了全世界，也改變你我處境。
「當中國覺醒，世界為之撼動。」這是拿破崙用以形容中國的名句。
中國正邁向致富之路。從一九七八年開始，中國開始經濟改造，當時她的國內生產毛額（GDP）占世界比重不到一％，進出口總額只有二百零六億美元，她必須仰賴原油出口換取國際上被信賴的貨幣（hard currency）。今天，中國的國內生產毛額已成長到約占世界總額的五％，外貿總額超越日本，成為全世界第三大貿易國。
中國是世界工廠，過去是，現在也是。她低廉的勞工與製造成本，經濟規模如此之大，從供應端來看，她所製造的商品，在價格上的優勢，沒有其他國家可以競爭。
影響1》摧毀全球中產階級
中產階級消失，伴隨而來社會貧富差距惡化，這是全球化現象的一部份。
目前，在中國有三大經濟活動模式，一是直接在中國銷售消費商品、二是將中國視為境外製造中心、最後則是出售資本設備給中國。而將中國視為境外製造中心，仍是外商在中國長期賺錢最重要的選項。
世界各國將經濟活動外移中國， 毀了所有國家的中產階級， 因為中產階級的工作隨著外包也移動了。
(照片提供／商業周刊)
因為世界各地的經濟活動大量外移往中國，包括美國在內，所有國家的中產階級都因此毀滅（China's destroys the middle class in all countries），因為中產階級工作機會隨著外包消失了。
但另一方面，中國本身的中產階級人數，卻隨著經濟活動活絡而增加之中。
不過，中國底層的工作機會並沒有增加。社會上收入最少的一○％家庭，發現他們的收入每一年以一‧二％的速度下降，但社會上前一○％最有錢的人，收入卻每年以八％的速度增加。
中產階級消失，伴隨而來社會貧富差距惡化，不過這並不是只在中國發生，在美國也一樣，這是全球化現象的一部分。
影響2》扼殺出口導向國家
中國將持續以出超驅動經濟，在無人能敵的價格競爭下，其他出口國將被她「殺」了。
所謂出口導向經濟，就是指利用出口驅動經濟成長率，但是要達到經濟成長的目的，國家必須有大量的出超。出口要成長兩倍，國內生產毛額才會出現一倍的成長。
當全球只有少數國家操作的時候，出口導向的經濟模式是可以行得通的。但是，中國現在以其他國家無法競爭的價格從事製造，世界各地企業紛紛將中國視為境外製造中心。原來操作出口導向國家的經濟成長，則被中國「殺」了（China kills export led growth）。
在可以預見的未來，中國將會一直是出口導向的國家。一旦失去出超，她會失去三分之二的國內生產毛額。中國政府一定會設法讓出口導向經濟盡可能的持續下去。
影響3》阻止全球通貨膨脹
中國利用低廉的製造成本，向世界各國輸出產品，是全球通膨平緩的主因。
中國利用低廉的製造成本，向世界各國輸出產品，是目前全球通貨膨脹平緩的主因。今天通貨膨脹（應該）到處在發生，以往從沒有實質經濟成長率到五％，但沒有通貨膨脹的情形，主要原因是今天的製造供給便宜了。
你有一個擴張中的市場（booming market），但沒有通貨膨脹。在一九七○年，這是不可能發生的。
未來1》中國股市仍然看漲
我認為中國經濟並未過熱，也許某些區域房市過熱，但不是整體。
不管經濟成長率有多快，中國應該持續投資經濟發展。
(照片提供／商業周刊)
在通貨膨脹獲得控制的前提下，中國經濟如果維持成長，中國股市長期仍然會持續成長。
或許有人會擔心經濟過熱的情形，但我認為，中國經濟並沒有過熱。中國總理溫家寶曾經與我在電話中談過這個問題。他問我，是否認為中國的房市出現泡沫化了，我說，「不。如果你整體考量租屋、房貸壞帳等情況，房市並沒有泡沫化的情形。也許在某些地區是過熱了，但不是整體。」
中國實際的經濟成長率並不如她所宣稱的，有八％到一一％那麼高。假使一個國家的經濟成長率有一○％，像中國，但占七○％人口的農村生產力卻沒有相對成長，這意味著城市每年的經濟成長必須到達三三％。中國城市的經濟成長是很快，可是不可能到達三三％。
事實上，中國政府也承認，有些經濟數據失準，例如相對每單位的國內生產毛額的能源消耗，事實上是在成長之中，而不是降低。
未來2》公共投資將續增加
中國仍然是個窮國，如果她想加速經濟成長，投資基礎建設是唯一的方法。
另一個關於中國，一個非常根本的問題是：「中國投資太多了嗎？」
我認為答案是「不」！相反的，如果中國想要加快經濟成長的腳步，應該繼續增加公共建設投資（infrastructure investment）。
中國經濟持續成長，但她仍然是個貧窮的國家。如果中國想要加速經濟成長，投資基礎建設是唯一的方法。市場經濟（Market Economy）這個火車頭取代計畫經濟（Command Economy）這輛大卡車，但中國卻沒有足夠的火車運載量。
中國當然理解基礎建設的必要性，也知道應該在那些地方建設，不過，有沒有什麼項目是應該額外去投資的呢？答案是擴展服務。
英文城市（English Speaking Cities）是很好的例子。像新加坡一樣教英文、開放學校決定要教中文還是英文，然後讓家長決定該讓孩子上什麼學校。不過，要讓他們瞭解，選擇中文學校，孩子未來可能找不到好工作。英文，畢竟是商業世界最主要的語言。
中國如何成為第一
擁有全球五分之一人口、教育普及、科技等資產，當然有條件成為經濟強權。
中國想要成為地區的經濟強權，這意味著她必須成為世界經濟超強，因為中國的鄰國日本，已經是世界上第二大的經濟體。
中國當然有成為經濟強權的條件。她有全世界五分之一的人口，從發展中國家的標準看來，她的教育十分普及，擁有眾多高等教育人才。而在科技創新上，在高等物理、生物科技等領域取得領先。而來自香港、東南亞的華人菁英，則為中國注入了企業家精神，讓市場經濟得以順利運轉。
中國的經濟成長是很快，而且快得超過許多人預期。但如果運用貨幣購買力平價（Purchasing Power Parity, PPP）推算，中國目前的經濟規模，應該只占世界的四％，而不是一二％；假設在未來，中國實質經濟成長率可以持續維持四‧五％（歷史上最高紀錄），完全沒有經濟衰退，中國的人均國內生產毛額也不會在西元二一○○年之前趕上美國。更何況，在下一個世紀，中國一定會經歷景氣循環，遇到經濟不如預期的壞時機。
歷史告訴我們，貧窮的國家要變成富有，至少要花百年的時間。台灣從一九四九年起，每年經濟成長率達到七％，所得仍低於美國；歐洲在一九九○年代，國內生產毛額是美國的九○％，但現在只有六六％。因為美國做為世界經濟強權，也會持續成長，不會停留在原地等待。
隨著經濟成長，中國會逐步的建立民主，就像台灣，或是日本一樣，但是那不會很快的發生。台灣民主化花了三十年的時間，中國的時間可能會更長。
中國人的世紀或許即將來臨，但如果要趕上全球第一名，不會在二十一世紀，而會是在二十二世紀。
【更多精彩內容，請看本週最新1024期《商業周刊》】
※本文由商業周刊授權刊載，未經同意禁止轉載
‧商業周刊 2007/07/04
世界級經濟學大師梭羅（Lester C. Thurow）與《商業周刊》一行人在香港九七回歸十週年前夕展開會談，在：「當中國成為第一（China as Number One）」的文章中指出，中國強勁的製造力，將使全球中產階級消失。中國質變、量變，改變了全世界，也改變你我處境。
【整理者／李郁怡】
世界級經濟學大師梭羅（Lester C. Thurow）與《商業周刊》一行人在香港九七回歸十週年前夕展開會談，在：「當中國成為第一（China as Number One）」的文章中指出，中國強勁的製造力，將使全球中產階級消失。中國質變、量變，改變了全世界，也改變你我處境。
「當中國覺醒，世界為之撼動。」這是拿破崙用以形容中國的名句。
中國正邁向致富之路。從一九七八年開始，中國開始經濟改造，當時她的國內生產毛額（GDP）占世界比重不到一％，進出口總額只有二百零六億美元，她必須仰賴原油出口換取國際上被信賴的貨幣（hard currency）。今天，中國的國內生產毛額已成長到約占世界總額的五％，外貿總額超越日本，成為全世界第三大貿易國。
中國是世界工廠，過去是，現在也是。她低廉的勞工與製造成本，經濟規模如此之大，從供應端來看，她所製造的商品，在價格上的優勢，沒有其他國家可以競爭。
影響1》摧毀全球中產階級
中產階級消失，伴隨而來社會貧富差距惡化，這是全球化現象的一部份。
目前，在中國有三大經濟活動模式，一是直接在中國銷售消費商品、二是將中國視為境外製造中心、最後則是出售資本設備給中國。而將中國視為境外製造中心，仍是外商在中國長期賺錢最重要的選項。
世界各國將經濟活動外移中國， 毀了所有國家的中產階級， 因為中產階級的工作隨著外包也移動了。
(照片提供／商業周刊)
因為世界各地的經濟活動大量外移往中國，包括美國在內，所有國家的中產階級都因此毀滅（China's destroys the middle class in all countries），因為中產階級工作機會隨著外包消失了。
但另一方面，中國本身的中產階級人數，卻隨著經濟活動活絡而增加之中。
不過，中國底層的工作機會並沒有增加。社會上收入最少的一○％家庭，發現他們的收入每一年以一‧二％的速度下降，但社會上前一○％最有錢的人，收入卻每年以八％的速度增加。
中產階級消失，伴隨而來社會貧富差距惡化，不過這並不是只在中國發生，在美國也一樣，這是全球化現象的一部分。
影響2》扼殺出口導向國家
中國將持續以出超驅動經濟，在無人能敵的價格競爭下，其他出口國將被她「殺」了。
所謂出口導向經濟，就是指利用出口驅動經濟成長率，但是要達到經濟成長的目的，國家必須有大量的出超。出口要成長兩倍，國內生產毛額才會出現一倍的成長。
當全球只有少數國家操作的時候，出口導向的經濟模式是可以行得通的。但是，中國現在以其他國家無法競爭的價格從事製造，世界各地企業紛紛將中國視為境外製造中心。原來操作出口導向國家的經濟成長，則被中國「殺」了（China kills export led growth）。
在可以預見的未來，中國將會一直是出口導向的國家。一旦失去出超，她會失去三分之二的國內生產毛額。中國政府一定會設法讓出口導向經濟盡可能的持續下去。
影響3》阻止全球通貨膨脹
中國利用低廉的製造成本，向世界各國輸出產品，是全球通膨平緩的主因。
中國利用低廉的製造成本，向世界各國輸出產品，是目前全球通貨膨脹平緩的主因。今天通貨膨脹（應該）到處在發生，以往從沒有實質經濟成長率到五％，但沒有通貨膨脹的情形，主要原因是今天的製造供給便宜了。
你有一個擴張中的市場（booming market），但沒有通貨膨脹。在一九七○年，這是不可能發生的。
未來1》中國股市仍然看漲
我認為中國經濟並未過熱，也許某些區域房市過熱，但不是整體。
不管經濟成長率有多快，中國應該持續投資經濟發展。
(照片提供／商業周刊)
在通貨膨脹獲得控制的前提下，中國經濟如果維持成長，中國股市長期仍然會持續成長。
或許有人會擔心經濟過熱的情形，但我認為，中國經濟並沒有過熱。中國總理溫家寶曾經與我在電話中談過這個問題。他問我，是否認為中國的房市出現泡沫化了，我說，「不。如果你整體考量租屋、房貸壞帳等情況，房市並沒有泡沫化的情形。也許在某些地區是過熱了，但不是整體。」
中國實際的經濟成長率並不如她所宣稱的，有八％到一一％那麼高。假使一個國家的經濟成長率有一○％，像中國，但占七○％人口的農村生產力卻沒有相對成長，這意味著城市每年的經濟成長必須到達三三％。中國城市的經濟成長是很快，可是不可能到達三三％。
事實上，中國政府也承認，有些經濟數據失準，例如相對每單位的國內生產毛額的能源消耗，事實上是在成長之中，而不是降低。
未來2》公共投資將續增加
中國仍然是個窮國，如果她想加速經濟成長，投資基礎建設是唯一的方法。
另一個關於中國，一個非常根本的問題是：「中國投資太多了嗎？」
我認為答案是「不」！相反的，如果中國想要加快經濟成長的腳步，應該繼續增加公共建設投資（infrastructure investment）。
中國經濟持續成長，但她仍然是個貧窮的國家。如果中國想要加速經濟成長，投資基礎建設是唯一的方法。市場經濟（Market Economy）這個火車頭取代計畫經濟（Command Economy）這輛大卡車，但中國卻沒有足夠的火車運載量。
中國當然理解基礎建設的必要性，也知道應該在那些地方建設，不過，有沒有什麼項目是應該額外去投資的呢？答案是擴展服務。
英文城市（English Speaking Cities）是很好的例子。像新加坡一樣教英文、開放學校決定要教中文還是英文，然後讓家長決定該讓孩子上什麼學校。不過，要讓他們瞭解，選擇中文學校，孩子未來可能找不到好工作。英文，畢竟是商業世界最主要的語言。
中國如何成為第一
擁有全球五分之一人口、教育普及、科技等資產，當然有條件成為經濟強權。
中國想要成為地區的經濟強權，這意味著她必須成為世界經濟超強，因為中國的鄰國日本，已經是世界上第二大的經濟體。
中國當然有成為經濟強權的條件。她有全世界五分之一的人口，從發展中國家的標準看來，她的教育十分普及，擁有眾多高等教育人才。而在科技創新上，在高等物理、生物科技等領域取得領先。而來自香港、東南亞的華人菁英，則為中國注入了企業家精神，讓市場經濟得以順利運轉。
中國的經濟成長是很快，而且快得超過許多人預期。但如果運用貨幣購買力平價（Purchasing Power Parity, PPP）推算，中國目前的經濟規模，應該只占世界的四％，而不是一二％；假設在未來，中國實質經濟成長率可以持續維持四‧五％（歷史上最高紀錄），完全沒有經濟衰退，中國的人均國內生產毛額也不會在西元二一○○年之前趕上美國。更何況，在下一個世紀，中國一定會經歷景氣循環，遇到經濟不如預期的壞時機。
歷史告訴我們，貧窮的國家要變成富有，至少要花百年的時間。台灣從一九四九年起，每年經濟成長率達到七％，所得仍低於美國；歐洲在一九九○年代，國內生產毛額是美國的九○％，但現在只有六六％。因為美國做為世界經濟強權，也會持續成長，不會停留在原地等待。
隨著經濟成長，中國會逐步的建立民主，就像台灣，或是日本一樣，但是那不會很快的發生。台灣民主化花了三十年的時間，中國的時間可能會更長。
中國人的世紀或許即將來臨，但如果要趕上全球第一名，不會在二十一世紀，而會是在二十二世紀。
【更多精彩內容，請看本週最新1024期《商業周刊》】
※本文由商業周刊授權刊載，未經同意禁止轉載
6.28.2007
Cool Britannia
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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.
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.
Honky tonk
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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.
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