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Title: Facing New York - Facing New York - Troubadour, LA 4/18/08
Description: http://musicala.blogspot.com
Description: http://musicala.blogspot.com
Title: Facing New York - Cutting My Hair
Description: music video
Description: music video
Title: Facing New York - man up - HOLLYWOOD@TROUBADOUR
Description: Man Up. Matt and Omar play drums @ the Troubadour.
Description: Man Up. Matt and Omar play drums @ the Troubadour.
Title: Facing New York - the messenger - HOLLYWOOD@TROUBADOUR
Description: The Mesenger.
Description: The Mesenger.
Title: Facing New York - No (Acoustic)
Description: Facing New York playing "No" acoustically on 09/05/04 at iMusicast.
Description: Facing New York playing "No" acoustically on 09/05/04 at iMusicast.
Title: DAVID & LAYLA (2008) - Facing the Imam at Mosque. Official CLIP 4
Description: http://www.davidandlayla.com/ DVD!For DVD Release and TV & Internet broadcast info, please email your Name, City & Country to DavidandLayla@NewrozFilms.com Romance & Politics: David & Layla won Audience Award against La Vie en Rose, 2 Days in Paris and Lady Chatterley among the top 'Love' films of International Cinema at the oldest Amour film festival in the world held during Valentine week in Europe. Inspired by a true story, a Romeo & Juliet political comedy about the sparks that fly when a Jew and a Muslim fall in love in New York. ++++ "A bold, politically relevant film against impossible odds." - Harold Pinter, Nobel Laureate, Oscar Nominee, Screenwriter & Playwright (London.) **** 6 Awards, Official Selection in Competition at 23 International Film Festivals. **** David & Layla may be the first film ever to be an Official Selection not only at regular film festivals, but also at Human Rights & Conflict Resolution and Romantic & Love film festivals. **** It was featured at the Panorama's Closing Night at the Verona, Italy International Amore Film Festival as a modern interpretation of Romeo & Juliet. ++++ "Love, Sex, Belly Dancing and Religious Differences: The star-crossed romance David & Layla is layered with sharply observed cultural details. The movie works thanks to the charm of its leads and the writer and director Jay Jonroy's observations about Jewish and Muslim family life." - Matt Zoller Seitz, The New York Times. ++++ "Take the star-crossed romance of Romeo & Juliet, add some graphic sexual humor a la The 40-Year-Old Virgin and toss into the crucible of Middle East politics, and you get David & Layla, a frothy romantic comedy. Every scene Callie Thorne is in crackles with unhinged hilarity. David & Layla is suffused with the warmth and passion of the filmmaker Jay Jonroy." - Ann Hornaday, The Washington Post. ++++ "David & Layla manages to be both randy and chaste. Packed with meals, music and religious ideas. The climactic celebration sequence is a high point. Displays an unusual grasp of complex political issues. It's an offbeat cross-cultural romance with a positive message." - Michael Ordoña, The Los Angeles Times. ++++ "It's hard not to be infected by the good humor and sheer joie de vivre of 'David & Layla'." - Ella Taylor, LA Weekly. ++++ " 'Guess Who Is Coming to Dinner' for the 21st Century. An earnest, frequently funny comedy. Boasts a brand of chutzpah that highlights 'the anything possible' side of America with energy to burn. Shiva Rose (Layla) excels" - Lisa Nesselson, Variety. ++++ "Let's call for a ceasefire in the hostilities in the Middle East, require all combatants to take a 106-minute break and watch this movie. My hearty, must-see endorsement." - Keith D Cohen, Jewish Chronicle. ++++ "While the movie evokes a comic tone, David & Layla is a plea for world peace; an optimistic cri de coeur. The music is splendid." - Harvey Karten, Film Journal. ++++ "The performances are another virtue. Boyish, reedy Moscow is fresh, immensely likable and amusing, while Rose boasts classic beauty, stoic dignity and an ability to pull off her character's rare but striking angry outbursts." - Sid Smith, Chicago Tribune. ++++ "David & Layla is a romantic comedy with a conscience; it brims with optimistic spirit and is blessed by Shiva Rose's performance. It is proof of the resiliency of the human spirit." - Barbara Vancheri, Pittsburgh Post-Gazette. ++++ "My big, fat, Jewish-Muslim wedding. Writer/Director Jay Jonroy has done a fine job." -Tom Tugend, The Jerusalem Post. ++++ "Could have been another My Big Fat Greek Wedding but its originality and insight set it apart. David and Layla is a superior variation on that film with unexpected insights.' - Joe Baltake, Independent Film Critic. Trailer, Film Clips, 25 Reviews & Press Kit at: http://www.DavidandLayla.com/
Description: http://www.davidandlayla.com/ DVD!For DVD Release and TV & Internet broadcast info, please email your Name, City & Country to DavidandLayla@NewrozFilms.com Romance & Politics: David & Layla won Audience Award against La Vie en Rose, 2 Days in Paris and Lady Chatterley among the top 'Love' films of International Cinema at the oldest Amour film festival in the world held during Valentine week in Europe. Inspired by a true story, a Romeo & Juliet political comedy about the sparks that fly when a Jew and a Muslim fall in love in New York. ++++ "A bold, politically relevant film against impossible odds." - Harold Pinter, Nobel Laureate, Oscar Nominee, Screenwriter & Playwright (London.) **** 6 Awards, Official Selection in Competition at 23 International Film Festivals. **** David & Layla may be the first film ever to be an Official Selection not only at regular film festivals, but also at Human Rights & Conflict Resolution and Romantic & Love film festivals. **** It was featured at the Panorama's Closing Night at the Verona, Italy International Amore Film Festival as a modern interpretation of Romeo & Juliet. ++++ "Love, Sex, Belly Dancing and Religious Differences: The star-crossed romance David & Layla is layered with sharply observed cultural details. The movie works thanks to the charm of its leads and the writer and director Jay Jonroy's observations about Jewish and Muslim family life." - Matt Zoller Seitz, The New York Times. ++++ "Take the star-crossed romance of Romeo & Juliet, add some graphic sexual humor a la The 40-Year-Old Virgin and toss into the crucible of Middle East politics, and you get David & Layla, a frothy romantic comedy. Every scene Callie Thorne is in crackles with unhinged hilarity. David & Layla is suffused with the warmth and passion of the filmmaker Jay Jonroy." - Ann Hornaday, The Washington Post. ++++ "David & Layla manages to be both randy and chaste. Packed with meals, music and religious ideas. The climactic celebration sequence is a high point. Displays an unusual grasp of complex political issues. It's an offbeat cross-cultural romance with a positive message." - Michael Ordoña, The Los Angeles Times. ++++ "It's hard not to be infected by the good humor and sheer joie de vivre of 'David & Layla'." - Ella Taylor, LA Weekly. ++++ " 'Guess Who Is Coming to Dinner' for the 21st Century. An earnest, frequently funny comedy. Boasts a brand of chutzpah that highlights 'the anything possible' side of America with energy to burn. Shiva Rose (Layla) excels" - Lisa Nesselson, Variety. ++++ "Let's call for a ceasefire in the hostilities in the Middle East, require all combatants to take a 106-minute break and watch this movie. My hearty, must-see endorsement." - Keith D Cohen, Jewish Chronicle. ++++ "While the movie evokes a comic tone, David & Layla is a plea for world peace; an optimistic cri de coeur. The music is splendid." - Harvey Karten, Film Journal. ++++ "The performances are another virtue. Boyish, reedy Moscow is fresh, immensely likable and amusing, while Rose boasts classic beauty, stoic dignity and an ability to pull off her character's rare but striking angry outbursts." - Sid Smith, Chicago Tribune. ++++ "David & Layla is a romantic comedy with a conscience; it brims with optimistic spirit and is blessed by Shiva Rose's performance. It is proof of the resiliency of the human spirit." - Barbara Vancheri, Pittsburgh Post-Gazette. ++++ "My big, fat, Jewish-Muslim wedding. Writer/Director Jay Jonroy has done a fine job." -Tom Tugend, The Jerusalem Post. ++++ "Could have been another My Big Fat Greek Wedding but its originality and insight set it apart. David and Layla is a superior variation on that film with unexpected insights.' - Joe Baltake, Independent Film Critic. Trailer, Film Clips, 25 Reviews & Press Kit at: http://www.DavidandLayla.com/
Title: wallpaper. - T REX
Description: wallpaper. "T REX" music video directed by Andre Hyland of Blond Chili Productions. Eenie Meenie Records.
Description: wallpaper. "T REX" music video directed by Andre Hyland of Blond Chili Productions. Eenie Meenie Records.
Title: Will.I.Am - "I Like to Move It" Madagascar 2: Escape 2 Africa
Description: WE LOVE TO MOVE IT, MOVE IT! In the summer of 2005, Madagascar scored big with both domestic and international audiences, racking up more than half-a-billion at the worldwide box office, making it the top family comedy of the year. Once the fancy-footed lion, a quick talking zebra, an anxiety-ridden giraffe and a smart n saucy hippo were released into theaters around the globe, these four New York friends—better known as Alex, Marty, Melman and Gloria—became the most popular quartet of the season. Writer/director Eric Darnell remembers being relieved by the reception of Madagascar, but not really that surprised. He says, Madagascar was a success because it had these entertaining and enjoyable characters that people could identify with—they also connected with them on a human level. And despite their flaws, their issues, their anxieties, whatever problems they may be facing, you always empathize with them and want them to come through. Writer/director Tom McGrath continues, We just fell in love with the characters that we created along with Ben Stiller, Chris Rock, David Schwimmer and Jada Pinkett Smith—and clearly, everyone else did, too. We had this great ensemble cast that we just totally loved. We took on the theme of civility versus savagery and turned that into a friendship story about these zoo animals, when their bonds were tested once they got into Madagascar: Escape 2 Africa Production Information 3 the wild. Even at the time we ended the first movie—before it became this huge hit—we were thinking that we could do so much more with these characters. Producer Mireille Soria also reasons, There is something about the design that people love. And I think thats part of it—theyre very graphic—along with being smart and funny. The first movie was about the importance of friendship and what it means to be a good friend. One of the things that is so great about New York is its diversity, and that is reflected in our group—a lion, a giraffe, a zebra and a hippo who are best friends. And that was something we thought we could explore even further. And we could also celebrate that. will.i.am comments, Madagascar is one of our favorite movies. I think Ive seen it, like, 500 times. We were in Johannesburg, in the airport, and our tour manager says, Cmon, guys, we gotta move it, move it! Like the crew, everybody, we use move it, move it all the time. Its like our whole familys favorite movie by far. Once signed, it was a natural progression that will should collaborate with Oscar®-winning composer Hans Zimmer on the Madagascar: Escape 2 Africa score and songs, duties which he also assumedsort of on the spot. The recording artist found himself in the voiceover studio (as any actor would voicing an animated character). The moment when his character rises out of the water and first glimpses Gloria was on the page in front of him. will.i.am thought it would be fun to rhyme something—and someone in the session suggested that this special first moment should feature a song. for more clips and interviews, log onto: http://www.blacktree.tv
Description: WE LOVE TO MOVE IT, MOVE IT! In the summer of 2005, Madagascar scored big with both domestic and international audiences, racking up more than half-a-billion at the worldwide box office, making it the top family comedy of the year. Once the fancy-footed lion, a quick talking zebra, an anxiety-ridden giraffe and a smart n saucy hippo were released into theaters around the globe, these four New York friends—better known as Alex, Marty, Melman and Gloria—became the most popular quartet of the season. Writer/director Eric Darnell remembers being relieved by the reception of Madagascar, but not really that surprised. He says, Madagascar was a success because it had these entertaining and enjoyable characters that people could identify with—they also connected with them on a human level. And despite their flaws, their issues, their anxieties, whatever problems they may be facing, you always empathize with them and want them to come through. Writer/director Tom McGrath continues, We just fell in love with the characters that we created along with Ben Stiller, Chris Rock, David Schwimmer and Jada Pinkett Smith—and clearly, everyone else did, too. We had this great ensemble cast that we just totally loved. We took on the theme of civility versus savagery and turned that into a friendship story about these zoo animals, when their bonds were tested once they got into Madagascar: Escape 2 Africa Production Information 3 the wild. Even at the time we ended the first movie—before it became this huge hit—we were thinking that we could do so much more with these characters. Producer Mireille Soria also reasons, There is something about the design that people love. And I think thats part of it—theyre very graphic—along with being smart and funny. The first movie was about the importance of friendship and what it means to be a good friend. One of the things that is so great about New York is its diversity, and that is reflected in our group—a lion, a giraffe, a zebra and a hippo who are best friends. And that was something we thought we could explore even further. And we could also celebrate that. will.i.am comments, Madagascar is one of our favorite movies. I think Ive seen it, like, 500 times. We were in Johannesburg, in the airport, and our tour manager says, Cmon, guys, we gotta move it, move it! Like the crew, everybody, we use move it, move it all the time. Its like our whole familys favorite movie by far. Once signed, it was a natural progression that will should collaborate with Oscar®-winning composer Hans Zimmer on the Madagascar: Escape 2 Africa score and songs, duties which he also assumedsort of on the spot. The recording artist found himself in the voiceover studio (as any actor would voicing an animated character). The moment when his character rises out of the water and first glimpses Gloria was on the page in front of him. will.i.am thought it would be fun to rhyme something—and someone in the session suggested that this special first moment should feature a song. for more clips and interviews, log onto: http://www.blacktree.tv
Title: Hocket - The M6: Meredith Monk Music Third Generation
Description: An excerpt from Meredith Monk's "Hocket" from "Facing North" (1990), performed by Emily Eagen and Peter Sciscioli, members of The M6, at Symphony Space in New York (March 2008). The M6 Meredith Monk Music Third Generation www.m6ensemble.com
Description: An excerpt from Meredith Monk's "Hocket" from "Facing North" (1990), performed by Emily Eagen and Peter Sciscioli, members of The M6, at Symphony Space in New York (March 2008). The M6 Meredith Monk Music Third Generation www.m6ensemble.com
Title: Will The Real Larry Willis Please Stand Up!
Description: During a recording session for Clifton Anderson's "Decade" on Doxy Records, we caught up with one of the great and truly under appreciated pianists in Jazz, Larry Willis. Larry was born in 1942 in Manhattan's Harlem. Surprisingly, he entered music not as a pianist but as a voice major, first at New York's High School of Music and Art for gifted students, then at the Manhattan School of Music. His senior year in high school, at 17, he had his first recording date, a classical gig with the Music and Arts Choral Ensemble singing a Copland opera conducted by no less then Leonard Bernstein. But something even more important than that happened to Larry at the beginning of that senior year. He started playing the piano—no lessons, no teacher, just figuring it out by himself. By the end of the winter, he was playing his first professional gigs in a jazz trio with two of his classmates, Al Foster on drums and Eddie Gomez on bass. No one knew it then, but that little trio was probobly the most distinguished high school jazz group in the country. Soon after entering the Manhattan School of Music, Larry switched from voice to music theory. For one, he was running head-on into the all-too-evident barriers facing black musicians in the classical world. On the positive side, Larry's interest in jazz was turning into passion. A fellow student, Hugh Masakela, heard him jamming with Al Foster. Hugh was so impressed that he hooked Larry up with John Mehegan, the legendary New York jazz piano teacher. Those were Larry's first-ever lessons. By the end of that year at the Manhattan School, at age 19, Larry was playing regularly with Jackie McLean, the great alto saxophone innovator. I know of no more remarkable entry into jazz: a kid of 17 decides to play the piano for the first time; four months later, he's playing gigs with a soon-to-be world class trio. A year and a half after that, he's making jazz history with the next giant of the alto after Bird. Talk about a natural gift! A year after Larry's graduation in 1965, Jackie gave him his first recording date—Right Now, on Blue Note—and on that first date recorded the first two pieces in a continuing stream of Willis compositions. Since then, Larry has played on more than 300 records. He's played or recorded with almost every great jazz musician of the modern era, stars like Dizzy Gillespie, Lee Morgan, Woody Shaw, Hugh Masakela, Cannonball and Nat Adderley, Stan Getz, Art Blakey, Art Taylor, Clifford Jordan, Carmen McRae, and Shirley Horn. His most recent CDs include a Larry Willis Quintet and four Larry Willis Trio recordings plus two solo sessions (labels are Audioquest, Steeplechase, Evidence and Mapleshade).
Description: During a recording session for Clifton Anderson's "Decade" on Doxy Records, we caught up with one of the great and truly under appreciated pianists in Jazz, Larry Willis. Larry was born in 1942 in Manhattan's Harlem. Surprisingly, he entered music not as a pianist but as a voice major, first at New York's High School of Music and Art for gifted students, then at the Manhattan School of Music. His senior year in high school, at 17, he had his first recording date, a classical gig with the Music and Arts Choral Ensemble singing a Copland opera conducted by no less then Leonard Bernstein. But something even more important than that happened to Larry at the beginning of that senior year. He started playing the piano—no lessons, no teacher, just figuring it out by himself. By the end of the winter, he was playing his first professional gigs in a jazz trio with two of his classmates, Al Foster on drums and Eddie Gomez on bass. No one knew it then, but that little trio was probobly the most distinguished high school jazz group in the country. Soon after entering the Manhattan School of Music, Larry switched from voice to music theory. For one, he was running head-on into the all-too-evident barriers facing black musicians in the classical world. On the positive side, Larry's interest in jazz was turning into passion. A fellow student, Hugh Masakela, heard him jamming with Al Foster. Hugh was so impressed that he hooked Larry up with John Mehegan, the legendary New York jazz piano teacher. Those were Larry's first-ever lessons. By the end of that year at the Manhattan School, at age 19, Larry was playing regularly with Jackie McLean, the great alto saxophone innovator. I know of no more remarkable entry into jazz: a kid of 17 decides to play the piano for the first time; four months later, he's playing gigs with a soon-to-be world class trio. A year and a half after that, he's making jazz history with the next giant of the alto after Bird. Talk about a natural gift! A year after Larry's graduation in 1965, Jackie gave him his first recording date—Right Now, on Blue Note—and on that first date recorded the first two pieces in a continuing stream of Willis compositions. Since then, Larry has played on more than 300 records. He's played or recorded with almost every great jazz musician of the modern era, stars like Dizzy Gillespie, Lee Morgan, Woody Shaw, Hugh Masakela, Cannonball and Nat Adderley, Stan Getz, Art Blakey, Art Taylor, Clifford Jordan, Carmen McRae, and Shirley Horn. His most recent CDs include a Larry Willis Quintet and four Larry Willis Trio recordings plus two solo sessions (labels are Audioquest, Steeplechase, Evidence and Mapleshade).
Title: hieroglyphics-make your move
Description: LYRICS: [Casual] I got a feeling a nigga could make a killing If he packed up his bags and moved to New Zealand New Guinea, New York, you need something new Besides them fucking Newports prepared to be dead The street said, "your shit's soft like wheat bread On your own block you make shit they won't knock" I'm a worldwide hustler, whores be at us Cuz of O.G. status fans throw weed at us And I spread love just the same Let this Buddah bless ya brain, Sexy thang Yeah, it's time to take this act on the road Come back and get back on the [Chorus by Goapele] You know I don't doubt you, I'll be there for you (I'll be there for you) I'll be right beside you - just make your move (move) You know I don't doubt you, I'll be there for you (just make your move) I'll be right beside you - just make your move (move) [Pep Love] I'm leeee-e-eeaving; don't nobody worry I'll be doing my damn thing quick-fast in a hurry Dreamweaving Keeping me and my team even Shifting time zones, trying to see the seven seas and Everything in between We heavy and we heavenly so we love whatever we sing From the banks of the Mississippi To the shores of Tripoli we do more tours and wage wars, I'm Swimming in women and living without limit My penmanship got me on a trip spinning around the world Bullshit aside, we're on a worldwide ride, right? (right... right... right) [Chorus] [Casual] Damn baby, don't cry like that I gotta get this money, ma, I'll be back And he turned and walked into the world Young man facing the land, chasing his dreams Motivated by a picture of his daughters he embraced in his hand Thinking what it might take him to win And a 9 to 5 ain't supplyin' what he trying to drive Locked up and got signed to Jive For the deal got a quarter mil', shot back to the house on the hill And blow some dough to show it's real Flossed his wheels and lost his deal But it's just a setback, ya boy got get back Kept that ball rolling, God bless his Gs Invest some cheese, and now they all rolling Just doing what a man would do Handle your business, or it'll handle you [Pep Love] I got a a vision of international pimping I'm into natural women when I'm out traveling with my compadres From Oakland to Auckland, we always walk and talk like we got game I've traveled the canals of Venice And aroused crowds in Sao Paulo with a single sentence I penetrate the language barriers with positive vibes And bridge gaps with raps, keeping my spirit alive and I've Thrived, as I roam through zones Collecting my paper with these poems and songs Getting the girl, grabbing the money and running Starting up companies and keeping the product coming Hieroglyphics' adventures all around the globe Mental enrichment, and we gotta get the dough! [Goapele] So go on and go where you wanna go See what you wanna see Be who you wanna be You say, "Just trust me", and I do You know it's just a phone call away The chance ain't everyday When folks get to do what they wanna do And you got a winning hand to play [Chorus by Goapele] You know I don't doubt you, I'll be there for you (I'll be there for you) I'll be right beside you - just make your move (move) You know I don't doubt you, I'll be there for you (I'll be there for you) I'll be right beside you - just make your move (move) You know I don't doubt you, I'll be there for you (just make your move) I'll be right beside you - just make your move (move) You know I don't doubt you, I'll be there for you (I'll be there for you) I'll be right beside you - just make your move (move) -tetricypha
Description: LYRICS: [Casual] I got a feeling a nigga could make a killing If he packed up his bags and moved to New Zealand New Guinea, New York, you need something new Besides them fucking Newports prepared to be dead The street said, "your shit's soft like wheat bread On your own block you make shit they won't knock" I'm a worldwide hustler, whores be at us Cuz of O.G. status fans throw weed at us And I spread love just the same Let this Buddah bless ya brain, Sexy thang Yeah, it's time to take this act on the road Come back and get back on the [Chorus by Goapele] You know I don't doubt you, I'll be there for you (I'll be there for you) I'll be right beside you - just make your move (move) You know I don't doubt you, I'll be there for you (just make your move) I'll be right beside you - just make your move (move) [Pep Love] I'm leeee-e-eeaving; don't nobody worry I'll be doing my damn thing quick-fast in a hurry Dreamweaving Keeping me and my team even Shifting time zones, trying to see the seven seas and Everything in between We heavy and we heavenly so we love whatever we sing From the banks of the Mississippi To the shores of Tripoli we do more tours and wage wars, I'm Swimming in women and living without limit My penmanship got me on a trip spinning around the world Bullshit aside, we're on a worldwide ride, right? (right... right... right) [Chorus] [Casual] Damn baby, don't cry like that I gotta get this money, ma, I'll be back And he turned and walked into the world Young man facing the land, chasing his dreams Motivated by a picture of his daughters he embraced in his hand Thinking what it might take him to win And a 9 to 5 ain't supplyin' what he trying to drive Locked up and got signed to Jive For the deal got a quarter mil', shot back to the house on the hill And blow some dough to show it's real Flossed his wheels and lost his deal But it's just a setback, ya boy got get back Kept that ball rolling, God bless his Gs Invest some cheese, and now they all rolling Just doing what a man would do Handle your business, or it'll handle you [Pep Love] I got a a vision of international pimping I'm into natural women when I'm out traveling with my compadres From Oakland to Auckland, we always walk and talk like we got game I've traveled the canals of Venice And aroused crowds in Sao Paulo with a single sentence I penetrate the language barriers with positive vibes And bridge gaps with raps, keeping my spirit alive and I've Thrived, as I roam through zones Collecting my paper with these poems and songs Getting the girl, grabbing the money and running Starting up companies and keeping the product coming Hieroglyphics' adventures all around the globe Mental enrichment, and we gotta get the dough! [Goapele] So go on and go where you wanna go See what you wanna see Be who you wanna be You say, "Just trust me", and I do You know it's just a phone call away The chance ain't everyday When folks get to do what they wanna do And you got a winning hand to play [Chorus by Goapele] You know I don't doubt you, I'll be there for you (I'll be there for you) I'll be right beside you - just make your move (move) You know I don't doubt you, I'll be there for you (I'll be there for you) I'll be right beside you - just make your move (move) You know I don't doubt you, I'll be there for you (just make your move) I'll be right beside you - just make your move (move) You know I don't doubt you, I'll be there for you (I'll be there for you) I'll be right beside you - just make your move (move) -tetricypha
Title: Piano Recital February 10 '08 7/8
Description: Another fantastic 1 woman army recital on the piano. Hannah Sun's Youtube is at http://www.youtube.com/aeonsonance [Don't subscribe to me as my normal uploads are different.] *When I was recording this from the 2nd row, I held the camera closer to my chest so that the light was less visible, if at all, to viewers behind me. I didn't want people to focus on it, but I estimated the angle the camera was facing so the first half of the recital was mostly recording the backdrop instead of the actual playing. Recorded on a Canon PowerShot A540 camera:320x240 standard, 15fps "Congregation Emanu-El of the City of New York in association with The Stecher and Horowitz Foundation presents The Young Artists Series Hannah Sun First Prize-Winner, 2004 New York Piano Competition Sunday, February 10, 2008 3:00 p.m. Program Chaconne in D Minor J.S. Bach-Ferruccio Busoni Sonata in E flat Major, Op. 31, No. 3 Ludwig van Beethoven Allegro Scherzo: Allegretto vivace Minuetto: Moderato e grazioso Presto con fuoco Sonata No. 4 in F sharp Major, Op. 30 Alexander Scriabin Adante Prestissimo volando Intermission Four Piano Pieces, Op. 119 Johannes Brahms Intermezzo in B Minor Intermezzo in E Minor Intermezzo in C Major Rhapsody in E flat Major Andante Spianato and Grande Polonaise Brillante, Op. 22 Frédéric Chopin" --- http://www.stecherandhorowitz.org/ Performance at: Temple Emanu-el, Greenwald Hall One East 65th Street, new york, ny 10065http:www.emanuelnyc.org*video upload not affiliated with the Congregation Emanu-El of the City of New York or the Stecher and Horowitz Foundation Part 1 http://youtube.com/watch?v=ZU54RB_WcM8 Part 2 http://youtube.com/watch?v=9y7XE6yudT0 Part 3 http://youtube.com/watch?v=YPcOxILX3cs Part 4 http://youtube.com/watch?v=SeRqxXocJZ4 Part 5 http://youtube.com/watch?v=B1wFuwlOwGY Part 6 http://youtube.com/watch?v=pAmeup0RAjQ Part 7 http://youtube.com/watch?v=RSxzGQAnwD4 Part 8 http://youtube.com/watch?v=2sTxUKFQyHM
Description: Another fantastic 1 woman army recital on the piano. Hannah Sun's Youtube is at http://www.youtube.com/aeonsonance [Don't subscribe to me as my normal uploads are different.] *When I was recording this from the 2nd row, I held the camera closer to my chest so that the light was less visible, if at all, to viewers behind me. I didn't want people to focus on it, but I estimated the angle the camera was facing so the first half of the recital was mostly recording the backdrop instead of the actual playing. Recorded on a Canon PowerShot A540 camera:320x240 standard, 15fps "Congregation Emanu-El of the City of New York in association with The Stecher and Horowitz Foundation presents The Young Artists Series Hannah Sun First Prize-Winner, 2004 New York Piano Competition Sunday, February 10, 2008 3:00 p.m. Program Chaconne in D Minor J.S. Bach-Ferruccio Busoni Sonata in E flat Major, Op. 31, No. 3 Ludwig van Beethoven Allegro Scherzo: Allegretto vivace Minuetto: Moderato e grazioso Presto con fuoco Sonata No. 4 in F sharp Major, Op. 30 Alexander Scriabin Adante Prestissimo volando Intermission Four Piano Pieces, Op. 119 Johannes Brahms Intermezzo in B Minor Intermezzo in E Minor Intermezzo in C Major Rhapsody in E flat Major Andante Spianato and Grande Polonaise Brillante, Op. 22 Frédéric Chopin" --- http://www.stecherandhorowitz.org/ Performance at: Temple Emanu-el, Greenwald Hall One East 65th Street, new york, ny 10065http:www.emanuelnyc.org*video upload not affiliated with the Congregation Emanu-El of the City of New York or the Stecher and Horowitz Foundation Part 1 http://youtube.com/watch?v=ZU54RB_WcM8 Part 2 http://youtube.com/watch?v=9y7XE6yudT0 Part 3 http://youtube.com/watch?v=YPcOxILX3cs Part 4 http://youtube.com/watch?v=SeRqxXocJZ4 Part 5 http://youtube.com/watch?v=B1wFuwlOwGY Part 6 http://youtube.com/watch?v=pAmeup0RAjQ Part 7 http://youtube.com/watch?v=RSxzGQAnwD4 Part 8 http://youtube.com/watch?v=2sTxUKFQyHM
Title: Spaceship Excellent - Episode 15: New York
Description: http://spaceshipexcellent.com Disillusioned by their discovery that even the upper crust at Princeton were facing economic difficulty, the Spacemen determined to get to the bottom of this monetary malaise. Where to, Spacemen? Wall Street. Arriving in New York City, the spacemen were immediately distracted by phenomena only possible in this mega-lopoplis: Times Square, Central Park, break-dancers. Initially interested only in issues of the economy, the spacemen's focus suddenly shifted with their discovery of an even more exotic, even more American concept: "Freedom". This novel notion of freedom and independence was reiterated in an interview with a local woman who spoke of a man called Nader. Neither Republican, nor Democrat, he was nevertheless running for president of these United States of America. Inspired by the possibility of doing what they willed, rather than living by the word of a central dictator (as was customary on their home planet), the spacemen split directions and each sought his own passion. Captain Beau Jangles tried his hand at snack sales. Low Freq Master Chief Nichron took up sales of another sort. Studious Commander JJ Moon hit the books and embraced academia. Thrust-master Wally Sparks flipped for fashion. Signalman Pakwit took the bridge to brooklyn and went hopelessly hipster. Wait a minute, earthlings! Is this the end? Will the spacemen ever complete their mission to find the leader of the planet? Will they become so absorbed in individualism that they forget their team, their community? Will they scrap their plans to return home, taking up residence in pricey studio-shoebox apartments in New York? No. They will not! After their individual journeys of self-discovery, the spacemen triumphantly came back together under the most powerful of unifying forces: Music. They re-embraced eachother, their mission, their art form, and shared it all with a venerable Poet's cafe in Manhattan and a malodorous hipster bar in Brooklyn. NEW YOOORK! What will happen next? Will the spacemen make it to DC in time for the election of the new president? Will they find a way to communicate their mission status to their home planet? Will their community bond be strengthened or will they disintegrate into so many self-serving automatons? Tune in next time for the city of brotherly love, Philadelphia, PA! ABOUT SPACESHIP EXCELLENT The musical Spacemen are on a mission to explore the galaxy of the United States in search of the leader of the solar system. They travel in a spaceship bus, a mobile laboratory used for inspecting foreign towns and inhabitants. The viewpoints they collect become raw material for their live shows, where their experience becomes one with their audience. The mission will culminate in the nations capital on Election Day, when the new leader will be named. This is a tour of cosmic proportions that is soon to become the worlds first ever Interactive Rockumentary. Each venue and person they meet on the way will set the stage for this cultural phenomenon, and they want you to be a part of it. ALL ABOARD. http://spaceshipexcellent.com
Description: http://spaceshipexcellent.com Disillusioned by their discovery that even the upper crust at Princeton were facing economic difficulty, the Spacemen determined to get to the bottom of this monetary malaise. Where to, Spacemen? Wall Street. Arriving in New York City, the spacemen were immediately distracted by phenomena only possible in this mega-lopoplis: Times Square, Central Park, break-dancers. Initially interested only in issues of the economy, the spacemen's focus suddenly shifted with their discovery of an even more exotic, even more American concept: "Freedom". This novel notion of freedom and independence was reiterated in an interview with a local woman who spoke of a man called Nader. Neither Republican, nor Democrat, he was nevertheless running for president of these United States of America. Inspired by the possibility of doing what they willed, rather than living by the word of a central dictator (as was customary on their home planet), the spacemen split directions and each sought his own passion. Captain Beau Jangles tried his hand at snack sales. Low Freq Master Chief Nichron took up sales of another sort. Studious Commander JJ Moon hit the books and embraced academia. Thrust-master Wally Sparks flipped for fashion. Signalman Pakwit took the bridge to brooklyn and went hopelessly hipster. Wait a minute, earthlings! Is this the end? Will the spacemen ever complete their mission to find the leader of the planet? Will they become so absorbed in individualism that they forget their team, their community? Will they scrap their plans to return home, taking up residence in pricey studio-shoebox apartments in New York? No. They will not! After their individual journeys of self-discovery, the spacemen triumphantly came back together under the most powerful of unifying forces: Music. They re-embraced eachother, their mission, their art form, and shared it all with a venerable Poet's cafe in Manhattan and a malodorous hipster bar in Brooklyn. NEW YOOORK! What will happen next? Will the spacemen make it to DC in time for the election of the new president? Will they find a way to communicate their mission status to their home planet? Will their community bond be strengthened or will they disintegrate into so many self-serving automatons? Tune in next time for the city of brotherly love, Philadelphia, PA! ABOUT SPACESHIP EXCELLENT The musical Spacemen are on a mission to explore the galaxy of the United States in search of the leader of the solar system. They travel in a spaceship bus, a mobile laboratory used for inspecting foreign towns and inhabitants. The viewpoints they collect become raw material for their live shows, where their experience becomes one with their audience. The mission will culminate in the nations capital on Election Day, when the new leader will be named. This is a tour of cosmic proportions that is soon to become the worlds first ever Interactive Rockumentary. Each venue and person they meet on the way will set the stage for this cultural phenomenon, and they want you to be a part of it. ALL ABOARD. http://spaceshipexcellent.com
Title: World Intellectual Property Org. Conference Panel 1
Description: On Oct. 17-19, hundreds of experts from around the world and Music Row came to Vanderbilt Law School to discuss and debate issues such as how artists, songwriters and authors are paid for use of their work and how to legally distribute music, videos and other works protected by intellectual property as part of a conference sponsored by Vanderbilt, the World Intellectual Property Organization (WIPO) and the International Confederation of Societies of Authors and Composers (CISAC). Vanderbilt professor of law and director of the international legal studies program, Larry Helfer collaborated with music rights organizations BMI, ASCAP and SESAC for the conference. PANEL DISCUSSION 1. THE APPLICATION OF INTERNATIONAL TREATIES IN RELATION TO COLLECTIVE MANAGEMENT OF RIGHTS Issues to discuss: Nature and scope of rights concerned; technological protection measures (TPM) and rights management information; the challenges ahead: systems interoperability and market access. role of identification numbering systems in the field of copyright content: the right of distribution and mechanical reproduction rights in computer networks. European collective management organizations facing competition measures. Are European competition measures in harmony with international norms? The impact of European competition vis-`a-vis foreign authors' societies and major publishers. Moderator: Mr. Michael Sukin, Lawyer, Sukin Law Group, New York, United States of America. Speakers: Dr. Mihaly Ficsor, President, Hungarian Copyright Council, Budapest Hungary Professor Hugh Hansen, Fordham University School of Law, New York, United States of America Mr. Richard Owens, Director, Copyright E-Commerce Technology and Management Division, Copyright and related Rights Sector, WIPO, Geneva, Switzerland
Description: On Oct. 17-19, hundreds of experts from around the world and Music Row came to Vanderbilt Law School to discuss and debate issues such as how artists, songwriters and authors are paid for use of their work and how to legally distribute music, videos and other works protected by intellectual property as part of a conference sponsored by Vanderbilt, the World Intellectual Property Organization (WIPO) and the International Confederation of Societies of Authors and Composers (CISAC). Vanderbilt professor of law and director of the international legal studies program, Larry Helfer collaborated with music rights organizations BMI, ASCAP and SESAC for the conference. PANEL DISCUSSION 1. THE APPLICATION OF INTERNATIONAL TREATIES IN RELATION TO COLLECTIVE MANAGEMENT OF RIGHTS Issues to discuss: Nature and scope of rights concerned; technological protection measures (TPM) and rights management information; the challenges ahead: systems interoperability and market access. role of identification numbering systems in the field of copyright content: the right of distribution and mechanical reproduction rights in computer networks. European collective management organizations facing competition measures. Are European competition measures in harmony with international norms? The impact of European competition vis-`a-vis foreign authors' societies and major publishers. Moderator: Mr. Michael Sukin, Lawyer, Sukin Law Group, New York, United States of America. Speakers: Dr. Mihaly Ficsor, President, Hungarian Copyright Council, Budapest Hungary Professor Hugh Hansen, Fordham University School of Law, New York, United States of America Mr. Richard Owens, Director, Copyright E-Commerce Technology and Management Division, Copyright and related Rights Sector, WIPO, Geneva, Switzerland
Title: John Sebastian - Welcome Back
Description: John Sebastian (born John Benson Sebastian on 17 March 1944, in Greenwich Village, New York City) is an American songwriter and harmonica player. He is best known as a founder of The Lovin' Spoonful, a band named in the Rock and Roll Hall of Fame. His tie-dyed denim jacket is prominently displayed there. One of his first recording gigs was playing harmonica for Fred Neil on his Bleecker & MacDougal album in 1965. He came up through the Even Dozen Jug Band and The Mugwumps, which split to form the Lovin' Spoonful and The Mamas & the Papas. Sebastian was joined by Zal Yanovsky, Steve Boone and Joe Butler in the Spoonful, which was named after a Mississippi John Hurt song. Sebastian also played autoharp on occasion. The Lovin' Spoonful became part of the American response to the British Invasion and was noted for such folk-flavored hits as "Jug Band Music," "Do You Believe in Magic", "Summer in the City", "Daydream," "Nashville Cats," "Did You Ever Have to Make Up Your Mind," "Six O'Clock," and "Younger Girl." The band, however, began to implode after a 1967 marijuana bust in San Francisco involving Yanovsky, a Canadian citizen. Facing deportation, he gave up the name of his dealer, which caused a fan backlash and internal strife. Neither John Sebastian nor Joe Butler was involved in the matter; they weren't even in San Francisco at the time. Yanovsky left, replaced by Jerry Yester in 1967. Sebastian remained in the band but departed in 1968. He and the original band reunited to appear in the film One Trick Pony starring Paul Simon and Blair Brown. Sebastian embarked on a moderately successful solo career after leaving the Lovin' Spoonful in 1968. Sebastian was popular among the rock festival circuits. He had a memorable, albeit unscheduled appearance at Woodstock, appearing after Country Joe McDonald's set, playing songs such as "I Had A Dream," "Rainbows All Over Your Blues" and "Younger Generation" which he dedicated to a newborn baby at the festival. Sebastian also returned for Woodstock '94, playing harmonica for Crosby, Stills and Nash. Sebastian released his eponymous LP John B. Sebastian in 1970, which featured him accompanied by various L.A. musicians. In 1976, Sebastian had a number one single with, Welcome Back, the theme song to the Welcome Back, Kotter television show, which found new life decades later when a sample from it became the hook for rapper Mase's 2004 hit "Welcome Back". Recently, he has played with John Sebastian and the J-Band, a jug band including Fritz Richmond from the Jim Kweskin Jug Band, Yank Rachell, an original jug-band leader, and Geoff Muldaur. Several modern musicians cite him as a large influence, including renowned blues harmonica player, Mike Tetrault. As a songwriter, Sebastian's songs have been covered by Elvis Costello ("The Room Nobody Lives In"), Dolly Parton, Del McCoury, Helen Reddy, Brenda Lee, Johnny Cash, Bobby Darin, Slade, Joe Cocker and Jimmy Buffett ("The Stories We Can Tell"). In later years, Sebastian hosted several television programs regarding '60s' music, including infomercials for compilations sets, and a half-hour program called The Golden Age of Rock and Roll, which was usually composed of video footage of 1960s bands performing on variety shows. He also hosted a Spoonful retrospective broadcast over PBS in March 2007, talking about various Spoonful numbers in between vintage video clips of the band up to the time he left. In 2007, Sebastian released a guitar instructional DVD for Homespun Video teaching solo guitar adaptations of eight of his Spoonful hits including "Daydream", "Nashville Cats", and his solo hit "Welcome Back". He has also released an instructional DVD teaching beginning level autoharp. (Sebastian played both harmonica and autoharp on Shanachie's 2002 compilation CD "Man of Constant Sorrow".) Sebastian and the J Band appear in the documentary about the roots and influence of jug band music, Chasin' Gus' Ghost, which screened in August 2007 at the San Francisco Jug Band Festival and made its film festival debut in October 2007 at the Woodstock Film Festival. In the film, Sebastian humorously explains, with musical accompaniment, how his hit song "Younger Girl" was inspired by Gus Cannon's "Prison Wall Blues." He also performed at the festival with other musicians featured in the film, including Geoff Muldaur, Maria Muldaur, Jim Kweskin and David Grisman. Sebastian played harmonica with The Doors on the song Roadhouse Blues under the pseudonym G. Puglese to avoid problems with his contract, which was featured on Morrison Hotel album, also played on "Little Red Rooster" on the live album Alive, She Cried and on seven songs on Live In Detroit. He is also credited with playing harmonica on Crosby Stills Nash & Young's "Déjà Vu" from the album of the same name.
Description: John Sebastian (born John Benson Sebastian on 17 March 1944, in Greenwich Village, New York City) is an American songwriter and harmonica player. He is best known as a founder of The Lovin' Spoonful, a band named in the Rock and Roll Hall of Fame. His tie-dyed denim jacket is prominently displayed there. One of his first recording gigs was playing harmonica for Fred Neil on his Bleecker & MacDougal album in 1965. He came up through the Even Dozen Jug Band and The Mugwumps, which split to form the Lovin' Spoonful and The Mamas & the Papas. Sebastian was joined by Zal Yanovsky, Steve Boone and Joe Butler in the Spoonful, which was named after a Mississippi John Hurt song. Sebastian also played autoharp on occasion. The Lovin' Spoonful became part of the American response to the British Invasion and was noted for such folk-flavored hits as "Jug Band Music," "Do You Believe in Magic", "Summer in the City", "Daydream," "Nashville Cats," "Did You Ever Have to Make Up Your Mind," "Six O'Clock," and "Younger Girl." The band, however, began to implode after a 1967 marijuana bust in San Francisco involving Yanovsky, a Canadian citizen. Facing deportation, he gave up the name of his dealer, which caused a fan backlash and internal strife. Neither John Sebastian nor Joe Butler was involved in the matter; they weren't even in San Francisco at the time. Yanovsky left, replaced by Jerry Yester in 1967. Sebastian remained in the band but departed in 1968. He and the original band reunited to appear in the film One Trick Pony starring Paul Simon and Blair Brown. Sebastian embarked on a moderately successful solo career after leaving the Lovin' Spoonful in 1968. Sebastian was popular among the rock festival circuits. He had a memorable, albeit unscheduled appearance at Woodstock, appearing after Country Joe McDonald's set, playing songs such as "I Had A Dream," "Rainbows All Over Your Blues" and "Younger Generation" which he dedicated to a newborn baby at the festival. Sebastian also returned for Woodstock '94, playing harmonica for Crosby, Stills and Nash. Sebastian released his eponymous LP John B. Sebastian in 1970, which featured him accompanied by various L.A. musicians. In 1976, Sebastian had a number one single with, Welcome Back, the theme song to the Welcome Back, Kotter television show, which found new life decades later when a sample from it became the hook for rapper Mase's 2004 hit "Welcome Back". Recently, he has played with John Sebastian and the J-Band, a jug band including Fritz Richmond from the Jim Kweskin Jug Band, Yank Rachell, an original jug-band leader, and Geoff Muldaur. Several modern musicians cite him as a large influence, including renowned blues harmonica player, Mike Tetrault. As a songwriter, Sebastian's songs have been covered by Elvis Costello ("The Room Nobody Lives In"), Dolly Parton, Del McCoury, Helen Reddy, Brenda Lee, Johnny Cash, Bobby Darin, Slade, Joe Cocker and Jimmy Buffett ("The Stories We Can Tell"). In later years, Sebastian hosted several television programs regarding '60s' music, including infomercials for compilations sets, and a half-hour program called The Golden Age of Rock and Roll, which was usually composed of video footage of 1960s bands performing on variety shows. He also hosted a Spoonful retrospective broadcast over PBS in March 2007, talking about various Spoonful numbers in between vintage video clips of the band up to the time he left. In 2007, Sebastian released a guitar instructional DVD for Homespun Video teaching solo guitar adaptations of eight of his Spoonful hits including "Daydream", "Nashville Cats", and his solo hit "Welcome Back". He has also released an instructional DVD teaching beginning level autoharp. (Sebastian played both harmonica and autoharp on Shanachie's 2002 compilation CD "Man of Constant Sorrow".) Sebastian and the J Band appear in the documentary about the roots and influence of jug band music, Chasin' Gus' Ghost, which screened in August 2007 at the San Francisco Jug Band Festival and made its film festival debut in October 2007 at the Woodstock Film Festival. In the film, Sebastian humorously explains, with musical accompaniment, how his hit song "Younger Girl" was inspired by Gus Cannon's "Prison Wall Blues." He also performed at the festival with other musicians featured in the film, including Geoff Muldaur, Maria Muldaur, Jim Kweskin and David Grisman. Sebastian played harmonica with The Doors on the song Roadhouse Blues under the pseudonym G. Puglese to avoid problems with his contract, which was featured on Morrison Hotel album, also played on "Little Red Rooster" on the live album Alive, She Cried and on seven songs on Live In Detroit. He is also credited with playing harmonica on Crosby Stills Nash & Young's "Déjà Vu" from the album of the same name.
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