17 Results for : buffed

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    Duran Duran's Rio
    In the '80s, the Birmingham, England, band Duran Duran became closely associated with new wave, an idiosyncratic genre that dominated the decade's music and culture. No album represented this rip-it-up-and-start-again movement better than the act's breakthrough 1982 LP, Rio. A cohesive album with a retro-futuristic sound-influences include danceable disco, tangy funk, swaggering glam, and Roxy Music's art-rock-the full-length sold millions and spawned smashes such as "Hungry Like the Wolf" and the title track. However, Rio wasn't a success everywhere at first; in fact, the LP had to be buffed-up with remixes and reissued before it found an audience in America. The album was further buoyed by colorful music videos, which established Duran Duran as leaders of an MTV-driven second British Invasion, and the group's cutting-edge visual aesthetic. Via extensive new interviews with band members and other figures who helped Rio succeed, this book explores how and why Rio became a landmark pop-rock album, and examines how the LP was both a musical inspiration-and a reflection of a musical, cultural, and technology zeitgeist.
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    Chase the Fire , Hörbuch, Digital, ungekürzt, 434min
    Fire in Her Heart From the moment Miranda Major realized the only thing she had of her own was her name, she had a fire in her heart to create a life of success, achievement, financial security and, most important of all, a home of her own. In her drive to succeed, she loses sight of the most essential items on her list. Suddenly, a stalker rips apart her professional success and her sense of security. A whim, a desperate need to escape the man trying to kill her, takes her from the sun drenched beaches of South Florida to the farmland of North Florida. Tractors, trucks and tall, lean men with slow southern drawls replace the tanned, buffed urban males she had known. A choice, a country road taken, a cantankerous donkey, and a green-eyed man with a voice meant for hot sultry nights challenge her to stop running. The fire that had driven her to succeed against all odds blazes again. She was not a woman to be beaten by fate. The stalker waits in the shadows ready to strike again.... And the man with the voice to whisper secrets at midnight stands beside her. Could she believe the life she had always wanted was only a heartbeat away? ungekürzt. Language: English. Narrator: Annette Martin. Audio sample: https://samples.audible.de/bk/acx0/056604/bk_acx0_056604_sample.mp3. Digital audiobook in aax.
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    Neon Sands: A Dystopian Sci-Fi (The Neon Sands Trilogy, Book 1) , Hörbuch, Digital, ungekürzt, 486min
    The stars brought life to the planet, and the stars destroyed it.It was ash on fingertips and vast. Stepping upon it gave the impression that it had come not from below, buffed by millions of years of wind slicing against rock, but rather from above; that, perhaps, it had drifted down and settled here.This is the post-apocalyptic sandscape that Calix and Annora must navigate - when they're old enough to join the scavenger crews outside of the domes, that is.They've spent their entire lives within Sanctum, the domed town that protects them from the dangerous sands that storm against the curved wall. But they are orphans, with questions about their heritage. With a childhood that prepares them to become scavengers. With a father figure in Kirillion who has an agenda all of his own - just what are they searching for when the scavenger crews depart?All grown up, they join Walker's crew, scouring the sand in giant Crawlers, ready to dig. When an accident unlocks childhood memories and murder, questions arise within the crew about where their allegiances lie and what their true purpose is. And then, their search hits the big time. A sci-fi dystopian adventure in an inhospitable landscape, Neon Sands is the opening book in an epic series that will explore man’s technological and innate potential and the search for hope when all looks bleak.  ungekürzt. Language: English. Narrator: Steven Miller. Audio sample: https://samples.audible.de/bk/acx0/215630/bk_acx0_215630_sample.mp3. Digital audiobook in aax.
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    Hollywood Savage , Hörbuch, Digital, ungekürzt, 674min
    A scalding exploration of love, marriage, fidelity, and betrayal.... “Meet me at five,” the voice said on the answering machine. Four ordinary words yet, when heard by the wrong person, enough to change the course of a marriage. Marooned in Hollywood while writing a screenplay based on his latest bestselling novel, Miles King records in his journals his escalating conviction that his glamorous wife, a New York-based journalist named Maggie, is having an affair with Miles’s favorite student. Amidst the sun-buffed egos and the longing for connection and fame he encounters at every cocktail party and no-name bar in Hollywood, Miles finds unexpected comfort in an affair of his own with Lucy, a young mother whose open, eager mind sparks an irresistible passion in him. A potent brew of lust, guilt, anger, and betrayal, Miles’s journals reveal his constantly shifting emotional state and the perils he must navigate as his fantasies become increasingly hard to distinguish from reality. In Hollywood Savage, acclaimed novelist Kristin McCloy probes one modern man’s psychological depths with stunning accuracy, and illuminates the ways men and women try desperately to reveal themselves to one another, while still always keeping a part of their hearts a secret. Kristin McCloy was born in San Francisco and spent her childhood in Spain, India, and Japan. A graduate of Duke University, she is the author of the novels Velocity and Some Girls. Her novels have been published in more than fifteen countries. She currently lives in Oakland, California. ungekürzt. Language: English. Narrator: Charles Bice. Audio sample: https://samples.audible.de/bk/adbl/010006/bk_adbl_010006_sample.mp3. Digital audiobook in aax.
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    Lincoln's Generals' Wives: Four Women Who Influenced the Civil War - for Better and for Worse , Hörbuch, Digital, ungekürzt, 1122min
    The story of the American Civil War is not complete without examining the extraordinary and influential lives of Jessie Frémont, Nelly McClellan, Ellen Sherman, and Julia Grant, the wives of Abraham Lincoln's top generals. They were their husbands' closest confidantes and had a profound impact on the generals' ambitions and actions. Most important, the women's own attitudes toward and relationships with Lincoln had major historical significance. Candice Shy Hooper's lively account covers the early lives of her subjects, as well as their families, their education, their political attitudes, and their personal beliefs. Once shots were fired on Fort Sumter, the women were launched out of their private spheres into a wholly different universe, where their relationships with their husbands and their personal opinions of the president of the United States had national and historical consequences. The approaches and styles of Frémont and McClellan contrast with those of Sherman and Grant, and there is equal symmetry in their wives' stories. Jessie Frémont and Nelly McClellan both encouraged their husbands to persist in their arrogance and delusion and to reject the advice and friendship of their commander in chief. In the end, Jessie and Nelly contributed most to the Union war effort by accelerating their husbands' removal from active command. Conversely, while Ellen Sherman's and Julia Grant's belief in their husbands' character and potential was ardent, it was not unbounded. Ellen and Julia did not hesitate to take issue with their spouses when they believed their actions were wrong or their judgments ill-advised. They intelligently supported their husbands' best instincts - including trust in and admiration for Lincoln - and re-buffed their worst. They were the source of strength that Sherman and Grant used to win the Civil War. Relying on letters, memoirs, and other primary sources - and, for the first time, mapping the women's wartime travel ungekürzt. Language: English. Narrator: Candice Shy Hooper. Audio sample: https://samples.audible.de/bk/adbl/028951/bk_adbl_028951_sample.mp3. Digital audiobook in aax.
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    Carolina Cellobration
    PROGRAM NOTES (by the composers) Buffing the Gut (1995) Buffing the Gut was commissioned in 1995 by Buffi Jacobs, then an undergraduate student at the University of South Carolina studying cello with Robert Jesselson. I was a doctoral Teaching Assistant, studying with Dick Goodwin, and Buffi was in my Sight Singing class. One day she asked if I'd write a piece for her senior recital. A relative would get that for her as a graduation gift, and so we sat down together to explore ideas. I recall asking, "what do you like to do on cello when you are just messing around and having fun?" Her eyes widened she played some "rock guitar licks" that I then embellished and used in the piece. We had a fun time collaborating on the first draft, which Dick helped me refine and Robert expertly edited. It is no surprise that in addition to her professional "classical" career, Buffi has been a long-time member of the acclaimed rock group, The Polyphonic Spree. My title was inspired by Buffi's name and the image of a cellist bowing so ferociously that the strings on the cello smolder and appear buffed. I ask you to imagine a cellist alone in an empty concert hall after a concert, playing for the sheer joy of playing. Ben Boone Two Movement Sonata (2011) The first movement of the Sonata, Rondeau, begins as a five part rondo i.e. A, B, A, C, A. That pattern is then repeated in ever shorter statements. The reduction in the length of each part is roughly equivalent to the proportions of the Fibonacci Series. This process continues to a point about four minutes and a few seconds into the piece. Then it goes in reverse to expand each part to the end. The second movement, Scherzo Canonico, recalls lines and textures from the first movement in a scherzo, trio, scherzo form. The scherzos are round canons at the unison and the trio, a cancrizans canon. The Sonata seeks to tell no story nor to reveal any deep spiritual truth. It is a piece of abstract music. It is what it is. Here end the program notes for a piece which has no program. Samuel O. Douglas Lilies (2011) Lilies, as a flower, are thought to symbolize purity and a return to innocence. In that spirit, "Lilies" is a reflective and gentle vocalise for cello and piano. The work is in three, expansive sections. The opening features a long, lyrical cello line over a slowly rocking bass in the piano. This gives way to a more restless, searching middle section, which in turn leads back to an altered version of the original melodic material, and a quiet, if somewhat mysterious, resolution. 'Lilies' was commissioned by the Jesselson/Fugo Duo in 2011, and is dedicated in memory of John McElyea. John Fitz Rogers Frieze (2011) The German novelist and poet Johann Wolfgang von Goethe (1749-1832) once said that architecture is "frozen music." In architecture, a frieze refers to a horizontal band of decorative images found along the top of a wall that are typically a set of variations on a single theme. Written for cellist Bob Jesselson and pianist Charles Fugo on the thirtieth anniversary of the Jesselson/Fugo Duo, Frieze (2011) explores musical analogues of mathematical frieze groups, symmetric line patterns on a two-dimensional surface that infinitely repeat in a single direction. These types of patterns are mapped onto the pitch and time domains to create the musical ideas that form the basis of the work. The titles of the seven movements are double entendres, terms with very precise meanings in mathematical music theory that have very different meanings outside of music. For example the second movement, titled "Mosaic," refers to a design made from small pieces of colored tile or stone in art, whereas in twelve-tone music it refers to a way to partition the aggregate into subsets. Dr. Reginald Bain In Memoriam (September 11, 2001) I wrote these sketches while watching the horror of the attacks of September 11, 2001: the collapse of the World Trade Center, the attack on the Pentagon, the plane-crash in Pennsylvania. I didn't have a piece in mind, or consciously set out to write one. But the sketches seemed to belong together, afterwards, and to fit the solo cello.* It was my way of holding each other in our loss. It reflects my sadness, our collective sadness-- the loss of loved ones, looking for survivors, not finding. Hoping it isn't true, disbelief...it is true. The slow motion collapse of the towers--with that collapse, all of our losses, our national sense of invulnerability gone...humility, interdependence, prayer. Meira Warshauer *Originally for solo cello. Subsequent versions for violin solo (commissioned by Gregory Harrington), violin and cello duo, violin and bass clarinet duo, clarinet solo, clarinet and bass clarinet duo, clarinet and cello duo (arr. By Suzanne Mueller). Also available for solo cello with string ensemble (9 players: 3 2 2 1 1) or string orchestra, and for solo cello with cello ensemble (6 celli, arranged by Mirel Iancovici). Published by Kol Meira Publications (ASCAP), 3526 Boundbrook Lane, Columbia, SC 29206, USA. Yizkor (Remember) (2009) Mourning can be both private and public. When we visit a grave or observe the anniversary of a person's death, we generally do so in private. 'Yizkor' (which is Hebrew for 'Remember') is a prayer for the public observance for the community of bereaved. These two movements are the last two movements of a three movement work called 'Yizkor'. I had written a one movement piece for cello solo by that name in 2001 after the horrific events of 9/11. The cello was the solo voice that cries, the solo voice that is heard no more. In 2009 I felt that the piece needed more, so I added the two movements included in this album as further amplification of that feeling. These second and third movements of Yizkor are included on this CD to reflect the afterthought, or aftershock, that follows an emotional loss. The second movement depicts the frantic and frenetic feeling that follows such a shock. That is why I used a figure of two sixteenth notes at the beginning of every measure. The third movement has a descending legato melodic mirroring an ascending line in the first movement. This last movement is the afterthought, and the solemn feeling we have when remembering. With my background in composition combined with film scoring, I tend to see music more as an underscore, be it to a film, or to our lives. From my perspective as a songwriter I also feel strongly about the human voice and the power of song. Ayala Asherov-Kalus Dessau Dances (2011) There is a famous German dance hall outside of Austin, Texas - well, really outside of Pflugerville, TX to be more precise -- that dates back to 1876. For decades Dessau Hall hosted about every major traveling music act ... from polka bands to the dance orchestras of Glenn Miller, Woody Herman, Guy Lombardo, Tommy Dorsey, Artie Shaw and Stan Kenton, to country artists like Bob Wills and the Texas Playboys, Loretta Lynn, Hank Williams, Ernest Tubb, and Willie Nelson. Even Elvis Presley played there several times. Programs were often broadcast over KTBC which was owned by then-Senator Lyndon Johnson and his wife Lady Bird. I recall performing at Dessau Hall with different territory bands ... and remember that there was a big oak tree growing out of the dance floor and up through the roof. I thought that it would be fun to abstract rhythms from three popular dances that we were always asked to play at Dessau Hall -- a schottische, a waltz and a polka. The evenings also featured promenades -- little marches that would stop abruptly providing a kind of musical chairs to identify the next dance partner. So I decided that Dessau Dances needed a promenade theme to open the set and tie each of the movements together. Gordon (Dick) Goodwin Duet for Cello and Piano (2011) Program notes in the classical music tradition provide historical and background information on the piece, the composer, giving the audience tips for what to expect when listening to
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    Facebook Pirate
    As Ron Bell put together songs for his nightclub show in 1975 he included the smash hit Margaritaville by Jimmy Buffett. This song was a lot different than the other songs of the day such as the ones by Stevie Wonder, Kenny Rogers, or even the Eagles. Ron played Margaritaville and the others for many years. Just a decade earlier, Ron had sung and played all the hits of that era including those by the Beatles, Rolling Stones, Byrds, Buffalo Springfield and many more. Soon, Ron's band Big Foot was opening shows for the Moody Blues, Frank Zappa, and the Grateful Dead, just to name a few. For those musicians who made a living playing and singing, the word "Disco" changed everything in the late 70's. Most of the clubs they worked in became Discos and the only live music to play back then was Country Western. So playing bass guitar, Ron joined those doing Country, playing five nights a week and loving it! By 1986 Ron had become a solo performer playing guitar in small restaurants and bars for about the next ten years. At one of his first solo gigs, a lady requested Come Monday by Jimmy Buffett. Ron did not know that one, but played Margaritaville for her. (Eventually he did learn Come Monday.) Ron began playing keyboard in 1996 along with bass and guitar. He played in San Diego at clubs by the fishing docks around Point Loma. While playing there, a group of fishermen would come in who always wanted Buffett, Buffett, and more Buffett! So, Ron learned all the Buffett that he could get his hands on. In 2005, after recording a CD with the band Crosswinds, he was introduced to veteran Trop Rock artist, Gary Seiler. That meeting renewed his interest in the Trop Rock style which is almost exclusively the music that Ron plays, sings and writes today. The future looks great with many opportunities ahead. And yes, Ron continues to play Margaritaville every night. Ron has recorded three solo CDs plus a live CD with Gary's band, Buffed Out.
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