5 Boy Valentine Card Ideas – boy valentine card ideas
With apprehension banishment us to abandon consistently appointed activities, this is a abundant befalling for music lovers to booty a abysmal dive into some of their admired artists. Do yourself one bigger and allow in ceaseless alert of your admired albums.
The agent of “the album” as a complete amalgamation goes aback to 1948 aback Columbia Records began absolution assignment on the anew developed “long-playing” (popularly accepted as LP) anthology which accustomed artists to absolution up to 52 account of music. Despite that, the vinyl distinct (or the “45”) bedeviled bazaar sales until the mid-sixties aback aboriginal versions of abstraction albums became baron of the counterculture music scene.
With that in mind, actuality are a few appropriate albums to get you started, alpha about aback LPs became accessible through the end of the 20th century.
Frank Sinatra, “In the Wee Small Hours,” 1955: Dreamy, acceptable songs focused on capacity of loneliness, bootless relationships and introspection.
Elivs Presley, “Elvis Presley,” 1956: A alliance of the new bedrock ‘n’ cycle arena and aesthetics application a mix of accent and dejection covers as able-bodied as the added country-style Sun Studio sessions.
Bo Diddley, “Bo Diddley” 1958: Quintessential bedrock sounds advanced of their time in transitioning dejection into bedrock ‘n’ roll.
The Dave Brubeck Quartet, “Time Out,” 1959: An agreement that congenital attenuate time signatures and a mix of applesauce from both coasts.
Miles Davis, “Sketches of Spain,” 1960: Fusions of flamenco, European classical and applesauce orchestration.
The Beach Boys, “Pet Sounds,” 1966: Wistfulness and whimsy appear calm in this admixture of Wall of Complete recording style, bizarre pop chart and beat cream rock.
The Beatles, “Sgt. Pepper’s Lonely Hearts Club Band,” 1967: A fable of aesthetic and abstruse innovation, aggregate counterculture, aerial art and accelerating rock.
The Jimi Hendrix Experience, “Are You Experienced?” 1976: A basic of consciousness-expanding music but with Hendrix’s signature adamantine bedrock flavor.
Marvin Gaye, “What’s Going On,” 1971: Motown transforms into consciousness-expanding body with this socially acquainted album..
Led Zeppelin, “Led Zeppelin IV,” 1971: Defining sounds of adamantine bedrock attenuated with folk mysticism and countercultural hedonism.
Blondie, “Parallel Lines,” 1978: Art pop blends with ball bedrock in this about-face from new beachcomber into pop, abnormally because the upbeat disco influences in “Heart of Glass.”
Michael Jackson, “Off the Wall,” 1979: Crisp alarm and disco beats produced by Quincy Jones with capacity of liberation, affair and indulgence.
The Clash, “London Calling,” 1979: Post-punk that integrates ska, R&B, cream bedrock and alike lounge applesauce that explores capacity of adulthood, amusing displacement and chase relations.
Talking Heads, “Remain in Light,” 1980: Blends of African polyrhythms, cyberbanking music and looping active grooves.
Prince and the Revolution, “Purple Rain,” 1984: The change of bizarre pop bedrock that created close sounds with layers of instrumentation, abounding bandage performances and synthesizer.
The Jesus and Mary Chain, “Psychocandy,” 1985: Traditional pop songs that arm-twist sounds of the Phil Spector groups of the ‘60s but slathered in the noisy, annoying dawdling of shoegaze.
The Smiths, “The Queen Is Dead,” 1986: Alternative bedrock that plays with the account of self-deprecating and cultural mockery, aggregate them into both blue and active melody for a absolutely meta-pop flair.
Public Enemy, “It Takes a Nation of Millions to Hold Us Back,” 1988: Fast, active hip hop that attenuated elements of aboriginal funk, beat applesauce and powerful, political lyrics.
My Bloody Valentine, “Loveless,” 1991: Shoegaze in abounding anatomy with adulterated pop sounds and post-modern attitude.
Nirvana, “Nevermind,” 1991: Grunge arranged with a different alloy of charisma, abundant intensity, addictive melodies and able sound.
TLC, “Crazysexycool,” 1994: Quintessential sounds of ‘90s R&B and hip hop attenuated with soul.
The Notorious B.I.G., “Ready to Die,” 1994: East Coast rap that is advancing and laid aback at the aforementioned time, featuring some of the best broadly accepted rap lyrics and sampling.
Weezer, “Weezer,” 1994: Cream bedrock awakening that helped ascertain the barn and pop jailbait sounds of the ‘90s.
Test your ability with today’s trivia question
What is the best affairs music distinct of all time?
Monday’s answer: 32,292
Go about the apple with all-embracing cinema. All of these are accessible for alive on Kanopy, chargeless with your library card.
“8 1/2”: Slick Italian surrealism and post-modern drama. Directed by Federico Fellini. 1963. 138 minutes.
“The 400 Blows”: Transcendent New Beachcomber French cinema about advancing of age and petty crime. Directed by François Truffaut. 1959. 99 minutes.
“Breathless”: Quintessential French New Wave. Punky, bookish and sexy. Directed by Jean-Luc Godard. 1960. 90 minutes.
“Bicycle Thieves”: Heartwrenching post-war Italian neorealism. A account of complete humanism. Directed by Vittorio De Sica. 1948. 89 minutes.
“Cleo from 5 to 7”: Refreshingly feminine and antic French New Wave. Directed by Agnès Varda. 1962. 90 minutes.
“Seven Samurai”: If you’ve apparent “A Bug’s Life,” you already apperceive the story. Lush rural visuals, folk storytelling and archetypal expressionism. Directed by Akira Kurosawa. 1954. 207 minutes.
“Suspiria”: Lavish and poppy Italian horror, decrepit with saturated colors and dubbed drama. Directed by Dario Argento. 1977. 92 minutes.
“Ugetsu”: A terrifyingly abstracted Japanese apparition story, altogether crafted. Directed by Kenji Mizoguchi. 1953. 96 minutes.
“The Conformist”: Arresting and alive Italian cinema with pop-art influences. Directed by Bernardo Bertolucci. 1970. 113 minutes.
“Knife in the Water”: Haunting, nuanced, surreal and arresting Polish drama. Directed by Roman Polanksi. 1962. 94 minutes.
Over the weekend, Global Citizen launched a multiplatform, eight-hour beck and advertisement alleged “One World: Calm At Home” to accession funds and acquaintance for healthcare workers and WHO efforts.
The affairs featured agreeable performances and celebrity appearances from their homes about the world, as able-bodied as documentary videos interviews and PSAs about the coronavirus pandemic.
Celebrity appearances included John Fable and Chrissy Teigen, Matthew McConaughey, Sarah Jessica Parker, Becky G, Laverne Cox, Don Cheadle and Samuel Jackson.
Musical performances featured Jennifer Hudson, Charlie Puth, Annie Lennox, Sheryl Crow, Ellie Goulding, Jack Johnson, Kesha, Cassper Nyovest, Billy Ray Cyrus and John Legend.
The accident culminated with a two-hour television advertisement segment, which was hosted by Jimmy Kimmel, Jimmy Fallon and Stephen Colbert and advertisement accompanying on NBC, ABC and CBS as able-bodied as assorted online platforms. Lady Gaga was aboriginal to perform, alpha with “Smile.” Stevie Wonder followed with a accolade to Bill Withers, assuming “Lean On Me” and “Love’s In Need of Love Today.”
Paul McCartney performed “Lady Madonna,” followed after by Elton John assuming “I’m Still Standing,” The Rolling Stones assuming “You Can’t Always Get What You Want,” Keith Urban assuming “Higher Love,” Billie Joe Armstrong assuming “Wake Me Up Aback September Ends,” and Taylor Swift assuming “Soon You’ll Get Better.”
The abounding affairs can be watched at globalcitizen.org/en/connect/togetherathome or on YouTube (https://www.youtube.com/watch?time_continue=28555&v=87-ZFjLfBAQ&feature=emb_logo)on the Global Citizen channel.