Hey, I finally made it to the 2009 SL Footwear Expo  and bought a few things.  My favorite has to be these shoes from KOOKIE.  Very stylish and think they complete this look I pieced together.  50% of proceeds are going towards ‘toys for tots’.  So check out the fair, buy some shoes!! and donate towards the charity. The slurl to the expo is tagged here, in the credits I have the slurl to Kookie’s main store, she has the Athena shoes in different colors at her mainstore, because only black is available at the expo. Have a good evening!!

You are listening to ‘Sleepy Head by Passion Pits’

Credits:

Skin-  :::: IrEn:::: – ::::Shane::::pale_nude_frex_hairline

Hair- Exile -Jordin Twilight (old group gift)

Dress-  This is a Fawn -Deep V-Neck Dress (blood)

Vest-   !Ohmai -Tomomo Loose Vest GAUCHEGREY

Socks-  PIDIDDLE -Scrunchy Wool Socks (freebie)

Shoes-  *Kookie* -Athena Black

Belt-  {paper.doll} -Party Girl Black Belt

Glasses- Duboo* -Lovely Glasses (last weeks 50L fri.)

Necklace- Medley -Grey Bead Necklace

Finger Tapes-  Luck Inc – Finger tapes dollarbie

Loved this our favourite cartoon characters with our favourite songs – music has never sounded better in animation land.

Pop/R&B legend Janet Jackson opened the 2009 American Music Awards with a medley of her hits, beginning with her 1986 breakout charttopper “Control.”

Janet did her thing but performing just one good song could have been better.

Bits & Pieces 2 (1980)

Först måste jag göra vågen för snubben som satt ihop det här klippet. Han har nämligen bemödat sig med att göra ett bildspel med omslagsbilder till den skiva som just mixas i klippet. Helt underbart och det gör att det blir lite kul att kolla på klippet. Annars brukar man ju bara lyssna när dylika klipp spelas på YouTube och där inte finns nån riktig video till. Här blir det istället en riktigt underhållande tillbakablick på musikhistorien när man får se skivetiketter och omslag avlösa varandra i nån slags orgie i nostalgiska referenser.

Att jag tog med det här klippet hänger ihop lite med det inlägget jag hade om Grand Master Flash och The Wheels Of Steel nyligen. Den låten fick ju nämligen status som en egen låt trots att det ju faktiskt är lite av en mashup eller medley som det kallades förr. Får nog gå igenom alla såna begrepp vid tillfälle för jag inser att det har ändrat betydelse till viss del genom åren. Hur som helst så är Bits & Pieces, som kom 1980, ett bra exempel på dåtidens medley som var oerhört populära bland oss DJ’s. Gemene man var dock rätt frustrerade över dem då de ju bara fick höra snuttar av sina favoriter.

Men sen fanns det medleys som bara var skräp och det var när det var dåligt mixat eller dåligt klippt. Eller så fanns det skräckexempel där en del originallåtar var med men sen hade man fyllt ut resten med covers. Finns dock guldkorn även bland skräckexemplen och jag ska se om jag vid tillfälle kan ta med ett sådant. Har nämligen ett sånt som poppar upp i skallen just nu men nu när jag kollade så finns det inte på YouTube så då får man väl fixa det själv.

Hur som helst så tillhör Bits & Pieces 2 ett av mina favoritmedleys från den tiden, dels för att det är bra mixat med tanke på dåtidens tekniska möjligheter. Sen är det en sån suveränt bra blandning på låtar så man kan få ståpäls för mindre.

Tjillevippen

notbugs

Pour en savoir plus :
All That Remains
Lacuna Coil
Maylene and the Sons of Disaster
Taking Dawn

I am so pleased with how this turned out!…I just love the cardinals…too cute!!! 

For this one I tried a patterned red and white dots for the middle layer…

Here is another option where I used a white shimmer textured paper for the middle layer.  I also made the middle layer on this one slightly larger than the previous one.

I tried a gatefold with the shimmer tiffany blue cardstock that I had….just wanted to see what cardstocks would look nice with it.  Then I couldn’t resist to add a wrap around the invitation and a cute little tag! 

O laboratório Medley, líder do segmento de medicamentos genéricos no Brasil (que movimenta em torno de R$ 4 bilhões ao ano no País),vai a TV com uma campanha institucional após quatro anos de ausência. A estratégia é reforçar a presença da marca em um setor considerado importante na indústria farmacêutica e que deve ganhar impulso com o vencimento de patentes de remédios famosos no mercado.

O segmento de genéricos tende a se expandir mais com o vencimento de patentes, e a Medley se prepara para esse momento. O laboratório está atento aos vencimentos de um anti-hipertensivo (Diovan), um redutor de colesterol (Lipitor, um campeão de vendas) e o Viagra.

Olha o que diz o press release: Para Messias Cavalcante, gerente de marketing de genéricos da Medley, a ação se faz necessária para reativar os genéricos da marca no País. “Ao longo do ano, os medicamentos genéricos se distanciaram do público”, diz, explicando que isso aconteceu por uma falta de investimento geral na comunicação do segmento. “Com a ação, mobilizaremos as pessoas para consumirem produtos genéricos”, completa.

Agora veja a propaganda de TV:

Como exatamente a estratégia de “mobilizar pessoas para consumo de genéricos” está presente nesta propaganda? Bem… não está. Uma pena, porque seria a estratégia certa para a Medley. Vamos por partes.

1. A melhor forma de uma marca líder aumentar faturamento é aumentar tamanho de mercado. Portanto, quando a marca líder de genéricos diz que visa trazer mais consumidores para o segmento, ela está com a estratégia certa.
2. Por outro lado, o que diz a propaganda de TV… “quando for escolher genérico, escolha Medley”. O que? Público Alvo: pessoas que já escolhem genéricos, estratégia implícita: Medley é o melhor genérico. Não tem nada na propaganda que diga porque o consumidor que não consome genéricos devia passar a consumir.

Infelizmente, esta dissonância entre a estratégia desejada e a execução em propaganda é muito comum. Um misto de briefing confuso e agencia sedutora e mais preocupada com a idéia criativa que a estratégia muitas vezes levam clientes para lugares diferentes do que eles gostariam de ter ido. Uma pena.

Phone: 954 603 8772.
Please leave a message and you will be contacted ASAP.

A/C not fixed = $20 (diagnosis/service)
If your air conditioning (A/C) is not fixed, the charge $20 to diagnose the problem.

A/C fixed + No parts = $50
(If your A/C is fixed and no parts are needed, the charge is $50 total.You will not pay more than $50 unless parts need to be purchased.)

A/C fixed + Parts = $50 + Cost of parts.
If your A/C is fixed and parts are needed, the charge is $50 + the cost of the parts.

Please note: Freon/refrigerant is a part and is not included in the service fee.

This is not an hourly fee – the labor fee is $50 no matter how long the repair takes. The charge is $20 if the A/C is not fixed.

Please note that the following services are not currently being offered: 1) coil change-outs, 2) compressor change-outs and 3) installations.

Here is a list of cities currently being serviced:

Boca Raton
Coconut Creek
Coral Springs
Deerfield Beach
Fort Lauderdale
Hillsboro Beach
Lauderdale Lakes
Lauderdale-by-the-Sea
Lauderhill
Lighthouse Point
Margate
North Lauderdale
Oakland Park
Parkland
Pompano Beach
Tamarac
Wilton Manors

South Broward, West Broward and Miami-Dade County are not currently serviced.

Here is a list of some of the units that may be repaired…
- Commercial A/C units
- Residential A/C units
- Split A/C units
- Package A/C units
- Wall A/C units
- Window A/C units

Please note: Personal Checks and Business Checks are not accepted as payment at this time.

If you can’t call, feel free to email your phone number to the email address at the top of this listing and you will be contacted ASAP.

Any and all air conditioners have a possibility of repair.

Here are some (but not all) brands that repairs are possible for..
Goodman, Trane, Carrier, York, Rheem, Ruud, Fujistsu, American Standard, Lennox, Mitsubishi, Bryant, Payne, Duchane, Fedders, Heil, Janitrol, Armstrong, GE, General Electric, Honeywell, Amana, Comfortmaker, Tempstar, Briggs & Stratton, Kohler, Guardian, Generac.

License # CAC014666

Although I have tried to hear all the recordings Teddy Wilson ever made over more than half a century, the man himself was harder to find.  True, I did hear him in person several times at Newport Jazz Festival concerts in New York City, once at the Highlights in Jazz concert series, at The New School (alongside Claude Hopkins, Dill Jones, and Eubie Blake!), and once at a shopping mall, Roosevelt Field, where, in the winter of 1971, he was one of four or so jazz performers who had hour-long gigs among the shoppers.  (I recall that one other group was Roy Eldridge, an organist whose name I can’t recall, and the recently departed Eddie Locke; another was Joe Farrell, Wilbur Little, and Elvin Jones.  My friend Stu Zimny was there, too, and might have driven the car as well.)  Wilson brought with him the veteran bassist Al Lucas and drummer Gary Mure, son of the guitarist Billy Mure — if I remember correctly.  In his perfformance, Wilson did what had, by that time, become an “act”: his Benny Goodman medley, his Gershwin medley, his Fats Waller medley, his Count Basie medley — glistening but routine.  

I was a terribly earnest jazz-mad college student; one of my most precious records was the 1956 PRES AND TEDDY, reuniting Lester Young, Teddy, Gene Ramey, and Jo Jones.  After the concert was over, I stood by the piano, waiting patiently until some of the fans and hand-shakers had dispersed (perhaps some of them were telling how much they remembered Teddy’s work with the Benny Goodman Trio in 1935).  I shyly came up to Wilson, told him how much I admired his work and how much I loved this recording and would he sign it for me (all in one breath), and he gave me the faintest hint of a polite smile, said, “Thank you very much,” signed his name neatly and handed the record back to me.  And that was it.  

The photograph at the top of the page — with Teddy, Lester, and Jo — comes from that session, I believe. 

In retrospect, Teddy’s reticence makes a good deal of sense.  Playing music for shoppers can’t have been good for the psyche: Wilson logically would want to have collected his fee and gone home.  And he was perfectly polite: I just had the sense that talking to fans was alien, that I had unwittingly attempted to breach his privacy, the door had opened a crack and had closed quickly and decisively. 

I was reminded of this experience today in my small expedition to the New York State Library for the Performing Arts at Lincoln Center. 

As someone whose fact-chasing predates the internet — I like doing research in libraries.  I’ve spent a good deal of my life in the stacks, or in Special Collections, or in handling one-of-a-kind documents (while protective librarians usually come up behind me and hiss that I am NOT to put my elbow on the page). 

Which brngs us back to Teddy Wilson.  Years ago, I found a 10″ lp on the Jolly roger label in a second-hand store (price four dollars) of his solo performances of songs I had never heard before — among them WHEN YOU AND I WERE YOUNG, MAGGIE — which I bought, clutching my treasure until the moment I could put it on the phonograph.  The solos were new to me, and they were splendid, including a version of I’LL SEE YOU IN MY DREAMS which had a sweet little descending figure in the bass after the first statement of the title phrase. 

Eventually I learned that these 1938-39 performances were part of a business enterprise called THE TEDDY WILSON SCHOOL FOR PIANISTS.  I don’t think Wilson was terribly ambitious, but he was looking for ways to capitalize on the fame and recognition his work with Goodman and Holiday had brought him in the second half of the Thirties.  And someone (was it Wilson?) suggested that he could set up a correspondence course for the young men and women who wanted to play in the Wilson manner.  Leo Feist and other music publishers had tried to capitalize on this by selling music books of Waller, Tatum, James P., and other pianists’ transcribed solos — how accurate the transcriptions were is always open to dispute.  Wilson’s “school” was different in one crucial aspect: at the end of his Brunswick sessions, he would record one or two solos, which would be pressed as 78 records with the SCHOOL label and sold through the mail, as well as transcriptions of what had been played.  Theoretically, the student could follow along — hearing the record and reading the score — to know exactly what Wilson was doing. 

In his oral history, TEDDY WILSON TALKS JAZZ, Wilson recalled this about the experience (an excerpt I found at www.doctorjazz.co.uk., a thrilling site for anyone interested in piano jazz and jazz arcana of the highest order):

I have done quite a bit of private teaching in my life, too, and the young people I’ve had as pupils have always been between sixteen and twenty years of age. At one time I had my own school in New York, “The Teddy Wilson School for Pianists,” from 1936 to 1939, with three excellent partners, and we turned out some very good students. J. Lawrence Cook was my chief assistant there and he was great on the theoretical side of the jazz piano and shaped the printed courses we had, containing sheet music of my improvisations on popular melodies. They proved very successful in teaching by mail. However, I had to give it up in the end because costs just kept soaring. Advertising and copyright payments were heavy items, especially as the latter were always for very popular songs. The other partners in my school were Eve Ross and Teddy Cassola. Their contribution rounded out the work done by the [sic] Cook and me. My having to be away traveling and performing so much of time led some to believe I only “fronted” the school. Not so. I was completely involved. [TW 110-111]

I have never seen an original SCHOOL 78, although a vinyl issue on one of Jerry Valburn’s collectors’ labels — probably Meritt — collected all the issued and alternate takes from this series, and I have it — a prize!  And later the SCHOOL recordings were issued chronologically on the Classics and Neatwork CDs.  (The Commodore Music Shop was involved in this project as well, so I think that the music was first “officially” reissued on the first Mosaic Commodore box set.

But ever since I’ve had a computer, I’ve been checking Google for the scores themselves.  I am a sub-amateur pianist, but I harbor the hope that if I had a Wilson score in front of me, something placid, not TIGER RAG, then perhaps I could spend a winter working my way through thirty-two bars.  (I have the “Teddy Wilson” music books from the Thirties and Forties, but don’t trust them.)

Nothing emerged in cyberspace until a year or so ago, when I found that the Performing Arts Library (in the Lincoln Center complex) had an entry for the scores.  It seems that an American composer-pianist-arranger named Brainerd Kremer left his papers to the library, and in one of the boxes he had a set of the Wilson School scores. 

I filed this information away in the back of my mind until today, when I found myself with several hours of free time twenty blocks north of Lincoln Center, and set out, a brave researcher in search of the jazz Grail. 

The quest required a series of small perseverances on my part, taking me from one floor of the library to the other.  I hadn’t had a New York Public Library card for nearly fifteen years, so I had to reapply for one (simple and pleasant), had to log onto their system and find my way (reasonably simple), had to explain myself to the reference librarian (easy and quite pleasant) and then take my slip of paper to the third-floor Special Collections print department, hand it in, and wait for my number — 24 — to be displayed on the indicator above.  They were both busy and understaffed, so the ten minutes I had been told it would take turned out to be more like thirty-five, but then 24 was visible and I approached the desk.  The pleasant young woman had nothing in her hands but a piece of paper, always a bad sign, and she politely told me that they could not find what I was asking for, but that I should give them my name, phone, and email, and they would call me in a week if they found it. 

I hope they do, even if I have to buy a pad of music staff paper and start copying (for nothing so simple as photocopying happens without labyrinthine restrictions in most Special Collections) but I’m not optimistic.  Do any of my readers have a copy of the Wilson scores they wouldn’t mind lending me?  Or any good suggestions?  I need to learn how to play I’LL SEE YOU IN MY DREAMS as Teddy did.  I know this.  And I would hate to think that the elusive Mr. Wilson had eluded me after death in the library, too.

Gestern Nacht war es wieder soweit: die MTV-Awards wurden verliehen, diesmal in Berlin und die Creme de la Creme der Musikindustrie war vor Ort. Wer keine Tickets mehr für die Award-Show ergattern konnte und sie sich auch nicht auf MTV angesehen hat, kann nun die Highlights des EMAs-Abends  hier genießen!

Wer waren also die Abräumer der EMAs 2009? Ich will euch nicht lange auf die Folter spannen – die Gewinner der diesjährigen European Music Awards-Show sind…

• Bester weiblicher Act: Beyonce
• Bester Song: Beyonce – “Halo”
• Bestes Video: Beyonce – „Single Ladies“

• Beste Band: Tokio Hotel

• Bester europäischer Act: maNga
• Bester Push-Künstler: Pixie Lott
• Bester männlicher Act: Eminem
• Bester Urban-Act: Jay-Z

• Bester Newcomer: Lady Gaga

• Bester Alternative-Act: Placebo
• Beste World Stage Live-Performance: Linkin Park
• Bester Rock-Act: Green Day

• Bester Live-Act: U2

Die Videos der teils sehr beeindruckende Performances von Foo Fighters, Shakira und Leona Lewis sowie das absolut gelungenes Michael Jackson-Tribute-Medley möchte ich euch natürlich auch nicht vorenthalten – bitteschön und bis zum nächsten Jahr bei den EMAs 2010!!!

Katy Perry sang a medley of I Gotta Feeling, When Love Takes Over, Halo, Use Somebody and Pokerface. It sort of worked. Katy did a great job anyway.

here’s a vid i found of a group of two hipster chicks and one blipster bro covering and playing instruments to a medley mash-up of songs by Will Smith. they go by the name Pearl and the Beard. the main singer woman is pretty intimidating but that aside, i enjoyed the video a lot. the acoustic and tranquil feeling of their other songs are nice too. good stuff guyz. check the video out below!

Parecería una locura, que una carrera tan extraordinaria pudiese caber en un espacio tan reducido. Pero esta suite final de Abbey Road tiene casi de todo.

La mirada lúcida e irónica de Lennon sobre el mundo y quienes lo pueblan (Mean Mr. Mustard, Polythene Pam), la inacabable inspiración de MacCartney (She came in through the bathroom window, Golden sulmbers) y, para terminar, los tres gigantes en un mano a mano (a mano), turnándose en las guitarras solistas como diez años antes, cuando malvivían en Hamburgo, tocando sin bajista y escudándose, como decía Paul en que “el ritmo está en las guitarras”.

Y, por si necesitáis una frase sublime de despedida, no se me ocurre otra mejor… “And in the end, the love you take is equal to the love you make”. Así es. Así es.

This look is inspired by the Halloween freebie from Miss 80’s. It comes with the sweater, heart glasses, and the orange hat.  It is super cute and funky. The skin, which is my favorite, is from Milk Motion.  Part of their Colette skin collection.  It comes with the choice of teeth or no teeth, but I think the teeth are so awesome on this skin.  Iris has already posted about her Colette skin, so I decided to do mine since we both have different ones.

You are listening to Audience of One by Rise Against

Sweater, hat, and glasses- Miss 80’s

Jeans- Medley-Skinnies- med wash

Shoes- Urban Bomb Unit- Porn Star High Tops

Skin- Milk Motion-Colette Skin- black eyes 2

Hair- TRUTH-Ana-browns

Pour en savoir plus : Trivium

Chimaira
White Chapel
Dirge Within