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Commit This To Memory Motion City Soundtrack Rar

The band's follow-up, Even If It Kills Me (2007), was recorded in New York City with Eli Janney, Adam Schlesinger of Fountains of Wayne, and Ric Ocasek of the Cars. The group, though big fans of his work, were disappointed with Ocasek's role. "He just confused me the whole time," said Pierre later, who noted that he was afraid to disclose that the experience was a "bum-out."[27] Pierre struggled with writer's block during the sessions and found himself writing lyrics while recording the songs, which he had never done before. The band was also worried their songs would not be catchy enough after their last album was so successful.[27] During this time, Pierre's substance issues nearly disbanded the group. "I think it's an understatement to say it is tough to be tied to Justin's emotions," Cain remarked at the time.[30] Following completion of the album, Pierre entered a rehabilitation program for alcohol and drug abuse.[31] The band was apart for a six-week stretch in mid-2007, marking their longest break apart in five years. "It might sound clichéd, but we all had a chance to do some growing up," said Cain.[31]

Commit This To Memory Motion City Soundtrack Rar

The band's musical style is widely recognizable by its unique blend of pop punk with the Moog synthesizer. The usage of the Moog stems from Cain, who first heard the instrument employed on the Rentals' album Return of the Rentals (1995). He subsequently bought a cheap Moog at a pawn shop and wanted it to be an integral part of Motion City upon their formation.[9] Johnson became known for his signature "Moogstand" in live performances, which consisted of a handstand on the instrument.[9] The group has been widely attributed to a number of different genres, including pop rock,[34] power pop,[1] indie rock,[88] emo,[72] and pop punk.[1] Joshua Cain dismissed this latter label, remarking, "I definitely wouldn't consider us a pop-punk band. Our influences are more based on '90s bands like Superchunk and early Weezer."[89] Pierre characterized the band's music as "dirty, fast, happy, emotional rock songs."[34]

The preservation of this magnificent collection and the preparation of this register, apart from being time consuming, have brought together the assistance of scholars, collectors, and Steiner aficionados deserving of gratitude. First I express thanks to the late Leonette "Lee" Steiner, Max's loving wife, whose friendliness and generosity left an imprint on all who knew her. Her tenacity to preserve her husband's effects has made it possible for us to enjoy his scores and his recorded music. Fortunately, she lived long enough to attend the Max Steiner concert at Brigham Young University in the fall of 1981, under the aegis of Dr. James Mason, dean of the College of Fine Arts and Communications, before her death only months later. Mrs. Steiner also established the Max Steiner Scholarship in composition at Brigham Young University. Wesley and Elizabeth Carlson, and Stuart Norby, Lee's dear friends, were always there to assist in a myriad of ways following the death of Steiner in 1971. They also helped to keep the collection of recordings, scores, and correspondence together for the benefit of generations of students, scholars, and fans. Louise Steiner Elian has also been most helpful with her comments and corrections dealing with the Chronology. BYU is also proud to preserve the Louise Steiner Elian Collection among its holdings. This collection should also be consulted for significant material, including photographs, home movies, correspondence, and an oral history relating to Max Steiner.

Steiner also "caught" William Powell in Life With Father (1947), with a theme that delineated both the pomposity of the character and the good heartedness. For Flynn in Adventures of Don Juan (1949) he provided a cheeky six-note motif that speaks like a trumpet call for the amorous cavalier. Steiner put his finger on the wackiness of Arsenic and Old Lace (1944) with a bizarre treatment of "There Is a Happy Land Far, Far Away." Many times he helped Bette Davis put across her emotional, dramatic problems, notably in Now, Voyager (1941) where she, as an ugly duckling, struggled to get away from a domineering mother and find happiness. That score brought Steiner his second Oscar, and it was one of his favorite scores. He and Davis did well by each other in Dark Victory (1939), in which she played an heiress dying from a brain tumor. At the end, her eyesight almost gone, Davis makes her way from her garden to her bedroom, aided by a harrowing cello theme. The music lets the viewer know that this is her last trip.

Steiner, a soft-hearted man who pretended otherwise, was always effective with emotional scenes. In the film that brought him his third Oscar, Selznick's Since You Went Away, he poured out a stream of melodious themes for this wartime tribute to the American home front. Oversweet and now terribly dated, the film contained one scene that was made, almost to order, for Steiner. At the railroad depot, Jennifer Jones sees her soldier (played by her then-husband, the ill-fated Robert Walker) off as he leaves for the war, never to return. The music underlines the poignancy of the situation and then, as the train begins to move and pick up momentum, so does the music. The girl runs along the platform, almost hysterical. The sequence is an emotional wallop of music, dialogue, and photographic effects. What made it even more touching, as Steiner must have known at the time, was that Jones and Walker were, in fact, at the end of their marriage and finding it painful to act together-- especially as Jones was being courted by producer Selznick.

While Steiner was always a melodist, he also always knew how not to use melody in film scoring. Sometimes, a melody calls attention to itself when it should not. Steiner used catchy themes to point up the main characters in pictures but he was adept at doing something more subtle than that--writing neutral music with chordal progressions and just enough melodic motion to make it sound normal but not enough to compel attention. Steiner looked upon scoring more as a craft than an art: "The hardest thing in scoring is to know when to start and when to stop. The location of your music. Music can slow up an action that should not be slowed up and quicken a scene that shouldn't be. Knowing the difference is what makes a film composer. I've always tried to subordinate myself to the picture. A lot of composers make the mistake of thinking of film as a concert platform on which they can show off. This is not the place. Some composers get carried away with their own skill--they take a melody and embellish it with harmonies and counterpoints. It's hard enough to understand a simple melody behind dialogue, much less with all this baloney going on. If you get too decorative, you lose your appeal to the emotions. My theory is that the music should be felt rather than heard. They always used to say that a good score was one you didn't notice, and I always asked, 'What good is it if you don't notice it?'" [Ibid.]

The bulk of the Steiner Collection consists of the original sketches, scores, published sheet music, and original studio recordings connected with 216 Steiner-composed motion pictures. These notations appear in the Film Music Sketches, Scores, and Recordings section. The musical sketches to 191 films are contained in 177 bound volumes. They document few of his many musical contributions during the RKO era primarily because music was limited to main and end titles with perhaps some source music in between. However, his most significant larger scores during this time are represented in the collection. Beginning in the early 1950s, these volumes contain photographic copies of Steiner's original pencil sketches since Warner Brothers (the studio to which he was under contract for most of his career) chose to retain the originals in their corporate records now preserved at the University of Southern California. These sketches frequently contain Steiner's notes, written in the margins, to his orchestrators (usually Hugo Friedhofer during the late 1930s at Warner Bros., and later, beginning in 1946, Murray Cutter). Steiner's comments are colorful, often humorous, and most revealing about the nature of the cooperation and trust between composer and orchestrator. The sketches in the BYU collection include those which have hitherto been uncredited to Steiner such as Up in Arms (1944), The Battle of Britain (1943), an episode of director Frank Capra's military training film series Why We Fight, and even the trailer to House of Wax (1953). The sketches often include compositions for trailers. If composers other than Steiner collaborated on a score, those composers are noted in the filmography. Motion picture titles are listed alphabetically by title as they were released in the United States. The entry is then followed by the producing and releasing studio and the release year of the film. Adjacent to the release title in quotation marks is the title as written by Steiner on the music manuscript. If no alternate title is present, the manuscript was identified by Steiner as it was released. Where published sheet music exists on a particular title, that is noted with the name of the music publisher.

WARMER MIXTAPES #1671 by Jeff Cancade [Devours/The Golden Age Of Wrestling] 1. Don Henley The Boys Of SummerI really identify with this song; The Longing, The Nostalgia, The Unrequited Love, and feeling unnoticed while my crush chases after shinier things. 2. Alanis Morissette You Oughta KnowI used to have a crush on Uncle Joey from Full House, and when I discovered that this song was written about him, it changed my life forever. 3. Rage Against The Machine Bulls On ParadePerfect song structure, memorable riffs, insane guitar solo. An incredible first single from an incredible album. 4. Seal Kiss From A RoseSuch an interesting melody. The song is a perfect showcase for Seal's gorgeous voice. 5. Nirvana Milk ItSuch a deceptively brilliant guitar solo. 6. Yeah Yeah Yeahs MapsOn its own, Maps is still a stunning single, but when you hear it in the right context, buried near the end of their amazing debut album, it feels even more revealing and vulnerable. 7. SIANspheric Nothing StandsOne of the most haunting and beautiful Canadian singles from the 90's. 8. A Tribe Called Quest 1nce Again (feat. Tammy Lucas)Not necessarily Tribe's most iconic single, but it was one of the first songs that I ever downloaded on Napster and I played the shit out of it. It was the soundtrack to my University dorm room life. 9. The Organ Memorize The City This song plays in my head sometimes when I bike around new neighbourhoods in Vancouver. Definitely one of my favourite singles to come out of this city. 10. The Tragically Hip BobcaygeonAnother Canadian gem. Gord Downie's voice and melody almost bring me to tears every time I hear this one. 350c69d7ab

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