Dub Music Quotes

Case gradually became aware of the music that pulsed constantly through the cluster. It was called dub, a sensuous mosaic cooked from vast libraries of digitalized pop;

The racket, which Amanda insisted on calling music, came in two varieties Yulric dubbed screech-screech and thump-thump

Within the fair’s buildings visitors encountered devices and concepts new to them and to the world. They heard live music played by an orchestra in New York and transmitted to the fair by long-distance telephone. They saw the first moving pictures on Edison’s Kinetoscope, and they watched, stunned, as lightning chattered from Nikola Tesla’s body. They saw even more ungodly things—the first zipper; the first-ever all-electric kitchen, which included an automatic dishwasher; and a box purporting to contain everything a cook would need to make pancakes, under the brand name Aunt Jemima’s. They sampled a new, oddly flavored gum called Juicy Fruit, and caramel-coated popcorn called Cracker Jack. A new cereal, Shredded Wheat, seemed unlikely to succeed—“shredded doormat,” some called it—but a new beer did well, winning the exposition’s top beer award. Forever afterward, its brewer called it Pabst Blue Ribbon. Visitors also encountered the latest and arguably most important organizational invention of the century, the vertical file, created by Melvil Dewey, inventor of the Dewey Decimal System. Sprinkled among these exhibits were novelties of all kinds. A locomotive made of spooled silk. A suspension bridge built out of Kirk’s Soap. A giant map of the United States made of pickles. Prune makers sent along a full-scale knight on horseback sculpted out of prunes, and the Avery Salt Mines of Louisiana displayed a copy of the Statue of Liberty carved from a block of salt. Visitors dubbed it “Lot’s Wife.

Santi was a behemoth in the art world, and being known solely by one's first name was a level of fame achieved only by an elite few... people like Napoleon, Galileo, and Jesus... and, of course, the demigods Langdon now heard blaring from Harvard dormitories - Sting, Madonna, Jewel, and the artist formerly known as Prince, who had changed his name to the symbol ?, causing Langdon to dub him 'The Tau Cross With Intersecting Hermaphroditic Ankh.

neuroscientists monitored guitarists playing a short melody together, they found that patterns in the guitarists’ brain activity became synchronized. Similarly, studies of choir singers have shown that singing aligns performers’ heart rates. Music seems to create a sense of unity on a physiological level. Scientists call this phenomenon synchrony and have found that it can elicit some surprising behaviors. In studies where people sang or moved in a coordinated way with others, researchers found that subjects were significantly more likely to help out a partner with their workload or sacrifice their own gain for the benefit of the group. And when participants rocked in chairs at the same tempo, they performed better on a cooperative task than those who rocked at different rhythms. Synchrony shifts our focus away from our own needs toward the needs of the group. In large social gatherings, this can give rise to a euphoric feeling of oneness—dubbed “collective effervescence” by French sociologist Émile Durkheim—which elicits a blissful, selfless absorption within a community.

It was at that moment that Jobs launched a new grand strategy that would transform Apple—and with it the entire technology industry. The personal computer, instead of edging toward the sidelines, would become a “digital hub” that coordinated a variety of devices, from music players to video recorders to cameras. You’d link and sync all these devices with your computer, and it would manage your music, pictures, video, text, and all aspects of what Jobs dubbed your “digital lifestyle.” Apple would no longer be just a computer company—indeed it would drop that word from its name—but the Macintosh would be reinvigorated by becoming the hub for an astounding array of new gadgets, including the iPod and iPhone and iPad.

The 1890s were apprentice years for Yeats. Though he played with Indian and Irish mythology, his symbolism really developed later. The decade was for him, as a poet, the years of lyric, of the Rhymers’ Club, of those contemporaries whom he dubbed the ‘tragic generation’. ‘I have known twelve men who killed themselves,’ Arthur Symons looked back from his middle-aged madness, reflecting on the decade of which he was the doyen. The writers and artists of the period lived hectically and recklessly. Ernest Dowson (1867–1900) (one of the best lyricists of them all – ‘I cried for madder music and for stronger wine’) died from consumption at thirty-two; Lionel Johnson (1867–1902), a dipsomaniac, died aged thirty-five from a stroke. John Davidson committed suicide at fifty-two; Oscar Wilde, disgraced and broken by prison and exile, died at forty-six; Aubrey Beardsley died at twenty-six. This is not to mention the minor figures of the Nineties literary scene: William Theodore Peters, actor and poet, who starved to death in Paris; Hubert Crankanthorpe, who threw himself in the Thames; Henry Harland, editor of The Yellow Book, who died of consumption aged forty-three, or Francis Thompson, who fled the Hound of Heaven ‘down the nights and down the days’ and who died of the same disease aged forty-eight. Charles Conder (1868–1909), water-colourist and rococo fan-painter, died in an asylum aged forty-one.

Pop culture was repackaged with the iPhone in mind. Our news, information, and video feeds were reformatted to Apple’s specifications. In a Wired cover story, Nancy Miller dubbed the resulting shift as “snack culture.” She described the endless buffet of “music, television, games, movies, fashion: We now devour our pop culture the same way we enjoy candy and chips—in conveniently packaged bite-size nuggets made to be munched easily with increased frequency and maximum speed. This is snack culture—and boy, is it tasty (not to mention addictive).”[47] We are all grazers, sampling from a wide array of apps and inputs. Professor S. Craig Watkins notes how we are consuming less of more. Thanks to the iPhone, “we have evolved from a culture of instant gratification to one of constant gratification.

The focus of that week was “learning how to listen to the voice of God” in what was dubbed “My Quiet Time with God.” You have to admire the camp leaders’ intent, but let’s be honest. Most pre-adolescents are clueless about such deeply spiritual goals, let alone the discipline to follow through on a daily basis. Still, good little camperettes that we were, we trekked across the campground after our counselors told us to find our “special place” to meet with God each day. My special place was beneath a big tree. Like the infamous land-run settlers of Oklahoma’s colorful history, I staked out the perfect location. I busily cleared the dirt beneath my tree and lined it with little rocks, fashioned a cross out of two twigs, stuck it in the ground near the tree, and declared that it was good. I wiped my hands on my madras Bermudas, then plopped down, cross-legged on the dirt, ready to meet God. For an hour. One very long hour. Just me and God. God and me. Every single day of camp. Did I mention these quiet times were supposed to last an entire hour? I tried. Really I did. “Now I lay me down to sleep . . . ” No. Wait. That’s a prayer for babies. I can surely do better than that. Ah! I’ve got it! The Lord’s Prayer! Much more grown-up. So I closed my eyes and recited the familiar words. “Our Father, Who art in heaven . . .” Art? I like art. I hope we get to paint this week. Maybe some watercolor . . . “Hallowed by Thy name.” I’ve never liked my name. Diane. It’s just so plain. Why couldn’t Mom and Dad have named me Veronica? Or Tabitha? Or Maria—like Maria Von Trapp in The Sound of Music. Oh my gosh, I love that movie! “Thy kingdom come, Thy will be done . . . ” Be done, be done, be done . . . will this Quiet Time ever BE DONE? I’m sooooo bored! B-O-R-E-D. BORED! BORED! BORED! “On earth as it is in Heaven.” I wonder if Julie Andrews and I will be friends in heaven. I loved her in Mary Poppins. I really liked that bag of hers. All that stuff just kept coming out. “Give us this day, our daily bread . . . ” I’m so hungry, I could puke. I sure hope they don’t have Sloppy Joes today. Those were gross. Maybe we’ll have hot dogs. I’ll take mine with ketchup, no mustard. I hate mustard. “And forgive us our trespasses, as we forgive those who trespass against us.” What the heck is a trespass anyway? And why should I care if someone tresses past me? “And lead us not into temptation but deliver us from evil . . . ” I am so tempted to short-sheet Sally’s bed. That would serve her right for stealing the top bunk. “For Thine is the kingdom and the power and the glory forever.” This hour feels like forever. FOR-E-VERRRR. Amen. There. I prayed. Now what?

Well before Trump, we had wars fought as televised entertainment. The 1990 Gulf War was dubbed the first video-game war, complete with its own logo and theme music on CNN. But that was nothing compared with the show put on during the 2003 Iraq invasion, based on a military strategy called “Shock and Awe.” The attacks were designed as a spectacle for cable news consumers, but also for Iraqis, to maximize their sense of helplessness, to “teach them a lesson.” Now, that fearsome technology is in the hands of the first reality TV president.

As they worked, Case gradually became aware of the music that pulsed constantly through the cluster. It was called dub, a sensuous mosaic cooked from vast libraries of digitalised pop; it was worship, Molly said, and a sense of community.

Donovan Beaudry rolled his window down; ear-splittingly loud rap music exploded from the truck's custom-installed sound gear. The SUV rolled on twenty-four-inch dubs and sported a shiny set of Sprewells that Justin knew cost around $2,000 a set. The hubcaps continued to spin even after the car came to a stop. He didn't even want to think about how Donovan could have paid for all that.

Whoever dubbed the debate over musical style a “worship war” failed to realize that worship is always a war.

We eventually ended up with enough left-over material that we considered releasing it as a second album, including a set we dubbed ‘The Big Spliff’, the kind of ambient mood music that we were bemused to find being adopted by bands like the Orb,

Lamm's system—dubbed the Baron Lamm Technique—worked well. From 1919 to 1930 it brought Lamm hundreds of thousands of dollars from banks around the country; after his death it was taught to John Dillinger, among others.* Lamm's system, still employed today succeeded not only because of its conceptual strength but also because Lamm was able to communicate his ideas and translate them into the seamless performance of an immensely difficult task. He was an innovator who taught with discipline and exactitude. He inspired through information. In short, Baron Lamm was a master coach.

The poet Billy Collins once laughingly observed that all babies are born with a knowledge of poetry, because the lub-dub of the mother's heart is in iambic meter. Then, Collins said, life slowly starts to choke the poetry out of us. It may be true with music, too.

Whoever dubbed the debate over musical style a “worship war” failed to realize that worship is always a war. The declaration that there is one God, that his name is Jesus, and that he has died, has risen, and will come again is an all-out assault on the saviors extended at every level of culture around us. We’re

When they’d strung the cables, according to some complex scheme of Molly’s, they hung them with battered sheets of yellow plastic. As they worked, Case gradually became aware of the music that pulsed constantly through the cluster. It was called dub, a sensuous mosaic cooked from vast libraries of digitalized pop; it was worship, Molly said, and a sense of community. Case heaved at one of the yellow sheets; the thing was light but still awkward. Zion smelled of cooked vegetables, humanity, and ganja.

The music I preferred on these excursions were hissy dubbed cassette tapes of Glenn Gould playing Bach in that bludgeoning, affectless style he invented, so remorseless in its inhuman power. The music, turned up all the way so as to be audible over the wide-open windows — the car had no air conditioning — felt a little bit like purgatory, and a little bit like anesthesia, and most of all like the cold rapture of thought struggling to transcend its surroundings. I've never felt as alone as I did in that little box, the hot wind battering my face, cutting through those desolate stretches of big-box stores, passing through the newly built subdivisions that had sprung up on raw pastureland. But sometimes, when the music was high, and the sun was a hot smear at high noon, or you were hurtling down an empty stretch of road at night, you felt the immense power of the car you were driving to propel you beyond yourself and into... Jameson called it the hysterical sublime.

While timing was only part of the issue with Doris Day, it would be a key reason why, from the mid-1950s onward, good people were unable to appear in good musicals. An original like Never Steal Anything Small was unsuccessful on every level—and heinous in its waste of Jimmy Cagney’s talent—while skillful adaptations like Silk Stockings and Bells Are Ringing flopped resoundingly. As fewer opportunities arose, they were sometimes attended by the questionable notion that dubbing solves all problems. This is why Rossano Brazzi and Sidney Poitier could look great, in South Pacific and Porgy and Bess, and sound ostensibly like the opera singers who were doing the actual vocalizing. While dubbing had been present from the very beginning, it achieved some kind of pinnacle from the mid-fifties to the late sixties. Hiring nonsinging names like Deborah Kerr and Rosalind Russell and Natalie Wood and Audrey Hepburn, even nonsinging non-names like Richard Beymer, was viewed as a form of insurance, conviction be damned.8 Casting for name recognition instead of experience has long been part of the film equation, and it cuts both ways. It may, for example, have seemed more astute than desperate to put Lee Marvin and Clint Eastwood into Paint Your Wagon, despite the equivocal results. Nicole Kidman in Moulin Rouge! was far less a musical player than a photogenic, aurally enhanced artifact, and many people left Mamma Mia! wondering if Pierce Brosnan’s execrable singing was intended as a deliberate joke. In contrast with these are the film people who take the plunge with surprising ease.

Even Bros were oddly sexless, the Disney-faced twins Matt and Luke Goss surely bred to perfection in a Nazi eugenicist’s Petri dish, with their too-ironed shirts and immaculate hair, permanently fragrant in a mist of expensive cologne. The most troubling addiction within Bros was the confectionary compulsion of the non-hunk we dubbed ‘Ken’, a teenager from Kirkcaldy not-

Every voice holds a music

SoundMagix Studio is an audio recording studio in Pune

Sidney provides the commentary on the DVD, and he tells us that he wanted “a train song.” Warren and Mercer gave him much more than that, for “On the Atchison, Topeka and the Santa Fe” is really an “entire town song.” It starts in the saloon—an important location, as it will be at war with the restaurant the Harvey girls wait table in—then moves to the train’s passengers, engineers, and conductor as it pulls in and the locals look everyone over, especially the newly mustered Harveys themselves. Warren’s music has imitated the train’s chugging locomotion, but now comes a trio section not by Warren and Mercer (at “Hey there, did you ever see such pearly femininity … ”), and the girls give us some individual backstories—one claims to have been the Lillian Russell of a small town in Kansas, and principals Ray Bolger and Virginia O’Brien each get a solo, too. The number is not only thus detailed as a composition but gets the ultimate MGM treatment on a gigantic set with intricate interaction among the many soloists, choristers, and extras. But now it’s Garland’s turn to enter the number, disembark, and mix in with the crowd. According to Sidney, Garland executed everything perfectly on the first try—and it was all done in virtually a single shot. Fred Astaire would have insisted on rehearsing it for a week, but Garland was a natural. Once she understood the spirit of a number, the physics of it simply fell into place for her. In any other film of the era, the saloon would be the place where the music was made. And Angela Lansbury, queen of the plot’s rowdy element, does have a floor number, dressed in malevolent black and shocking pink topped by a matching Hippodrome hat. But every other number is a story number—“The Train Must Be Fed” (as the Harveys learn the art of waitressing); “It’s a Great Big World” for anxious Harveys Garland, O’Brien, and a dubbed Cyd Charisse; O’Brien’s comic lament, “The Wild, Wild West,” a forging song at Ray Bolger’s blacksmith shop; “Swing Your Partner Round and Round” at a social. Marjorie Main cues it up, telling one and all that this new dance is “all the rage way

Congratulations. You’ve practiced music, you’ve listened to a self-important rant, and you’ve delivered quips at awkward points. I dub you graduated from Wit’s school of practical impracticality.