#original 1985 recording

[autumnalmess]

Unpopular opinion: does anyone else just fucking hate the 1985 original London recording of Les miserables or is it just me?? I'll give my propaganda reasoning below, give that a read first:

Okay, my reasoning:

OBVIOUSLY Colm Wilkinson is incredible. Not disputing that. So slightly remove that from the equation when I say I don't like this recording. Of course, a lot of the singers are really great (specifically Marius, Eponine, Cosette, jvj, fantine, Enjolras, loads of the Amis), and there are some songs that I like, but as a whole it feels really clunky.

In terms of timing, I know it was more of a concept album for England and they obviously changed a lot of bits afterwards, but in the recording it feels like all of the singers are very unsure of the timings. Whether this is because they actually were or because of artistic decisions to phrase things strangely, in the listening experience, it really comes across with an uncertain feel. Nothing seems to come in quite at the right time, and a lot of the singers will be just a couple of beats delayed in their coming in, which they may have been instructed to do by the musical director, but it feels strange all the same. And a lot of the singers play around with the timings so much that it feels at odds with the accompaniment.

Second, this is gonna be an insanely unpopular opinion, but I think Roger Allam in this specific recording (not commenting on his performance live) is a bit abysmal. He's an insanely talented actor and I love him in the thick of it, but here he does not show off his ability as a singer well at all. He speaks most of the lines, which is fine for some songs but feels awkward when he's really baring his soul in the soliloquy. Also his technique as a singer is really questionable. The way he holds his consonants completely restricts his vocals, giving it no vib and no room to grow especially on the big notes, it does not do justice to the build of the music. Furthermore, I feel he skims over the tops of the notes a lot, which really pisses me off because in a piece of music so carefully curated like Les miserables, every note is important to the flow and the harmony. This is not to slag him off. I'm sure he was good in performance, but I feel this specific recording does not reflect that.

Musically, they don't go ham with the drums enough. If you want to understand what I mean, just listen to the french version. Also, the music in this version, again, feels a little uncertain. Like there are points where a couple of instruments are playing a melody, and theres a countermelody that doesn't really sound like it fits. And you know it just needs a third harmony to bring it all together. It's just little things that make it sound less refined as a whole. (Side note but this pisses me off: a lot of the time the songs are a lot slower in tempo than all the other recordings and it just feels like it lacks energy a bit)

Propaganda time: The main reason I don't like this one is because it's not as good as the french version, which feels consistently refined and energised and raw. The emotion comes through from all of the singers so much more, without losing track of the notes or the rhythms. All the singers have wonderful technique, specifically jvj and Javert, which makes their songs so much more powerful. Just listen to Comment faire? (Same as Who am I) and youll get what I mean about the drums and the countermelodies. Also they have some baller theme and variation in that song which really brings out the music student in me.

Conclusion: I'm absolutely so sorry if I've just ripped apart your favourite recording. Do feel free to ignore everything I've just said because most of these are just like teeny tiny little things that annoy me specifically. And I'm sure most of this is just because I've spent too much time listening to the french version that now I turn my nose up at perfectly respectable other versions. If you love this one, you're valid. And I do listen to some of the songs on it. I love their little fall of rain and finale. I just can't stand roger allam's soliloquy or stars.

[thegroundsofbrooklyn]

les mis enjoyers i have a question okay

[savage-kult-of-gorthaur]

BEFORE THEIR BIG FALLING OUT WITH DEF JAM OVER UNPAID ROYALTIES.

PIC INFO: Spotlight on American hip-hop group, the BEASTIE BOYS, photographed with co-founders of Def Jam Records, Rick Rubin & Russell Simmons, c. mid '80s. 📸: Sophie Bramly, NYC.

OVERVIEW: "In the new doc "The Beastie Boys Story," the two remaining members, Ad-Rock and Mike D, explain how Simmons and Rick Rubin pressured them to follow up "Licensed To Ill" quickly by withholding their royalties:

“During all this madness, we stopped being paid royalties,” Ad-Rock explains in the film. “We made money for playing shows — big shows like Madison Square Garden shows but zero dollars for the multiplatinum, smash hit ""Licensed To Ill.""

Mike D had said something similar in a newspaper interview in 2018.

"Russell was like, if you don’t go in the studio, then I’m not paying you…His calculation was that we would all be like, "Oh, we want our millions. OK, Russell we’re going to do it." But we were all immediately, "Fuck you.""

The trio ended up leaving Def Jam for Capitol for their sophomore album "Paul's Boutique.""

-- HIP-HOP LATELY, c. May 2020

Sources: www.harpersbooks.com/pages/books/21393 and www.hiphoplately.com/russell-simmons-addresses-his-mistreatment-of-the-beastie-boys/amp.

[doyoulikethissong-poll]

Aha - Take On Me 1985

"Take On Me" is a song by the Norwegian synth-pop band A-ha. The original version from 1984 was produced by Tony Mansfield and remixed by John Ratcliff. The 1985 international hit version was produced by Alan Tarney for the group's debut studio album, Hunting High and Low.

In 1984, Andrew Wickham was the international vice-president for Warner Bros Records America, and their A&R man in London. He immediately signed A-ha to Warner Brothers America, after learning several previous attempts had failed to make "Take On Me" a commercial success. The next release was not successful either and featured a very ordinary performance video. He authorised considerable investment in the band: on Slater's recommendation, renowned producer Alan Tarney was commissioned to refine the song. The new recording achieved a cleaner and more soaring sound. It was re-released in the UK, but the record label's office in London gave them little support, and the single flopped for the second time.

Wickham placed the band on high priority and applied a lateral strategy with further investment. Steve Barron directed a revolutionary rotoscoping animation music video which took six months to create, using professional artists. Approximately 3,000 frames were rotoscoped, which took 16 weeks to complete. The single was released in the US one month after the music video, and immediately appeared in the Billboard Hot 100 and was a worldwide smash, reaching No. 1 in numerous countries.

At the 1986 MTV Video Music Awards, the video won six awards: Best New Artist in a Video, Best Concept Video, Most Experimental Video, Best Direction in a Video, Best Special Effects in a Video, and Viewer's Choice, and was nominated for two others, Best Group Video and Video of the Year. It was also nominated for Favorite Pop/Rock Video at the 13th American Music Awards in 1986.

"Take On Me" received a total of 95% yes votes, and is currently the most liked song on this poll blog! 🥳

[copperbadge]

I took a survey when I left the Country Music Hall of Fame that asked me about "artifacts" in the collection, which isn't wrong but did crack me up as a term to use, so here are two of my favorite weird artifacts:

The photo of the front seat of the car is just so unhinged. I'm going to do the description of it here because I want to make sure you guys notice that this is a white open-top car with front hybrid bench-bucket seats upholstered in leather, but that is where the normalcy ends. The door handles on both outside and inside are made of SIX SHOOTERS with mother-of-pearl grips, the sun shades are embossed leather flaps like cowboy boots might look if you flattened them, and between the two front seats where the gearshift normally goes is a large saddle covered in silver dollars. The horn of the western-style saddle might be the gearshift, it's tough to say. According to a placard nearby, this is the Nudie Mobile, so called because it was customized by "Nudie's Rodeo Tailors" which did a lot of early costume design for country performers.

This image looks more normal but I promise you it is not.

This is a Gibson F-5 mandolin, billed in the placard as the most famous mandolin in American music history, which seems like a low bar to clear, but I'm not a mandolin aficionado. Again, for an image ID, it is an extremely worn-looking eight-string instrument, a fairly standard modern mandolin. It has a number of bare patches and scratches on the soundboard. Wanna know why?

It's because this famous mandolin belonged to Bill Monroe, who bought it from a barbershop (how a Gibson made by Lloyd Loar got into a barbershop is a mystery) in the 40s. He played it for decades until 1985, when an intruder broke in and beat the mandolin to pieces with a fireplace poker. So what you're seeing in that image is the original Gibson -- reassembled from about 150 splintered pieces by Gibson company. Monroe kept playing it, including in recordings, until he died in 1996.

I have to say, I spent maybe five, ten minutes standing in front of it, leaning this way and that, looking like an idiot I'm sure as I tried to detect seams and cracks where it was reassembled, and whoever at Gibson put this back together did a spectacular job. For all it looks kicked to shit in this picture, it looks fantastic in person.

[paulmccart]

We're Not Gonna Take It! And the Story of How We Almost Did

Protesters outside of the PMRC senate hearings.

Are you a victim of rock? Well maybe you aren't, but all the way back in 1985 a group of prominent D.C wives felt that they were.

These women, with the help of Beach Boys member Mike Love and Joseph Coors, the owner of Coors Beers, formed the PMRC (Parents Music Resource Center).

Their reasoning for forming as co-founder Susan Baker put it:

"It started because one day my 7-year-old came in and started quoting some of Madonna's lyrics to me, wanting to know what they meant. And I was shocked. I knew that you had to be concerned about movies and TV, but I didn't have a clue that my 7-year-old would be exposed to inappropriate songs."

The goal of the PMRC was to give parents more control over what their children could listen to. As well as implementing a rating system for music with bad language, sexual themes, and anti-Christian messages just to name a few. Eventually the group made a list of the fifteen worst songs, in their opinion and labeled them "The Filthy Fifteen".

(And it also happens to make a killer playlist)

Besides a rating system and lyrics printed on album covers the PMRC had several other goals including:

"...records with explicit covers be wrapped or kept under the counter; that record companies reassess contracts with performers who engage in sexual or violent acts on stage; that broadcasters be pressured to exhibit "voluntary restraint" by not airing offending music videos, which would also be rated."

All that noise coming from the PMRC culminated on September 19th, 1985. When a hearing in the senate occurred. Two musicians were called in on behalf of the music industry, Frank Zappa and Dee Snider of Twisted Sister. Two of musics most studious and serious creatives.

Zappa and Snider both gave eloquent defenses of what they deemed to be free speech.

But the PMRC had a trick up their sleeves... or so they thought.

They'd also invited John Denver to speak that day, assuming that he would stand with the side of "family values" but they were mistaken.

John Denver's testimony was the most scathing that day. He cited his own experience with having some of his music banned from radio. Even going as far as comparing the PMRC and groups like it to Nazi book burnings.

So what did the PMRC end up accomplishing? You know those tiny explicit labels in the corner of some albums? You can thank the PMRC for those. When they were originally introduced they were called "Tipper Stickers" after one of more outspoken PMRC members Tipper Gore (wife of Al Gore).

So while we didn't exactly take it, for a time we almost did. And thanks to testimony from Frank Zappa, John Denver, and Dee Snider, we can regularly enjoy any kind of music we want to- even the songs that promote the occult.

Both photographs come from Mark Weiss who photographed the event for Rock Scene Magazine.

[pathetic-gamer]

Pentiment's Complete Bibliography, with links to some hard-to-find items:

I've seen some people post screenshots of the game's bibliography, but I hadn't found a plain text version (which would be much easier to work from), so I put together a complete typed version - citation style irregularities included lol. I checked through the full list and found that only four of the forty sources can't be found easily through a search engine. One has no English translation and I'm not even close to fluent enough in German to be able to actually translate an academic article, so I can't help there. For the other three (a museum exhibit book, a master's thesis, and portions of a primary source that has not been entirely translated into English), I tracked down links to them, which are included with their entries on the list.

If you want to read one of the journal articles but can't access it due to paywalls, try out 12ft.io or the unpaywall browser extension (works on Firefox and most chromium browsers). If there's something you have interest in reading but can't track down, let me know, and I can try to help! I'm pretty good at finding things lmao

Okay, happy reading, love you bye

Beach, Alison I. Women as Scribes: Book Production and Monastic Reform in Twelfth-Century Bavaria. Cambridge Univeristy Press, 2004.

Berger, Jutta Maria. Die Geschichterder Gastfreundschaft im hochmittel alterlichen Monchtum: die Cistercienser. Akademie Verlag GmbH, 1999. [No translation found.]

Blickle, Peter. The Revolution of 1525. Translated by Thomas A. Brady, Jr. and H.C. Erik Midelfort. The Johns Hopkins University Press, 1985.

Brady, Thomas A., Jr. “Imperial Destinies: A New Biography of the Emperor Maximilian I.” The Journal of Modern History, vol 62, no. 2., 1990. pp.298-314.

Brandl, Rainer. “Art or Craft: Art and the Artist in Medieval Nuremberg.” Gothic and Renaissance Art in Nuremberg 1300-1550. The Metropolitan Museum of Art, 1986. [LINK]

Byars, Jana L., “Prostitutes and Prostitution in Late Medieval Bercelona.” Masters Theses. Western Michigan University, 1997. [LINK]

Cashion, Debra Taylor. “The Art of Nikolaus Glockendon: Imitation and Originality in the Art of Renaissance Germany.” Journal of Historians of Netherlandish Art, vol 2, no. 1-2, 2010.

de Hamel, Christopher. A History of Illuminated Manuscripts. Phaidon Press Limited, 1986.

Eco, Umberto. The Name of the Rose. Translated by William Weaver. Mariner Books, 2014.

Eco, Umberto. Baudolino. Translated by William Weaver. Mariner Books, 2003.

Fournier, Jacques. “The Inquisition Records of Jacques Fournier.” Translated by Nancy P. Stork. Jan Jose Univeristy, 2020. [LINK]

Geary, Patrick. “Humiliation of Saints.” In Saints and their cults: studies in religious sociology, folklore, and history. Edited by Stephen Wilson. Cambridge University Press, 1985. pp. 123-140

Harrington, Joel F. The Faithrul Executioner: Life and Death, Honor and Shame in the Turbulent Sixteenth Century. Farrar, Straus and Giroux, 2013.

Hertzka, Gottfired and Wighard Strehlow. Grosse Hildegard-Apotheke. Christiana-Verlag, 2017.

Hildegard von Bingen. Physica. Edited by Reiner Hildebrandt and Thomas Gloning. De Gruyter, 2010.

Julian of Norwich. Revelations of Divine Love. Translated by Barry Windeatt. Oxford Univeristy Press, 2015.

Karras, Ruth Mazo. Sexuality in Medieval Europe: Doing Unto Others. Routledge, 2017.

Kerr, Julie. Monastic Hospitality: The Benedictines in England, c.1070-c.1250. Boudell Press, 2007.

Kieckhefer, Richard. Forbidden rites: a necromancer’s manual of the fifteenth century. Sutton, 1997.

Kuemin, Beat and B. Ann Tlusty, The World of the Tavern: Public Houses in Early Modern Europe. Routledge, 2017.

Ilner, Thomas, et al. The Economy of Duerrnberg-Bei-Hallein: An Iron Age Salt-mining Center in the Austrian Alps. The Antiquaries Journal, vol 83, 2003. pp. 123-194

Lang, Benedek. Unlocked Books: Manuscripts of Learned Magic in the Medieval Libraries of Central Europe. The Pennsylvania State University Press, 2008

Lindeman, Mary. Medicine and Society in Early Modern Europe. Cambridge University Press, 2019.

Lowe, Kate. “’Representing’ Africa: Ambassadors and Princes from Christian Africa to Renaissance Italy and Portugal, 1402-1608.” Transactions of the Royal Historical Society Sixth Series, vol 17, 2007. pp. 101-128

Meyers, David. “Ritual, Confession, and Religion in Sixteenth-Century Germany.” Archiv fuer Reformationsgenshichte, vol. 89, 1998. pp. 125-143.

Murat, Zuleika. “Wall paintings through the ages: the medieval period (Italy, twelfth to fifteenth century).” Archaeological and Anthropological Sciences, vol 23, no. 191. Springer, October 2021. pp. 1-27.

Overty, Joanne Filippone. “The Cost of Doing Scribal Business: Prices of Manuscript Books in England, 1300-1483.” Book History 11, 2008. pp. 1-32.

Page, Sophie. Magic in the Cloister: Pious Motives, Illicit Interests, and Occullt Approaches to the Medieval Universe. The Pennsylvania State University Press, 2013.

Park, Katharine. “The Criminal and the Saintly Body: Autopsy and Dissectionin Renaissance Italy.” Renaissance Quarterly, vol 47, no. 1, Spring 1994. pp. 1-33.

Rebel, Hermann. Peasant Classes: The Bureaucratization of Property and Family Relations under Early Habsburg Absolutism, 1511-1636. Princeton University Press, 1983.

Rublack, Ulinka. “Pregnancy, Childbirth, and the Female Body in Early Modern Germany.” Past & Present,vol. 150, no. 1, February 1996.

Salvador, Matteo. “The Ethiopian Age of Exploration: Prester John’s Discovery of Europe, 1306-1458.” Journal of World History, vol. 21, no. 4, 2011. pp.593-627.

Sangster, Alan. “The Earliest Known Treatise on Double Entry Bookkeeping by Marino de Raphaeli.” The Accounting Historians Journal, vol. 42, no. 2, 2015. pp. 1-33.

Throop, Priscilla. Hildegarde von Bingen’s Physica: The Complete English Translation of Her Classic Work on Health and Healing. Healing Arts Press, 1998.

Usher, Abbott Payson. “The Origins of Banking: The Brimitive Bank of Deposit, 1200-1600.” The Economic History Review, vol. 4, no. 4. 1934. pp.399-428.

Waldman, Louis A. “Commissioning Art in Florence for Matthias Corvinus: The Painter and Agent Alexander Formoser and his Sons, Jacopo and Raffaello del Tedesco.” Italy and Hungary: Humanism and Art in the Early Renaissance. Edited by Peter Farbaky and Louis A. Waldman, Villa I Tatti, 2011. pp.427-501.

Wendt, Ulrich. Kultur and Jagd: ein Birschgang durch die Geschichte. G. Reimer, 1907.

Whelan, Mark. “Taxes, Wagenburgs and a Nightingale: The Imperial Abbey of Ellwangen and the Hussite Wars, 1427-1435.” The Journal of Ecclesiastical History, vol. 72, no. 4, 2021, pp.751-777.

Wiesner-Hanks, Merry E. Women and Gender in Early Modern Europe. Cambridge University Press, 2008.

Yardeni, Ada. The Book of Hebrew Script: History, Palaeography, Script Styles, Calligraphy & Design. Tyndale House Publishers, 2010.

[coinandcandle]

Timeline of Occult Figures

Here is a non-exhaustive list of people you will likely come across in researching anything under Occultism.

These dates are not going to be 100% accurate because many of these folks have either lied about their age or for some reason or another we don't have solid records of them.

---

Pythagoras 570-490 BCE

Socrates 470-399 BCE

Plato 424/5-348/7 BCE

Aristotle 384-322 BCE

Apollonius of Tyana 15-97 CE

Pliny the Elder 23/24AD-79CE

Ptolemy 100CE-170CE

Galen 129-216CE

Zosimos of Panopolis ~beginning of the 4th century

Roger Bacon 1220-1292

Henry Agrippa 1486-1535

Nostradamus 1503-1566

John Dee 1527-1608

Paracelsus 1593-1608

Jacob Grimm 1785-1863

Eliphas Levi 1810-1875

Helena Blavatsky 1831-1891

A. E. Waite 1857-1942

Margaret Murray 1863-1963

Aleister Crowley 1875-1947

Gerald Gardner 1890-1946

Robert Graves 1895-1985

Austin Osman Spare 1886-1956

Scott Cunningham 1956-1993

---

This is a re-upload because I can't find the original post I made so any additions made on that post have been lost. Please let me know if you have suggestions!

[rrrick]

Bill Withers wrote the song "Ain't No Sunshine" at age 31 while working at a factory, making toilet seats for airplanes. Using his own money, he would record demo tapes and play at various clubs at night. When he debuted with "Ain't No Sunshine", he refused to quit his day job, believing that the music business was a fickle industry. Fortunately for him, the song turned out to be a massive hit. When it went gold, the record company gave him a gold toilet as a gift, marking the start of his new career.

In 1985, at age 47, Bill Withers decided to walk away from it all. He felt that the record companies he worked with were constantly trying to exert more and more control over how he should sound if he wanted to sell more albums. He felt pigeonholed and no longer wanted to be part of the music business. In 2015, he was inducted into the Rock and Roll Hall of Fame. He claimed to have no regrets and provided the following reflection on his later life: "I've always been serious that way, trying to evolve to a more conscious state. Funny thing about that, though. You tweak yourself, looking for more love, less lust, more compassion, less jealousy. You keep tweaking, keep adjusting those knobs until you can no longer find the original settings. In some sense, the original settings are exactly what I'm looking for—a return to the easygoing guy I was before my world got complicated, the nice guy who took things as they came and laughed so hard the blues would blow away in the summer wind."

[retrofalsettos]

i mostly prefer the lyrics and songs from the original cast recording of in trousers rather than the 1985 rewrite but the line “so he sleeps in this bed with me, a survivor / i’m feeling aliver than i’ve ever felt in my life before” from another sleepless night hits me to my CORE i am obsessed with it. i don’t even know why. i think it’s the use of “aliver” rather something that’s an actual word. it gives it charm.

[transmutationisms]

do you have any reading recs (books, ~scholarly articles, whatever) in the same vein as this post? (doesn't need to be a super long list, i'm content to branch off with the works cited of whatever you come up with...) as always, love your blog!! :-)

yes :3 split roughly by subtopic, bolded some favs

Evolution in England prior to (Charles) Darwin

Cooter, Roger. The Cultural Meaning of Popular Science: Phrenology and the Organisation of Consent in Nineteenth Century Britain. Cambridge: Cambridge University Press (1985).

Desmond, Adrian. The Politics of Evolution: Morphology, Medicine, and Reform in Radical London. Chicago: University of Chicago Press (1989).

Elliott, Paul. “Erasmus Darwin, Herbert Spencer, and the Origin of the Evolutionary Worldview in British Provincial Scientific Culture, 1770–1850.” Isis 94 (1): 1–29 (2003).

Finchman, Martin. “Biology and Politics: Defining the Boundaries.” In: Lightman, Bernard (Ed.). Victorian Science in Context. Chicago: University of Chicago Press (1997), 94–118.

Fyfe, Aileen. Steam-Powered Knowledge: William Chambers and the Business of Publishing, 1820–1860. Chicago: University of Chicago Press (2012).

Harrison, James. “Erasmus Darwin’s View of Evolution.” Journal of the History of Ideas 32 (2): 247–64 (1971).

McNeil, Maureen. Under the Banner of Science: Erasmus Darwin and his Age. Manchester: Manchester University Press (1987).

Ospovat, Dov. “The Influence of Karl Ernst von Baer’s Embryology 1828–1859: A Reappraisal in Light of Richard Owen’s and William Benjamin Carpenter’s ‘Palaeontological Application of Von Baer’s Law.’” Journal of the History of Biology 9 (1): 1–28 (1976).

Rehbock, Philip F. The Philosophical Naturalists: Themes in Early Nineteenth-Century British Biology. Madison, WI: University of Wisconsin Press (1983).

Richards, Robert J. Darwin and the Emergence of Evolutionary Theories of Mind and Behaviour. Chicago: University of Chicago Press (1987).

Rupke, Nicolaas. Richard Owen: Biology without Darwin. Chicago: University of Chicago Press (2009 [ 1994]).

Secord, James. Victorian Sensation: The Extraordinary Publication, Reception, and Secret Authorship of Vestiges of the Natural History of Creation. Chicago: University of Chicago Press (2001).

van Wyhe, John. Phrenology and the Origins of Victorian Scientific Naturalism. London: Ashgate (2004).

Winter, Alison. “The Construction of Orthodoxies and Heterodoxies in the Early Life Sciences.” In: Lightman, Bernard (Ed.). Victorian Science in Context. Chicago: University of Chicago Press (1997), 24–50.

Yeo, Richard. “Science and Intellectual Authority in Mid-Nineteenth Century Britain: Robert Chambers and Vestiges of the Natural History of Creation.” Victorian Studies 28 (1): 5–31 (1984).

Edinburgh Lamarckians and Scottish transmutationism

Desmond, Adrian. “Robert E. Grant: The Social Predicament of a Pre-Darwinian Transmutationist.” Journal of the History of Biology 17 (2): 189–223 (1984).

Jenkins, Bill. Evolution Before Darwin. Theories of the Transmutation of Species in Edinburgh, 1804–1834. Edinburgh: Edinburgh University Press (2019).

Secord, James. “The Edinburgh Lamarckians: Robert Jameson and Robert E. Grant.” Journal of the History of Biology 24 (1): 1–18 (1991).

Corsi, Pietro. ‘Edinburgh Lamarckians? The Authorship of Three Anonymous Papers (1826–1829)’, Journal of the History of Biology 54 (2021), pp. 345–374.

Darwin and Darwinism

Desmond, Adrian and James Moore. Darwin: The Life of a Tormented Evolutionist. New York: W. W. Norton & Company (1994).

van Wyhe, John. “Mind the Gap. Did Darwin Avoid Publishing his Theory for many years?” Notes & Records of the Royal Society 61 (2007), 177–205.

Sloan, Philip R. “Darwin, Vital Matter, and the Transformation of Species.” Journal of the History of Biology 19 (3): 369–445 (1986).

Phillip R. Sloan, “The Making of a Philosophical Naturalist.” In: Hodge, Jonathan and Gregory Radick (Eds.), The Cambridge Companion to Darwin. Cambridge: Cambridge University Press (2009), 17–39.

Sponsel, Alistair. Darwin’s Evolving Identity: Adventure, Ambition, and the Sin of Speculation. Chicago: University of Chicago Press (2018).

Young, Robert M. “Malthus and the Evolutionists: The Common Context of Biological and Social Theory.” Past & Present 43 (1969): 109–45.

Young, Robert M. “Darwin’s Metaphor: Does Nature Select?” The Monist 55 (3): 442–503 (1971).

Bowler, Peter J. The Non-Darwinian Revolution: Reinterpreting a Historical Myth. Baltimore: Johns Hopkins University Press (1988).

Bowler, Peter J. The Eclipse of Darwinism: Anti-Darwinian Evolution Theories in the Decades Around 1900. Baltimore: Johns Hopkins University Press (1983).

Hale, Piers J. “Rejecting the Myth of the Non-Darwinian Revolution.” Victorian Review 41 (2): 13–18 (Fall 2015).

Lightman, Bernard. “Darwin and the popularisation of evolution.” Notes and Records of the Royal Society 64: 5–24 (2010).

Richards, Robert J. The Meaning of Evolution: The Morphological Construction and Ideological Reconstruction of Darwin’s Theory. Chicago: University of Chicago Press (1992).

Ruse, Michael. The Darwinian Revolution: Science Red in Tooth and Claw. Chicago: University of Chicago Press (1979).

Lamarck and Lamarckism

Barthélemy-Madaule, Madeleine. 1982. Lamarck, the Mythical Precursor: A Study of the Relations between Science and Ideology. Cambridge, MA: MIT Press.

Burkhardt, Richard. 1970. Lamarck, Evolution, and the Politics of Science. Journal of the History of Biology 3 (2): 275–298.

Burkhardt, Richard. 1977. The Spirit of System: Lamarck and Evolutionary Biology. Cambridge, MA: Harvard University Press.

Corsi, Pietro. 1988. The Age of Lamarck: Evolutionary Theories in France, 1790–1830. Berkeley: University of California Press.

Corsi, Pietro. 2005. Before Darwin: Transformist Concepts in European Natural History. Journal of the History of Biology 38 (1): 67-83.

Corsi, Pietro. 2011. The Revolutions of Evolution: Geoffroy and Lamarck, 1825–1840. Bulletin du Musée D’Anthropologie Préhistorique de Monaco 51: 113–134.

Jordanova, Ludmilla. 1984. Lamarck. Oxford: Oxford University Press.

Spary, Emma C. 2000. Utopia’s Garden: French Natural History from Old Regime to Revolution. Chicago: University of Chicago Press.

[white-cat-of-doom]

how many versions of cats were released on cd? I have the obc and olc versions so I was wondering if you knew what other versions there were, and if possible where to find them :D many thanks!

Hello Anon,

There are eighteen cast recordings:

Original London 1981 (both 2CD full recording and 1CD highlights)

Original Broadway 1982 (both 2CD full recording and 1CD highlights)

Vienna 1983 (1CD highlights)

Budapest 1984 (1CD highlights)*

Australia (Sydney) 1985 (2CD full recording)

Japan (Osaka) 1985 (2CD full recording)

Hamburg 1986 (2CD full recording)

Amsterdam 1987 (1CD highlights)

Paris 1989 (2CD full recording)

Japan (Nagoya) 1989 (2CD full recording)

Mexico 1991 (1CD highlights)

Warsaw 2004 (1CD highlights)*

Prague 2004 (1CD highlights)*

Dutch Tour 2006 (1CD highlights)

Italian Tour 2009 (1CD highlights)*

Japan (Tokyo) 2019 (2CD full recording)

2019 Movie (1CD highlights)

Vienna Revival 2021 (2CD full recording)

*Non-replica production, if that matters

In addition, there are a number of promo CDs that include a handful of tracks from the casts at the time of release:

Hamburg 1996 (3 track promo, assuming audio taken from 1986 cast recording)

Japan (Tokyo) 1996 (3 track promo)

CATS 1998 Elaine Paige (3 track promo; 'Memory' included, and two other non-CATS songs)

Japan (Osaka) 2001 (4 track promo)

Madrid 2003 (1 track 'Memory' promo)

Moscow 2005 (8 track promo?, two versions; both have 4 instrumental tracks)

Dutch Tour 2006 (3 track promo, audio from 2006 cast recording)

German Tent Tour 2011 (3 track promo)

Of everything listed above, the only ones I do not own are the Madrid 2003 'Memory' promo, Prague 2004 cast recording (a very rare CD that was scrapped before moving to production, only test/promo copies exist), and Moscow 2005 (another very rare promo release, only found with the press packages). Who knows if I can ever get my hands on them.

In terms of where to find them, the OLC, OBC, and Vienna 1983 are still being produced today and can be easily found new online, through Amazon or eBay (or better yet, in-person at your local music store!), and so is the Budapest 1984 CD as well (at least from what I can tell, it is always readily available brand new from Hungary). The 1989 and 2019 Japanese cast recordings are also still readily available brand new from Japan through the Shiki webstore. The 2019 movie highlights is also very easy to find, considering it just was released. The Vienna 2021 recording is still available from the label's website (at 45% right now!), but they only ship within Europe.

All the others can be found second-hand to varying degrees of ease online (i.e., eBay). The 1980s cast recordings are not too difficult, with Hamburg being fairly easily found, but as you start moving into lesser known (and shorter running) productions, it becomes more difficult to find them. Some are extremely uncommon, and I purchased the only copy I have even seen go for sale throughout the years, and I am still waiting for the chance to get the few I do not have.

Happy hunting to you, Anon!

[knickynoo]

Back to the Future Part III, The Novel by Craig Shaw Gardner: Thoughts, commentary, and general ramblings

Part 1: Marty-themed nightmares and lots of cowboy talk

• So! We all know how this one starts. Marty's just come running down the street; he announced he’s back from the future, and Doc is out cold.

• Marty brings Doc home, and while Doc is unconscious, we get to go inside his head for a little dream sequence! And if I may say so: it’s a travesty that this wasn’t in the movie. He has a nightmare that there are Marties everywhere, and he can’t get away from them. Everywhere he turns, there’s A Marty staring back at him. His escape from the horde of Marties only comes when the “Howdy Doody Time” theme song starts, and he wakes up. Since the song also wakes up Doc in the movie, I’d like to believe he was also having Marty Nightmares.

Also, this reminds me of that one post. I can't track down the original to include a link, but I do have a screenshot saved, so that'll have to do.

• Meanwhile, Marty is over on the couch having Cowboy Dreams. He dreams he’s in the Old West with Clint Eastwood and is woken up by the sound of Doc talking into his tape recorder.

• As Doc reads the letter, Marty sits quietly in a chair, intently listening to the whole thing, which is very un-Marty if you ask me. Very glad we ended up with Movie Marty wandering all over the place and touching everything, as it should be.

• Ok, the book earns a point for having both Doc and Marty get emotional to the point of actual tears after reading his letter. Doc is sniffling and wiping tears away, and Marty is described as, “trying hard to keep his lower lip from quivering.” They should have cranked up the emotion for the movie scene.

• Also, I somehow purchased a version of the novelization that was printed in Great Britain, so I’m continuously running into different spellings, such as “centre” and “favourite.” My inner voice narrating as I read is occasionally speaking with an accent because of this. Adds to the fun, I guess.

• Once they locate the DeLorean in the mine, it says, “Doc and Marty grinned at each other,” then they just get to work uncovering it. This is interesting to me because it contrasts so much from the actual movie scene where these supposed grins are replaced with a look of awe from Doc and a look of what I can only describe as horror/fear in Marty. It’s one of my favorite scenes of part III because of their reactions, actually. It's almost as if the realization that the car has been there for so long, and that the older version of the guy standing next to him had stood in that very spot to hide way back in 1885 is a little too overwhelming for Marty. It's a great moment. Next time you watch part III, really focus in on their expressions during this quick little scene.

• Book Marty does NOT stumble over the word “schematic.”

• When Doc tells Marty that he always wanted to be a cowboy, he mentions that he spent a few summers working at Statler’s Ranch, where he learned how to ride horses and shoot guns. In the DeLorean Manual (you know I always have to bring up this book; it’s a treasure trove) Doc says he learned these skills because his father sent him away to “wilderness camp.”

• Got a chuckle at what follows Doc talking about those summers working at the ranch: “Marty got the oddest look on his face. He was probably trying to imagine Doc Brown as a cowboy.”

• Marty then asks Doc how he ended up becoming a scientist instead. Which is kind of an odd choice. Are you to expect me to believe that Marty doesn’t already know the story of how Doc went into science?? This is something I assume 1980s Doc would have told him in their first week or so of knowing each other.

• Marty, initially wary at Doc being “stuck” in 1885 has a change of heart after hearing Doc talk so enthusiastically about his older self getting to live out his cowboy dreams. He says, “Doc, if you’re happy, then I’m happy. It’ll be a whole lot easier for me to go back to 1985 knowing you’re living it up in 1885.” I actually think this is a wonderful addition that might have been nice in the movie. It just…it displays their relationship so nicely. Marty doesn’t WANT to lose his best friend, but he values Doc’s own happiness above his own. To Doc, he isn’t stuck or condemned to a life in the Old West. He’s living out his childhood dream! If you’re happy, then I’m happy. It’s such a beautiful way to reframe the situation.

That seems like a good place to leave things for now.

[doyoulikethissong-poll]

Harold Faltermeyer - Axel F 1985

"Axel F" is an electronic instrumental track by German musician Harold Faltermeyer. It served as the theme song for the 1984 film Beverly Hills Cop, its eponymous character (as portrayed by Eddie Murphy) and the film franchise it is based from, which became an international number-one hit in 1985. The track reached number one in Ireland as well as on the US Billboard Hot Dance Club Play chart. Additionally, it was a number two hit in Belgium, Canada, the Netherlands, Switzerland, the UK, and West Germany. In addition to the Beverly Hills Cop soundtrack, the song appears on Faltermeyer's 1988 album Harold F. as a bonus track.

Faltermeyer recorded the tune using five instruments: a Roland Jupiter-8 provided the distinctive saw lead, a Moog modular synthesizer 15 provided the bass, a Roland JX-3P provided chord stab brasses, a Yamaha DX7 was used for the marimba sound, and a LinnDrum was used for drum programming. All instruments were played by Faltermeyer. According to Faltermeyer, the initial reaction to his first presentation of the track to the film's producers and director did not result in an immediate approval; it was not until director Martin Brest voiced his approval that the producers showed enthusiasm. A music video was produced to promote the single, directed by Faltermeyer.

"Axel F" has been sampled in many songs, including "Champion" by South Korean singer Psy. In 2005, Crazy Frog's version became a summer hit. It topped the charts in the UK, with some of the best weekly sales of the year, and remained at the top of the UK Singles Chart for four weeks to become Britain's third-best-selling single of 2005, outselling and outperforming the original version. It also reached number 1 in Australia, the Republic of Ireland, Belgium, Denmark, New Zealand, Norway, Ukraine, Spain, and Sweden. In France, the song stayed at number 1 for thirteen weeks, only to be dethroned by Crazy Frog's second single, "Popcorn". This was only the second time that an artist had ever dethroned themself in that country. It peaked at number 3 on the US Digital Sales chart, and number 2 on the US Adult Contemporary Top 20. In 2024, as part of a tribute to celebrate the release of Beverly Hills Cop: Axel F, the Crazy Frog Youtube Channel made a special crossover music video with Netflix, featuring scenes from the movie, but re-edited to feature Crazy Frog in them, being chased by the Beverly Hills Police and Axel Foley.

"Axel F" received a total of 88,3% yes votes!

[bluehome91]

B.T. Express (originally named Brooklyn Transit Express) was an American funk/disco group, that had a number of successful songs during the 1970s.

The group was part of the "Brooklyn sound" of the early 1970s, formed from three players of the group King Davis House Rockers. The House Rockers were a local dance band who had released a couple of obscure singles (1967's "We All Make Mistakes Sometimes" on Verve Records, 1972's "Rum Punch") The three players (guitarist Richard Thompson, tenor sax player Bill Risbrook, and alto sax player Carlos Ward) formed Madison Street Express along with bassist Louis Risbrook (later Muslim-monickered Jamal Rasool), percussionist Dennis Rowe, drummer Terrell Wood, and vocalist Barbara Wood. They along with producer Jeff Lane signed with production company Roadshow Records to record writer Billy Nichols "Do It ('Til You're Satisfied)." The record was shopped around to major labels until it was accepted at Scepter Records. Scepter suggested the group change its name from Madison Street Express, hence the Brooklyn Transit Express. The single was released in August 1974, and reached the top 10. Lane took the group back into the studios at that point to record a second single and pitch a full album to the label. Scepter agreed to the LP and to Roadshow Records having its own label within Scepter Records.

The first two singles were hits, both number 1 R&B releases and both Top 5 pop singles in the US. The album hit number 1 on the R&B album chart and number 5 on the Pop album chart of the US. These recordings were also hits in the spreading disco culture, "Do It" peaking on club playlists before Billboard started a separate disco chart, but the follow-up single sat for five weeks at number 1. They were certified gold releases.

BT Express released an album per year through 1978. With the third album, Leslie Ming was brought in as drummer and keyboardist Michael Jones was added as keyboardist. Jamal, who had converted to the Muslim faith, gave Jones the name Kashif Saleem, which he used after departing the group, in 1979, to pursue producing ("Mighty M Productions" with Morrie Brown and Paul Laurence Jones) and solo recording ventures. That year songwriter Billy Nichols and drummer Leslie Ming also departed the group. In 1976 Scepter records was experiencing business difficulties that soon ended the company, and BT Express was given a distribution deal with Columbia Records, which, though it gave them greater exposure, resulted in less attention being paid to their production, since they had so many acts to concentrate on. The group did not achieve the level of radio or sales success on Columbia that they had on the more nurturing but by-then defunct Scepter. They stayed with Columbia for five years, with Lane producing through 1978, then Nichols producing their fifth album before he departed for solo work, and Morrie Brown producing the sixth LP and several follow-up tracks. The group switched labels to Coast To Coast Records for the 1982 LP, to Earthtone Records for a later 1982 single, and to manager King Davis' own label in 1985.