text:
Sounding Out Podcast #36: Anne Zeitz and David Boureau's "Retention"
It's an all too familiar movie trope. A bug hidden in a flower jar. A figure in shadows crouched listening at a door. The tape recording that no one knew existed, revealed at the most decisive of moments. Even the abrupt disconnection of a phone call manages to arouse the suspicion that we are never as alone as we may think. And although surveillance derives its meaning the latin "vigilare" (to watch) and French "sur-" (over), its deep connotations of listening have all but obliterated that distinction.
In the final entry to our series on Sound and Surveillance, sound artist Anne Zeitz dissects the theory behind her installation Retention. What are the sounds of capture, and how do the sounds produced in and around spaces of capture affect our bodies? Listen in to find out. -AT
CLICK HERE TO DOWNLOAD: Anne Zeitz and David Boureau's "Retention"
This podcast presents Retention, a quadriphonic sound installation made with David Boureau. It considers the sounds of surveillance, detention and migration. Retention concentrates on the "soundscape" of the Mesnil Amelot 2+3 detention center for illegal immigrants situated to the North of Paris just beside the Charles de Gaulle airport. This center constitutes the largest complex for detaining "illegal immigrants" in France, with 240 places for individuals and families. Approximately 350 airplanes pass closely above the center over a 24 hours time span, creating intervals of very high sound levels that regularly drown out all other ambient sounds. Retention uses quadrophonic recording technology to capture and diffuse a live transmission of communication between pilots and the Charles de Gaulle control tower. The work also integrates recordings from inside the center made by communications via mobile phones. In the short intervals of silence (always implying sounds of some sort), the atmosphere seems suspended. This suspension is paradigmatic for the clash between the local and the global, between those who are trapped in a state of detention before being expulsed by the engines moving over their heads and those who circulate freely (nonetheless under surveillance) in our global society. Retention exhibits a changing sonic space in order to consider how "waiting zones" and processes of mobility meet.
Featured Image (c) Anne Zeitz and David Boureau, Retention, 2012.
Anne Zeitz is a researcher and artist working with photography, video, and sound media. Born in Berlin in 1980, she lives and works in Paris. Her research focuses on mechanisms of surveillance and mass media, theories of observation and attention, and practices of counter-observation in contemporary art. Her doctoral thesis (University Paris 8/ Esthétique, Sciences et Technologies des Arts, dissertation defence November 2014) is entitled (Counter-)observations, Relations of Observation and Surveillance in Contemporary Art, Literature and Cinema. Anne Zeitz was responsible for organizing the project Movement-Observation-Control (2007/2008) for the Goethe-Institut Paris and collaborated on the exhibition and conference Armed Response (2008) at the Goethe-Institut Johannesburg. She is a former member of the Observatoire des nouveaux médias (Paris 8/Ensad) and of the research project Média Médiums (Université Paris 8, ENSAPC, EnsadLAB, Archives Nationales, 2013/2014). Her most recent research concentrates on the work of the American artist Max Neuhaus with the publication of De Max-Feed a Radio Net (2014), part of the Média Médiums book series. She is the artist of this year's Urban Photo Fest and participated at the Urban Encounters / Tate Britain in October 2014.
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The Musical Flow of Shane Carruth's Upstream Color
Welcome back to Sculpting the Film Soundtrack, SO!'s new series on changing notions about how sound works in recent film and in recent film theory, edited by Katherine Spring.
Two weeks ago, Benjamin Wright started things off with a fascinating study of Hans Zimmer, a highly influential composer whose film scoring borders on engineering — or whose engineering borders on music — in many major Hollywood releases. This week we turn to the opposite end of the spectrum to a seemingly smaller film, Shane Carruth's Upstream Color (2013), which has made quite a few waves among sound studies scholars and fans of sound design, even earning a Special Jury Prize for sound at Sundance.
To unpack the many mysteries of the film and explore its place in the field of contemporary filmmaking, we are happy to welcome musicologist and film scholar Danijela Kulezic-Wilson of University College Cork. Listen to Upstream Color through her ears (it's currently available to stream on Netflix) and perhaps you'll get a sense of why you'll have to listen to it two or three more times. At least.
When Shane Carruth's film Upstream Color was released in 2013, critics described it in various ways—as a body horror film, a sci-fi thriller, a love story, and an art-house head-scratcher—but they all agreed that it was a film "not quite like any other". And while the film's cryptic imagery and non-linear editing account for most of the "what the hell?" reactions (see here for example), I argue that the reason for its distinctively hypnotic effect is Carruth's musical approach to the film's form: he organizes the images and sounds according to principles of music, including the use of repetition, rhythmic structuring, and antiphony.
The resulting musicality of Upstream Color may not be surprising given that Carruth composed most of the score, and also, as Jonathan Romney has noted in Sight & Sound, Carruth has said on many occasions that he was hoping "people would watch this film repeatedly, as they might listen to a favourite album" (52). In this sense, Carruth (whose DIY toolkit also includes writing, directing, acting, producing, cinematography, and editing) joins the ranks of filmmakers such as Darren Aronofsky and Joe Wright who recognize that, despite our culture's obsession with the cinematic and narrative aspects of "visual" media, music governs film's deepest foundations.
Upstream Color is a story about a woman, Kris, who is kidnapped by a drug manufacturer (referred to in the credits as Thief) and contaminated with a worm that keeps her in a trance-like state during which the Thief strips her of all her savings. Kris is subsequently dewormed by a character known as the Sampler, who transfers the parasite into a pig that maintains a physical and/or metaphorical connection to Kris. Kris later meets and falls in love with Jeff who, we eventually discover, has been a victim of the same ordeal. Although the bizarreness of the plot has encouraged numerous interpretations, the film's unconventional audio-visual language suggests that its story of two people who share supressed memories of the same traumatic experience shouldn't be taken at face value, but rather serves as a metaphor for existential anxiety resulting from being influenced by unknown forces.
Such an interpretation owes as much to the film's disregard for the rules of classical storytelling as it does to a formally innovative soundtrack, one that uses musicality as an overarching organizing principle. The fact that Carruth wrote the score and script simultaneously (discussed in the video below) indicates the extent to which music was from the beginning considered an integral part of the film's expressive language. More importantly, as the scenes discussed in this post suggest, the musical logic of the film is even more pervasive than the style, role, and placement of the actual score.
Whereas feature films traditionally assign a central role to speech, allowing music and sound effects supporting roles only, Upstream Color breaks down the conventional soundtrack hierarchy, often reversing the roles of each constitutive element. For example, hardly any information in the film that could be considered vital to understanding the story is communicated through speech. Instead, images, sound, music, and editing–for which Carruth shares the credit with fellow indie director David Lowery–are the principal elements that create the atmosphere, convey the sense of the protagonists' brokenness, and reveal the connection between the characters. At the same time, characters' conversations are either muted or their speech is blended with music in such a way that we're encouraged to focus on body language or mise-en-scène rather than trying to discern every spoken word. For example, Jeff and Kris's flirting with one another during their initial meetings (at roughly 0.44.20-0.47.00 of the film) is conveyed primarily through gestures, glances, and fragmentary editing rather than speech, which would be more typical for this sort of narrative situation.
Further undercutting the significance of speech across the film is how the film has been edited to resemble the flow of music. For example, non-linear jumps in the narrative are often arranged in such a way as to create syncopated audio-visual rhymes. This technique is particularly obvious in the montage sequence in which Kris and Jeff argue over the ownership of their memories, whose similarities suggest that they were implanted during the characters' kidnappings. In this sequence, both the passing of time and the recurrence of the characters' argument is conveyed through the repetition of images that become visual refrains: Kris and Jeff lying on a bed, watching birds flying above trees, touching each other. Some of these can be seen in the film's official trailer:
The scene's images and sounds are fragmented into a non-linear assembly of pieces of the same conversation the characters had at different times and places, like the verses and the choruses of a song. Importantly, the assemblage is also patterned, with phrases like "we should go on a trip" and "where should we go?" heard in refrain. The first time we hear Jeff say "we should go on a trip" and suggesting that they go "somewhere bright", his words are played in sync with the image of him and Kris lying on the bed. The following few shots, accompanied only by music, symbolize the "honeymoon" phase of their relationship: the couple kiss, hold hands, and walk with their hands around each other's waists. A shift in mood is marked by the repetition of the dialogue, with Jeff again saying "we should go on a trip" – only this time, the phrase plays asynchronously over a shot of Jeff and Kris pushing a table into the house that they have moved into together. Finally, the frustration that starts infiltrating the characters' increasingly heated arguments is alleviated by the repetition of the sentence "They could be starlings." As it is spoken three times by both characters in an antiphonic exchange, the phrase emphasizes the underlying strength of their connection and gives the scene a rhythmic balance. Across this sequence, the musical organization of audio-visual refrains prompts us to recognize the psychic connection between Kris and Jeff, and even to begin to guess the sinister reason for it.
While speech in Upstream Color is often stripped of its traditional role as a principal source of information, sound and music are given important narrative functions, illuminating hidden connections between the characters. In one of the most memorable scenes, the Sampler is revealed to be not only a pig farmer but also a field recordist and sound artist who symbolizes the hidden source of everything that affects Kris and Jeff from afar. As we hear the sounds of the Sampler's outdoor recordings merge with and emulate the sounds made and heard by Kris and Jeff at home and at work, the soundtrack eloquently establishes the connection between all three characters while also giving us a look "behind the scenes" of Kris's and Jeff's lives and suggesting how they are influenced from a distance.
In one sense, by calling attention to the very act of recording sound, the scene exposes how films are constructed, offering a reflexive glimpse into usually hidden processes of production. The implied idea here–that the visible and audible are products of not-so-obvious processes of formation–refers not only to the medium of film but also to the complexity of the inner workings of someone's mind. Thus the Sampler's role, his actions, and his relationship to Kris, Jeff, and other infected victims can be interpreted as a metaphor for the subconscious programming – all the familial, social and cultural influences – that all of us are exposed to from an early age. The Sampler is portrayed symbolically as the Creator, a force whose actions affect the protagonists' lives without them knowing it. The fact that he is simultaneously represented as a sound artist establishes sound-making and musicality as the film's primary creative principles.
Considering Carruth's very deliberate departure from the conventions of even what David Bordwell calls "intensified" storytelling, it is fair to say that Upstream Color is a film that weakens the strong narrative role traditionally given to oral language. What is intensified here are the musical and sensuous qualities of the audio-visual material and a mode of perception that encourages absorption of the subtext (in other words, the metaphorical meaning of the film) as well as the text.
The musical organization of film form and soundtrack is no longer limited to independent projects such as Carruth's Upstream Color. As I have shown elsewhere, musicality has become an extremely influential principle in contemporary cinema, acting as an inspiration and model for editing, camera movement, movement within a scene and sound design. Some of the most interesting results of a musical approach to film include Aronofsky's "hip hop montage" in Pi (1998) and Requiem for a Dream (2000), Jim Jarmusch's rhythmically structured film poems (The Limits of Control, 2009; Only Lovers Left Alive, 2013), the interchangeable use of musique concrète and environmental sound in Gus Van Sant's Death Trilogy and films by Peter Strickland (Katalin Varga, 2009; Berberian Sound Studio, 2012); the choreographed mise-en-scène in Joe Wright's Anna Karenina (2012); the musicalization of language in Harmony Korine's Spring Breakers (2012); and the foregrounding of musical material over intelligible speech in Drake Doremus's Breathe In (2013). Given the breadth of these examples, it's no exaggeration to say that filmmakers' growing affinity for a musical approach to film is changing the landscape of contemporary cinema.
Danijela Kulezic-Wilson teaches film music, film sound, and comparative arts at University College Cork. Her research interests include approaches to film that emphasize its inherent musical properties, the use of musique concrète and silence in film, the musicality of sound design, and musical aspects of the plays of Samuel Beckett. Danijela's publications include essays on film rhythm, musical and film time, the musical use of silence in film, Darren Aronofsky's Pi, P.T. Anderson's Magnolia, Peter Strickland's Katalin Varga, Gus Van Sant's Death Trilogy, Prokofiev's music for Eisenstein's films, and Jim Jarmusch's Dead Man. She has also worked as a music editor on documentaries, short films, and television.
All images taken from the film.
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Sculptural Dissonance: Hans Zimmer and the Composer as Engineer
Welcome to our new series Sculpting the Film Soundtrack, which brings you new perspectives on sound and filmmaking. As Guest Editor, we're honored and delighted to have Katherine Spring, Associate Professor of Film Studies at Wilfrid Laurier University. Spring is the author of an exciting and important new book Saying it With Songs: Popular Music and the Coming of Sound to Hollywood Cinema. Read it! You'll find an impeccably researched work that's the definition of how the history of film sound and media convergence ought to be written.
But before rushing back to the early days, stick around here on SO! for the first of our three installments in Sculpting the Film Soundtrack.
It's been 35 years since film editor and sound designer Walter Murch used the sounds of whirring helicopter blades in place of an orchestral string section in Apocalypse Now, in essence blurring the boundary between two core components of the movie soundtrack: music and sound effects. This blog series explores other ways in which filmmakers have treated the soundtrack as a holistic entity, one in which the traditional divisions between music, effects, and speech have been disrupted in the name of sculpting innovative sonic textures.
In three entries, Benjamin Wright, Danijela Kulezic-Wilson, and Randolph Jordan will examine the integrated soundtrack from a variety of perspectives, including technology, labor, aesthetic practice, theoretical frameworks, and suggest that the dissolution of the boundaries between soundtrack categories can prompt us to apprehend film sound in new ways. If, as Murch himself once said, "Listening to interestingly arranged sounds makes you hear differently," then the time is ripe for considering how and what we might hear across the softening edges of the film soundtrack.
- Guest Editor Katherine Spring
Composing a sound world for Man of Steel (2013), Zack Snyder's recent Superman reboot, had Hans Zimmer thinking about telephone wires stretching across the plains of Clark Kent's boyhood home in Smallville. "What would that sound like," he said in an interview last year. "That wind making those telephone wires buzz – how could I write a piece of music out of that?" The answer, as it turned out, was not blowing in the wind, but sliding up and down the scale of a pedal steel guitar, the twangy lap instruments of country music. In recording sessions, Zimmer instructed a group of pedal steel players to experiment with sustains, reverb, and pitches that, when mixed into the final track, accompany Superman leaping over tall buildings at a single bound.
His work on Man of Steel, just one of his most recent films in a long and celebrated career, exemplifies his unique take on composing for cinema. "I would have been just as happy being a recording engineer as a composer," remarked Zimmer last year in an interview to commemorate the release of a percussion library he created in collaboration with Spitfire Audio, a British sample library developer. "Sometimes it's very difficult to stop me from mangling sounds, engineering, and doing any of those things, and actually getting me to sit down and write the notes." Dubbed the "HZ01 London Ensembles," the library consists of a collection of percussion recordings featuring many of the same musicians who have performed for Zimmer's film scores, playing everything from tamtams to taikos, buckets to bombos, timpani to anvils. According to Spitfire's founders, the library recreates Zimmer's approach to percussion recording by offering a "distillation of a decade's worth of musical experimentation and innovation."
In many ways, the collection is a reminder not just of the influence of Zimmer's work on contemporary film, television, and video game composers but also of his distinctive approach to film scoring, one that emphasizes sonic experimentation and innovation. Having spent the early part of his career as a synth programmer and keyboardist for new wave bands such as The Buggles and Ultravox, then as a protégé of English film composer Stanley Myers, Zimmer has cultivated a hybrid electronic-orchestral aesthetic that uses a range of analog and digital oscillators, filters, and amplifiers to twist and augment solo instrument samples into a synthesized whole.
Zimmer played backup keyboards on "Video Killed the Radio Star."
In a very short time, Zimmer has become a dominant voice in contemporary film music with a sound that blends melody with dissonance and electronic minimalism with rock and roll percussion. His early Hollywood successes, Driving Miss Daisy (1989) and Days of Thunder (1990), combined catchy themes and electronic passages with propulsive rhythms, while his score for Black Rain (1989), which featured taiko drums, electronic percussion, and driving ostinatos, laid the groundwork for an altogether new kind of action film score, one that Zimmer refined over the next two decades on projects such as The Rock (1996), Gladiator (2000), and The Pirates of the Caribbean series.
What is especially intriguing about Zimmer's sound is the way in which he combines the traditional role of the composer, who fashions scores around distinct melodies (or "leitmotifs"), with that of the recording engineer, who focuses on sculpting sounds. Zimmer may not be the first person in the film business to experiment with synthesized tones and electronic arrangements – you'd have to credit Bebe and Louis Barron (Forbidden Planet, 1956), Vangelis (Chariots of Fire, 1981), Jerry Goldsmith (Logan's Run, 1976), and Giorgio Moroder (Midnight Express, 1981) for pushing that envelope – but he has turned modern film composing into an engineering art, something that few other film composers can claim.
One thing that separates Zimmer's working method from that of other composers is that he does not confine himself to pen and paper, or even keyboard and computer monitor. Instead, he invites musicians to his studio or a sound stage for an impromptu jam session to find and hone the musical syntax of a project. Afterwards, he returns to his studio and uses the raw samples from the sessions to compose the rest of the score, in much the same way that a recording engineer creates the architecture of a sound mix.
"There is something about that collaborative process that happens in music all the time," Zimmer told an interviewer in 2010. "That thing that can only happen with eye contact and when people are in the same room and they start making music and they are fiercely dependent on each other. They cannot sound good without the other person's part."
Zimmer facilitates the social and aesthetic contours of these off-the-cuff performances and later sculpts the samples into the larger fabric of a score. In most cases, these partnerships have provided the equivalent of a pop hook to much of Zimmer's output: Lebo M's opening vocal in The Lion King (1994), Johnny Marr's reverb-heavy guitar licks in Inception, Lisa Gerrard's ethereal vocals in Gladiator and Black Hawk Down (2002), and the recent contributions of the so-called "Magnificent Six" musicians to The Amazing Spider Man 2 (2014).
The melodic hooks are simple but infectious – even Zimmer admits he writes "stupidly simple music" that can often be played with one finger on the piano. But what matters most are the colors that frame those notes and the performances that imbue those simple melodies with a personality. Zimmer's work on Christopher Nolan's Dark Knight trilogy revolves around a deceptively simple rising two-note motif that often signifies the presence of the caped crusader, but the pounding taiko hits and bleeding brass figures that surround it do as much to conjure up images of Gotham City as cinematographer Wally Pfister's neo-noir photography. The heroic aspects of the Batman character are muted in Zimmer's score except for the presence of the expansive brass figures and taiko hits, which reach an operatic crescendo in the finale, where the image of Batman escaping into the blinding light of the city is accompanied by a grand statement of the two-note figure backed by a driving string ostinato. Throughout the series, a string ostinato and taikos set the pace for action sequences and hint at the presence of Batman who lies somewhere in the shadows of Gotham.
Zimmer's expressive treatment of musical colors also characterizes his engineering practices, which are more commonly used in the recording industry. Music scholar Paul Théberge has noted that the recording engineer's interest in an aesthetic of recorded musical "sound" led to an increased demand for control over the recording process, especially in the early days of multitrack rock recording where overdubbing created a separate, hierarchical space for solo instruments. Likewise for Zimmer, it's not just about capturing individual sounds from an orchestra but also layering them into a synthesized product. Zimmer is also interested in experimenting with acoustic performances, pushing musicians to play their instruments in unconventional ways or playing his notes "the wrong way," as he demonstrates here in the making of the Joker's theme from The Dark Knight:
The significance of the cooperative aspects of these musical performances and their treatment as musical "colors" to be modulated, tweaked, and polished rests on a paradoxical treatment of sound. While he often finds his sound world among the wrong notes, mistakes, and impromptu performances of world musicians, Zimmer is also often criticized for removing traces of an original performance by obscuring it with synth drones and distortion. In some cases, like in The Peacemaker (1997), the orchestration is mushy and sounds overly processed. But in other cases, the trace of a solo performance can constitute a thematic motif in the same way that a melody serves to identify place, space, or character in classical film music. Compare, for instance, Danny Elfman's opening title theme for Tim Burton's Batman (1989) and Zimmer's opening title music for The Dark Knight. While Elfman creates a suite of themes around a central Batman motif, Zimmer builds a sparse sound world that introduces a sustained note on the electric cello that will eventually be identified with the Joker. It's the timbre of the cello, not its melody, that carries its identifying features.
To texture the sounds in Man of Steel, Zimmer also commissioned Chas Smith, a Los Angeles-based composer, performer, and exotic instrument designer to construct instruments from "junk" objects Smith found around the city that could be played with a bow or by hand while also functioning as metal art works. The highly abstract designs carry names that give some hint to their origins – "Bertoia 718" named after modern sculptor and furniture designer Harry Bertoia; "Copper Box" named for the copper rods that comprise its design; and "Tin Sheet" that, when prodded, sounds like futuristic thunderclaps.
Smith's performances of his exotic instruments are woven into the fabric of the score, providing it with a sort of musical sound design. Consider General Zod's suite of themes and motifs, titled "Arcade" on the 2-disc version of the soundtrack. The motif is built around a call-and-answer ostinato for strings and brass that is interrupted by Smith's sculptural dissonance. It's the sound of an otherworldly menace, organic but processed, sculpted into a conventional motif-driven sound world.
Zimmer remains a fixture in contemporary film music partly because, as music critic Jon Burlingame has pointed out, he has a relentless desire to search for fresh approaches to a film's musical landscape. This pursuit begins with his extracting of sounds and colors from live performances and electronically engineering them during the scoring process. Such heightened attention to sound texture and color motivated the creation of the Spitfire percussion library, but can only hint at the experimentation and improvisational nature that goes into Zimmer's work. In each of his film scores, the music tells a story that is tailored to the demands of the narrative, but the sounds reveal Zimmer's urge to manipulate sound samples until they are, in his own words, "polished like a diamond."
Ben Wright holds a Provost Postdoctoral Fellowship from the University of Southern California in the School of Cinematic Arts. In 2011, he received his Ph.D. in Cultural Studies from the Institute for Comparative Studies in Literature, Art and Culture at Carleton University. His research focuses on the study of production cultures, especially exploring the industrial, social, and technological effects of labor structures within the American film industry. His work on production culture, film sound and music, and screen comedy has appeared in numerous journals and anthologies. He is currently completing a manuscript on the history of contemporary sound production, titled Hearing Hollywood: Art, Industry, and Labor in Hollywood Film Sound.
All images creative commons.
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Reproducing Traces of War: Listening to Gas Shell Bombardment, 1918
Welcome to World Listening Month 2014, our annual forum on listening in observation of World Listening Day on July 18th, 2014. World Listening Day is a time to think about the impacts we have on our auditory environments and, in turn, its affects on us [for the full deets, peep our recent SO! Amplifies post by Eric Leonardson, Executive Director of the World Listening Project]. We kick off our month of thinking critically about listening with a post by media historian Brian Hanrahan, who listens deeply to sonic traces of the past to prompt us to question our desires for contemporary media representations of "reality." It also marks the global 100 year anniversary of World War I this August 2014: a moment of silence. –J. Stoever, Editor-in-Chief
For some reason that I don't fully understand, I am very emotionally moved by the space around a sound. I almost think that sometimes I am recording space with a sound in it, rather than sound in a space. -Walter Murch
If you want to listen to the past, there's never been a time like the present. Every year, it seems, new old recordings are identified, new techniques developed to recover sounds thought irrecoverable. Here is Bismarck's voice, preserved on a cylinder in 1889. Here, older still, is Edison's. There is the astonishing recuperation of phonautograms – reverberation traced onto soot-blackened paper in the mid-nineteenth century, digitally processed and played back in our own. But as that processing underlines, no sound recording straightforwardly reproduces the real. An acoustic artifact is a compound of materiality, form and meaning, but also a place where technology meets desire. Old recordings meet the listener's longing halfway; they invoke a reality always out of reach. And not simply a longing to hear, but also to touch, and be moved by, the fact of an absent existence.
Take, for instance, HMV 09308. In October 1918, just before the end of the Great War, William Gaisberg, a sound recordist of the pre-electric era, took recording equipment to the Western Front in order to capture the sound of British artillery shelling German lines with poison gas. Gaisberg died not long after, probably from Spanish flu, although some say he was weakened by gas exposure during the recording. Nonetheless the "Gas Shell Bombardment" record – a 12-inch HMV shellac disc, just over 2 minutes at 78 rpm – was released a few weeks later, just as the war came to an end. Initially intended to promote War Bonds, ultimately the record was used to raise money for disabled veterans.
For decades, the HMV recording had a reputation as one of the very earliest "actuality" recordings – one documenting a real location and event beyond the performative space of the studio, imprinted with the audible material trace of an actual moment in space and time. Documents like this – no matter what the technology – usually come with additional symbolic authentication. Here, the record's label does some of that work. This "historic recording," says the subtitle, is an "actual record taken on the front line." Publicity pieces drove home the message. In the popular HMV magazine The Voice, Gaisberg – or probably his posthumous ghost-writer – described the expedition in detail, claiming the track to be a "true representation of the bombardment."
In the same issue, a Major C.J.C. Street compared the recording to his own experience on the Front. "Its realism," he wrote, "took my breath away… I played the record many times… finding at each attempt some well-remembered detail." He didn't say so in his article, but Street – an artillery officer, a novelist and a propaganda man for the intelligence agency MI7 – was in fact the impresario of the record. This was not the first time he had found astute uses for sound media. The previous year he had put together a record that set artillery drill commands to popular tunes – the recording was both a propaganda release and an army training tool for new recruits. With the Gas Shell record, Street knew he wasn't just selling recorded sound, but also an auratic sense of closeness to an overwhelming reality, the palpable proximity of war and death. Authenticating detail helped to underpin this sense of an absent real made present. Street cued the listener for those "well-remembered details." In particular, he singled out one indistinct rattly flap-whizz noise, hearing in it, he claimed, the sound of a round with a "loose driving-band."
The record stayed in the HMV catalog until 1945, but only in the early 1990s were its production history and authenticity claims seriously examined. In specialist journals, archivists, collectors and amateur historians undertook a collective forensic and critical analysis. A promising auditory witness was located: 95-year-old Lt.-Col. Montagu Cleeve another former artillery officer, in his time a developer of "Boche Buster" railway gun, later a music professor – was invited to critically assess the recording. Cleeve vouched unreservedly for its authenticity. He heard in it, he said, an unmistakable succession of sounds – the clang of the breech, the gigantic report of the firing explosion, the distinctive whiny whistle of a gas shell on its way across no-man's-land. Others looked to data rather than the memories of old soldiers. One expert on pre-electric recording noted the angles commanded in firing instructions, correlated them with known muzzle velocities for 4.5 and 6-inch howitzers, then used this and other information to "definitively" explain the counter-intuitive anti-Doppler sound of the shells' whistling. He also identified the audible echo effect – the curious "double report" of the guns heard here – as the sound of a brass recording horn violently resonating at a distance of exactly 26.5 meters from the guns.
Eventually, skepticism won out. Close listening at slow speeds – just careful attention and notation, nothing more elaborate – revealed inconsistencies and oddities in the firing noises. The bongs, plops and whistles seemed internally inconsistent. Some of the artillery sounds – ostensibly a battery of four, firing in quick succession – varied implausibly with each successive firing. Physical evidence from the record's groove, as well as extraneous noises – surface crackle and fizz, and, audible within the recording, the swish of a turntable – seemed to indicate at least two rudimentary overdubs, in which the output of one acoustic horn was relayed into a second, possibly using an auxetophone, an early compressed-air amplifier. All this resulted in a double- or triple-layered sonic artifact. Finally – the crucial evidence, although oddly it was hardly noticed at the time – an alternative take was located. In this take, according to its discoverer, the entire theatrics of gunnery command is simply absent, and there is no sound at all of whistling shells in motion. What was left was a skeleton sequence of clicks, thuds and cracks, supplemented with only a single closing insert, the portentous injunction "Feed the Guns with War Bonds!"
In short, it seems highly likely that any original field recording was, at the very least, post-dramatized with performed voices and percussive and whistling sound effects. So, it is tempting to say, that clears that up. The recording's inauthenticity is proven. File under Fake. But in fact, if we don't stop there, if we set aside narrow and absolutist ideas of authenticity, and instead explore the recording's ambiguity and hybridity, then Gas Shell Bombardment becomes all the more interesting as an historical artifact.
Let's assume, for the sake of argument, that some form of basic recording was done in France, very possibly a staged barrage specifically performed for Gaisberg's visit, and that this recording then had effects added back at HMV in London. The record might then be seen less as a straightforward documentary, and instead as an unusual version of the "descriptive speciality," a genre of miniature phonographic vignette dating back to the 1890s, far predating longer-form radio drama. Very little is known about these early media artworks, but it is a fair generalization to say that in America the genre was more slanted towards vaudeville comedy, whereas in Europe, imperial and military scenes predominated. As early as 1890, for example, there had been German phonographic representations of battles from the Franco-Prussian war. The Great War saw a flourishing of the genre. Scholars are just beginning to take an interest these old phonographs; here's one recent essay on the "Angel of Mons," for example, a British acoustic vignette of a famous incident on the Western Front.
Listen to a 1915 German descriptive speciality, depicting the attack on the fortress of Liège the previous year:
As a descriptive speciality, Gas Shell Bombardment is unusual because it incorporates an actual indexical trace. But such traces – as emphasized by Charles Sanders Pierce and many later media-theoreticians– do not resemble their referent, they are caused by it. The bullet hole does not look much like a bullet; thunder is lightning's trace, not its likeness. But for Street and Gaisberg, the trace's lack of resemblance caused problems: the original recording's lack of detail, cues and clues, but above all its lack of internal dimensionality, created a perceptual shortfall and a lack of credibility. Maybe they hoped that the guns, by sheer force of amplitude, would overcome the spatially impoverished, reverbless reproduction of pre-electric recording. If so, it didn't work. Without added effects, the guns' trace was as flat and "body-less" as a sequence of Morse. It was a sound without a scene. The producers' interventions aimed to thicken the primary artifact with referential-sounding detail, but also to heighten the sense of materiality and spatiality, and to strengthen the sense of diegetic presence, of worlded thereness. The soldiers' voices – louder and quieter, close-up and farther-out – and the fake-Doppler of the "shell whistling" lent the recording narrative direction (literally, some trajectory) and "authenticating" points of detail. But above all they gave a sense of internal space to the recording, a space into which the listener could direct her attention.
In this context, we can only admire the creativity and performative élan of the unknown production crew. We know little about effects production in early phonography. It is a safe bet that some techniques were adopted from theatre, and that there was overlap with silent film accompaniment. But whatever the method used, it would have called for the awkward orchestration of a limited number of iconic sounds to create an impression of a spatially coherent and materially detailed sonic environment. The recordist and his team would first have had to imagine how relative loudness – of voices, of material objects struck and sounded – might create a sense of spatial depth when transduced through the horn's crude interface. Then they would have had to perform this as a live overdub, keeping time with the base track of the gun recording played through another horn. And all this done with participants and equipment crowded tightly around the mouth of the huge horn, crammed into the tiny pick-up arc, a scene looking something like this image of Leopold Stokowski's pre-electric recording sessions or this photograph of the recording of a cello concerto.
As well as this hybrid of trace and live performance, there is another performance here – Gaisberg's journey itself. With twenty years of recording experience, Gaisberg was probably very well aware that the expedition would not yield a "realistic" recording of the guns. But the expedition had to be made, so that it could be said to have taken place. Expectations had to be primed and colored, so that, to use André Bazin's famous phrase about photographs, the recording could partake in an "irrational power to… bear the belief" of the listener. The journey, and the accounts of Gaisberg and Street are not a supplement to the "true representation" of the gas bombardment. They are part of that representation. Moreover, in subsequent writing it is noticeable that the manner of Gaisberg's death becomes a rhetorical amplification for the authenticity of the recording's trace, as if his fatal inhalation (of gas molecules or flu bacilli) were itself a deadly indexation, paralleling the recording's claim to capture the breath of the War, and even of History itself.
In media-historical terms, the Gas Shell Bombardment recording can be understood as a late, transitional artifact from phonography's pre-microphonic era. The desire for the sonic trace, for an ever more immersive proximity to events was there, but electro-acoustic technology was not yet in place. Two years later, in 1920, Horace Merriman and Lionel Guest made the first experimental electrical recording, arguably also the first true field recording. The event, appropriately enough, was an official war memorial service in London, where Merriman and Guest – working for Columbia Records – put microphones in Westminster Abbey, running cables to a remote recording van parked in the street outside, where they sat amidst heating ovens and cutting lathes. By the end of the 1920s, remote recording and broadcasting, while never straightforward, were well on the way to ubiquity.
Claims made on behalf of technologies of reproduction may seem simplistic, but there's a grain of truth to their simplicity. If there were nothing special – even magical – in the referentiality of the camera that captures the moment, the recording that's like being there, the liveness of the live broadcast, these things would not play the role they do in everyday life and in the ideological fabric of society. But there is falsehood too, in over-simplifying the nature and affective charge of old photographs, old footage, old recordings. These are made things, composed of different materials, media, signs and conventions; they are inseparable from the desires and expectations they induce and direct. They function in part by mimesis and verisimilitude, but also through the gaps, blank spots and false illusions of their trace. They can – rightly – intensify our feeling towards the past, but should also prompt us to think about our own desires and investments.
Image by Flickr User DrakeGoodman, "Horchposten im Spengtrichter vor Neuve-Chapelle 6km nördlich von La Bassée Nordfrankreich 1916," A trio of lightly equipped soldiers from an unidentified formation oblige the photographer by looking serious and pretending they're just metres from the enemy, listening for activity in his lines. The improvised "listening device" is actually a large funnel, probably liberated from a nearby farm.
Brían Hanrahan is a film, media and cultural historian, whose work focuses on the history of acoustic media, German and European cinema and the culture of the Weimar Republic.
Edited post-publication at 8:00 pm EST on July 7, 2014
REWIND!…If you liked this post, you may also dig:
SO! Reads: Susan Schmidt Horning's Chasing Sound: Technology, Culture and the Art of Studio Recording from Edison to the LP–Enongo Lumumba-Kasongo
A Brief History of Auto-Tune–Owen Marshall
DIY Histories: Podcasting the Past–Andrew Salvati


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The singer is out and about in London after a horseback-riding mishap. Plus: Jennifer Garner, Sienna Miller and more
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Photos and Description of this 3 bedroom holiday villa in Stalos - Pano Stalos Villas
Beautiful detached villas each with its own private pool and stunning sea views.
Welcome to the shady balconies and sunny terraces of Pano Stalos Villas. Villa Sophia, Villa Hannah and Villa Europa are beautifully maintained and each has its own large private pool. Sitting on a tranquil hillside above the traditional Cretan hamlet of Pano Stalos they command stunning view's of the sea, White Mountains, Chania and beyond. Villa Hannah will comfortably accommodate 1/8 guests. Villa Europa will comfortably accommodate 1/6. Perfect for a relaxing holiday and ideally placed for you to explore the beautiful beaches and historic surroundings of Western Crete, these villas are fully air-conditioned and are available to rent through-out the year. English owners live nearby and are available to offer advice and assistance. A complimentary welcome pack is provided and there is a maid service twice weekly. Our E.O.T registered number for our villas is 10.42.K.2K.01785/1778
Details for holiday villa Villa Europa, 3 Bedrooms, Sleeps 6, 2 Bathrooms
- Suitability:
- Long-term Renters Welcome
- children welcome
Guestbook comments from the owner
My wife and I and our 2 young children stayed in Villa Europa for the month of may 2010. We were greeted on arrival by David (the owner) even though it was 1 AM. The views from this villa are fantastic. - you feel like you're looking down from heaven. David and his wife provided a welcome package containing nibbles, fruit, wine, etc. The villa is very well equipped and is air conditioned. On our first morning we woke up to the sound of a goat bleating in the village at the bootom of the hill and birdsong from the olive grove beside our swimming pool. Chania is a beautiful town, the surrounding countryside is very green, the food is great and the locals are very friendly. This was our third trip to Greece and we will be going back soon and staying in this villa again. Don't miss the opportunity of a lifetime!


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416 Cedar Ave. S.
Minneapolis, MN 55454
Category: Bars and Clubs
Region: Minneapolis (Downtown)
As Bonnie "Prince" Billy, Will Oldham has developed a cult following for his idiosyncratic brand of Americana. Having worked with countless collaborators under multiple monikers over 20 years, Oldham's latest finds him stepping back and stripping down. The self-titled Bonnie "Prince" Billy album he's currently touring in support of features just Oldham's haunting and tremulous Southern-accented tenor propped up by skeletal acoustic guitar work. With Bitchin' Bajas.
Mon., Dec. 16, 7 p.m., 2013


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when people say capture the reader by the first sentence, you did exactly that. great job ..*continuing to read
Is the secret is that he's a were, that's what I think because of the category of this fiction but I don't know why I'm not sure.
Nice chapter. Eww Jake why are you kissing her, I don't understand how ppl can just go and start randomly making out with someone.
I got it wrong last chapter. Though Jake was going to be the one Erik was interested in but I see it's Sean now :) Great chapter :)
This is cool :) I love the way you bring Jake's character in straight away, I hate all the waiting around so thanks! :)
This is such a good book so far! i know its not the type of thing u would normally wright but it is amazing!!! keep going! xxxxx
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Android FansHardware & Tech group with 405 members, open to all members
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A Minecraft fan group! To buy the game visit there offical site at Minecraft.net
This group is to upload the simply enormous amount of pictures, videos, news, articles, features and whole worlds that the Minecraft Community has.
No one is friends with ve2dmn awww. You should invite your mates to the site, or make new ones.


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When it comes to planning the details of an estate and understanding probate in Northern California, having a lawyer is essential. A lawyer understands the often complex intricacies of the probate code. Did you know that the California probate code has 11 divisions and hundreds of pages of regulations and rules. You are here because you have questions about probate law and rest assured, as you read on, you will gain a greater understanding of this area of law and walk away with your questions answered.
What Is Probate Law?
A probate, in simple terms, is a legal document. Probate law is the legal processes involved in administering a person's estate. When a probate is received, it is the first step in the estate administration process. Probate law encompasses the creation of a will, the validation of a will, or the administration or creation of trusts. When a person who has a will dies, the probate court starts the process of validating the will or wills of the deceased person. Because of the intricacies of California probate law, it is important to have the assistance of an attorney who is well versed in this area of the law.
What Is the Process?
There are many processes that take place during probate. Your attorney can help you understand the specifics regarding your case, but some of the technical steps and key points to remember include the following:
- Creditors are notified.
- Legal notices are published.
- Executors of the will are verified.
- Executors are guided on how to distribute assets and give regard to creditors.
- Time factors are involved in filing and objecting to claims against the estate.
- If the total estate exceeds certain thresholds, then estate taxes, inheritance taxes, or gift taxes must be considered.
- If the will calls for it, real estate must be sold to satisfy payments to creditors or individuals.
- Other costs of administration, such as regular income taxes or property taxes must be deducted before assets are distributed.
Can Probate Be Avoided?
You may be wondering if the whole legal process of probate can be avoided (besides running away to a foreign country, which is not recommended). There are a few situations where it is possible to avoid probate, and it is best to consult an attorney to see if your situation is one of them, but if there is simply a life insurance policy that needs to be transferred to a beneficiary or if an asset has a pay-on-death or transfer-on-death designation, you can usually avoid probate.
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You don't need to wait until a loved one has passed on to seek the help of an attorney specializing in probate in Northern California. It is actually best to consult with an attorney before death comes to secure a valid will, as well as protect your assets and protect against undue contestment of your will. A probate attorney can help with the following:
- Drawing up and completing a will
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If you pass without executing a legal will, it can lead to a long probate, multiple contestments, and a legal nightmare. Protect your assets and estate, as well as your loved ones by consulting with a probate lawyer to execute a will.


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Photos and Description of this 2 bedroom holiday home in La Trinite
Creole house style
charming type 3 of 70 m2 located in a gated and secure housing complex (portal). 2 rooms of 18 and 11 m2, kitchen, terrace of 30 m2, air conditioning, linen provided.
from north and south, the area will be your ideal starting point to discover the Martinique, it is green and has a 25x10 m swimming pool and direct beach access. is ideal for familes seeking calm and the scenery.
the field is 1.5 km from the town of Santa Maria where you will find all the amenities. wifi
- Suitability:
- Long-term Renters Welcome
- children welcome
- pets considered
- smoking allowed
- wheelchair inaccessible


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User Score
Mixed or average reviews- based on 35 Ratings
User score distribution:
Positive: 23 out of 35
Mixed: 3 out of 35
Negative: 9 out of 35
Review this game
Mar 16, 2012This game even blows the UFC 3 game away.
This is closest to how MMA functions.
UFC3 even tried to copy the submission system, but failed hard.
A real shame there is no sequel, this team really understood MMA.
Jul 15, 2011One word: amazing. UFC 2010 vs EA Sports MMA? The only winner is EA Sports MMA. Online is great and story mode is even greater. I love the ability to constantly update your roster by downloading new fighters online.
Nov 19, 2010Graphics suck. Controls sucks. And no, I'm not being buyist. I just don't think this was that good of a game at at. If you like Fight Night get this. If you don't get UFC. The only good person on ther IMO is Ken Shamrock. Mainly becuase Daina White said If any of hus boys go to EA and want to be on the game he'd fire them. So IMO this game sucked
Nov 7, 2010Being a longtime MMA Fan I have owned quite a few MMA games (UFC Tapout 1 & 2 & The Wild Rings on Xbox, Undisputed 2009, Undisputed 2010 on PS3) while each game had its own strengths and UFC 2009 and 2010 offerings are very well rounded (although the first patch for 2010 ruined it IMHO) none of them ever felt truly great.
EA Sports MMA Is very close to being great. It has all the brilliant career mode options & "minigames" of UFC Tapout 1 and 2 with the varied fight venues, rule sets and specific limb/body/head damage of The Wild Rings with the grappling of UFC undisputed 2009 and the striking of Fight Night Round 3 all rolled into one fantastic package.
Sure you won't find many UFC fighters on the Roster, but who cares ? you can use EA game face to make a fighter that looks like you or anyone you upload a mugshot of (front & side profile photos) and with 10-15 minutes of fiddling that person is in the game. Career mode is inspiring and actually interesting. Most enjoyable is that unlike almost every other MMA game I have played fights against the AI dont end inside the first round, fights tend to go longer & be more technical as a result of how stamina & damage is implemented. Even online fights are much more technical and varied than in any other MMA game I have played.
A Fantastic game and I hope people can look past the fact that it doesnt have "Ultimate Fighting Championship" plastered all over the front because it is definitely superior to UFC Undisputed 2010 both online & offline.… Expand
Nov 1, 2010An excellent game for fans of Mixed Martial Arts and sports games in general. The gameplay is more intricate and technical than previous MMA games and, thus far, EA MMA is the closest gaming has come to successfully approximating the complexities of Mixed Martial Arts. That said, gamers looking to mash buttons and simply brawl might want to look elsewhere...
The online gameplay is smooth and easy to navigate - the only downside being that there is not a matchmaking filter of some kind, and thus relatively inexperienced players with only a fight or two can be matched up against experienced players with well over 100 fights. For this reason, career mode is a good place to learn and refine your ground and stand up technique before venturing into the highly competitive online mode. All in all a fun and sophisticated sports gaming experience that definitely raises the bar for MMA video games.… Expand
Nov 1, 2010EA Tiburon have laid down a fantastic foundation with this game. Once you learn the intricacies of the gameplay, you will be hooked. It is extremely well balanced, which leads to fights becoming in-depth and tactical, resulting in some real wars. They really nailed the "human chess match" feel, unlike UFC Undisputed, which feels like a game of rock-em, sock-em robots. Career, whilst somewhat shallow, is entertaining and online is as robust as ever, like most EA Sports games. If you love MMA and have the time to learn the systems, you will love this!… Expand
Oct 28, 2010awesome game, plenty of choices and move sets, great caf, fun career mode. between this an undisputed its a fantastic debut effort from ea. the roster is filled with great fighters and even if you dont know them that's an unfair way to judge this game. go get it, its worth it.
Oct 28, 2010I think G4TV said it best when they said this game had interesting community features but no community. Look for this game to get cancelled soon. Don't buy it! you were warned! Kekeke
Oct 28, 2010Really can't recommend this one. Poor production value for an EA game and you fight as a bunch of nobodies. You may get it if you like Randy Couture but there really any other reason to get it
Oct 28, 2010Terrible game is terrible! Why would you buy such a terrible thing? Better to get a better fighting game like Naruto 2 or Dragon Ball z Raging Blast 2
Oct 28, 2010Horrible game. No-name fighters, clunky controls and online balance issues. This game was DOA at retail so it's best to stay away from it. Do not buy!
Oct 27, 2010Awesome game, destroys UFC and the online actually works. Gameplay is smooth and strategic and the knockouts look terrific. I used to love UFC Undisputed 09 but 2010 was a huge let-down. EA MMA is superb.
Oct 25, 2010First off: If you're worried about the roster....and if you don't know these fighters... get to know them! They're some of the baddest on the planet no matter what Zuffa/UFC/Dana White claim. This game murders the UFC game... which I liked. Can't believe EA may already be considering not continuing the series because it's so darn satisfying. The play is fun, fluid, and rewarding. The career mode is a blast (can feel a little easy at first, but just up the difficulty once you get the hang of it). Online Live Event play is a blast with friends. Its just a freakin fun game. And… Expand
Oct 21, 2010To give an honest opinion from someone who love fighting games and has followed Martial arts and of course the development of MMA from Bruce Lee's Jeet Kune Do, Bloodsports Kumite and of course the Gracies with UFC and later Dana White injecting some life back into the UFC format so that fans can expierence all the World formats such as Strikeforce or Pride. I will make more of the Oh My God its awesome or yeah its better than UFC 2010 cliche.
So to the game : after my soap box blurb
Well to be honest on face value the game seems to be packed with content and promises that would make you think it has delivered the full real deal. However as you get into it, the game starts to stutter and show you that EA really seemed to have held back. There are some great fighters, and some impressive options of gameface, events, career mode and online content. But none of it seems to have a sharp finish.
The players all have the same regular moves, and alhtough it lists styles, and attitudes, or moves. They are all very generic and never showns the variation and tactics that you would want, so as to create the needed variation in playing AI, or espically for online play.
Then although the graphics seem polished, the animation is just slow and never allows for the flow from one technique to the other to occur. With blocks being wasted, a Jab creating the most force and easiest way to crush an oppents, so much it left with a poor finish. The Spinning kick can be thown and blocked with ease yet a jab can just fly through a guard and rock you oppent. Well lets just test that in the ring and see what Bas Rutten would or Cung Le for that fact.
The its the mediocre gameface creations, with restictions on so many areas and then the gameface from EA site or XBOX vision just not transferring any real atmosphere as the created players just dont look anything like the photo used. You see one thing on the PC edition and when transfered its just a generic piece of rubbish. Such a let down. Then the online although not a crushing disspointment like the poor cousin UFC 2010, you can find the fights, but the slow animation under lag can pose a very, very, very poor fight. With combos just non existant and a horrible expiernce.
When there is no lag, its still a very limited expierence with so real feel of combat and more a bang, bang, bang jab exchange, to a take down, pound a little and go for submission or its up and repeat. No tactics, the use of the cage just doesnt occur and so many details have been left out you know its a get it out there first edition. Oh please dont let it be a drawn out Madden with so little changed but rosters and outfits.
Well lastly the career also provides for no reason to play other than achievments and the obvious super CAF. ahain it is very lacking, slow, drawn out and although Bas Rutten is cool to listen to it just doesnt provide the depth or variation and flibility to create something different that can just be quickly thrown together in a create a fighter segmant.
So overall, dont expect something that would crush THQ. Because EA have gone really soft and just pushed out something that has potential but doesnt deliver on any area with authority or with the polish that wuould hold any more than just a passing interst.… Expand
Oct 21, 2010I tried the demo at first and didn't think it would blow UFC Undisputed 2010 away. The AI was too easy because all you had to do was get into full mount and it's an auto win. Until I just purchased my full version copy yesterday, wow, it's amazing. I have played about 30 matches online and I love this game more and more. First off, the online connectivity is incredible. It literally takes only seconds to find a match and on top of that, NO LAG! Now compared to UFC Undisputed online connectivity, it's like heaven and hell. But anyway, besides that, this game is really like a chess match. The striking is awesome (especially if you are a big fan of the Fight Night series) and the animation is very fluid. Swaying and dodging actually looks realistic, not like a robotic head bobbing back and forth. The submission is very technical and fun. It's not just a bunch of joystick spinning contest that leaves blisters on your hand. Fighting all over the world which allows you to do soccer kicks to head, knees on ground is very cool. Now of course, there is 1 slight downside of the game. Alot of times matches can end really fast, especially if 1 person is way better than the other. I have had matches where I TKO someone in literally 6 secs, at least 5 of the matches were like that. It is really easy to knock out or TKO someone if you connect a combo of punches and the opponent does not know how to escape it. However, if 2 players are at similiar level, it will last longer and will become a fun chess match. Anyway if you love mma games, this is a MUST BUY. PS - I already sold UFC Undisputed for this game and do not regret 1 bit… Expand
Oct 20, 2010MMA is good, not great. Graphically its pretty and controls are solid. There don't seem to be enough special moves. I also don't like the fact that it lacks UFC fighters! I think I'm sticking to the real UFC game by THQ.
Oct 19, 2010Amazing!!! blows the ufc game away without a fight lol ea once again does it again congrats to the people who made this awesome very fun game dana white dropped the ball when he didnt get ea mma to make the ufc game cuz thq sucks
Jan 25, 2011It's also a problem that punches and kicks don't usually feel as powerful as you'd like. In Fight Night haymakers sounded like truck accidents. Here they kind of feel like slightly over-zealous high-fives. [January 2011 p75]
Jan 15, 2011EA Sports MMA is a game that captures the intensity of martial arts fights.
Jan 13, 2011What is not forbidden is allowed – that is the only rule you need to know in this bone-breaking fighting game. User friendly controls and overall accessibility are spoiled by the lack of atmosphere and stupid AI. [Issue#197]


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The Mikado: The Classic Gilbert and Sullivan Comic Operetta From Atlanta Lyric Theatre
* Additional fees apply.
The last date listed for The Mikado was Sunday May 1, 2011 / 2:00pm.
Most Popular Theater Event Nearby
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Drinks, popcorn, and lite snacks.Joseph and the Amazing Technicolor Dreamcoat dining • Jun 30 2013 star this tip starred
Marrietta Square be prepared to find parking and walk a littleJoseph and the Amazing Technicolor Dreamcoat travel • Jun 30 2013 star this tip starred
Reviews & Ratings
Featured review from Goldstar Member
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Wow! So glad that we saw this show!!! What a beautiful venue plus a great comic opera performance by the Atlanta Lyric Theatre! Our family will definitely return to The Strand and look forward to other performances by this theatrical outfit! Brava and Bravo!!!!!
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The play was well done and the theater is gorgeous. Beware of getting seated under cold air vents however or bring wraps to protect yourself!
There are plenty of places to eat before the Operetta and parking was not a problem either. It is a long...continued
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eXcellent singers and actors... Was just like going to a Broadway show
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The performers were top-notch professionals--VERY entertaining and talented! Although I thoroughly enjoyed the show overall, I have mixed feelings about the contemporary references sprinkled within the original story.
Quotes & Highlights
Learn more about The Mikado from the in-depth information at the Gilbert & Sullivan Archive online.
Gilbert and Sullivan are the undisputed masters of comic operetta and the proud parents of the modern musical. That their works are more in demand today than when they were created over a century ago is ample proof of their lasting brilliance. The hapless lovers in The Mikado are mercilessly buffeted by social restrictions, legal inconsistencies, judicial inequities, government stupidities, and that's just the first act! Poor dears – it would be absolutely tragic if it weren't so hysterically funny.


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Seismic Activity Yellowstone 2013
Earthquake activity increasing at yellowstone? - ice age now, "over the past few days there has been a significant earthquake swarm at yellowstone," says reader. Earthquake swarm rocks yellowstone - guardian liberty voice, It was recently reported that a very rare triple swarm of earthquakes rocked yellowstone national park. in fact, bob smith, a geophysics professor out of the. Holy thunder! rock, roll and rumble as scientists monitor, Holy thunder! rock, roll and rumble as scientists monitor earthquake activity in yellowstone national park . continual rumblings prompt search and rescue teams and.
Earthquake - wikipedia, the free encyclopedia, An earthquake (also known as a quake, tremor or temblor) is the result of a sudden release of energy in the earth's crust that creates seismic waves.. Current alerts for u.s. volcanoes - volcano hazards program, Subscribe to the volcano notification service subscribe to our feed to view the interactive volcano activity map, please visit our home page.. Seismic activity - the watchers, 2011 oklahoma human induced earthquake may have triggered larger quake - study. march 13, 2014. in a new study involving researchers at the u.s. geological survey.
Yellowstone lake earthquake swarm summary - january, 2009, Seismic activity at yellowstone lake in yellowstone national park increased in late december 2008. as of january 8, 2009, the seismic activity has markedly decreased. Yellowstone volcano (wyoming, usa) activity news & updates, Super-volcano, calderas 2805 m / 9,203 feet wyoming, usa, 44.43°n / -110.67°w yellowstone webcams / live data yellowstone volcano eruptions: 1350 bc ± 200 years. Summary of 2010 madison plateau, yellowstone earthquake swarm, Usgs volcano science center yellowstone monitoring: summary of 2010 madison plateau, yellowstone earthquake swarm..


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NOTRE DAME, Ind. – After tallying a career-high eight points on six goals and two assists in Saturday's 18-17 win over Army, Notre Dame senior attackman John Scioscia (Summit, N.J./Summit) has been named the Atlantic Coast Conference Men's Lacrosse Offensive Player of the Week.
The six goals tied a career-best mark for Scioscia and the eight points were one shy of matching the program record. Arguably his biggest play of the game occurred in the final minute when he forced an Army turnover, picked up the ground ball and assisted on Conor Doyle's game winner.
Scioscia also delivered late with the goal that tied the game 16-16 with three minutes left to play. He netted two goals during a 4-0 Notre Dame run that reversed a 7-5 deficit and he also scored with five seconds left in the third quarter to bring the Irish to within a goal (14-13). Scioscia's other two scores gave Notre Dame two-goal leads (3-1 & 11-9).
"We executed as a team really well," Scioscia said after the win over the Black Knights. "Our transition game was unstoppable all day. I found myself open on the inside a couple times and Lubo (Eddy Lubowicki), Kav (Matt Kavanagh) and (Conor) Doyle were all able to find me. I don't think we did anything different, guys just had their heads up at the right time and I was open."
Scioscia has 21 goals and four assists this season. He is the second Fighting Irish player to earn ACC player-of-the-week honors. Senior Stephen O'Hara was named the league's defensive player of the week on March 18.
Sixth-seeded Notre Dame (9-5) will play host to Harvard (10-6) Saturday in the first round of the NCAA Championship. Faceoff is slated for 2:30 p.m. (ET) at Arlotta Stadium. The contest can be seen on ESPNU and WatchESPN.


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The end of antibiotics. A powerful new video by Results RNAResults RNA Publishes Video Showing Efficacy Comparison of 5 Major Brands
The core purpose of every silver-based health product is to kill pathogenic microorganisms. To this effect, independent laboratory studies prove that not all colloidal silver brands are equal. Four out of the five colloidal silver brands tested in a recent antimicrobial study had very little effect on the microorganisms tested. While one colloidal silver brand achieved complete in vitro kill against MRSA, Borrelia burgdorferi (Lyme) Candida and more. See video above for more information. We encourage all colloidal silver manufacturers to increase research and testing to provide better quality products to health practitioners and the public, and to then submit any scientific research documents and media to us here: contact Us
Colloidal Silver News, Top Brands, Uses, Resources & More
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For more information, please see our Brand Comparison Fact Sheet
Total Silver
CS Plus
Sovereign Silver
Purest Colloids
Ultra Silver
Heritage Products
Liquid Health
Earths Bounty
Peaceful Mountain
Trace Minerals
Olympian Labs
Source Naturals
For more information, please see our Brand Comparison Fact Sheet
Colloidal silver is considered to be the most universal and nature's own antibiotic; killing bacteria, virus, fungus and more, and all without side effects. In fact, properly formulated colloidal ... Full article
"We're in the post-antibiotic era." Dr. Arjun Srinivasan, associate director at the Centers for Disease Control and Prevention Drug-resistant superbug infections have reached near-epidemic levels across U.S. hospitals, with ...
March 5th, 2014 11:02 AM ET: Health officials have long been warning us about the overuse of antibiotics and the rise of drug-resistant "superbugs." Now the Centers for Disease Control ...
The FDA Admits it has no Clinical Data Suggesting Colloidal Silver is Unsafe for Human Use October 14th, 1999 Food and Drug Administration U.S. Department Of Health and Human ...
Colloidal Silver Safety
The most reputable and scientific method of determining the safety of an ingestible product an acute oral safety study. This test determines the acute safety of the product. Be cautious taking brands that do not provide acute oral safety data.
Enhanced Healing
In cases of minor burns, an accumulation of colloidal silver may hasten healing, reducing the possibility of scar tissue and infection. It is believed by many in the natural healing arts that the lives of millions of people can be greatly improved.
Preventive Health
Taking colloidal silver daily is an excellent way to prevent both acute and chronic infections, and to boost the immune system. If routinely exposed to dangerous pathogenic germs, some recommend a regular daily intake as a protection.
Who is ColloidalSilver.com?ColloidalSilver.com is the most popular, comprehensive and up-to-date consumer guide and trusted source of Colloidal Silver information online. This in depth resource provides free, independent data on both prescription strength and over-the-counter Colloidal Silver health products and more.
What is Colloidal Silver?Colloidal silver (a colloid consisting of silver particles suspended in liquid) and formulations containing silver salts were used by physicians in the early 20th century, but their use was largely discontinued in the 1940s following the development of modern antibiotics. Since the 1990s, colloidal silver has again been marketed as an alternative medicine, often with extensive "cure-all" claims. Colloidal silver products remain available in many countries as dietary supplements and homeopathic remedies. Some brands & home made versions carry the risk of both permanent cosmetic side effects such as argyria and more serious ones such as allergic reactions, and interactions with prescription medications.
Natural Health and Longevity Resource Center
Early ResearchContemporary StudiesHow It WorksProduct QualityIngesting Colloidal SilverChronic or Serious ConditionsTopical UsesSome Common Uses of Colloidal SilverVeterinary and Garden UseTolerance To Disease OrganismsColloidal Silver in Advance of Illness?Kills 650 Disease Causing Microorganisms?References
Colloidal silver appears to be a powerful, natural antibiotic and preventative against infections. Acting as a catalyst, it reportedly disables the enzyme that one-celled bacteria, viruses and fungi need for their oxygen metabolism. They suffocate without corresponding harm occurring to human enzymes or parts of the human body chemistry. The result is the destruction of disease-causing organisms in the body and in the food. Colloidal silver was in common use until 1938. Many remember their grandparents putting silver dollars in milk to prolong its freshness at room temperature. At the turn of the century, scientists had discovered that the body's most important fluids are colloidal in nature: suspended ultra-fine particles. Blood, for example, carries nutrition and oxygen to the body cells. This led to studies with colloidal silver. Prior to 1938, colloidal silver was used by physicians as a mainstream antibiotic treatment and was considered quite "high-tech." Production methods, however, were costly. The pharmaceutical industry moved in, causing colloidal research to be set aside in favor of fast working and financially lucrative drugs. The Food and Drug Administration today classifies colloidal silver as a pre-1938 drug. A letter from the FDA dated 9/13/91 states: "These products may continue to be marketed . . . as long as they are advertised and labeled for the same use as in 1938 and as long as they are manufactured in the original manner." Some of the manufacturing methods used before 1938 are still used today. An electro-colloidal process, which is known to be the best method, is used.
The March 1978 issue of Science Digest, in an article, "Our Mightiest Germ Fighter," reported: "Thanks to eye-opening research, silver is emerging as a wonder of modern medicine. An antibiotic kills perhaps a half-dozen different disease organisms, but silver kills some 650. Resistant strains fail to develop. Moreover, silver is virtually non-toxic." The article ended with a quote by Dr. Harry Margraf, a biochemist and pioneering silver researcher who worked with the late Carl Moyer, M.D., chairman of Washington University's Department of Surgery in the 1970s: "Silver is the best all-around germ fighter we have."
The presence of colloidal silver near a virus, fungus, bacterium or any other single celled pathogen disables its oxygen metabolism enzyme, its chemical lung, so to say. Within a few minutes, the pathogen suffocates and dies, and is cleared out of the body by the immune, lymphatic and elimination systems. Unlike pharmaceutical antibiotics, which destroy beneficial enzymes, colloidal silver leaves these tissue-cell enzymes intact, as they are radically different from the enzymes of primitive single-celled life. Thus colloidal silver is absolutely safe for humans, reptiles, plants and all multi-celled living matter.
Many brands of colloidal silver are inferior. The highest grade is produced by the electro-colloidal / non-chemical method where the silver particles and water have been colloided, i.e., dispersed within and bound to each other by an electric current. The super-fine silver particles are suspended indefinitely in demineralized water. The ideal color of a true colloidal silver is clear. Darker colors indicate larger silver particles that tend to collect at the bottom of the container and are not true colloids. If a product contains a stabilizer or lists trace elements other than silver, or if it needs to be shaken, it is inferior. If a product requires refrigeration, some other ingredient is present that could spoil.
Taken orally, advanced cellular colloidal silvers are absorbed through the mouth directly into the bloodstream, and then transported quickly to the body's cells. Only the most efficacious silvers provide optimal oral absorption and utilization by the cells. Advanced cellular colloidal silver formulations do not bio-accumulate and will not cause argyria. Once consumed, the solution is eliminated by the kidneys, lymph system and bowel after several weeks.
6 sprays by mouth, twice daily is generally considered to be a "nutritional amount" and is reported to be safe to use for extended periods of time. Amounts higher than this are generally considered "therapeutic amounts" and should only be used periodically. In cases of illness, natural health practitioners have often recommended taking double or triple the "nutritional amount" for 30 to 45 days, then dropping down to a smaller maintenance dose. If your body is extremely ill or toxic, do not be in a hurry to clear up everything at once. If pathogens are killed off too quickly, the body's five eliminatory channels (liver, kidneys, skin, lungs and bowel) may be temporarily overloaded, causing flu-like conditions, headache, extreme fatigue, dizziness, nausea or aching muscles. Ease off on the colloidal silver to a smaller amount and increase your distilled water intake. Regular bowel movements are a must in order to relieve the discomforts of detoxification. Resolve to reduce sugar and saturated fats from the diet, and exercise more. Given the opportunity, the body's natural ability to heal may amaze you.
The more sophisticated manufacturers now produce high parts per million colloid silver in a gel.- to reach the sinuses and nasal passages. Both Gel and Spray can be effective for topical use on skin, sore throat, eyes, burns, etc. Colloidal silver is painless on cuts, abrasions, in open wounds, in the nostrils for a stuffy nose, and even in a baby's eyes because, unlike some antiseptics, it does not destroy tissue cells. It's excellent as an underarm deodorant, since most underarm odor is caused by bacteria breaking down substances released by the sweat glands.
Natural health practitioners have for years recommended taking one tablespoon daily, for four days, to establish a level, then one teaspoon daily for maintenance (proportional to body weight for children). After six weeks, a pause of several weeks has also been recommended by some natural healing arts doctors. Also, colloidal silver can be applied directly to cuts, scrapes, and open sores, or on a bandage for warts. It can be applied on eczema, itches, acne or bug bites. To purify water, add one tablespoon per gallon, shake well and wait six minutes. Mixed this way, it's tasteless. It is not an allopathic poison.
Colloidal silver has worked just as well on pets of all kinds. Used in proportion to body weight, it should bring the same results. In the garden, field or greenhouse, add enough to the water or soil - and the plants will do the rest.
We have all heard of the "super-germs" that are resistant to most modern antibiotics. Some believe that single-celled germs cannot mutate into silver-resistant forms, as happens with conventional antibiotics. Therefore no tolerance to colloidal silver would develop through mutation. Also, colloidal silver has not been demonstrated to interact or interfere with other medicines being taken. Inside the body, silver apparently does not form toxic compounds or react with anything other than a germ's oxygen-metabolizing enzyme. Colloidal silver may truly be a safe, natural remedy for many of mankind's ills. Additionally, there has never been a drug interaction reported between colloidal silver and any other medication. It's difficult to overdose - unless large amounts are ingested. Colloidal silver has been reported by users to be both a remedy and a prevention for numerous infections, colds, flus, and fermentations due to various bacteria, viruses or fungi, even the non-apparent low-grade, general body infections many people have. Living organisms are in the colloidal chemical state, not the crystalline state. Substances already in that form may be more readily assimilated by the body. Colloidal silver is the most useable form of a reputedly effective germ fighter. A colloidal suspension is ultra-fine particles of one substance, suspended by an electric charge in another substance. Homogenized milk and aerosol sprays are colloidal suspensions. Colloidal silver is pure, metallic silver (not a chemical compound) of particles 15 atoms or fewer, each with a positive electric charge, and attached to a molecule of simple protein. This new particle floats in pure water. The electric charge is stronger than gravity so the silver particles don't sink.
When the possibility of germ exposure is higher, colloidal silver can be taken orally each day or applied topically when there is a skin problem. It's like having a second defense system. The silver acts only as a catalyst and is stabilized. It is non-toxic, except to one-cell plants and animals, and is non-addicting. It also apparently kills parasites because they have a one cell egg stage in their reproductive cycle. Older folks reportedly feel younger because their body energies are used for other uses than constantly fighting disease. Digestion has also been reportedly better. Medical research has shown that silver promotes more rapid healing, with less scar tissue, even in the case of severe burns. Successes have been reported in cases that previously have been given up by established doctors. Colloidal silver is tasteless and won't sting even a baby's eyes, and won't upset your stomach.
In the 1980's a million dollar study was performed using a proprietary formulation of colloidal silver against 650 microorganisms. This formula achieved complete kill against every microorganism tested, including HIV virus. Since that time, many manufacturers of colloidal silver have erroneously suggested that all colloidal silvers produce the same results. You've seen the headlines on the web, "Colloidal Silver Kills 650 Microorganisms". As all colloidal silver formulations differ, claiming that each and every one provides similar performance to the formula originally tested is an incorrect assumption. The core purpose of any colloidal silver taken internally is to kill disease-causing organisms. As colloidal silver formulas differ, some are very effective, while others produce no clinical effect. Taking ineffective colloidal silvers is a waste of money and can be dangerous to the user. The goal of this scientific journal is to publish the truth regarding all colloidal silver products to best inform the consumer who can then make properly informed decisions regarding their health and wellbeing. To determine the antimicrobial efficacy of any colloidal silver, independent laboratory microbial testing must be performed. Colloidal Silver.com presents only credible and independently derived research data collected from various manufacturers.
"Use of Colloids in Health and Disease." Colloidal silver has proven particularly effective in cases of intestinal troubles. Dr. Henry Crooks found that "silver in the colloidal state is highly germicidal, quite harmless to humans and absolutely non-toxic. Rather than in a chemical compound, the silver in the colloidal state may be applied in a much more concentrated form, with correspondingly better results. All virus, fungus, bacterium, streptococcus, staphylococcus, and other pathogenic organisms are killed in three or four minutes upon contact. There are no side effects whatsoever from the highest concentrations." Dr. Robert Becker, " The Body Electric," recognized a correlation between low silver levels and sickness. He said the silver deficiency was responsible for the improper functioning of the immune system. Dr. Becker's experiments conclude that silver works on the full spectrum of pathogens without any side effects or damage to any part of the body. He also states that the silver was doing something more than killing disease organisms. It was also causing major growth stimulation of injured tissues. Burn patients and elderly patients noticed more rapid healing. He discovered that all cancer cells change back to normal cells. All strains of pathogens resistant to other antibiotics are killed by colloidal silver. Yet at that time he couldn't find a silver supplement on the market. "Silver, Our Mightiest Germ Fighter," ScienceDigest, March 1978. As an antibiotic, colloidal silver kills over 650 disease causing organisms, and resistant strains fail to develop. Silver is the best all-around germ fighter we have and is absolutely non-toxic! Doctors report that, taken internally, it works against syphilis, cholera, malaria, diabetes and severe burns. Richard L. Davies, executive director of the Silver Institute which monitors silver technology in 37 countries, reports: "In four years we've described 87 important new medical uses for silver." Dr. Bjorn Nordstrom, of the Karolinska Institute, Sweden, has used silver in his cancer treatment method. He says the whole thing is quite simple. This brought rapid remission in patients given up on by other doctors. The FDA has stated that because colloidal silver is accepted as a pre-1938 medication, it may continue to be marketed. Letter, 13 September 1991, received from consumer safety officer Harold Davis, U.S. Food and Drug Administration. "Colloidal Preparations of Silver in Pharmacy," British Medical Journal, February 1923: "Pure Silver is entirely non-irritant. In tests at very high concentrations, it has been shown repeatedly that the rapidly exerted disinfectant action is of considerable therapeutic value." Dr. Otto Warberg (Nobel Prize Winner, 1932) stated that "Cancer is caused by the lack of oxygen and the fermentation of sugars." Provo Herald, 13 February 1992, page D1: "Colloidal Silver as a Remedy for AIDS.quot; American Drug Index, section on Inorganic Pharmaceutical Chemistry, recognized silver for its germicidal action, calling a stabilized form: Mild Silver Protein. There are several concentrations of Mild Silver Protein. The Condensed Medical Dictionary, 6th Edition: Mild Silver Protein is listed for medicinal use. The 4s protein-2 is the trace used as a stabilizer. Medicinal Silver Home Remedies, Maurice Worthington, M.D., 1928. "Colloidal Silver Preparations of Silver in Pharmacy," British Medical Journal, 1932. Royalty, worldwide, have been called "Blue Bloods," because of the silver content in their blood, even from birth. They used real silverware, ate from silver dishes, and stored their food in silver containers. There were no doctors. The common people were often sick with something. Colloidal Silver, The Antibiotic Alternative by Lloyd Michael Canty and Zane Baranowski, CN. $4.05 each, plus 50 cents postage each. The Association for Advanced Colloid Research, 232 NE Lincoln St. Suite 1, Hillsboro, Oregon 97124. 503-640-0810. World Without Cancer by G. Edward Griffin. History of allopathic medicine in America. $9.95, plus $2.00 for postage. The Cancer Control Society, 2043 N. Berendo, Los Angeles, CA 90027. (213) 663-7801 The Body Electric and Cross Currents by Dr. Robert Becker. Secrets of the Soil by Christopher Bird and Peter Tompkins. Murder by Injection by Eustace Mullin. History of the AMA, also addresses, the Drug Trust, fluoridation, Aids and other health problems. $15.00 plus $1.50 postage. The National Commission for Judicial Reform, P.O. Box 1105, Staunton, VA 24401 Chemistry's Miraculous Colloids by Kenneth Andrews. The Readers Digest, March 1936. Quoting, Dr. Frederick Macy, one of the country's outstanding bacteriologists. John Hopkins Hospital, More News on Silver. Dr. Leonard Herschberg Michael D. Lemonick. The Killers All Around, Time Magazine, Sept. 12, 1994. Searle, A.B. The use of Colloids in Health and Disease. The British Medical Journal. Nov, 1913, p. 83 Dr. Henry Crookes, Colloidal Silver, Where have you been? by Iris A. Moore, The New Times, Seattle WA, May 1994 Brentano, L. MD, Margraf, H, Monafo, W.W. MD and Moyer,C.A. MD Antibacterial Efficacy of a Colloidal Silver Complex. Surgical Forum Vol. 17, 1966, pp. 76-78 Also Quoting, Dr. Harry Margraf Report on Colloidal Silver, The Best Kept Secret, by Martha Duncan. Thurman, R.B. and Gerba, C.P. (1989) The molecular mechanics of copper and silver ion disinfection of bacteria and viruses. Quoting, Dr. Richard Davies, The Silver Institute, Wash, V. 18, 4, p. 295 Oxygen Therapies by Ed Mc Cabe. $12.00 Includes postage, Energy Publications, 99- RD #1, Morrisville, NY 13408 H.E.L.P ful News, Vol. 8 No. 9 Science Digest, March 1978, Quoting Jim Powell Harold Davis, U.S. FDA Letter, September 1991 The Olympian, Sunday, Feb. 20, 1994 quote by Alexander Tomasz / San Francisco, Associated Press Newsweek Magazine, March 28, 1994 Antibiotics, The End of Miracle Drugs? Magnesium Oxtazone, Colloid Research foundation, 1-800-487-5463 Newsweek Magazine, May 22,1995. Outbreak of Fear These statements have not been evaluated by the United States Food and Drug Administration (FDA). Nothing stated here should be considered as medical advice for dealing with a given problem, or to diagnose / treat / prevent / cure any disease. All information posted on this web site is provided for educational purposes only. It is not to be construed as medical advice. Only a licensed medical doctor can legally offer medical advice in the United States. Consult your health care professional for individual guidance for specific health problems. This article on colloidal silver is simply a collection of information that is in the public domain, and is presented strictly for informational and educational use only. Information conveyed herein is based on pharmacological and other records both ancient and modern. No claims whatsoever can be made as to the specific benefits that might result from the use of colloidal silver. Anyone with knowledge of additional information on colloidal silver is highly encouraged to e-mail that information so that it can be shared with others who may be interested.


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