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When synthesizer-driven composition first gained popularity in the 1970s, Tangerine Dream’s score for Sorcerer became a standard-bearer and artistic benchmark for the possibilities of a then-nascent musical movement. William Friedkin’s remake of Henri-Georges Clouzot’s Wages of Fear marked the German electronic band’s first foray into film music, and its success validated and galvanized an artistic endeavor previously associated shoestring productions and exploitation films. For the first time since 1977, Waxwork Records has re-released the soundtrack on vinyl in the United States for appreciation by a new generation.
On Friday, Waxwork released the LP for sale, featuring sound remastered from the original master audio press on 180 gram “Rainforest Green and Black” swirled vinyl, deluxe packaging, art by Tony Stella, and liner notes by Friedkin himself. The album features all 12 original tracks.
Sorcerer itself is a fascinating cinematic artifact. The film followed two of the biggest hits of the 1970s, The French Connection and The Exorcist. Friedkin maxed out his commercial goodwill on a project that ran wildly overbudget and suffered from enormous difficulties during production. The budget ballooned from $15 to $22 million; first because of filming costs in the Dominican Republic – all evident on screen given the complexity and logistics of staging the transport of unstable dynamite across unsteady terrain. Later, and perhaps equally unsurprisingly, because of clashes between Friedkin and his crew. Although Sorcerer flopped upon its original release, Friedkin still considers the film to be one of his best. Esteem has grown over the past three decades for its ambition, and of course Tangerine Dream’s score.
The German band subsequently embarked on a successful second career composing music for Michael Mann (Thief), Ridley Scott (Legend), Kathryn Bigelow (Near Dark) and dozens of other filmmakers. In the LP liner notes, Friedkin describes the process of enlisting Tangerine Dream frontman Edgar Froese to compose pieces for the film:
“I wanted to take only the premise of Clouzot’s film and invent entirely new sequences and characters for a wider audience. When we finished the script, I gave it to Edgar Froese and asked him to write and record the score before I even shot the film, based only on his impressions of the script and what I told him about it. I felt a synchronicity between his work and mine.
…The music was ex-actly what I felt would enhance the film, though the band hadn’t seen a frame of it, nor had I even finished production. Initially, the film was a commercial and critical failure, but its reputation has grown over the years. The music has always remained relevant and in-spirational.”
In the intervening decades, the work of John Carpenter and Giorgio Moroder has become synonymous with electronic scores of that era, inspiring new generations of musicians and composers alike, thanks in no small part to the iconic films they helped bring to life. Tangerine Dream’s discography always ran parallel to theirs, in a broad variety of films and genres. But their cinematic journey began on Sorcerer, and this re-release offers fans the opportunity to add a seminal entry in this expanding canon of electronic scores to their collection.
Check out a playlist of tracks from the score below, and visit Waxworks Records’ website for more details and purchasing information about Sorcerer and many other great film scores, released on vinyl.
Photos courtesy Waxwork Records/ Paramount Pictures.
The post Tangerine Dream’s SORCERER Soundtrack Reissued On Vinyl appeared first on Nerdist.
When synthesizer-driven composition first gained popularity in the 1970s, Tangerine Dream’s score for Sorcerer became a standard-bearer and artistic benchmark for the possibilities of a then-nascent musical movement. William Friedkin’s remake of Henri-Georges Clouzot’s Wages of Fear marked the German electronic band’s first foray into film music, and its success validated and galvanized an artistic endeavor previously associated shoestring productions and exploitation films. For the first time since 1977, Waxwork Records has re-released the soundtrack on vinyl in the United States for appreciation by a new generation.
On Friday, Waxwork released the LP for sale, featuring sound remastered from the original master audio press on 180 gram “Rainforest Green and Black” swirled vinyl, deluxe packaging, art by Tony Stella, and liner notes by Friedkin himself. The album features all 12 original tracks.
Sorcerer itself is a fascinating cinematic artifact. The film followed two of the biggest hits of the 1970s, The French Connection and The Exorcist. Friedkin maxed out his commercial goodwill on a project that ran wildly overbudget and suffered from enormous difficulties during production. The budget ballooned from $15 to $22 million; first because of filming costs in the Dominican Republic – all evident on screen given the complexity and logistics of staging the transport of unstable dynamite across unsteady terrain. Later, and perhaps equally unsurprisingly, because of clashes between Friedkin and his crew. Although Sorcerer flopped upon its original release, Friedkin still considers the film to be one of his best. Esteem has grown over the past three decades for its ambition, and of course Tangerine Dream’s score.
The German band subsequently embarked on a successful second career composing music for Michael Mann (Thief), Ridley Scott (Legend), Kathryn Bigelow (Near Dark) and dozens of other filmmakers. In the LP liner notes, Friedkin describes the process of enlisting Tangerine Dream frontman Edgar Froese to compose pieces for the film:
“I wanted to take only the premise of Clouzot’s film and invent entirely new sequences and characters for a wider audience. When we finished the script, I gave it to Edgar Froese and asked him to write and record the score before I even shot the film, based only on his impressions of the script and what I told him about it. I felt a synchronicity between his work and mine.
…The music was ex-actly what I felt would enhance the film, though the band hadn’t seen a frame of it, nor had I even finished production. Initially, the film was a commercial and critical failure, but its reputation has grown over the years. The music has always remained relevant and in-spirational.”
In the intervening decades, the work of John Carpenter and Giorgio Moroder has become synonymous with electronic scores of that era, inspiring new generations of musicians and composers alike, thanks in no small part to the iconic films they helped bring to life. Tangerine Dream’s discography always ran parallel to theirs, in a broad variety of films and genres. But their cinematic journey began on Sorcerer, and this re-release offers fans the opportunity to add a seminal entry in this expanding canon of electronic scores to their collection.
Check out a playlist of tracks from the score below, and visit Waxworks Records’ website for more details and purchasing information about Sorcerer and many other great film scores, released on vinyl.
Photos courtesy Waxwork Records/ Paramount Pictures.
The post Tangerine Dream’s SORCERER Soundtrack Reissued On Vinyl appeared first on Nerdist.
Crown Jewels
You won’t find these glittery gems at a jewelry store. Instead head to your local craft shop for an assortment of baubles to bedazzle you locks. The hair jewelry trend took off a few seasons ago, but rings, pearls and blinged out barrettes are back to spice up coifs from the run-way to reality.
Photo: By Daniel G. Castrillon Ulla Johnson vest, and dress , modaoperandi.comTwists And TextilesCold weather isn’t the only reason why we’re breaking out our scarves this winter. We’re also wrapping the accessory around our hair. Threading beautiful bandannas through our tresses is a pretty way to personalize our ponytails. Fabric-infused braids are among our favorite hair trends from the Spring 2020 runway.
Photo: By Daniel G. CastrillonTory Burch shirt ($398), skirt ($498), scarves (worn as hair accessories), $128 each, neckerchief (worn as hair accessory), $78, all at toryburch.com .Suspended Strands Ponytails don’t have to fall down your back. Sometimes they defy gravity and extend to the sky. This look is sure to stand out from the popular straight and silky styles.
Photo: By Daniel G. CastrillonTory Burch coat, $898, toryburch.com. Ariana Boussard-Reifel earrings, $325, arianaboussardreifel.com .For this style you’ll need 20-gauge stem wires, one pack of Marley Braid hair, Shine ‘n Jam Extra Hold gel and elastic bands,” says hair guru Nicole Newland, aka Nicky B.”
Cool OrnamentsWhen it comes to our ponytails, there are no rules. Adorn them with eye-catching embellishments or dynamic decals for extra dimension. Our manes are our canvas.
Photo: By Daniel G. CastrillonTory Burch dress, $398, toryburch.com. Mounser earrings, $255, mounser.com . Textures And Tools A beauty supply chain isn’t the only place to find fab hair accessories. Amazing accessories are also available at your local hardware store. Instead of securing your ponytail with a simple scrunchie, add elements that will instantly up the wow factor, such as these sleek and inexpensive metal zip ties.
Photo: By Daniel G. CastrillonRebecca Taylor dress, $595, rebeccataylor.com . “For this look you’ll need metal zip ties, hairpins, gel and textured curly hair extensions,” says the Brooklyn-based Nicky B.”
The post Tail-Blazing appeared first on Essence.
As the fashion industry enters a new decade, there are many style predictions that are rumored to happen this year. From nostalgia trends already peaking in 2019 – leather in all forms, thong sandals and tie-dye are only a few throwback styles that are creeping its way back, to iconic brands reaching new heights, 2020 is the year for fashion. And companies like New Era are celebrating a century in an industry that never stops re-inventing.
What’s the brand’s secret? Hiring young creatives, paying attention to the excitement of their staff, and creating globally recognizable pieces. “I’ve never worked anywhere where every single day we’ll have two or three requests from influencers or musicians,” exclaimed Mark Maidment, SVP of New Era. New Era has had a pretty consistent run. From curating arguably one of the most popular hats to date, a.k.a. the Yankees cap, to rolling out new collections and colorways yearly, New Era still sits on top of the streetwear realm.
With projects set to come out to celebrate its 100th year, ESSENCE got to chat with Maidment about what it’s like to continue on the legacy of New Era. Read below.
ESSENCE: What does reaching 100 years mean for New Era?
Maidment: I’ve been at New Era for four years and on my very first day, Chris Koch said to me, “It’s our 100th anniversary in four years. I know it’s a lot in advance, but we want to maximize it to have a great time. So please don’t mess it up,” and that’s the most pressure I’ve ever had in a project because you can’t celebrate your 100th again. We’ve been planning this for a good two or three years. I think the key thing for us is recognizing the history and then also really looking at the future.
“We’ve always tried to break the rules a bit. I mean, in fashion now, as you’ll notice, things like breaking the rules is the only way to go.” – Mark Maidment
ESSENCE: How have you seen the influence of New Era on the public since you’ve been at the brand?
Maidment: It’s been an incredibly interesting story. The history behind it [New Era]shows why people approach and want to work with us. We’re very fortunate to be one of those brands that have an icon at the heart, and that’s the 59Fifty. It’s one of those products that is almost like a Coca-Cola bottle. When you see just the silhouette you know it’s 59Fifty. The other thing is I think people love about New Era is the kind of disruptive progressive nature and having this icon. Of course, it’s like a rolling expansion from there because they see the cap on Spike in ’96, you know this is 30 years ago. And then they see it on the heads of every influencer, artist, musician, and athlete throughout the whole world, but particularly in North America.
We’ve always tried to break the rules a bit. I mean, in fashion now, as you’ll notice, things like breaking the rules is the only way to go.
ESSENCE: From the inside how New Era has to keep the Yankees cap relevant?
Maidment: Outside of North America, it’s the number one headwear cap logo. And I would say 99% of the people wearing it probably don’t know it’s the baseball team. They think it’s the icon of New York or an icon of just street culture. It has different meanings to different people but a lot of logos that we use people also use it to represent where they’ve come from. The Yankees logo’s just the most widespread and has the biggest reach. So we obviously use it a lot. We’ve done loads of different things with it. So I guess in answer, keeping the New York Yankees logo relevant is really easy. It kind of does the job for itself. And it’s such an icon.
“We always push the envelope, break the rules, experiment and be highly creative.” – Mark Maidment
ESSENCE: How do you think that New Era has stayed in the game for this long and how do you all plan to maintain the long streak?
Maidment: We don’t come into the office every day and think about the past pretty much. And this is a retro trend of course. We’re very forward thinking. Our design teams are full of really young people who are completely connected. We’re always thinking about what the next thing could be, what the next new technique could be, what the next new trend could be. And that’s just a mindset that we’ve always had. So I think that’s what’s kept us relevant. We always push the envelope, break the rules, experiment and be highly creative.
ESSENCE: How do you choose who do you want to partner with?
Maidment: So many people want to collaborate with us and we’re incredibly thankful for that. We love doing it. But we can only do so much. There needs to be an affinity and there needs to be excitement from within our business as to who we’re working with. People we look at and admire.
The post New Era Celebrates 100 Years In The Fashion Industry appeared first on Essence.
International Doctor Who fans can finally step into the TARDIS for an immersive virtual reality experience.
Starring Jodie Whittaker as an animated Thirteenth Doctor, BBC’s The Runaway is now free to watch via the official Doctor Who YouTube channel.
Recruited as the Time Lord’s unlikely assistant, viewers join a race against time to return a potentially dangerous creature to its home planet.
On the plus side, you get your own (digital) sonic screwdriver.
Can you help a lost alien make its way home before impending disaster strikes? (via BBC VR Hub/Passion Animation Studios)
“Fans will find themselves at the center of this wonderfully animated story, helped by the natural charm and humor of Jodie Whittaker, in an adventure that really captures the magic of Doctor Who,” Jo Pearce, creative director for the BBC’s digital drama team, said last year, when the episode launched in the UK.
“Viewers are in for a treat,” she added. “For those who ever dreamt of helping to pilot the TARDIS, this is your opportunity.”
Previously, The Runaway was available only in the UK on high-end headsets like Oculus Rift, HTC Vive, and Samsung Gear VR.
Now, a YouTube 360 version enables anyone with an entry-level device (Google Cardboard works great) to journey through space and time.
It is also free to download in two forms:
- 13-minute interactive version from Steam, Oculus Store, and Vive Port for use on Oculus Rift and HTC Vive
- 11-minute 360-degree adaptation from BBC VR App for use on Oculus Go and GearVR
The BBC VR Hub last summer took The Runaway on the road, visiting local libraries across the UK.
“This is the most ambitious project yet from our team in the BBC VR Hub, and the result is a magical adventure that Doctor Who fans everywhere will simply love,” chief Zillah Watson said in May. “It also shows the enormous potential that virtual reality has for creating new kinds of experiences that appeal to mainstream audiences.”
Experience “The Runaway” in 360 VR (via BBC VR Hub/Passion Animation Studios)
Featuring original music from series composer Segun Akinola, Doctor Who: The Runaway was written by Victoria Asare-Archer and directed by Mathias Chelebourg (Alice, Virtual Reality Play, The Real Thing VR). The original script was published today on the BBC Writersroom blog.
It premiered at last year’s Tribeca Film Festival, and has since been shown at the Sandbox Immersive Festival in China and the Annecy International Animation Film Festival in France, among other events.
More on Geek.com:
- ‘Doctor Who’ S12, E3: Team TARDIS Stumble Over Clumsy Moral Lessons
- Classic ‘Doctor Who’ Arrives in the UK Via BritBox
- ‘Doctor Who’ Immersive Adventure Lands in London in 2020