Catch 22 Live

Live! is Catch 22's first full-length live release, although fan-recorded live tracks were bonus features on several previous albums. Roughly a third of the album is devoted to Keasbey Nights, another third to Alone in a Crowd, and the remainder to Dinosaur Sounds. A bonus DVD includes footage from the concert, as well as a variety of extras. However, former frontman Tomas Kalnoky is conspicuously absent from the footage of the band's early days.

Track listing

DVD Features

Personnel

Live (The Dubliners album)

Live is an album by The Dubliners recorded live at the Fiesta Club,Sheffield and released on the Polydor label in 1974. This was to be Ronnie Drew's last recording with The Dubliners for five years as he left to pursue a solo career. Also following this album, Ciarán Bourke ceased to be a full-time member of the group when he suffered a brain hemorrhage. He sings "All for Me Grog" here. The reels that open this album (and which first were released on the group's 1967 studio album A Drop of the Hard Stuff) have become the opening instrumental medley at most of their concerts since.

Track listing

Side One:

Side Two:

Live (Jake Shimabukuro album)

Live is Jake Shimabukuro's 2009 solo album. It was released in April 2009, and consists of live in-concert performances from various venues around the world, including New York, Chicago, Japan, and Hawaii.

Live peaked at number 5 in Billboard's Top World Music Albums in 2009 and 2010. The album won the 2010 Na Hoku Hanohano Award for Instrumental Album of the Year, and also garnered Shimabukuro the award for Favorite Entertainer of the Year. In addition, it won the 2010 Hawaii Music Award for Best Ukulele Album.

AllMusic noted that, "Shimabukuro is a monster musician and boldly takes the ukulele where no ukulele has ever gone before, dazzling listeners with his blinding speed, melodic invention, and open-ended improvisations of remarkable virtuosity. Before Shimabukuro, the idea of spending an evening listing to a solo ukulele player was probably most people's idea of hell, but the 17 solo efforts here never bore. They show Shimabukuro's range and his humor as well."

Cinema 1: The Movement Image

Cinema 1: The Movement Image (French: Cinéma 1. L'Image-Mouvement) is a 1983 book by the philosopher Gilles Deleuze in which he combines philosophy with film criticism. In the preface to the French edition Deleuze says that, "This study is not a history of cinema. It is a taxonomy, an attempt at the classifications of images and signs" and acknowledges the influence of the American pragmatist C.S. Peirce and the French philosopher Henri Bergson (p. xiv). The cinema covered in the book ranges from the silent era to the 1970s, and includes the work of D. W. Griffith, Abel Gance, Erich von Stroheim, Charlie Chaplin, Sergei Eisenstein, Luis Buñuel, Howard Hawks, Robert Bresson, Jean-Luc Godard, Sidney Lumet and Robert Altman. The second volume, Cinéma 2, L'Image-temps was published in 1985 (translated as Cinema 2: The Time-Image in 1989). Both books are clearly about cinema, but he also uses cinema to theorise time, movement and life as a whole.

The movement-image

21:9 aspect ratio

21:9 (2.33:1) is the approximated screen aspect ratio of the true value 64:27 (2.370:1) in comparison to the common ratio of 16:9 (1.77:1). It is designed to show films recorded in CinemaScope or the modern anamorphic format of 2.39:1. The main benefit of this screen ratio is the absence of the black bars at the top and bottom of the screen when viewing content in this format, and a constant display height when displaying other content with a lesser aspect ratio.

The 64:27 aspect ratio is the logical extension of the existing video aspect ratios 4:3 and 16:9, as it is the third power of 4:3, where 16:9 of traditional HDTV is 4:3 squared. This allows electronic scalers to use an easily implementable 4:3 (1.33:1) scaling factor.

The term "21:9" was chosen as a marketing term, probably first used by Philips. Due to its common denominator, 21:9 is more relatable to 16:9, the aspect ratio of regular HDTVs, rather than the correct 64:27 or 21:9. If it actually were 21:9, the fraction could be expressed more elegantly in the reduced form as 7:3, as related to the 4:3 of standard-definition TVs.