Contact (1992 film)

Contact is a 1992 short film directed by Jonathan Darby. It was nominated for an Academy Award for Best Live Action Short Film in 1993.

Cast

References

External links

Contact (Freda Payne album)

Contact was Freda Payne's fourth American released album and her second for Invictus Records. The majority of the material on this album contains sad themes, with the exception of "You Brought the Joy." The album begins with a dramatic 11-minute medley of "I'm Not Getting Any Better" and "Suddenly It's Yesterday," both of which were written by Brian Holland and Lamont Dozier. Some people thought that Holland and Dozier were trying to compete with Diana Ross's hit "Ain't No Mountain High Enough" as both songs contain spoken segments and dramatic musical arrangements. The only cover song is "He's in My Life", which was an album track by The Glass House featuring Freda's sister Scherrie Payne. It was written by Brian Holland, Lamont Dozier and Eddie Holland (under their common pseudonym "Edythe Wayne" to avoid copyright claims by their former employer Motown), jointly with Ron Dunbar.

Three singles were lifted from this album: "Cherish What Is Dear to You (While It's Near to You)," "You Brought the Joy," and "The Road We Didn't Take." The anti-war protest song of "Bring the Boys Home" was released before the latter two to high demand and was not included in the first 50,000 copies of this album. After it became a hit (giving Payne her second gold record), it replaced "He's in My Life" as the album's fourth track.

Contact (Thirteen Senses album)

Contact is the second major label album by Thirteen Senses. Released in the UK on the 2 April 2007, it includes the single "All the Love in Your Hands". The album had originally been scheduled for release on 22 January, but due to more songs being written and recorded, the release was postponed. The band issued a statement on 12 December apologising for the delay and explaining that "our creative juices continued to flow, and we came up with some more material that we couldn't ignore. As a result, we had to record these songs leading to missed production deadlines." As a result of this, "Talking to Sirens" was added to the final record and the song "Final Call" from the promotional CD release of the album was taken out.

Six of the tracks from the album were previewed for a short period of time from 6 October 2006 on the official Thirteen Senses website. These were tracks 1,2,4,5,6 and 9 from the tracklisting below.

"Follow Me" was used in the closing sequence of the season two premiere of Kyle XY.

Bass note

In music theory, the bass note of a chord or sonority is the lowest note played or notated. If there are multiple voices it is the note played or notated in the lowest voice. (the note furthest in the bass) While the bass note is often the root or fundamental of the chord, it does not have to be, and sometimes one of the other pitches of the chord will be found in the bass. See: inversion (music).

In pre-tonal theory (Early music), root notes were not considered and thus the bass was the most defining note of a sonority. See: thoroughbass. In pandiatonic chords the bass often does not determine the chord, as is always the case with a nonharmonic bass.

Bass (sound)

Bass (/ˈbeɪs/ BAYSS; Italian: basso, deep, low) describes tones of low frequency or range from 16-256 Hz (C0 to middle C4). In musical compositions, these are the lowest parts of the harmony. In choral music without instrumental accompaniment, the bass is supplied by adult male bass singers. In an orchestra, the bass lines are played by the double bass and cellos, bassoon and/or contrabassoon, low brass such as the tuba and bass trombone and the timpani (kettledrums). In many styles of traditional music such as Bluegrass, folk, and in styles such as Rockabilly and jazz, the bass role is filled by the upright bass. In most rock and pop bands and in jazz fusion groups, the bass role is filled by the electric bass. In some 20th and 21st century pop genres, such as 1980s pop and Electronic Dance Music, the bass role may be filled with a bass synthesizer.

Musical role

Played in a musical ensemble such an orchestra, such notes are frequently used to provide a counterpoint or counter-melody, in a harmonic context either to outline or juxtapose the progression of the chords, or with percussion to underline the rhythm. In popular music the bass part most often provides harmonic and rhythmic support, usually playing the root or fifth of the chord and stressing the strong beats. "The bass differs from other voices because of the particular role it plays in supporting and defining harmonic motion. It does so at levels ranging from immediate, chord-by-chord events to the larger harmonic organization of a entire work."

Miami bass

Miami bass (booty music or booty bass) is a subgenre of hip hop music that became popular in the 1980s and 1990s. Its roots are directly linked to the electro-funk sound of the early 1980s.

The use of the Roland TR-808 sustained kick drum, raised dance tempos, and frequently sexually explicit lyrical content differentiate it from other hip hop subgenres. Music author Richie Unterberger has characterized Miami bass as using rhythms with a "stop start flavor" and "hissy" cymbals with lyrics that "reflected the language of the streets, particularly Miami's historically black neighborhoods such as Liberty City and Overtown".

Miami bass has never found consistent mainstream acceptance, though it has had a profound impact on the development of Baltimore club, West Coast hip hop, funk carioca, and other genres.

History

1980s

During the 1980s, the focus of Miami bass tended to be on DJs and record producers, rather than individual performers. Record labels such as Pandisc, HOT Records, 4-Sight Records and Skyywalker Records released much material of the genre. Unterberger has referred to James (Maggotron) McCauley (also known as DXJ, Maggozulu 2, Planet Detroit and Bass Master Khan) as the "father of Miami bass", a distinction McCauley himself denies, choosing rather to confer that status on producer Amos Larkins.