Tru (play)

Tru is a 1989 play by Jay Presson Allen, adapted from the words and works of Truman Capote.

Background

Adapted from the words and works of Truman Capote, Tru is set in the writer's New York City apartment at 870 United Nations Plaza the week before Christmas 1975. An excerpt from Capote's infamous unfinished roman a clef, Answered Prayers, recently has been published in Esquire. Having recognized thinly veiled versions of themselves, Manhattan socialites such as Babe Paley and Slim Keith turn their backs on the man they once considered a close confidant. Alone and lonely, Capote — soothing himself with pills, vodka, cocaine, and chocolate truffles — muses about his checkered life and career in what is essentially a two-act monodrama.

There is one anachronism in the script. At one point Capote, talking about suicide, states he has stashed enough pills to stage his own Jonestown Massacre. The Jonestown Massacre did not occur until 1978, three years after the period portrayed in Tru.

TRU (band)

TRU (an abbreviation of The Real Untouchables) was an American hip hop group from Richmond to New Orleans, active from 1992 to 2005. The group originally consisted of rappers on the New Orleans-founded record label, No Limit Records. The members are brothers Master P, C-Murder, and Silkk the Shocker.

History

The group originally consisted of Master P, C-Murder, Silkk the Shocker. King George, Big Ed the Assassin, Cali G, Sonya C, Chilee Powdah and Milkman, before being shortened to just Master P, C-Murder and Silkk the Shocker. The group's first two releases, 1993's Who's Da Killer? and 1992's Understanding the Criminal Mind, were released independently through In-a-minute Records. In 1995, the group was shortened to include just the three Miller brothers and the trio released their third album True on No Limit Records, which was just getting started. It was followed by Tru 2 da Game in 1997 and Da Crime Family in 1999. However by 2003 No Limit had fell on hard times and was shut down. TRU returned in 2004 on Koch Records, released their sixth and final album, The Truth.

Street (Nina Hagen album)

Street is the fifth studio album by German singer Nina Hagen released on July 23, 1991 by Mercury Records. The album is produced by Zeus B. Held with songs written mostly by Hagen. It features songs in both, English and German. Hagen also worked with Anthony Kiedis and John Frusciante of Red Hot Chili Peppers or with English dance music producer Adamski, with whom she later recorded the song "Get Your Body". After toning down her image with the release of her 1989 album Nina Hagen, she kept on making more downtempo songs, this time, with elements of hip hop. Three singles from the album were released, "In My World", "Berlin" and "Blumen Für Die Damen". Street also contains a cover version of the hit song "Good Vibrations" by The Beach Boys.

The cover of the album features Hagen wearing three different outfits designed by Jean Paul Gaultier and Vivienne Westwood, with her name written in a Walt Disney-logo-resembling font.

Track listing

Credits and personnel

References

Mirrorwriting

Mirrorwriting is the debut studio album by British singer-songwriter Jamie Woon. It was released in Europe on 18 April 2011 through Polydor Records. The album started to receive hype after Woon ended fourth on BBC's Sound of 2011 poll. It was preceded by the lead single, "Night Air" on 22 October 2010.

Critical reception

Paul Clarke of BBC Music gave the album a positive review by saying: "Things would probably be quite different for Woon had he’d got his act together sooner. In 2007, his fragile cover of an old folk spiritual placed him pretty much alone at the crossroads between rural blues and urban electronica, a 20-something Robert Johnson from London who’d sold his soul to dubstep instead of the Devil. Today, though, he shares this space with The xx and James Blake; and overshadowed by The xx’s Mercury Prize victory and Blake’s own debut album of earlier in 2011, Woon’s music could now be in danger of sounding wearily familiar rather than darkly mysterious".

Track listing

Eighth Street (IRT Sixth Avenue Line)

Eighth Street was a station on the demolished IRT Sixth Avenue Line. It had two tracks and two side platforms. It was served by trains from the IRT Sixth Avenue Line. It closed on December 4, 1938. The next southbound stop was Bleecker Street. The next northbound stop was 14th Street.

References

Army (Ellie Goulding song)

"Army" is a song by English singer and songwriter Ellie Goulding from her third studio album, Delirium (2015). The song was released on 9 January 2016 as the album's second single.

Composition

"Army" is written in the key of B major with a tempo of 87 beats per minute. Goulding's vocals span from B₃ to B₄. The song was written about Goulding's best friend.

Music video

The music video for "Army" was directed by Conor McDonnell and premiered on 14 January 2016. Shot in black and white, the video features Goulding having fun with friends in several settings, as well as performing the song live.

Credits and personnel

Credits adapted from the liner notes of Delirium.

Army (1944 film)

Army (陸軍 Rikugun) is a 1944 Japanese film directed by Keisuke Kinoshita and starring Chishū Ryū and Kinuyo Tanaka. It is best known for its final scene, which Japanese wartime censors found troubling.

Army tells the story of three generations of a Japanese family and their relationship with the army from the Meiji era through the Japanese invasion of Manchuria. Ryu plays the man of the middle generation, Tomohiko, and Tanaka his wife Waka. A large portion of the movie concerns Ryu's and Tanaka's concern that their oldest son Shintaro will be too weak to become a good soldier and their efforts to mold him into one. Other portions of the movie include Tomohiko's own exclusion from fighting during the Russo-Japanese War due to illness, and his later indignation when a friend suggests that Japan could lose a war.

In the wordless final scene of the movie, Shintaro marches off with the army for deployment in the invasion of Manchuria. Tanaka's character runs alongside him tearfully and expresses her anxiety over his well-being. Japanese wartime censors were upset by this scene because Japanese mothers in films were supposed be depicted as being proud to send their sons to battle, and not being at all upset about it. According to film critic Donald Richie, the scene was spared being cut because arguably Tanaka's emotions were caused by her internal conflict between her duty to be happy to send her son off to war and her own selfishness by loving and trying to possess him.Criterion Collection essayist Michael Koresky and others attribute the fact that the script escaped censorship of this scene to the fact that the scene is wordless, and so in the script it merely states "The mother sees the son off at the station.” Koresky attributes the scene's power to purely cinematic elements, i.e., "expressive cutting, the variations in camera distance, Tanaka’s stunning performance."