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1. Interstellar Theme Music - Indian Jam Project

Interstellar Theme Music - Indian Jam Project

An Indian tribute to one of the greatest movies ever made and to the genius Hans Zimmer ! In this adaptation, we combine the tracks, "First Step" and "Stay" (by Hans Zimmer) from the movie Interstellar in our own Indian way! Feel free to share, like, comment and subscribe :) Cheers ! ________________________________________________________________________________________ The Indian Jam Project is a collaborative platform where different musicians come together to play Indian Adaptations of Western TV Show Theme Songs/ Movie Scores. The adaptations are arranged and composed by Tushar Lall (Founder), and are performed together with some insanely talented set of musicians . Indian Jam Project has received a lot of love from all over the world! Thanks for all the love and support! It makes us do what we're doing! Cheers! Follow us on Facebook and check out our website for latest updates, bloopers and lots more! Click on the link below! ______________________________________________________________________________________ Credits: Adaptation Composed and Arranged by : Tushar Lall (Keyboard) | [email protected] Instagram: tusharlall Twitter : @tusharlall02 Tabla, Percussions Arranged by: Samay Lalwani [email protected] twitter: samay316 | Flute: Prathamesh Salunke Sitar: Namish Singh _________________________________________________________________________________________ Produced by: Tushar Lall ________________________________________________________________________________________ Filmed by: Amitesh Mukherjee (Video Editor/ Director) Tuhin Mukherjee (Cinematographer/ Director) ________________________________________________________________________________________ A special thankyou to Siddhant Bhosle and Paolomi Dharamshee for helping us out! Cheers! :D ________________________________________________________________________________________ (We do not own the copyrights to any of the content.This video is purely meant for entertainment.)

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2. Episode 52: Captain America, Venom, and Movie Music

Episode 52: Captain America, Venom, and Movie Music

In this, the ONE YEAR EPISODE, of Reel Movie Talk the guys discuss Chris Evans' future as Captain America, Into the Spider-Verse, James Gunn's return to Superhero films, Lady Gaga ruining Venom, Trailers, the Weekend, and Trivia. They also play an awesome game (feel free to play along) of matching songs to the movie for which they are written. Be sure to let us know how you do in the game! Also, don't forget to tell us what your favorite Halloween movie is so that the guys can add it to their review list. Please be sure to like, comment, subscribe, and tell your friends about the show! It really helps out!! Are you still reading this? Wow. You really commit. I am proud of you! *All rights to the songs used in this episode are owned and retained by the producing studios. We do not own the rights to the music used.*

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3. 2: The Exhilaration of Being Shot at Unsuccessfully

2: The Exhilaration of Being Shot at Unsuccessfully

Getting Rec’d Episode 2 “The Exhilaration of Being Shot at Unsuccessfully” Welcome to the second episode of Getting Rec’d, a podcast where two friends share their favorite pop culture works. In this episode, we squee about robots with a discussion of the 1950s sci-fi classic The Day the Earth Stood Still. Then, we delve into the interesting films and even more interesting life of German director Werner Herzog. Topics include veterans in the film industry, old-timey fake news, EXTREMELY method filmmaking, and gender bias in archeology. CORRECTION: The writer of the short story The Day the Earth Stood Still is based on, “Farewell to the Master”, is Harry Bates -- Edmund H. North adapted the story for the movie screenplay. For reference and more info: Werner Herzog’s The Rogue Film School The Enigma of Werner H (John O’Mahony, The Guardian) Were the First Artists Mostly Women? (Virginia Hughes, National Geographic) Toward Decolonizing Gender: Female Vision in the Upper Paleolithic (PDF) (Catherine Hodge McCoid and Leroy D. McDermott, American Anthropologist) For links, references, and more, visit our social media! Twitter: Tumblr: Soundcloud: Email: [email protected] In Episode 3, we will continue our discussion of The Talos Principle, and cover the 2018 sci-fi novella The Only Harmless Great Thing by Brooke Bolander. Feel free to play, read, and discuss with us on social media or email! Theme music composed by Bill Loose.

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4. Namaste Papi (Ninth song in the Moonlight Project, 3rd version)

Namaste Papi  (Ninth song in the Moonlight Project, 3rd version)

The lover breaks out of an affair to experiment elsewhere, and the lover's partner is more surprised than hurt or betrayed. There is a new passion between the lovers because of this dance outside the boundaries of a relationship. The lovers then see each other in a new light. This song, Namaste Papi, is part of the Moonlight Project, created by Peter Fox and Seanie Blue, and produced by Fox, Blue and Sandra Bishop and Steve McCormick. It is one of 13 base songs, each of which have up to a dozen variations. The Project will eventually have more than 100 songs in its collection. Written and produced in Venice Beach and Washington DC, the project explores how memory of a love affair can be much more fulfilling than the actual relationship. Love is described here as a star, subject to the physical laws of celestial mechanics: the bigger the star, the more quickly it burns out. The Moon reflects vanished starlight, or sunlight, and the nighttime sky gazer sees in the Moon the memories of a burned-out love. The 13 songs explore the process of a passionate love affair as it becomes a torrid memory. The lead vocal in this version is performed by Marjani Clark. The lead vocal in Spanish is by Sandra Bishop. Chorus vocals include Jonelle Vette, Bishop, Nika Smith-Jones, Sophie Holt and Neeta Ragoowansi. The idea was to meld a Himalayan influence to an Iberian rhythm, mimicking the travel of Rajasthani chants from NW India through the Middle East and Eastern Europe to the south of Spain, where those chants and stories emerged as flamenco in Andalucia in the 15th Century. For this, I wanted to experiment with a poor band's sound from the Caribbean. The horns should be Cuban, modeled at first on the horn sound of the band Las Orishas, but eventually stripped down to a single player: David Ralicke, who is on trumpet for Dengue Fever. But the trumpet is a military and aristocratic instrument, relative to other horns, so we asked David to play the trombone instead, hoping to create a more informal and "impoverished" Caribbean sound. I'd seen this to great effect with bands that play Punta Rock style in the oddly distinct community of Punta Gorda, in Guatemala. Punta Rock was best exemplified by the Punta Rebels, about whom I made a documentary in 2000 with Helmuth Humphrey. The lone horn meant that the band was trying for a bigger sound, but simply couldn't afford to carry the additional players to have the normal threesome on horns. Ralicke immediately got it, and insisted on giving us a lonely trombone even though the trumpet is his pro instrument. But as we added muscle to the tune, the opportunity came up to record Chris Watling of the Grandsons of the Pioneers. He showed up with a tenor saxophone and a baritone saxophone. I remembered a conversation I'd had in 1993 with Steve Berlin, whose sax is a signature of his band's unique sound: Los Lobos is not the Caribbean, but their East L.A. timbre is arguably the most glamorous of all lower-class Latin music, even with the recent explosion of interest in truly poor musicians in Havana. "The tenor just sounds more refined," said Berlin, "So when I want to get people moving and they're broke or oppressed, the songs they seem to respond to have a fatter and more resonant horn, and that's when you should use the baritone." These were not his exact words, of course, but paraphrase what he was explaining to me then as he prepared to play for tens of thousands of yuppies at the Clinton inauguration on the Mall. The audience is susceptible to socioeconomic conditions when listening to music: UB40, another band dependent on its sax sound, got its name by playing concerts to which people could only attend if they showed their Unemployment Benefits Form 40, hence the name UB40. So when Watling showed up last Friday with both tenor and baritone saxophones, it was easy for me to explain why we wanted the barry: the tenor never was taken out of its case. Watling waved me off and went to work, understanding that I wanted more lament in the song than pronouncement, and he delivered beautifully. So this song has two horns, Ralicke on the trombone and Watling on the baritone sax. They punctuate the song's six different melodies. I haven't talked it over with Peter, but I think of all the songs we've created or produced, six melodies is the most in any one song. And of those six melodies, at least three could be described as "hooks," music to any musician's ears! But where did they come from? How were they elaborated and protected? And most importantly, how did the melodies and the rhythms join to give this song its timbre? The "mindprint" that Namaste Papi delivers to its listeners is the result of an idea evolving from a collective chant into a pop tune. I maintain that the mindprint is the most important feature of a song when the audience is taken into consideration. Successful musicians seem able to read the moods of their audiences; equally good musicians who are not successful do not have this ability, or ignore it, or are (usually) unaware that an audience even has a mood. The mindprint is what the audience takes away from hearing a song: it is part physical echo in the ear, partly instant nostalgia depending on personal factors such as emotional distress or euphoria, and partly the ease of repeating a melody that is couched in a distinct rhythm. The mindprint is slightly different from timbre, because the latter refers to a band's continuous sound. The Rolling Stones in concert today emit a certain timbre that is instantly recognizable to anyone familiar with their repertoire. The mindprint of a song such as "Sympathy for the Devil" is very different from the mindprint for "Angie," for instance. The weakness in my collaboration with Peter is our lack of a constant timbre. This lack has kept us from continuous collaboration musically, and also prevented us from settling on a "finish" to our songs. Even today, we are stretching in various directions, and moving away from a solid timbre. We do not have that instant aural musical stamp that you can hear from acts such as Cocorosi or Electric Guest or Fitz and the Tantrums. Do we move towards the sound of a band like Of Men and Monsters, my pop preference, or towards a sound like Mumford and Sons, which might better suit Peter? We are agreed that the fascinating metamorphosis of Zach Condon and Beirut in the song "The Rip Tide" might suit both of us, but could we really take that kind of musical risk as unknown collaborators? So we are a bit adrift in terms of an overall sound, and yet uncannily sure about how to construct and present a single song according to the song's needs and the audience's desire to listen a certain way. Namaste Papi is a great example of this dichotomy. We had a marvelous talent fall into our lap. Nicolas Smith-Jones was playing violin in Abbot Kinney when Peter and I were out for a walk. I pestered her about playing with us for three months before she showed up with three cans of mace and reluctantly sang our songs. She's a teenager; the crowings of old men were a waste of her time, but she loved Sandra and she adored the fact that we had huge ambitions musically but seemed to have no prospects commercially. She was born in the Himalayas. Sandra is a flamenco dancer. We begged Nika to watch the movie "Latcho Drom," which recounts the evolution of a single musical form from the deserts of Rajasthan to the craggy cliffs of Ronda in Andalucia. A phrase popped into my head: Namaste, that over-used Himalayan greeting, and Papi, the diminutive for an authority figure in the Latin Caribbean or the endearment of a father or lover. I croaked out Namaste Papi in a musical phrase which got instantly corrected by the talent around us in Venice, and Nika provided the violin and vocal to a bossa nova swing that might have evolved into salsa if Peter hadn't applied some brakes. Another odd hook, "Oh naive young girl . . ." was rescued from a song we'd written 15 years ago, and served as a counterpoint to the song's schmaltzy beginnings: Nika is perpetually sweet, and I have a much more sour agenda, so this line transformed the song from a love ditty to a threat against letting one's emotions fool oneself. The song's content then turned intellectual, and certain lines and ideas came easily once the flow of music began. Sandra was a critical contributor to the Spanish section of the song, which puts it into several categories we'd never imagined when the song was born. The song was written in a day, and improved over the course of a week. Myself, Peter, Nika and Sandra were the authors of its framing and melodic structures, as well as its storyline, which was dramatically improved last week, but the timbre and textures of the song are really the result of the song's own interests. It's always dangerous to claim that songs have their own ideas about anything, since science will never prove this, but I firmly believe that every song has its own destiny: a song's celebration of self is often stifled by the musicians who attempt its translation or performance. I've met many songs suffocated by a musician's ideas rather than stuffed with the song's own possibilities. How many times do we hear about songs that land fully formed in a musician's head, out of nowhere? These are good songs when they come in like this, unbothered by a musician's efforts to burnish or amplify. McCartney sang "Yesterday" in a dream, woke up, played it for Lennon and admitted that he thought he'd copped it from somewhere else because he was so sure he'd heard the song before, many times, it was that familiar to him; but it didn't matter, Lennon declared it a piece of shit, and "Yesterday" was ignored for years until George Martin listened once and predicted a massive hit. Hated and loved, "Yesterday" is one of the most familiar songs in our society, but it never got a bit of help from McCartney and nothing but a slap in the face from Lennon. But, back to our own texture and timbre problems . . . Michael Jerome Moore, the fabulous drummer for Velvet Underground's John Cale AND the fab drummer of Better Than Ezra AND the battery machine of legendary Richard Thompson, came in to record several songs, met Nika and Sandra, loved what he caught of the vibe in the recording studios at Peter's and Steve McCormick's, and quickly explained how he would drum for Namaste Papi when he heard the rough mixes of the song. No drums. A Cajon and percussion only. Fine with me, since this would meet with the faux impoverishment of the song's roots. I carefully avoided the word "Cuba" except to drop Las Orishas as a sort of spiritual cousin to our efforts, and Michael was completely on board. It was during his transformation from enormous drum kit monster to rhythm master on the cajon, a large single drum that is best described as a leather box, while wearing jangly bells on his feet and arms, that the song found its own skin, or sound. He advised us to bring in Joe Karnes on the electric bass, and the song's rhythm was born. Karnes was on the verge of stardom with Fitz and the Tantrums, but had made a reputation as the bassist that could do anything. He was all over TV shows in bands put together for a showcase, or he toured with bands that needed a super talent, and he was among the first of the session cats hauled into studios across L.A., but he had never locked into a single enormous commercial act, and didn't appear to have that ambition. Fitz and the Tantrums would turn his life upside down. But he could come in with Michael Jerome and provide a live rhythm section as Peter ran through the structures of the song. By the time Karnes and Moore showed up to record, Peter and I had had several discussions about how we assembled songs for the Moonlight Project. We were becoming alarmed at how smooth and "produced" the songs might become as we added dozens of instruments and players. Steve McCormick, who provides electric guitar on this version of Namaste Papi, had done the brunt of the recording of the Moonlight Project at his Mar Vista studio, and he repeatedly warned me about over-production. Our songs regularly had 50 tracks, and though we'd managed to keep the instruments relatively clear, there were few live combinations in our recording process. We rarely had as many as two or three musicians playing at one time. Namaste Papi, perhaps more than any of our other songs, needed some sort of live interactivity: percussion and bass would turn out to be what the song demanded, and to have Moore and Karnes there to provide it was a stroke of fortune. Elsewhere, I will elaborate more fully on my relationship with Jerome: I traveled to the wilds of Pennsylvania and to the House of Blues on Mardi Gras in New Orleans to record him playing with Better Than Ezra, followed him to Brussels and Amsterdam to document his touring with Richard Thompson, and then to Portugal as he toured with John Cale, all because of his enthusiasm for the thought-out procedures we followed in creating and then casting our songs. For Jerome, this approach was potentially much more useful than the traditional song-writing within a band: "You guys can live by your own rules, and there's no market forces demanding that you do anything or follow up anything you did before, so everything seems to be a process of invention, I mean, to the minute, to the second, and that's the way songs sound fresh and memorable." Again, he is paraphrased here. His enthusiasm was electric. No doubt he will be both shocked and satisfied when he hears this version of the song, so much fatter than he remembers. Namaste Papi is not finished. There are its variations to pursue, and minor corrections to undertake here, in this version. A cellist is already at work learning her lines for a stripped-down version that will feature more strings and less keys and horn. The powerhouse flamenco guitarist Michael Perez has to be brought in on that version. So we will be distracted by other chores related to this song and its cousins in the Moonlight Project. But at least this version begins to travel. This is an informal work in progress, and we plan to release the song on August 31, with an enormous party at the crumbling Gatsby Mansions to celebrate, happening on a blue moon: August has two full moons, the first on Thursday, August 2, and then the second on August 31. Hopefully we can provide a spectacle that could be referred to as happening "once in a blue moon." More to come, very soon! Your reactions are critically important to us, so please please feel free to give them. Seanie Blue July 26 Friendship Heights

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5. Ubie Dropout - Fox And The Hound

Ubie Dropout - Fox And The Hound

Fox and the hound Since it is taking me a little longer then expected to finish my new track I thought this may be as good of time as any to dig up an oldie but a "goodie" from my production catalog. This is a bit different from what I am currently working on but it has a great story to tell. This track started out many years ago as a pure acoustic track and was released on a CD called "The learning Process", in 2004. Then In 2008 I produced a 10 song electronic CD called "The after Effect" which this was the first song on. The lyrics can be found below which you are welcome to read or sing along at your leisure. You can also find a video for this track on my YouTube channel which was shot In Austin Texas a short time after The CDs official release. The song is named after the book and classic Disney movie sharing many of the same philosophical ideas which were expressed within the two earlier mediums. As a young child I was taken to this movie on my birthday by my oldest brother and was emotionally effected by the true realities that were spoken of through the use of the usual playful cartoon format. Since I was so young the meaning of this film most likely hit the hardest on the subconscious level but later when I viewed this film as an adult I was given more clarity of the sad but true reality which was presented to me as a youth. Like the movie this song communicates how time is always changing and that how your best friends of your youth can become your worst enemies when you are all grown up. As big mama the owl preached and I sing "The funny thing about time is that its always changing". If your interested in purchasing either one of my CD's feel free to visit the links below which take you to ITunes, Amazon or CD baby. FOX AND THE HOUND (Lyrics)   Woke up one morning there Your still whistling through the trees Oh what a time its been Flash went the dream, still just a memory Feeling lost without a cause It seems life left nothing to hold you For the moment that time has come and gone Better balance life in the center   As a kid you know how to play the game Cushioned for the fun that was worth your while Can you remember feeling forever Now its just a distant past The funny thing about time Is that it has its way of changing Any thought of sorrow visualize in your head On a piece of paper, then burn it up   Still feel so heavy from that whatever Can’t seem to figure, all alone Constant memories always left behind It seems to be all that stays around The hearts desire filled with the need For you to be that special one But maybe its time to fall apart The tears we cry spell out that last goodbye. If you are interested in supporting any of my work please find one of my CD's at any of the below internet stores and thank you for your contribution.

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6. The OtR Podcast - Episode 3

The OtR Podcast - Episode 3

Gaming: Sweet 10 Year Anniversary XBOX Things you should know about GTA V New and Radical crysis game? Walking Dead Season Finale coming soon Steam drops Slendeman game Black Friday Deals Listing 100 greatest games Supposed 720 specs and information THQ sued for virtual ink Free to play hell? Nuketown 2025 Nuked? Tech News: No FB app for Windows 8? 700Mbps Google Fibre Extras: Bane Plays Slender New an Improved MySpace Indie Game: The Movie Show music is provided by:

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7. Gentle On My Mind

Gentle On My Mind

John Hartford was an American folk, country and bluegrass composer and musician known for his mastery of the fiddle and banjo. He went to see the movie Doctor Zhivago the night he wrote this song, and many a critic has made a whole lot out of that. Hartford has however stated that it maybe gave him a feeling that caused him to start writing the song, but he thinks that it mostly just came from his life´s own hard luck experience. Bob used to play this song every morning for the guests during breakfast when he was a hotelier at Hotel Ranga in Iceland but it was then in Dean Martin:s "Las Vegas version". He took the song greatly to his liking and thinks that the lyrics are songwriting at one of its finest moments, describing hardluck love not lost in the roughest of worlds. Musical credits Lead vocals – Bob Borealis Duo vocals – Katarina Niklasson Guitars – Mats Ymell Piano, keyboards – Magnus Eklund Bass – Gunnar Nordén Drums – Magnus Sjölander Orchestral arrangement – Magnus Eklund GENTLE ON MY MIND It's knowing that your door is always open and your path is free to walk That makes me tend to leave my sleeping bag rolled up and stashed behind your couch And it's knowing I'm not shackled by forgotten words and bonds And the ink stains that have dried up on some line That keeps you in the back roads by the rivers of my memory That keeps you ever gentle on my mind It's not clinging to the rocks and ivy planted on their columns now that binds me Or something that somebody said because they thought we fit together walking It's just knowing that the world will not be cursing Or forgiving when I walk along some railroad track and find Moving on the back road by the rivers of my memory And for hours you're just gentle on my mind Although the wheat fields and the clotheslines and the junkyards and the highways come between us And some other woman cryin' to her mother 'Cause she turned and I was gone I still might run in silence, tears of joy might stain my face And the summer sun might burn me till I'm blind But not to where I cannot see you walkin' on the back roads By the rivers flowin' gently on my mind Well I dip my cup of soup back from the gurgling crackling cauldron in some train yard My beard a roughening coal pile and a dirty hat pulled low across my face Through cupped hands 'round a tin can I pretend I hold you to my breast and find That you're waving from the back roads by the river of my memory Ever smiling ever gentle on my mind Ever smiling ever gentle on my mind Written by John Hartford and John Prine Copyright: Sony/ATV Melody, Walden Music Inc., Sour Grapes Music Inc.

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