Trio - Bum Bum Grauzone - Eisbär DAF - Der Mussolini Andreas Dorau - Fred vom Jupiter Der Plan - Da Vorne steht 'ne Ampel Za Za - Zauberstab Peter Schilling - Völlig Losgelöst Palais Schaumburg - Wir bauen eine neue Stadt Hubert Kah - Sternenhimmel Fehlfarben - Ein Jahr (Es geht voran) UKW - Sommersprossen Steinwolke - Katharine DöF - Codo Nena - Nur Geträumt Ideal - Eiszeit Extrabreit - Hurra, Hurra, die Schule brennt
Neue Deutsche Welle (New German Wave, often abbreviated NDW) is a genre of German music originally derived from punk rock and New Wave music. The term "Neue Deutsche Welle" was first coined by journalist Alfred Hilsberg, whose article about the movement titled "Neue Deutsche Welle — Aus grauer Städte Mauern" ("New German Wave — From Grey Cities' Walls") was published in the German magazineSounds in 1979.
The history of the Neue Deutsche Welle consists of two major parts. From its beginnings to 1981, the Neue Deutsche Welle was mostly anunderground movement with roots in British punk and New Wave music; it quickly developed into an original and distinct style, influenced in no small part by the different sound and rhythm of the German language which many of the bands had adapted from early on. Whilst some of the lyrics of artists like Nena and Ideal epitomized the Zeitgeist of urban Germany during the Cold War, others used the language in a surreal way, merely playing with the sound or graphic quality of the language rather than using it to express meaning, as done by bands and artists like Spliff, Joachim Witt and Trio.
The main centers of the NDW movement during these years were Berlin, Düsseldorf, Hamburg, Hannover and Hagen as well as, to a lesser extent, the Frankfurt Rhein-Main Region, Limburg an der Lahn and Vienna (Austria).
From about 1980 on, the music industry began noticing the Neue Deutsche Welle; however, due to the idiosyncratic nature of the music, the focus shifted to creating new bands more compatible with the mainstream, rather than promoting existing bands. Many one-hit wonders and short-lived bands appeared and were forgotten again in rapid succession, and the overly broad application of the "NDW" label to these bands as well as to almost any German musicians not using English lyrics, even if their music was apparently not influenced at all by the 'original' NDW (including pure Rock bands like BAP or even Udo Lindenberg) quickly led to the decay of the entire genre when many of the original musicians turned their backs in frustration.
Around 1983/1984, the era of the Neue Deutsche Welle came to an early end, following the oversaturation of the market with what was perceived as stereotypical, manufactured hits.
A revival of interest in the style in the Anglophone world occurred in 2003, with the release of DJ Hell's compilation New Deutsch. The NDW has come to be acknowledged as a forerunner to later developments in dance-punk, electronic body music, and electroclash.
In the 2000s, the term is being used by the Berlin-based rap label Aggro Berlin to describe a supposed new German rap movement that they claim to be a part of. This was the subject of Aggro-signed Fler in his 2005 single Neue Deutsche Welle.
Artist Jen Ray sits down with Zeena to discuss her teenage encounter with her inspiration Mae West, her relationship with her artistic mentor Kenneth Anger, discusses her experiences with US media during the "Satanic Panic" years, and her current literary, musical and artistic work.
Zeena Schreck is the daughter of Anton LaVey and was the High Priestess and spokesperson of the Church of Satan from 1985–1990. In 1990, Zeena Schreck publicly renounced and exposed the fraudulent personality cult she was born into known as the Church of Satan, severing all connection to its founder, Anton LaVey and discontinued use of her born surname "LaVey". She is also the former High Priestess of the Temple of Set and the co-director of the Werewolf Order and Radio Werewolf, which she led from 1988-1993 with her husband, musician and author Nikolas Schreck.
Today, Zeena is an artist/musician/writer, practicing Tibetan Buddhist yogini, and the Hemet-neter tepi Seth, founder and leader of the Sethian Liberation Movement (SLM) since 2002.
Roger Zelazny's original story of Damnation Alley was seriously compromised in the final script. Zelazny was quite pleased with the first script by Lukas Heller and expected it to be the shooting script. However, the studio had Alan Sharp write a completely different version that left out most of the elements of Zelazny's book. Zelazny did not realize this until he saw the movie in the theater. He hated the movie, but assertions that he requested to have his name removed from the credits are completely unfounded, since he did not know there was a problem until after the movie had been released.
Production was rife with problems - the devastated landscapes and giant mutated insects proved to be nearly impossible to create despite the large budget. For example, a sequence involving giant 8-foot-long (2.4 m) scorpions attacking a motorcycle was first attempted using full-scale scorpion props, but they did not work and the resulting footage was unacceptable. The solution was to use actual scorpions composited onto live action footage using the blue screen process in post production - unfortunately with poor results. Another action sequence with giant cockroaches used a combination of live Madagascar Hissing Cockroaches and large numbers of rubber bugs, which looked unconvincing onscreen as the strings pulling the fake insects were plainly visible.
The centerpiece of the film, the 12-wheeled, seven-ton "Landmaster", performed much better than expected. The Landmaster was so convincing, in fact, that Fox demanded that more shots of the Landmaster appear in the film to make up for shortcomings. The decision was also made to add "radioactive skies" in post-production to add the visual excitement of a "post-Apocalyptic" world to the film.
Because of this last-minute decision, Damnation Alley was in post-production for over 10 months due to the difficult process of superimposingoptical effects on the sky in eighty percent of the shots. It was during this period that 20th Century Fox released their "other" science fiction film for 1977. The studio had planned to release only two science fiction films that year, with Damnation Alley intended to be the blockbuster.
The other film — in which 20th Century Fox executives had very little confidence — was Star Wars.
Star Wars became a massive hit, and forced Fox to readdress Damnation Alley. In a panic, the release date was delayed further while Fox went in to re-edit the entire film. Directorial control was wrestled from Smight, and large sections of the film were edited out by the studio, including several key scenes critical to the storyline (much to the chagrin of the star, George Peppard). The film was finally released on October 21, 1977 to poor reviews and tanked at the box office.
Promotional picture of the Landmaster fromDamnation Alley
Perhaps the most notable aspect of the film was the Landmaster vehicle, which features a hinged center section, and a unique rotating 12-wheel assembly. The "Landmaster" was custom-built for the film at a cost of $350,000 in 1976. ($1.4 million in 2010 dollars)
The Landmaster was sold to a private owner in 2005 and was restored to its original condition as featured in the film. The Landmaster was then on the show car circuit for several years. In 2007 it was featured at the San Francisco Rod & Custom Show at the Cow Palace in San Francisco, California as part of special exhibit with other notable movie and TV cars. Some time in 2009, the Landmaster was vandalized while in storage. The damage is relatively minor, but repair and restoration is required again.
The Landmaster should not be confused with the superficially similar but simpler Ark II.
A few big-city premiere engagements of Damnation Alley were presented in Sound 360, a high-impact surround sound process.
Jerry Goldsmith's score made good use of the wide stereo separation afforded by Sound 360, particularly in the opening theme, with fanfares emanating from each side of the theater in turn.
Collection - The Wisdom of David Lee Roth
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