"Drama!" is the first single released by Erasure from their fourth studio album Wild!. It was issued by Mute Records in the UK and Sire Records in the U.S.
Written by Vince Clarke and Andy Bell, the synthpop song begins with a low-key keyboard line and a subdued vocal from Bell. As the song progresses, the instrumentation and vocals become more hectic, ultimately ending as a full-blown dancefloor anthem. "Drama!" is known for its mob-shouted "Guilty!" exclamation throughout and Bell's intricate, multi-layered background vocals. Lyrically the song addresses a person who could be considered a drama queen, experiencing "one psychological drama after another" about everyday struggles that are universal and are easily dealt with by most people. Lines such as "your shame is never-ending!" are directed at the subject of the song. The mob's vocals were added to by The Jesus and Mary Chain, who happened to be recording in the studio next door.
Released prior to Wild!, "Drama!" continued Erasure's winning streak on the UK singles chart, peaking at number four. In Germany the single also fared well, hitting number twelve. "Drama!" did not continue Erasure's chart success in the United States, where it failed to enter the Billboard Hot 100. It did, however, climb to number ten on the U.S. Hot Dance Music/Club Play chart.
In the context of film and radio, drama describes a genre of narrativefiction (or semi-fiction) intended to be more serious than humorous in tone, focusing on in-depth development of realistic characters who must deal with realistic emotional struggles. A drama is commonly considered the opposite of a comedy, but may also be considered separate from other works of some broad genre, such as a fantasy. To distinguish drama as a genre of fiction from the use of the same word to mean the general storytelling mode of live performance, the word drama is often included as part of a phrase to specify its meaning. For instance, in the sense of a television genre, more common specific terms are a drama show, drama series, or television drama in the United States; dramatic programming in the United Kingdom; or teledrama in Sri Lanka. In the sense of a film genre, the common term is a drama film.
The hurricane is a sweet alcoholic drink made with rum, fruit juice, and syrup or grenadine. It is one of many popular drinks served in New Orleans.
The creation of this passion fruit–colored relative of a daiquiri is credited to New Orleans tavern owner Pat O'Brien. The bar allegedly started as a speakeasy called Mr. O'Brien's Club Tipperary and the password was "storm's brewin'."
In the 1940s, he needed to create a new drink to help him get rid of all of the less-popular rum that local distributors forced him to buy before he could get a few cases of more popular liquors such as scotch and other whiskeys.
He poured the concoction into hurricane lamp–shaped glasses and gave it away to sailors.
The drink caught on, and it has been a mainstay in the French Quarter ever since. It is more commonly served in a disposable plastic cup, as New Orleans laws permit drinking in public and leaving a bar with a drink, but they prohibit public drinking from glass containers.
Turbomasters were an Australian, Canadian, and European exclusive range of Transformers toys, released in 1992 as part of their final year of products for the original franchise. A subgroup of the Autobots, there were six Turbomasters: Thunder Clash, Rotorstorm, Boss, Hurricane, Flash, and Scorch. They all had the gimmick of missile launchers which became their engines or turbines when in vehicle mode. Their rivals were the Decepticon Predators. A seventh Turbomaster called Hyperdrive was designed but never released.
Members
Thunder Clash - Function: Commander-in-chief. Thunder Clash is the leader of the Turbomasters and commands the respect of the Autobots, and the loathing of the Predators. He possesses a sharp and keen strategic mind, able to counter the abilities the Predators possess. Thunder Clash transforms into a Cybertronian truck cab with an accompanying trailer, which transforms into a command center.
Rotorstorm - Function: Guide and strategician. The only airborne member of the Turbomasters, Rotorstorm transforms into a helicopter. Possesses a "dodge" ability that allows him to guide his grounded comrades. He maintains an image that he is a ruthless and fearless fighter, respected by all, even the Decepticons, so that he can inspire and motivate his comrades.
"Hurricane" is a song written by American rock band Thirty Seconds to Mars that is featured on their third studio album, This Is War. The song was written by lead vocalist and songwriter Jared Leto and produced by Leto, Flood and Steve Lilywhite. There are two versions of this song, one which is included on the album and another which is a collaboration with rapper Kanye West, titled "Hurricane 2.0", which was released as the fourth single from the album in November 2010. This version only appears on the deluxe version. The latter has a variation in certain parts of the track. "Hurricane" was awarded Best Single at the Kerrang! Awards 2011. The thirteen-minute music video, directed by Leto under the pseudonym Bartholomew Cubbins, garnered controversy when it first premiered on November 29, 2010, causing it to be banned by MTV due to containing sexual content. An edited version, however, was put on heavy rotation on MTV2.
Background and recording
Jared Leto wrote the piano ballad "Hurricane" in winter 2007 whilst in Berlin. In an interview, Jared said the following about the song:
Pairing: Sung Gijae & Park Kyutae
Video: The boy next door
Audio: in the end of the video
Comment: After watching the whole thing still came to conclusion that it's great drama, too bad it's not completely BL, but I'll treat this series as a prequel to boys future relationship. The ep 8-9 was so hilarious, I can't...this drama is hilarious in itself and ending is not so bad, ep 10 may disappoint you a bit, but they'll get in track later )) so try watching, it's good ))
published: 01 May 2017
Dramatic visuals from the Bahamas as Hurricane Dorian pounds the island
Hurricane Dorian struck the northern Bahamas as a catastrophic Category 5 storm on Sept. 1. Read more: https://wapo.st/32ksuck. Subscribe to The Washington Post on YouTube: https://wapo.st/2QOdcqK
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published: 03 Sep 2019
Voice of the Hurricane (1964) | British De-Colinzation Drama
From The NY Times, June 3, 1964 :
As crude as it is—and, believe me, "Voice of the Hurricane" is so crude, so naive and obvious in places that it's hard to keep from snickering at it — there is still a kind of wholesome simplicity and sincerity about this film to save it from the critical slaughtering to which it frequently seems doomed.It is like a parable concocted by a country preacher to show that the problem of racial hatreds may be solved by an outpouring of love. Obviously, it is hackneyed. Its story is such a compound of clichés that it seems its diligent authors have used every one in the book. It is ponderously acted and directed. It smells of an indoor studio. But it appears so confident and guileless that it leaves you submissive and mute.Made by Moral ReArmament at its Mackin...
Pairing: Sung Gijae & Park Kyutae
Video: The boy next door
Audio: in the end of the video
Comment: After watching the whole thing still came to conclusion that ...
Pairing: Sung Gijae & Park Kyutae
Video: The boy next door
Audio: in the end of the video
Comment: After watching the whole thing still came to conclusion that it's great drama, too bad it's not completely BL, but I'll treat this series as a prequel to boys future relationship. The ep 8-9 was so hilarious, I can't...this drama is hilarious in itself and ending is not so bad, ep 10 may disappoint you a bit, but they'll get in track later )) so try watching, it's good ))
Pairing: Sung Gijae & Park Kyutae
Video: The boy next door
Audio: in the end of the video
Comment: After watching the whole thing still came to conclusion that it's great drama, too bad it's not completely BL, but I'll treat this series as a prequel to boys future relationship. The ep 8-9 was so hilarious, I can't...this drama is hilarious in itself and ending is not so bad, ep 10 may disappoint you a bit, but they'll get in track later )) so try watching, it's good ))
Hurricane Dorian struck the northern Bahamas as a catastrophic Category 5 storm on Sept. 1. Read more: https://wapo.st/32ksuck. Subscribe to The Washington Post...
Hurricane Dorian struck the northern Bahamas as a catastrophic Category 5 storm on Sept. 1. Read more: https://wapo.st/32ksuck. Subscribe to The Washington Post on YouTube: https://wapo.st/2QOdcqK
Follow us:
Twitter: https://twitter.com/washingtonpost
Instagram: https://www.instagram.com/washingtonpost/
Facebook: https://www.facebook.com/washingtonpost/
Hurricane Dorian struck the northern Bahamas as a catastrophic Category 5 storm on Sept. 1. Read more: https://wapo.st/32ksuck. Subscribe to The Washington Post on YouTube: https://wapo.st/2QOdcqK
Follow us:
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From The NY Times, June 3, 1964 :
As crude as it is—and, believe me, "Voice of the Hurricane" is so crude, so naive and obvious in places that it's hard to kee...
From The NY Times, June 3, 1964 :
As crude as it is—and, believe me, "Voice of the Hurricane" is so crude, so naive and obvious in places that it's hard to keep from snickering at it — there is still a kind of wholesome simplicity and sincerity about this film to save it from the critical slaughtering to which it frequently seems doomed.It is like a parable concocted by a country preacher to show that the problem of racial hatreds may be solved by an outpouring of love. Obviously, it is hackneyed. Its story is such a compound of clichés that it seems its diligent authors have used every one in the book. It is ponderously acted and directed. It smells of an indoor studio. But it appears so confident and guileless that it leaves you submissive and mute.Made by Moral ReArmament at its Mackinac Island studio, with several rather nice color inserts of wild animals shot in Kenya, East Africa, it tells of a tense situation on a British East African settler's farm during an abortive uprising by the Africans, before that territory obtained its independdence.The son of the settler, home from England, finds his father's racist ideas hard to take and tries to display a humane feeling toward the farm workers whom he considers his friends. But during a wild, stormy "night of the long knives," he is ruthlessly killed while on a mission of mercy for an African. At the same time, it is revealed that the family's faithful cook, who has been his best friend, is the secret leader of the uprising.The irony of this situation and the paradox it presents, of wrong being done to the wrong people because of unbridled hate, is clarified by an observer who is visiting the settler's home at the time. He says that "hate can only be washed out in a bloodbath — in the blood of Jesus Christ."Most serene and impressive of the performers is Muriel Smith, who plays the role of the cook. She manages generally to act with grace and dignity. And being the singer who originated the title role in the musical, "Carmen Jones," she is able to slide rather easily into a couple of interpolated songs, one of which is cute and amusing, the other on the sanctimonius side.The others—well, let's not look too closely at the kind of acting they do, and this includes that of Reginald Owen as a resident British official. William Pawley Jr. as the settler, David Cole as his son and William Close as the British visitor puff and spout a lot. The Africans are played excitedly by actors who are not identified. George Fraser's diligent direction is as clumsy as Alan Thornhill's script, but somehow, it leaves you disarmed, as does the whole picture, with its sheer ingenuousness and hopefulness.
The CastVOICE OF THE HURRICANE, screenplay by Alan Thornhill, from the play by Peter Howard and Mr. Thornhill; directed by George Fraser; produced by Scoville Wishard. A Ram Production released by Selected Pictures Corporation. At the Trans-Lux East Theater, Third Avenue and 58th Street. Running time: 80 minutes.Mary . . . . . Muriel SmithJanet Lord . . . . . Phyllis KonstamNigel Charter . . . . . Reginald OwenMark Pearce . . . . . William CloseDolly Charter . . . . . Jane WaxRichard Lord . . . . . David ColeHumphrey Lord . . . . . William Pawley Jr.
#####
Reelblack's mission is to educate, elevate, entertain, enlighten, and empower through Black film. If there is content shared on this platform that you feel infringes on your intellectual property, please email me at [email protected] and [email protected] with details and it will be promptly removed.
From The NY Times, June 3, 1964 :
As crude as it is—and, believe me, "Voice of the Hurricane" is so crude, so naive and obvious in places that it's hard to keep from snickering at it — there is still a kind of wholesome simplicity and sincerity about this film to save it from the critical slaughtering to which it frequently seems doomed.It is like a parable concocted by a country preacher to show that the problem of racial hatreds may be solved by an outpouring of love. Obviously, it is hackneyed. Its story is such a compound of clichés that it seems its diligent authors have used every one in the book. It is ponderously acted and directed. It smells of an indoor studio. But it appears so confident and guileless that it leaves you submissive and mute.Made by Moral ReArmament at its Mackinac Island studio, with several rather nice color inserts of wild animals shot in Kenya, East Africa, it tells of a tense situation on a British East African settler's farm during an abortive uprising by the Africans, before that territory obtained its independdence.The son of the settler, home from England, finds his father's racist ideas hard to take and tries to display a humane feeling toward the farm workers whom he considers his friends. But during a wild, stormy "night of the long knives," he is ruthlessly killed while on a mission of mercy for an African. At the same time, it is revealed that the family's faithful cook, who has been his best friend, is the secret leader of the uprising.The irony of this situation and the paradox it presents, of wrong being done to the wrong people because of unbridled hate, is clarified by an observer who is visiting the settler's home at the time. He says that "hate can only be washed out in a bloodbath — in the blood of Jesus Christ."Most serene and impressive of the performers is Muriel Smith, who plays the role of the cook. She manages generally to act with grace and dignity. And being the singer who originated the title role in the musical, "Carmen Jones," she is able to slide rather easily into a couple of interpolated songs, one of which is cute and amusing, the other on the sanctimonius side.The others—well, let's not look too closely at the kind of acting they do, and this includes that of Reginald Owen as a resident British official. William Pawley Jr. as the settler, David Cole as his son and William Close as the British visitor puff and spout a lot. The Africans are played excitedly by actors who are not identified. George Fraser's diligent direction is as clumsy as Alan Thornhill's script, but somehow, it leaves you disarmed, as does the whole picture, with its sheer ingenuousness and hopefulness.
The CastVOICE OF THE HURRICANE, screenplay by Alan Thornhill, from the play by Peter Howard and Mr. Thornhill; directed by George Fraser; produced by Scoville Wishard. A Ram Production released by Selected Pictures Corporation. At the Trans-Lux East Theater, Third Avenue and 58th Street. Running time: 80 minutes.Mary . . . . . Muriel SmithJanet Lord . . . . . Phyllis KonstamNigel Charter . . . . . Reginald OwenMark Pearce . . . . . William CloseDolly Charter . . . . . Jane WaxRichard Lord . . . . . David ColeHumphrey Lord . . . . . William Pawley Jr.
#####
Reelblack's mission is to educate, elevate, entertain, enlighten, and empower through Black film. If there is content shared on this platform that you feel infringes on your intellectual property, please email me at [email protected] and [email protected] with details and it will be promptly removed.
Pairing: Sung Gijae & Park Kyutae
Video: The boy next door
Audio: in the end of the video
Comment: After watching the whole thing still came to conclusion that it's great drama, too bad it's not completely BL, but I'll treat this series as a prequel to boys future relationship. The ep 8-9 was so hilarious, I can't...this drama is hilarious in itself and ending is not so bad, ep 10 may disappoint you a bit, but they'll get in track later )) so try watching, it's good ))
Hurricane Dorian struck the northern Bahamas as a catastrophic Category 5 storm on Sept. 1. Read more: https://wapo.st/32ksuck. Subscribe to The Washington Post on YouTube: https://wapo.st/2QOdcqK
Follow us:
Twitter: https://twitter.com/washingtonpost
Instagram: https://www.instagram.com/washingtonpost/
Facebook: https://www.facebook.com/washingtonpost/
From The NY Times, June 3, 1964 :
As crude as it is—and, believe me, "Voice of the Hurricane" is so crude, so naive and obvious in places that it's hard to keep from snickering at it — there is still a kind of wholesome simplicity and sincerity about this film to save it from the critical slaughtering to which it frequently seems doomed.It is like a parable concocted by a country preacher to show that the problem of racial hatreds may be solved by an outpouring of love. Obviously, it is hackneyed. Its story is such a compound of clichés that it seems its diligent authors have used every one in the book. It is ponderously acted and directed. It smells of an indoor studio. But it appears so confident and guileless that it leaves you submissive and mute.Made by Moral ReArmament at its Mackinac Island studio, with several rather nice color inserts of wild animals shot in Kenya, East Africa, it tells of a tense situation on a British East African settler's farm during an abortive uprising by the Africans, before that territory obtained its independdence.The son of the settler, home from England, finds his father's racist ideas hard to take and tries to display a humane feeling toward the farm workers whom he considers his friends. But during a wild, stormy "night of the long knives," he is ruthlessly killed while on a mission of mercy for an African. At the same time, it is revealed that the family's faithful cook, who has been his best friend, is the secret leader of the uprising.The irony of this situation and the paradox it presents, of wrong being done to the wrong people because of unbridled hate, is clarified by an observer who is visiting the settler's home at the time. He says that "hate can only be washed out in a bloodbath — in the blood of Jesus Christ."Most serene and impressive of the performers is Muriel Smith, who plays the role of the cook. She manages generally to act with grace and dignity. And being the singer who originated the title role in the musical, "Carmen Jones," she is able to slide rather easily into a couple of interpolated songs, one of which is cute and amusing, the other on the sanctimonius side.The others—well, let's not look too closely at the kind of acting they do, and this includes that of Reginald Owen as a resident British official. William Pawley Jr. as the settler, David Cole as his son and William Close as the British visitor puff and spout a lot. The Africans are played excitedly by actors who are not identified. George Fraser's diligent direction is as clumsy as Alan Thornhill's script, but somehow, it leaves you disarmed, as does the whole picture, with its sheer ingenuousness and hopefulness.
The CastVOICE OF THE HURRICANE, screenplay by Alan Thornhill, from the play by Peter Howard and Mr. Thornhill; directed by George Fraser; produced by Scoville Wishard. A Ram Production released by Selected Pictures Corporation. At the Trans-Lux East Theater, Third Avenue and 58th Street. Running time: 80 minutes.Mary . . . . . Muriel SmithJanet Lord . . . . . Phyllis KonstamNigel Charter . . . . . Reginald OwenMark Pearce . . . . . William CloseDolly Charter . . . . . Jane WaxRichard Lord . . . . . David ColeHumphrey Lord . . . . . William Pawley Jr.
#####
Reelblack's mission is to educate, elevate, entertain, enlighten, and empower through Black film. If there is content shared on this platform that you feel infringes on your intellectual property, please email me at [email protected] and [email protected] with details and it will be promptly removed.
"Drama!" is the first single released by Erasure from their fourth studio album Wild!. It was issued by Mute Records in the UK and Sire Records in the U.S.
Written by Vince Clarke and Andy Bell, the synthpop song begins with a low-key keyboard line and a subdued vocal from Bell. As the song progresses, the instrumentation and vocals become more hectic, ultimately ending as a full-blown dancefloor anthem. "Drama!" is known for its mob-shouted "Guilty!" exclamation throughout and Bell's intricate, multi-layered background vocals. Lyrically the song addresses a person who could be considered a drama queen, experiencing "one psychological drama after another" about everyday struggles that are universal and are easily dealt with by most people. Lines such as "your shame is never-ending!" are directed at the subject of the song. The mob's vocals were added to by The Jesus and Mary Chain, who happened to be recording in the studio next door.
Released prior to Wild!, "Drama!" continued Erasure's winning streak on the UK singles chart, peaking at number four. In Germany the single also fared well, hitting number twelve. "Drama!" did not continue Erasure's chart success in the United States, where it failed to enter the Billboard Hot 100. It did, however, climb to number ten on the U.S. Hot Dance Music/Club Play chart.