 Artist: Paul Schwartz: mp3 download Genre(s): New Age Paul Schwartz's discography:  Haze Year: 2001 Tracks: 9  Revolution Year: 1998 Tracks: 11 Paul Schwartz, a word of the ballad maker Arthur Schwartz and actress/dancer Mary Schwartz, began to take music lessons at age little Joe and started formal piano lessons at sixer. He touched to London, England, at the age of 12 and studied at the Royal College of Music, where he earned his Bachelor of Music Degree in composition and conducting. After graduating, he worked as a piano player and help conductor for West End musicals and as conductor for Ballet Rambert. Later, he returned to the U.S. and became supporter conductor of the Washington Opera in Washington, D.C., then held the same post with the Pittsburgh Symphony Orchestra. While continuing to work in the greco-Roman public, he returned to the musical theater, running as musical director for such shows as Andrew Lloyd Webber's Song & Dance and The Phantom of the Opera. After composition medicine for ballets and other stagecoach deeds, he was signed as a recording creative person to Astor Place Records and in 1997 released Aria, a quislingism with Mario Grigorov containing electronic adaptations of opera arias, which became a considerable success in the battleground of graeco-Roman crossing over. Revolution (1998) contained Schwartz's arrangements of Beatles songs, and Aria 2: New Horizon (Café Del Mar Music, 2000) was some other hit on the greco-Roman crossing over charts. The religiously oriented State of Grace (2000), released on Windham Hill Records, scored on the modern age charts. In May 2002, under the diagnose the Paul Schwartz Project, the composer/conductor released Earthbound, his low gear album to lie totally of his give birth compositions. His side by side recordings were sequels to his previous successes, State of Grace II: Turning to Peace (2003), Aria 3: Metamorphosis (Robert Koch, 2004), and State Department of Grace III (Zakatak Music, 2006). |
August 15, 2008 () - Jonas Brothers' third gear studio album, A Little Bit Longer, is headed for the No 1 slot with the showtime week gross revenue projected at 700,000, including digital downloads.
The album, which dropped on Tuesday, August 12, sold 201,000 copies on the very first day.
"We ar just really living the dream right now," Kevin Jonas told the Associated Press, "and for us, having this album eventually hit stores and having [the fans] sing the songs, intentional that they can actually hear them and receive it in their possession is the most amazing thing for us. We're so excited."
The publicity linebacker blitzing accompanying the release of the stream album has revived interestingness in the band's last-place album, Jonas Brothers, which is beginning to crawl up to the Top 10 once over again. If it does make it back there, it will be a first-class honours degree since 1999, when N Sync achieved the same distinction.
A hot-ticket item at last year's Tribeca Film Festival and subsequently picked up by the Weinstein Company, Jon Poll's plodding Charlie Bartlett has the gumption to suggest, and then confirm the fact, that rich people, especially rich white kids under 18, have all the answers, and that it is quite foolish to think otherwise.
Kicked out of his latest boarding school for entrepreneurial ingenuity (he made fake IDs), Charlie Bartlett (Anton Yelchin) finally makes his way to public school. His mother (Hope Davis), medicated into oblivion, thinks it will be a perfect outlet for his creativity. As if it weren't written on the wall, Bartlett can only find friends on the short bus and other clique-less annals of the teenage population. That is until he finds the blessings of prescription narcotics and the passivity of modern adults towards their children's problems.
Embraced by the school's alt-hottie (Kat Dennings), in cahoots with the school bully (Tyler Hilton), and despised by the suicidal principal (an unconvincingly-restrained Robert Downey Jr.), Bartlett becomes a hero for all the disillusioned youth of America. This is all well and good until (knowledge is power) a kid tries to overdose on the pills he scored from Charlie. Then Bartlett suddenly becomes a champion of self-confidence and self-enlightenment.
There is a moment of interest in Bartlett's rambling, mundane narrative that caught me as witty but was so fleeting that I dismissed it: the honest-to-God truth that most of today's youth are happier stoned or gonzoed-out on uppers and downers, but that drugs as a suburban escape stop working as soon as a kid tries to commit suicide. Note to screenwriter Gustin Nash: Suicides at school, attempted or fulfilled, tend to lead to more drugs, not less.
There have been Matzah crackers that show more excitement than perennial teen workhorse Anton Yelchin, but you can blame neither him nor the rest of the cast for the deeply-rooted flaws here. Aesthetically, there's nothing remotely interesting about Poll's film and Nash's script, a monolith of faulty teenage stereotypes, which leaves his characters severely lacking without even a note of honesty. You find me one teenager who would feel better about getting beat up at school as long as it was videotaped and sold for ten dollars a pop, and I will single-handedly raise the Lusitania.
If one needed further proof that Ferris Bueller is dead, Bartlett closes the case but good. How is it that almost every film about teenagers is either sanitized to the point of fetidity (Hilary Duff) or so overbearingly crass that it borders on leering (Larry Clarke)? Fear not: Gus Van Sant returns to the hallways with Paranoid Park, one of the indisputable masterpieces of this year, in two weeks. It won't take nearly that long for a throwaway like Bartlett to clear the American mindset.
The DVD includes three (why?) commentary tracks and one making-of featurette.
Teenage suicide. Don't do it.
See Also
DAME JUDI DENCH and British actress HONOR BLACKMAN make up the perfect female voice, according to a new study. The research, conducted by linguistics at Sheffield University, England, claims the most appealing male voice is made from a combination of actors ALAN RICKMAN, JEREMY IRONS and MICHAEL GAMBON's tones.
