Documentary about British fashion designer Ozwald Boateng.

Over the course of a decade, Bang on a Can founding composer Michael Gordon has collaborated with the world-renowned Kronos Quartet on a series of provocative works that have sought to stretch, bend and otherwise reshape the boundaries of modern classical music. Clouded Yellow assembles these works for the first time, perfectly encapsulating the breadth and complexity of this long-standing creative partnership. Clouded Yellow features four pieces written for Kronos by Gordon: the title track (composed in 2010), Exalted (2010), The Sad Park (2006) and Potassium (2000). The title of the first refers to the clouded yellow butterfly, which is known in England for its mass migrations; the word 'clouded' is also meant to describe the blurred harmonies and melodies of the piece. 'Potassium' is for amplified string quartet and electronics, with a fuzz box used throughout to lend a mysterious distortion to the sound. 'The Sad Park' is accompanied by recordings of children ages 3 to 4 and their responses to the tragic events of 9/11. 'Exalted', which also features the Young People's Chorus of New York City conducted by Francisco J. Núñez, sets the opening of the Jewish Kaddish in Aramaic, connecting the choral voices of mourning to those of the children in 'The Sad Park'.

Descripción de la editorial: ¡Bonita forma de empezar! Con la cantidad de dibujantes míticos que alli trabajaron, el titulo sonará pretencioso cuando el lector averigüe que solo hay dos historietas, porque solo publiqué allí dos veces, en sendos especiales. La verdad es que me hubiese gustado meter allí una serie, pero, joder, estaba dificil . El Kiss estaba muy bien, y además se cobraba más, sobre todo teniendo en cuenta los royalties pues las historias de Kiss las vendian luego a Francia, Holanda, América… Estas dos historias al menos creo que iban a tono con la revista, y aunque el tiempo siempre juega en contra de ellas, me hacen sonreír. Recuerdo que para los especiales,Emilio nos llamaba a todos: "¿Queréis colaborar en un especial del Vibora?"

One city. Three days, three social classes, three love songs, human beings who coexist without touching one another, joined by mirages and hopes. Their struggles to survive are individual and secret; there are no winners or losers. The seeming order is maintained and a weekend begins.

Leopold Kozeluch enjoyed such an outstanding reputation already in 1781 that he received an offer from the Archbishop of Salzburg to succeed Mozart as court organist. Kozeluch's piano trios must have been very popular since more than sixty of them appeared in print from 1781 to 1810. The three trios presented here were published in 1798/99 and had been preceded by forty other such works by him. The special feature of these three piano trios lies in his use of melodies from Scottish folk songs in their middle and last movements. Toward the end of the eighteenth century the Edinburgh publisher George Thomson had the idea to have Viennese classical composers set Scottish, Irish, and Welsh folk songs to music with an accompaniment for piano, violin, and violoncello and contacted Haydn, Kozeluch, Pleyel, and (later) Beethoven in the hope of winning them for this project.