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• • • • • Deborah Conway and Willy Zygier Opening doors by Anil Prasad Copyright © 2010 Anil Prasad. This work is licensed under a Deborah Conway and Willy Zygier have a unique approach to addressing the challenge of getting their music into listeners’ homes in an era of ever-shrinking radio playlists and diffuse download culture: they simply invite themselves in. The Australian husband-and-wife team of Conway, a renowned singer-songwriter and Zygier, a sought-after guitarist, composer and producer, have helped pioneer a novel way of promoting and selling their music.

The straightforward, yet clever model works like this: fans band together to buy 30 copies of a new CD, and Conway and Zygier deliver them in person and perform a 20-minute house concert as part of the bargain. This strategy has proven a great success for the duo, who have performed more than 100 of these shows to date, and sold thousands of independent CDs directly to fans with no middlemen.

The math is clearly in their favor compared to the typical music industry model. Conway and Zygier keep 100 percent of the profits, compared to the miniscule percentage they would typically make in a conventional label arrangement. Download barnyard2-1.9.tar.gz. Conway has a 30-year career focused on expansive rock and pop work. During the late `80s and `90s, she was a high-profile Australian pop icon with songs that explored provocative, adult themes, situated within deep, dark guitar territory, electronica, roots influences, and moody atmospheres. Several of her key albums during this period, including 1993’s Bitch Epic, 1997’s My Third Husband and 2000’s Exquisite Stereo—all co-written with Zygier— featured adventurous, sometimes subversive arrangements.

One of her more well-known songs from that era, “Alive and Brilliant” was even in 5/4, the same time signature as Dave Brubeck’s “Take Five.” By the early 2000s, Conway and Zygier were fed up with the machinery of the mainstream music industry. They were eager to break away and maintain complete control over all aspects of their careers. A desire to focus deeply on family life with their three children also propelled them in this direction. Their first indpendent album, 2004’s Summertown, was a stripped-down, acoustic-focused effort with a buoyant bent that reflected the couple’s optimism and faith in their new path. Conway and Zygier’s latest album Half Man Half Woman takes an even more spartan approach, designed to explore and expand the possibilities available to them as a two-person performing unit. It’s a meticulously crafted release that explores diverse settings within the duo’s mission to preserve an intimate, organic feel. Like Summertown, it’s driven by acoustic strings, including guitars, banjos and mandolins.

It also finds jazz, blues and folk sharing the stage with their established pop and rock sensibilities. And like the couple’s long relationship, the album is a lasting testament to the power of commiting to a great, enduring idea. You’ve both said the goal of the new album was to make a record that sounded like both of you playing in a room. Was that a reaction to specific experiences in your careers? DC: In a way, each album is a reaction to the last one, but this one less so than others in the past.

In defying the tyrant Creon and going to her death, Antigone conveyed to Anouilh's compatriots a covert message of heroic resistance; but the author's characterization of Creon also seemed to exonerate Marshall Ptain and his fellow collaborators. Antigone, his best-known play, was performed in 1944 in Nazi-controlled Paris and provoked fierce controversy. Antigone jean anouilh translated barbara bray pdf reader. Bookmark Author Subjects;; Summary Jean Anouilh, one of the foremost French playwrights of the twentieth century, replaced the mundane realist works of the previous era with his innovative dramas, which exploit fantasy, tragic passion, scenic poetry and cosmic leaps in time and space.

My Third Husband and Exquisite Stereo had a relationship that was intricately connected. My Third Husband was such a “production in a box.” It barely involved any live musicians.

We used some in the end, but the album was mostly designed before that. With Exquisite Stereo, we took the exact opposite approach.

For Half Man Half Woman, the reason we did what we did is because we became enamored of writing material with the purpose of seeing how far we could expand the palette of two guitars and two vocals. The songs were written around that context. In the end, we chickened out, because including some colors from other instruments was too appealing. We ended up being seduced by that. But as much as possible, we tried to honor the initial intention. We wanted to see what kind of emotional responses two guitars and two vocals could elicit from a listener. There is augmentation, but less so than on our previous album Summertown.

It was a finer honing of Summertown’s direction. Provide some insight into how you explored the possibilities of two guitars and two vocals. DC: For me, it meant seeing how far can we go without being boring and repetitive. [laughs] We wanted to see how far we could push out and not overstay our welcome within this very limited palette, yet make each song sound unique, and be an interesting aural experience. WZ: This record is more focused on songs as basic units—a lyric and a chord progression—as opposed to a production. There’s not much more than that. The actual genres of the songs are varied, and the forms of the songs are too.