Results for: new london consort
NLC CB1 
2009-04-27 - extension: rar - parts: 3 - size: 105 MB
NLC CB1
Carmina Burana Vol. I,
New London Consort Philip Pickett
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NLC CB2 2009-04-27 - extension: rar - parts: 3 - size: 97 MB
NLC CB2
Carmina Burana Vol. II,
New London Consort Philip Pickett
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CB1c 2009-04-27 - extension: rar - size: 2 MB
CB1c
Carmina Burana Vol. I,
New London Consort Philip Pickett
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Video results for: new london consortMore results from video 
Raphael Osiris Talks to Sondra London 01 Interview with a True Vampire: It was a dark and stormy night in the spring of 1998, when this (More) Interview with a True Vampire: It was a dark and stormy night in the spring of 1998, when this interview was videotaped in Florida during a tornado watch, with the torrents of rain pounding outside the open door, gusts of wind making the candle flames tremble and even blowing the backdrop down. With thunder occasionally drowning out the voices of the New York vampires, Right Reverend Raphael Osiris, also known as Ralph Spindell, and his consort, Dominique Lazarus, also known as Debbie Bloom, talk to Sondra London. TRANSCRIPT SONDRA: What is a vampire? RAPHAEL: That's a very interesting question. A lot of it is what you perceive to be a vampire. There's many ways to interpret the word. What I'm mostly a proponent of, is it's personal interpretation first and foremost. Because the traditional vampire, folkloric corpse, is a corpse come back from the undead, and whether or not that exists right now, or is the most important definition of the word to modern-day society, is irrelevant. It's what it is that we all perceive it to be currently. SONDRA: So, traditionally, this is a mythical figure that's come down throughout the years, and we've always known about the mythical vampire. Now we have quite a few urban vampires, or modern vampires. Please tell me what it means to you to be a vampire. RAPHAEL: For me personally it is mostly to do with social, communal representation and a taking in of the myth or what may be perceived as the fact of the vampire, and incorporating it into your lifestyle. It touches on the family, it touches on society, the culture, your likes and dislikes, some of your religious or occultist beliefs. SONDRA: So what is essential about being a vampire? What is the one thing all vampires have in common? RAPHAEL: The only thing they all have in common is they refer to themselves as vampires. Other than that, there seems to be far too much discrepancy between various groups, or connotations of how each group seems to use the word. SONDRA: What is the connection between vampirism and ritual occultism? RAPHAEL: Some vampires who perceive themselves as being vampire-occultists, they perceive vampirism as a religion, and have the most in common with occultists. They may follow varying paths, than the path these people are seeking, through using vampirism as metaphor for their occultist practices, and beliefs in ancient vampire gods or deities, or blood deities or entities. SONDRA: Is this self-styled or reinvented from ancient patterns? Is it actually an tradition that has come down all the way? Or is it kind of neo? (Less)
Greensleeves Improvisation This is an improvisation by Jools based on "Greensleeves", a traditional English folk song (More) This is an improvisation by Jools based on "Greensleeves", a traditional English folk song and tune, basically a ground of the form called a romanesca.
Live at the world famous Pump Rooms, Bath.
A broadside ballad by this name was registered at the London Stationer's Company in 1580 as "A New Northern Dittye of the Lady Greene Sleeves". It then appears in the surviving A Handful of Pleasant Delights (1584) as "A New Courtly Sonnet of the Lady Green Sleeves. To the new tune of Green sleeves." It remains debatable whether this suggests that an 'old' tune of "Greensleeves" was in circulation, or which one our familiar tune is. Many surviving sets of lyrics were written to this tune. The tune is also found in several late 16th century and early 17th century sources, such as Ballet's MS Lute Book and Het Luitboek van Thysius, as well as various manuscripts preserved in the Cambridge University libraries.
A widely-believed (but completely unproven) legend is that it was composed by King Henry VIII (1491--1547) for his lover and future queen consort Anne Boleyn. Anne, the daughter of Thomas Boleyn, rejected Henry's attempts to seduce her. This rejection is apparently referred to in the song, when the writer's love "cast me off discourteously." However, it is most unlikely that King Henry VIII wrote it, as the song is written in a style which was not known in England until after Henry VIII died.
It is widely acknowledged that Lady Green Sleeves was at the very least a promiscuous young woman and perhaps a prostitute. At this time, the word "green" also had sexual connotations, most notably in the phrase "a green gown", a reference to the way that grass stains might be seen on a ladies' dress if she had made love outside. An alternative explanation is that Lady Green Sleeves was, as a result of her attire, incorrectly assumed to be immoral. Her "discourteous" rejection of the singer's advances quite clearly makes the point that she is not. On page 500 of Nevill Coghill's translation of The Canterbury Tales Coghill explains that "green [for Chaucer's age] was the color of lightness in love. This is echoed in "Greensleeves is my delight" and elsewhere."
Contents
'Greensleeves' Lyrics
Alas, my love, you do me wrong,
To cast me off discourteously.
For I have loved you well and long,
Delighting in your company.
Chorus:
Greensleeves was all my joy
Greensleeves was my delight,
Greensleeves was my heart of gold,
And who but my lady greensleeves.
Your vows you've broken, like my heart,
Oh, why did you so enrapture me?
Now I remain in a world apart
But my heart remains in captivity.
Chorus
I have been ready at your hand,
To grant whatever you would crave,
I have both wagered life and land,
Your love and good-will for to have.
Chorus
If you intend thus to disdain,
It does the more enrapture me,
And even so, I still remain
A lover in captivity.
Chorus
My men were clothed all in green,
And they did ever wait on thee;
All this was gallant to be seen,
And yet thou wouldst not love me.
Chorus
Thou couldst desire no earthly thing,
but still thou hadst it readily.
Thy music still to play and sing;
And yet thou wouldst not love me.
Chorus
Well, I will pray to God on high,
that thou my constancy mayst see,
And that yet once before I die,
Thou wilt vouchsafe to love me.
Chorus
Ah, Greensleeves, now farewell, adieu,
To God I pray to prosper thee,
For I am still thy lover true,
Come once again and love me. (Less)
PP-CB 2009-02-28 - extension: rar - parts: 3 - size: 35 MB
PP-CB
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