É o álbum comercialmente mais bem-sucedido da banda, com mais de 350 mil cópias vendidas no ano de seu lançamento,2️⃣ tendo alcançado a certificação de platina, uma vendagem surpreendente no anojogar video bingo gratisjogar video bingo gratis que foi lançado, marcado por forte crise2️⃣ econômica causada pelo confiso de valores no Plano Collor e pela emergência de uma nova música sertaneja que passou a2️⃣ disputar a preferência no gosto da juventude e, desse modo, nas execuções de música nas rádios. O lançamento deste disco2️⃣ modificou o patamar da banda de uma das maiores do rock nacional para a maior banda naquele ano, levando ao2️⃣ recebimento de alguns prêmios no ano seguinte e do aumento do interesse das publicações e da mídia nacional no grupo.
Durante2️⃣ a gravação do álbum anterior - Alívio Imediato, além das canções gravadas ao vivo, a banda fez o registro de2️⃣ duas faixasjogar video bingo gratisjogar video bingo gratis estúdio. Nestas faixas, por sugestão do produtor Marcelo Sussekind, o grupo utilizou de modo mais pronunciado2️⃣ instrumentos eletrônicos, como sintetizadores e sequenciadores. Entretanto, foram chamados músicos de estúdio para tocar esses instrumentos. As canções tiveram bastante2️⃣ sucesso, sendo incluídas, também, na turnê que a banda fez para promover o álbum, a Alívio & Mídia Tour.[1] Entretanto,2️⃣ a inclusão desses instrumentos não aconteceu apenas porque o produtor achou que eles casariam com aquelas canções. Humberto já vinha2️⃣ há algum tempo refletindo sobre uma oposição entre arte e entretenimento, isto é,jogar video bingo gratisjogar video bingo gratis como aqueles timbres produzidos por2️⃣ aquele tipo de instrumentos e utilizados maciçamente na emergente música pop daqueles anos colocavamjogar video bingo gratisjogar video bingo gratis questão a fronteira -2️⃣ até então pensada e existente - entre arte e entretenimento. Enquanto as bandas de rock brasileiras no período tentavam demonstrar2️⃣ que não faziam concessões a gravadoras ou ao público para tornar o seu som mais palatável ou comercial, eram os2️⃣ artistas pop que estavam questionando com ajogar video bingo gratissonoridade a fronteira entre arte e entretenimento.[2][3]
Mal-entendido com Lulu Santos [ editar2️⃣ | editar código-fonte ]
É assim, por exemplo, que deve ser entendida a entrevista dada por ele ao Jornal do Brasil,2️⃣jogar video bingo gratisjogar video bingo gratis 17 de fevereiro de 1989, e que gerou atritos com o músico carioca Lulu Santos. Gessinger classificou os2️⃣ artistasjogar video bingo gratisjogar video bingo gratis "entertainers" e "grupos que querem acrescentar uma existência abaixo das luzes do palco", colocando Lulu no primeiro2️⃣ grupo. Aquilo foi visto de modo negativo pelo cantor e guitarrista carioca, mas Humberto pretendia dizer que eram exatamente os2️⃣ entertainers que estavam fazendo algo diferente e revolucionário, não o outro grupo. De qualquer modo, este episódio gerou uma ligação2️⃣ de Lulu a Gessingerjogar video bingo gratisjogar video bingo gratis que aquele chamava este de nazista, e um pedido de desculpas por parte de2️⃣ Humberto a Lulu no encarte do disco, além de uma entrevista fazendo o mesmo - na Folha de S.Paulo, em2️⃣ jogar video bingo gratis 1º de outubro de 1990.[4]
Gravação e produção [ editar | editar código-fonte ]
Worldview Entertainment was an American motion picture finance company focused on theatrical-quality feature films for worldwide distribution. The company produced🤑 over 20 films, including Fox Searchlight’s critically acclaimed hit Birdman, which was nominated for nine Academy Awards, winning four Oscars,🤑 including Best Picture, and grossed more thanR$100 million in global box office revenue.
History [ edit ]
Worldview Entertainment was founded in🤑 2007 by Chairman and CEO, Christopher Woodrow,[1] and Maria Cestone. Molly Conners joined the company in 2009 as COO. Worldview🤑 Entertainment signed with Creative Artists Agency (CAA) in 2010 and has since become the agency's top film finance and production🤑 client. Sarah E. Johnson, daughter of Franklin Resources Chairman, Charles B. Johnson, became a partner and investor in the company🤑 in 2011. Worldview established a four-yearR$30 million credit facility with Comerica in 2013 to provide debt financing for the company's🤑 films, which coincided with the infusion ofR$40 million in new equity from existing investors. TheR$70 million doubled the company's capital🤑 base.
The company's first film was William Friedkin's black comedy, Killer Joe, which it financed along with Voltage Pictures in 2010.🤑 The film premiered at the 2011 Venice Film Festival before making its North American debut at the Toronto International Film🤑 Festival, where it was sold domestically to LD Entertainment in one of the biggest sales at the festival. The film🤑 was distributed theatrically in the summer of 2012, with star Matthew McConaughey receiving a nomination for an Independent Spirit Award🤑 as Best Male Lead.
Worldview's 2012 slate included three films that premiered at the 2013 Cannes Film Festival including the Guillaume🤑 Canet crime thriller, Blood Ties, which was the biggest domestic sale at the festival, after being purchased by Lionsgate and🤑 Roadside Attractions; and James Gray's period drama, The Immigrant which was sold domestically to The Weinstein Company. The Company went🤑 on to premiere two films at the 2013 Venice Film Festival, including David Gordon Green's drama Joe, which was sold🤑 domestically to Lionsgate and Roadside Attractions. Worldview also premiered six films at the 2013 Toronto International Film Festival including the🤑 West Memphis Three crime thriller, Devil's Knot,[2][3][4] which was sold domestically to Image Entertainment; and Eli Roth's horror thriller, The🤑 Green Inferno, which was sold domestically to Open Road Films.[3][5]
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