Musically, Gish has been described as featuring alternative rock, hard rock, psychedelic rock, grunge, dream pop, stoner rock, college rock, psychedelia, and heavy metal. It has since been ranked by multiple publications as one of the best rock albums of the 1990s, with Pitchfork deeming "without Gish, there would probably be no Nevermind as we know it." Music and composition The album was eventually certified platinum (at least one million copies shipped in the US) by the Recording Industry Association of America (RIAA), becoming one of the best-selling independent albums at the time. ĭespite initially peaking at only number 195 on the Billboard 200 upon its release, Gish received critical acclaim, with particular praise directed at the band's distinctive psychedelic sound. The album was produced by Butch Vig and frontman Billy Corgan, with the latter describing Gish as a "very spiritual album" and "an album about spiritual ascension". Inspired by Rat M.Gish is the debut studio album by American alternative rock band the Smashing Pumpkins, released on through Caroline Records. Then, create a beautiful, handmade infographic about it to share what you learned about this precious language. If you are not Indigenous or prefer not to focus on your own ancestry, go to the Endangered Languages Project map and locate an Indigenous language near you that is vulnerable or endangered. (Please caption it in English so we may learn from you.) 2. If you are Indigenous and you (or loved one) speak an endangered or vulnerable Indigenous language, create a video sharing a short story, song, or phrase you know in your language. So for this Item, pick the choice that is appropriate: 1. We also recognize that Gishers are not a monolith - our global community represents many diverse cultures and ancestries. Nahuatl is an endangered Indigenous language, and we believe Indigenous languages should be respected and preserved. (UP TO 60 SECONDS) Everybody Chill… ash!? Turn out that x in axolotl, a Nahuatl word, is pronounced a little differently than our mascot’s name. She has Bette Davis's toughness combined with Lillian Gish's gift for pathos.Ĥ5. All of this melodramatic business is elevated not only by Ozu's sure-footed direction and attention to visual detail but also by the performances, especially that of Tanaka, who once again shows why she should be honored as one of the great film actresses. Joji persuades Tokiko that they should pull off one last heist, robbing from the office where Tokiko works to get cash so Hiroshi can pay back what he stole. Things get complicated, however, when Hiroshi, Joji's protégé, steals money from the cash register at his sister's store. She storms out, but later returns to persuade Joji that it might be a good thing to go straight. Tokiko gets jealous of Joji's interest in Kazuko, but when she decides to emulate her rival by taking up knitting and other domestic pursuits, she and Joji quarrel. American culture creeps in everywhere: Even the rules of conduct in a pool hall are written in English on the wall, and in the boxing gym that Joji frequents a sign proclaims the virtues of "The Manly Art of Self-Defense." When an eager young kid named Hiroshi (Koji Mitsui) shows up in the gym wanting to become a champion fighter, Joji takes an interest in him, and through him meets his sister, Kazuko (Sumiko Mizukubo), who works in a record store that prominently features the RCA Victor mascot, Nipper. This is one of Ozu's forays into the underworld made familiar to us by Hollywood, and it's permeated with echoes of Warner Bros. She shrugs off his advances but accepts the ring - she's living with a gangster, an ex-boxer named Joji (Joji Oka), and it's his world that she prefers. One of the typists, Tokiko (Kinuyo Tanaka), is summoned from her machine to the office of the president, where she finds his son, Okazaki (Yasuo Nanjo), who has been putting the moves on her by giving her jewelry, this time a ruby ring. In the last take, one of the hats drops from its hook, as if impatient for quitting time. Yasujiro Ozu clung to silent film for a long time, but who needs sound when you and your cinematographer, Hideo Shigehara, can use the camera as eloquently as they do in Dragnet Girl? Early in the film, the camera explores an office setting, panning over rows of young women at typewriters, clocks slowly ticking away the workday, and rows of men's hats hanging in a hallway.
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