There are 2 artists called James Bernard.
1)James Bernard has a long… Read Full Bio ↴There are 2 artists called James Bernard.
1)James Bernard has a long and critically well received career in music, he works for Propellerhead Software (makers of Reason) as in-house artist relations and all round Reason expert, he is the goto person for a lot of the artist’s when they get stuck, even at 2am. Just ask A Guy Called Gerald or DJ Pierre. He creates Re-Fills for Reason under his own name, and music for them to showcase what is possible with the software, as he travels around the world performing, giving demos and training seminars on Propellerhead products. Check out his Reason Refills at the propellerheads.
James has released many records since 1993. As Influx on Sapho records, a sister label of UK label Rising High. His first ambient album, Atmospherics was released in 1994 on well respected label Rising High, now on Three Sixty Records.
He also releases on Isophlux Records (as Influx and Protocol), Analog Records (as Influx), BML Records (as Influx) and now on Three Sixty Records. In 1997 he teamed up with DJ Ed Weingarten (aka Displacer) and formed the act Expansion Union, releasing music on Wax Trax!/TVT records. The song "Playing with Lightning" from the album "World Wide Funk" was featured in the hit moive "Blade" and used on the multi gold selling soundtrack CD from the film.
Please see discogs.com for his complete discography.
2) James Bernard (20 September 1925 - 12 July 2001) was a British film composer.
He is remembered almost exclusively for the music he composed for the Hammer horror films of the 1950s, '60s and '70s. Undoubtedly his most famous was Horror of Dracula in 1958, for which he composed a motif based on the sound Dra-cu-laaaaa. Other memorable Hammer scores included The Curse of Frankenstein (1957), Kiss of the Vampire (1962), The Plague of the Zombies (1966) and The Devil Rides Out (1968).
While he was a pupil at Wellington College. Although the future actor, Christopher Lee, had also attended the same school, Bernard never met him. Lee would go on to star in a great many horror films for Hammer Studios, for which James Bernard would write the scores.
He undertook national service in the RAF from 1943 to 1946. Benjamin Britten kept in touch with him during this period and encouraged him to learn the principles of composition.
After being demobbed he went to the Royal College of Music, studying under Imogen Holst and Herbert Howells. He graduated in 1949. About this time he met the writer and critic Paul Dehn with whom he started a professional relationship but who also became his life partner. Paul Dehn asked James Bernard to collaborate with him on the original screen story for the Boulting Brothers film Seven Days To Noon, (1950). For this Paul Dehn and Jame Bernard shared the 1952 Academy Award for the Best Writing, Motion Picture Story.
In 1950 Benjamin Britten approached him to copy out the vocal score of his new opera Billy Budd for his publishers Boosey & Hawkes. While doing this he stayed with Benjamin Britten at Aldeburgh. He went to the opening night with Benjamin Britten's housekeeper and the librettist E. M. Forster.
In later years, he was called upon to write an original score for F.W. Murnau's classic silent horror Nosferatu (1922/1997) and Kevin Brownlow's documentary Universal Horror (1998).
His music was distinct for its clashing harmonies, often created by doubling a motif a tone higher, as in his famous Dracula theme. His music was also frenzied and pacey at times, frequently making use of percussion such as timpani and snares. The Devil Rides Out and The Plague of the Zombies are good examples of this. However, he could also write lushly romantic melodies, such as appear in Frankenstein Created Woman, Taste the Blood of Dracula and Scars of Dracula.
Bernard also co-wrote the screenplay for the 1950 film Seven Days to Noon, and won an Academy Award for best original screen story.
1)James Bernard has a long… Read Full Bio ↴There are 2 artists called James Bernard.
1)James Bernard has a long and critically well received career in music, he works for Propellerhead Software (makers of Reason) as in-house artist relations and all round Reason expert, he is the goto person for a lot of the artist’s when they get stuck, even at 2am. Just ask A Guy Called Gerald or DJ Pierre. He creates Re-Fills for Reason under his own name, and music for them to showcase what is possible with the software, as he travels around the world performing, giving demos and training seminars on Propellerhead products. Check out his Reason Refills at the propellerheads.
James has released many records since 1993. As Influx on Sapho records, a sister label of UK label Rising High. His first ambient album, Atmospherics was released in 1994 on well respected label Rising High, now on Three Sixty Records.
He also releases on Isophlux Records (as Influx and Protocol), Analog Records (as Influx), BML Records (as Influx) and now on Three Sixty Records. In 1997 he teamed up with DJ Ed Weingarten (aka Displacer) and formed the act Expansion Union, releasing music on Wax Trax!/TVT records. The song "Playing with Lightning" from the album "World Wide Funk" was featured in the hit moive "Blade" and used on the multi gold selling soundtrack CD from the film.
Please see discogs.com for his complete discography.
2) James Bernard (20 September 1925 - 12 July 2001) was a British film composer.
He is remembered almost exclusively for the music he composed for the Hammer horror films of the 1950s, '60s and '70s. Undoubtedly his most famous was Horror of Dracula in 1958, for which he composed a motif based on the sound Dra-cu-laaaaa. Other memorable Hammer scores included The Curse of Frankenstein (1957), Kiss of the Vampire (1962), The Plague of the Zombies (1966) and The Devil Rides Out (1968).
While he was a pupil at Wellington College. Although the future actor, Christopher Lee, had also attended the same school, Bernard never met him. Lee would go on to star in a great many horror films for Hammer Studios, for which James Bernard would write the scores.
He undertook national service in the RAF from 1943 to 1946. Benjamin Britten kept in touch with him during this period and encouraged him to learn the principles of composition.
After being demobbed he went to the Royal College of Music, studying under Imogen Holst and Herbert Howells. He graduated in 1949. About this time he met the writer and critic Paul Dehn with whom he started a professional relationship but who also became his life partner. Paul Dehn asked James Bernard to collaborate with him on the original screen story for the Boulting Brothers film Seven Days To Noon, (1950). For this Paul Dehn and Jame Bernard shared the 1952 Academy Award for the Best Writing, Motion Picture Story.
In 1950 Benjamin Britten approached him to copy out the vocal score of his new opera Billy Budd for his publishers Boosey & Hawkes. While doing this he stayed with Benjamin Britten at Aldeburgh. He went to the opening night with Benjamin Britten's housekeeper and the librettist E. M. Forster.
In later years, he was called upon to write an original score for F.W. Murnau's classic silent horror Nosferatu (1922/1997) and Kevin Brownlow's documentary Universal Horror (1998).
His music was distinct for its clashing harmonies, often created by doubling a motif a tone higher, as in his famous Dracula theme. His music was also frenzied and pacey at times, frequently making use of percussion such as timpani and snares. The Devil Rides Out and The Plague of the Zombies are good examples of this. However, he could also write lushly romantic melodies, such as appear in Frankenstein Created Woman, Taste the Blood of Dracula and Scars of Dracula.
Bernard also co-wrote the screenplay for the 1950 film Seven Days to Noon, and won an Academy Award for best original screen story.
Tourmaline
James Bernard Lyrics
We have lyrics for 'Tourmaline' by these artists:
26Jino Masquerade 青空に重なった 七色の夢 叶ったかな? "叶ったよ 途中だけど" 君がつまづいた時 大丈夫だったかな? "大丈夫 気付…
FLOWERTRUCK Stars in the sky, just dying lights Smiling at me The trees…
Janine The Machine Uh-uh Tourmaline tourmaline no bad vibes around me Tourmalin…
Kryder Oh sway me down Near the waterfall Hear the sounds Dig a spa…
Lost At Sea Cold salt and crashing waves You're trying to find the nerve…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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Daniel Claeys
From paper to skin, these artists and craftsmen have taken the improbable to the possible. These jewels seem to tame the wild beasts, all the while chasing waterfalls.
With the advanced technology combined with the traditions of the jeweler, new horizons are being forged daily, leaving the wearer to anticipate the wonder of what is next.
krisushi1
This particular jewellery wearer cannot wait to discover what piece will be joining my collection next. Although not in the league of these beauties, they certainly are to myself. It will be either having my pear shaped pale Aquamarine set or my deep coloured octagon Amethyst, yet into what I'm yet to decide.💎💖
Daniel Claeys
@Andrew Pidor
It has been a long time. Life would be so much more fun if it wasn't for work.
Andrew Pidor
Hello sir! Long time 😊
krisushi1
Chaumet took my breath away from the very beginning with its pieces, especially those twisted designed jewels. I was surprised by Gucci with their incredible colours and the way in which it advertised. I wasn't expecting pieces like this from Gucci so early in their foray into jewellery. Mikimoto definitely did it for me with the mix of pearls with sparkling jewels. The waterfall broach made my jaw drop, as did all of their other pieces. I have to commend Graff for the first Suite shown and the story that went with it. I really can't understand anyone who cannot see the absolute beauty in these wearable works of art. Despite my pieces being smaller in size, I'll never be apologetic for enjoying my own stunning collection which is much loved and adored.💎💖
ycul21
I love coloured gemstones and these have been showcased remarkably. The Van Cleef & Arpel space influenced pieces are wonderful.
NCW
Fantastic video. I look at High Jewels the same as Haute Coture & masterpieces by Monet or Van Gogh. They’re art to me. When Elizabeth Taylor said she never thought of herself as the owner of the jewels, she was just safekeeper of them until the next generation, I thought that was brilliant. And she loved just ordinary people on the street asking to try on a jewel, like the Krupp diamond, she got so happy sharing those intimate moments. Regretfully, seeing the Asian market flaunt and peacock their labels feels so gauche and cheap to me. Even worse, it’s common. We are such a small world it seems as if we don’t care about having finer things for ourselves, we live thru the ever growing tide pool of ultra wealthy people who carelessly flaunt their “brands” as tho they were just an item I picked up from Target or Wal Mart. It’s all about social media and that curated false world & everyone seems to really believe they are somehow a part of that world thanks to Instagram, Snapchat, tik tok, etc. How sad this to live your life that way.
Andrew Pidor
Totally 💯 agree
Janet Sheppard
Artisans, stunningly beautiful. Exquisite.. I applaud all your work.
Stephane Belizaire
BRAVO to those who created such Masterpieces of Creation, Beauty, Elegance and Good Taste !