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Soulwax from Deewee Mp3, Flac, Wma
Soulwax From Deewee mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: From Deewee Country: UK & Europe Released: 2017 Style: Electro, Synth-pop, Disco MP3 version RAR size: 1389 mb FLAC version RAR size: 1143 mb WMA version RAR size: 1332 mb Rating: 4.2 Votes: 218 Other Formats: APE AC3 MIDI WMA AHX MOD VOX Tracklist Hide Credits A1 Preset Tense 1:32 Masterplanned A2 4:07 Written-By – L. Thomas*, P. Sanders* A3 Missing Wires 4:48 A4 Conditions Of A Shared Belief 3:12 B1 Is It Always Binary 3:30 B2 Do You Want To Get Into Trouble? 4:26 B3 My Tired Eyes 4:17 B4 Transient Program For Drums And Machinery 6:23 C1 Trespassers 4:04 C2 The Singer Has Become A Deejay 3:21 C3 Here Come The Men In Suits 5:10 D1 Goodnight Transmission 4:07 Companies, etc. Phonographic Copyright (p) – Deewee Copyright (c) – Deewee Licensed To – Play It Again Sam [PIAS] Made By – The Vinyl factory Mastered At – The Exchange Mike Marsh Mastering Recorded At – Studio Deewee Mixed At – Studio Deewee Produced At – Studio Deewee Published By – Strictly Confidential Published By – Deewee Published By – Ferrell Sanders Music Published By – Copyright Control Credits Creative Director – Ill-Studio Engineer – Frederik De Witte, Phil Evans Engineer [Assistant] – Oliver Geerts Management – Karey*, Marc* Mastered By – Mike Marsh Performer – Blake Davies, David Dewaele, Iggor Cavalera*, Laima Leyton, Stefaan Van Leuven, Stephen Dewaele, Victoria Smith Photography By – Ill-Studio, Younes Klouche Recorded By, Producer, Mixed By – Soulwax Written-By – D. Dewaele*, S. Dewaele* Notes (P) & (C) Deewee under exclusive license to Play It Again Sam. -
College of Engineering--Fall 2020 Dean's Honor List Page 1 Amirah
College of Engineering--Fall 2020 Dean’s Honor List Page 1 Amirah Aabed Ethan Almquist Sofia Avrutsky Kate Bartlett Madhav Bhat Zakarya Abada Ibrahim Alnassar Andrew Awad Tyler Bartlett Raghav Bhat Pranav Abbott Susan Alptekin Donovan Awrow Laura Bartz Srikant Bhat Heba Abdallah Lauren Alsgaard Beste Aydin Sara Bashir Aditya Bhatnagar Ahmed Abdelfattah Kathryn Altes Zubin Aysola Lance Bassett Pranav Bhoopala Sinan Abdulhak Taylor Althouse Faizaan Azeem Nick Batarilo Ibtida Bhuiyan Karam Abdullah Jahnavi Amam Michael Azimi Elizabeth Baubkus Subegh Bhullar Samina Abdullah John Ambrose Arez Aziz Hassan Bazzi Duoming Bian John Abernethy Krishan Amin Jonah Azoulay Mason Beaker Max Bickers Jonah Ableman Jared Amman Joshua Azrin Connor Beard Michael Biek Anna Ablove Robert Amori Mohammed Azzouz Matthew Beaubien Kira Biener Jennifer Abraham Mateo Amprimo Sara Azzouz Meghan Beaubien Charles Bienert Kathryn Ackerman Tochukwu Amugo Nicole Baalbaki Ian Beaufait Harrison Biggs Hunter Adams Christopher An Eyad Babtain Dylan Beck Karthik Bijoy Jack Adams Eric An Emily Bachwich Jonathon Becker Nicholas Billovits Lillian Adams Arjun Anand Alexander Backus Henry Beckstein William Binney Paige Adams Ashwin Anandakumar Reid Backus Maxwell Bederman Logan Birchmeier George Adamson Sidharth Anantha Nitya Baddam Zachary Bedewi Ian Birley Kashyap Addanki Jacob Anapolle Yoojin Bae B Yana Beeker Alexander Birnbaum Thomas Adelman Nicholas Anason William Bahssin Justin Beemer Lauryn Bishop Aditya Adimulam Alyssa Anderson Sheng Bai Megan Beemer Shazeen Biviji Nicholas -
Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time. -
Danger Mouse's Grey Album, Mash-Ups, and the Age of Composition
Danger Mouse's Grey Album, Mash-Ups, and the Age of Composition Philip A. Gunderson © 2004 Post-Modern Culture 15.1 Review of: Danger Mouse (Brian Burton), The Grey Album, Bootleg Recording 1. Depending on one's perspective, Danger Mouse's (Brian Burton's) Grey Album represents a highpoint or a nadir in the state of the recording arts in 2004. From the perspective of music fans and critics, Burton's creation--a daring "mash-up" of Jay-Z's The Black Album and the Beatles' eponymous 1969 work (popularly known as The White Album)--shows that, despite the continued corporatization of music, the DIY ethos of 1970s punk remains alive and well, manifesting in sampling and low-budget, "bedroom studio" production values. From the perspective of the recording industry, Danger Mouse's album represents the illegal plundering of some of the most valuable property in the history of pop music (the Beatles' sound recordings), the sacrilegious re-mixing of said recordings with a capella tracks of an African American rapper, and the electronic distribution of the entire album to hundreds of thousands of listeners who appear vexingly oblivious to current copyright law. That there would be a schism between the interests of consumers and the recording industry is hardly surprising; tension and antagonism characterize virtually all forms of exchange in capitalist economies. What is perhaps of note is that these tensions have escalated to the point of the abandonment of the exchange relationship itself. Music fans, fed up with the high prices (and outright price-fixing) of commercially available music, have opted to share music files via peer-to-peer file sharing networks, and record labels are attempting in response to coerce music fans back into the exchange relationship. -
7052=Case by Public Defender 8-30.Pdf
JJ IIIIII SSSSSS 0000 3333 555555 888 EEEEEE JJ IIIIII SS SS 0 00 3 3 5 8 8 EE JJ II SSS 0 0 0 33 55555 888 EEEEE JJ JJ II SSS 0 0 0 3 5 8 8 EE JJJJJJ IIIIII SS SS 00 0 3 3 5 8 8 EEEEEE JJJJ IIIIII SSSSSS 0000 3333 55555 888 EEEEEE JJ 0000 0000 0000 555555 3333 3333 555555 JJ 0 00 0 00 0 00 5 3 3 3 3 5 JJ 0 0 0 0 0 0 0 0 0 55555 33 33 55555 JJ JJ 0 0 0 0 0 0 0 0 0 5 3 3 5 JJJJJJ 00 0 00 0 00 0 5 3 3 3 3 5 JJJJ 0000 0000 0000 55555 3333 3333 55555 * START RMTSCPE SC7052 FR SCBI ROOM C11A 06.17.29 AM 30 AUG 2021 * * START RMTSCPE SC7052 FR SCBI ROOM C11A 06.17.29 AM 30 AUG 2021 * * START RMTSCPE SC7052 FR SCBI ROOM C11A 06.17.29 AM 30 AUG 2021 * * START RMTSCPE SC7052 FR SCBI ROOM C11A 06.17.29 AM 30 AUG 2021 * * START RMTSCPE SC7052 FR SCBI ROOM C11A 06.17.29 AM 30 AUG 2021 * * START RMTSCPE SC7052 FR SCBI ROOM C11A 06.17.29 AM 30 AUG 2021 * * START RMTSCPE SC7052 FR SCBI ROOM C11A 06.17.29 AM 30 AUG 2021 * * START RMTSCPE SC7052 FR SCBI ROOM C11A 06.17.29 AM 30 AUG 2021 * * START RMTSCPE SC7052 FR SCBI ROOM C11A 06.17.29 AM 30 AUG 2021 * *2 J0005335 JIS0358E TPSCPE H111 ACCTNG PR17 JIS0358E J0005335 2* BMIRRPT CITY & COUNTY OF SAN FRANCISCO COURT MANAGEMENT SYSTEM REPORT # 7052 RUN 08/29/21 @ 11:35 PAGE 1 *------------------------------------------------------------------------------- (CC7052. -
Giorgio Moroder Legendary Godfather of Electronica Announces Australian and New Zealand Headline Shows
GIORGIO MORODER LEGENDARY GODFATHER OF ELECTRONICA ANNOUNCES AUSTRALIAN AND NEW ZEALAND HEADLINE SHOWS Frontier Touring is delighted to confirm that iconic production pioneer Giorgio Moroder has announced three headline shows this month in Melbourne, Sydney and Auckland alongside his appearances as special guest for Kylie’s upcoming Kiss Me Once Australian tour. An Academy Awardwinning composer, superstar DJ, worldrecognized songwriter and prolific producer, Giorgio Moroder is one of the most influential and innovative artists of the 20th and 21st centuries. Having engineered the disco landscape of the seventies, Moroder brought electronic music to the mainstream with frequent collaborator Donna Summer and their anthemic hits ‘Love To Love You Baby’, ‘Hot Stuff’ and ‘I Feel Love’. As well as his title as godfather of dance, Moroder has composed some of the most recognizable film scores in cinema history, including The Never Ending Story, American Gigolo, Cat People, Superman III, Scarface, Rambo III, and Beverly Hills Cop II as well as hit soundtrack singles ‘Take My Breath Away’ by Berlin (Top Gun), ‘Flashdance’ by Irene Cara and ‘Call Me’ by Blondie (American Gigolo). His work for film has seen him win no less than three Academy Awards that sit proudly alongside his four Golden Globes, four Grammys and in 2004 was an inductee into the Dance Music Hall of Fame for his outstanding contribution to the music industry. As well as his own esteemed work as a solo artist Moroder has worked with a veritable who’s who of icons including Elton John, Cher, Janet Jackson, Freddy Mercury, David Bowie, Chaka Khan, Cheap Trick, and Pat Benatar. -
Performance in EDM - a Study and Analysis of Djing and Live Performance Artists
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 12-2018 Performance in EDM - A Study and Analysis of DJing and Live Performance Artists Jose Alejandro Magana California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Music Performance Commons Recommended Citation Magana, Jose Alejandro, "Performance in EDM - A Study and Analysis of DJing and Live Performance Artists" (2018). Capstone Projects and Master's Theses. 364. https://digitalcommons.csumb.edu/caps_thes_all/364 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Magaña 1 Jose Alejandro Magaña Senior Capstone Professor Sammons Performance in EDM - A Study and Analysis of DJing and Live Performance Artists 1. Introduction Electronic Dance Music (EDM) culture today is often times associated with top mainstream DJs and producers such as Deadmau5, Daft Punk, Calvin Harris, and David Guetta. These are artists who have established their career around DJing and/or producing electronic music albums or remixes and have gone on to headline world-renowned music festivals such as Ultra Music Festival, Electric Daisy Carnival, and Coachella. The problem is that the term “DJ” can be mistakenly used interchangeably between someone who mixes between pre-recorded pieces of music at a venue with a set of turntables and a mixer and an artist who manipulates or creates music or audio live using a combination of computers, hardware, and/or controllers. -
The Narrative Potential of Album Covers
Studies in Visual Arts and Communication: an international journal Vol 2, No 2 (2015) on-line ISSN 2393 - 1221 The Narrative Potential of Album Covers Robert J. Belton Abstract In Popular Music Studies there appears to be a conceptual divide between the aesthetics of videos and those of album covers because the former move in time and the latter do not. One of the consequences of this separation is that music video studies tend to take inspiration from film and media studies whereas album cover studies tend to derive ideas and methods from art history. This paper asks if this isn’t a missed opportunity. It argues that album covers can and do exist in time, and it offers a type of analysis that shows how still and moving images both integrate with music to create a modal hybrid that is greater than simply the sum of their parts. One can, for example, profitably deploy narrative analysis to understand still images. Similarly, one can deploy art historical methods to assess music videos. There is a conceptual divide between the switching vertical recession to a horizontal aesthetics of album covers and those of videos plane 3. In contrast to mere depictions of objects because the latter move in time, while the and spatial relations, Lessing argued that poetry former do not. This paper argues that album necessarily exists in time as the result of the covers do exist in time, because they, too, are in consecutive presentation of elements. He semiotic coordination with music, producing concluded that pictures only represent things, opportunities for multimodal analyses. -
Ism Z33/Docz Programma Cinemaaah!
Cinemaaah! Ism z33/docz Pukkeldepopcorn nog aan toe, een heuse filmtent in de Petit Bazar!? Zet je in de Cinemaaah! tent gezellig neer voor een hele resem films en documentaires! Met Heima van Sigur Rós en Part Of The Weekend Never Dies van Soulwax hebben we twee top muziekdocumentaires in huis! Heima volgt Sigur Rós op tournee in hun thuisland Ijsland. Laat je meeselepen door de filmische muziekfragmenten die afgewisseld worden met adembenemende natuurbeelden. Part Of The Weekend Never Dies volgt Soulwax dan weer op hun Soulwax Nite Versions zomertour (2006) langs de hipste clubs en festivals over de hele wereld. Van een heel ander kaliber is de cult trash zombiefilm Planet Terror van het Grindhouse-project van Robert Rodriguez en Quentin Tarantino en de overrompelende natuurdocumentaire Earth. Bekijk het schema in bijlage, want er is veel meer! Programma Cinemaaah! Donderdag 14/08 Vrijdag 15/08 Zaterdag 16/08 13.00 – 13.20 13.00 – 13.30 13.00 – 13.30 One Minutes Video Best of Stash Media One Minutes Video 13.20 – 15.00 13.30 – 15.00 13.30 – 15.00 Heima: Sigur Rós Crossing the Bridge Manufactured Landscapes (2007) 97’ Fatih Akin (2005) 90’ Jennifer Baichwal (2007) 86’ 15.00 – 15.30 15.00 – 15.30 15.00 – 15.30 Best of Stash Media One Minutes Video z33 Shorts 15.30 – 17.35 15.30 – 16.40 15.30 – 17.00 Play Time Part of the Weekend Jesus Camp Jacques Tati (1967) 124’ Never Dies: Soulwax Heidi Ewing/Rachel Grady (2007) 84’ Saam Farahmand (2008) 69’ 17.35 – 17.50 16.40 – 17.30 17.00 – 17.30 Best of Stash Media z33 Shorts One Minutes Video 17.50 -
Paper Title (Use Style: Paper Title)
International Academic Workshop on Social Science (IAW-SC 2013) Grotesque and Gaudy World of Music, Indispensable Narrative Pen Study on The Narrative Strategy of Modern Chinese Pop Songs’ Lyrics Chunjing Zhang College of Applied Technology Southwest University Chongqing,China [email protected] Abstract—Since the 1990s, the creation of pop songs’ lyrics has symbol presents "conation ", which promotes recipient to undergone a lot of changes, transforming from the past take action. According to Jacobsen’s brilliant analysis, lyrics emphasis on inner expression to frequent use of narration. appear to be more emotional or strongly conative. Therefore, Thus, the grotesque and gaudy world of music, concentrating the lyrics have a strong tendency of appealing. Answering is on creators ’narrative pen, unfolds vividly. Some important the basic trend of the lyrics, narrative strategy of “I tell you" narrative strategy has gradually taken shape, including basic is the most fundamental sending mode of lyrics. The narrative strategy of “I tell you” and public participation in appearance of subject expressing is an important “telling a story”, Demonstration of details and fragments in life characteristics of the lyrics. of whole narration and defamiliarization on narration. There are too many examples that we cannot cite them all. Keywords-lyrics; pop songs; narration According to the study of the highest search volume of 100 new songs lyrics on Baidu MP3 search, the author find that 95% of the lyrics comprise the basic strategy of "I tell you", I. INTRODUCTION including "I", "you" or slightly distorted "I" and "you", even No matter what kinds of art form, story-telling is the if starting in the fashion of third person and through the most attractive method. -
Adidas Originals Unite All Originals Press
Very few DJs can jump from club sets to high-profile festival performances, to Kanye West’s larger- than-life stadium shows with ease. In today’s DJ culture, A-Trak holds a truly unique place. He and partner Nick Catchdubs founded America’s most trendsetting new label, Fool’s Gold, launching the careers of artists such as Kid Sister and Kid Cudi. Fool’s Gold’s mission to merge all aspects of club music was already outlined in Trizzy’s original mixtape manifesto, Dirty South Dance, which set the tone for his own production. He is now one of the most sought-after remixers in electronic music, and his remixes for the likes of the Yeah Yeah Yeahs and Boys Noize have become undeniable mainstays in DJ sets the world over. 2009 saw the release of two critically acclaimed DJ mixes, Infinity +1 and Fabriclive 45, as well as the birth of Duck Sauce, his collaboration with Armand Van Helden. The duo’s radio smash “aNYway” cemented itself as the dance anthem of the year, A-Trak’s first true chart- topper with two videos in international rotation and across-the-board support from Pete Tong to Busy P, David Guetta to 2manydjs. Duck Sauce’s 2010 follow up “Barbra Streisand” was even bigger, a whistling pop sensation that accumulated over 60 million YouTube views of its star-studded video while hitting platinum heights around the globe. They even covered it on X-Factor and Glee! Not bad for a kid whom many viewed as a 90’s turntablism prodigy. -
ST/LIFE/PAGE<LIF-005>
| FRIDAY, MAY 15, 2020 | THE STRAITS TIMES | happenings life C5 GIGS Boon Chan Assistant Life Editor recommends The Show Goes On... Line: Eli Hsieh In this February 2017 concert, Picks Taiwanese singer-songwriter Eli Hsieh, winner of Best New Artist at the 2016 Golden Melody Awards, performed a selection of originals Music from his debut album, Progress Reports. Presented at Huayi Chinese Festival of Arts under in::music, the arts centre’s platform for up-and-coming Chinese singer-songwriters. WHERE: Watch it at esplanade.com/ offstage/arts/eli-hsieh Ash Grunwald Lockdown Gig Australian blues musician Ash Grunwald is holding an online concert where he will perform original tunes and take song requests from viewers. He will also host a 10-minute Zoom meeting with viewers. WHEN: Tomorrow, 6 - 8pm ADMISSION: A$20 (S$18, concert only), A$55 (concert & Zoom meeting) INFO: bit.ly/3fLF4sx Marquee – First Anniversary AARON KWOK’S ONLINE CONCERT masks, he performed Mandarin and Cantonese hits, such In celebration of its first anniversary, Hong Kong pop star Aaron Kwok’s (above) hour-long as Loving You Forever and Para Para Sakura, on the rooftop the club will stream performances energetic Cheer Up And Dance gig, which was of shopping complex Harbour City in Hong Kong. by DJs Nicky Romero, Steve Aoki livestreamed on Saturday last week, has chalked up more The singer-actor also paid tribute to his late mother, to and Andrew Rayel over platforms than two million views on YouTube. whom he was known to be close. such as Zoom and Twitch.