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Sebastian Jakub Konefał – Redaktor Prowadzący Numeru Grzegorz Fortuna Jr
FILM / NOWE MEDIA / SZTUKI WIZUALNE www.panoptikum.pl Adres do korespondencji: Mapowanie Północy Redakcja „Panoptikum” ul. Wita Stwosza 58/109 80-952 Gdańsk tel. (058) 523 24 50 [email protected] REDAKCJA: Mapping the North Grażyna Świętochowska – redaktor naczelna / [email protected] Sebastian Jakub Konefał – redaktor prowadzący numeru Grzegorz Fortuna Jr. – [email protected] Monika Bokiniec – [email protected] R ADA NAUKOWA: prof. Krzysztof Kornacki (Uniwersytet Gdański, Polska), prof. Ewa Mazierska (University of Lancashire, UK), prof. Mirosław Przylipiak (Uniwersytet Gdański, Polska), prof. Jerzy Szyłak (Uniwersytet Gdański, Polska), prof. Piotr Zwierzchowski (Uniwersytet Kazimierza Wielkiego, Polska) RECENZENCI: • Lyubov Bugayeva (Saint Petersburg University, Rosja) • Lucie Česálková (Masarykova Univerzita, Czechy) • Konrad Klejsa (Uniwersytet Łódzki, Polska) • Rafał Koschany (Uniwersytet im. Adama Mickiewicza w Poznaniu, Polska) • Arkadiusz Lewicki (Uniwersytet Wrocławski, Polska) • Constantin Pârvulescu (Universitatea de Vest din Timisoara, Rumunia) • Tadeusz Szczepański, Państwowa Wyższa Szkoła Filmowa, Telewizyjna i Teatralna im. Leona Schillera w Łodzi, Polska) • Balázs Varga (Eötvös Loránd University, Węgry) • Patrycja Włodek (Uniwersytet Pedagogiczny w Krakowie, Polska) Redakcja językowa: Grzegorz Fortuna Jr., Martyna Skowron (język angielski) Projekt graficzny, okładka, layout i skład: Jacek Michałowski / Grupa 3M / [email protected] Promocja numeru: Tomasz Pupacz / [email protected] Materiały zdjęciowe udostępnione za zgodą właścicieli praw autorskich. Wydawca: Uniwersytet Gdański (http://cwf.ug.edu.pl/ojs/) Akademickie Centrum Kultury Uniwersytetu Gdańskiego „Alternator” Publikacja jest efektem badań akademickich przeprowadzonych w 2016 roku dzięki wsparciu udzielonemu z funduszy norweskich i funduszy EOG, pochodzących z Islandii, Liechtensteinu i Norwegii. This publication is the effect of the academic researches supported in 2016 by the Norway Grants and the EEA Grants with the financial contributions of Norway, Iceland and Liechtenstein. -
The Story of Pop Music from Bill Haley to Beyonce 1St Edition Free
YEAH! YEAH! YEAH! THE STORY OF POP MUSIC FROM BILL HALEY TO BEYONCE 1ST EDITION DOWNLOAD FREE BOOK Bob Stanley | --- | --- | --- | 9780393351682 | --- | --- ‘Yeah! Yeah! Yeah!’ is a book you can dance to See details. It's pages long and I could easily have read more. Add to Wishlist. James Reed, a staff pop music critic, can be reached at james. The early chapters come across as deeper and more satisfying than the late ones. What the Fuck Is Going. Packed with facts and amusing little titbits, and good at digging out pop's lost gems and exploring forgotten cul-de-sacs that are never written about in books on more seriouser issues as Betty Boo might say. It was fast, loud, do-it-yourself music without pretension. And the notes at the end of each chapter are as good as the chapters themselves: in some ways the notes are the real heart of the book. Bicep - Glue The best parts of the book are the Bob Stanley's 'Yeah Yeah Yeah' is an encyclopaedic, nerdy, impassioned, defiantly unfashionable history of popular music, from the early 50s to the mid 90s. To ask other readers questions about Yeah! Refresh and try again. Most troubling, though, is Stanley's sometimes patronizing attitude towards women and people of colour. AM mainstream radio stations of the day ignored the vacant channels on the newer FM band. The shelves of libraries are well stocked with chunky hardbacks about the legends of rock, the story of the blues and the significance of jazz, but pop - the very stuff that turned most of us onto music in the first place - is seriously under represented. -
6702-6734. (Mondale at 6726)
UNITED STATES OF Al\fERICA (LongrrssionallItfcord th PROCEEDINGS AND DEBATES OF THE 94 CONGRESS SECOND SESSION VOLU~IE 122-PART 6 11,\RGH IS, 1976 TO ~L\RC:f[ 2~;, 1'176 (PAGES 6397 TO 77G6' UNITED STATES GOVE~NM.ENT PRINTING OHICf, \VASHINGTO:.:'-l, 1976 6702 CONGRESSIONAL RECORD ~ SENATE lJtJarck 16,>19,'6 ping the FEC of its power and its in called to order by the Presiding Officer discloses any information about any pending dependence. I want no part in giving one (Mr. STAFFORD). case without the consent of the candidate involved. MeanwhUe the candidate would be interest group an unfair advantage over free to say anything he likes about the case another interest group. I want no part in or the FEC. Surely some less heavy-handed an effort to make this measure an in FEDERAL ELECTION CAMPAIGN ACT and more even-handed way can be found to cumbent's bill. S. 3065 would accomplish AMENDMENTS OF 1976 enforce discipline and inspire some sense of these things. I urge my colleagues to vote The Senate continued with the con responsibility on the part of FEC officials. against it and vote in favor of the simple sideration of the bill (S.3065) to amend From there, the bills go rapidly downhlll. reconstitution of the Commission. How Congressional InfiuenCe over the commis the Federal Election Campaign Act of sion would be intensified. Public dlsclosure ever, if the Senate shoUld adopt S. 3065 1971 to provide for its administration by of campaign finances In candidates' home as reported out of the Committee on a Federal Election Commission appointed states would be curtalled. -
Reconciling Social Norms and Copyright Law: Strategies for Persuading People to Pay for Recorded Music Mark F
Journal of Intellectual Property Law Volume 17 Issue 1 Symposium - The Changing Face of Copyright Article 6 Law: Resolving the Disconnect Between 20th Century Laws and 21st Century Attitudes October 2009 Reconciling Social Norms and Copyright Law: Strategies for Persuading People to Pay for Recorded Music Mark F. Schultz Southern Illinois University School of Law Follow this and additional works at: https://digitalcommons.law.uga.edu/jipl Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Mark F. Schultz, Reconciling Social Norms and Copyright Law: Strategies for Persuading People to Pay for Recorded Music, 17 J. Intell. Prop. L. 59 (2009). Available at: https://digitalcommons.law.uga.edu/jipl/vol17/iss1/6 This Article is brought to you for free and open access by Digital Commons @ Georgia Law. It has been accepted for inclusion in Journal of Intellectual Property Law by an authorized editor of Digital Commons @ Georgia Law. Please share how you have benefited from this access For more information, please contact [email protected]. Schultz: Reconciling Social Norms and Copyright Law: Strategies for Persua RECONCILING SOCIAL NORMS AND COPYRIGHT LAW: STRATEGIES FOR PERSUADING PEOPLE TO PAY FOR RECORDED MUSIC Mark F. Schultz INTRODUCTION ................................................. 60 I. WHEN IS SURRENDER THE RIGHT OPTrION? CHANGING THE LAW OR ABANDONING ENFORCEMENT ......................... 62 A. HOW NORMS OVERCOME LAWS .............................. 63 B. DETERMINING WHEN TO CHOOSE THE SURRENDER STRATEGY .... 63 C. THE SURRENDER STRATEGY AND THE MUSIC BUSINESS .......... 68 Ii. SURVEYING THE ALTERNATE STRATEGIES ....................... 70 A. DETERRENCE: RAMPING UP ENFORCEMENT AND PENALTIES ..... 70 1. Deterrence Strategiesin General............................. -
The Catchiest Disease “Hesitation Marks” Embodies a Ruined Man Many a Personal Downfall in This Album by Max Robison Contributing Writer Especially
Tuesday, Features Sept. 10, 2013 11 “Get to Know a Retriever” Meet Arash Fallah, a student driven to succeed at UMBC have been mentoring me club wrestling team but I would really like to see I really look up to their the team be elevated to a andhumility, I’ve learned grace, aclass lot from. and formal collegiate level. Beverage choice that’s wisdom.is extremely Farrah intelligent,Daham is indicative of your onetrustworthy, of my role models.nuanced She personality? characteristics I admire in anda person. beautiful. Those are Pepsi,Keep Calmit’s sweet and and_________? dark. What is your favorite COURTESY ARASH FALLAH part about UMBC? RelaxHow has UMBC helped Arash Fallah rides a carousel at Whatever you want to you achieve success? Pentagon mall. With little exception, there importance of failure BY DAVID POZNANSKY doare atfew UMBC, obstacles you keepingcan do. It’s taught me the Contributing Writer you from pursuing your understanding that few passions. andadvantages success. comeAs well from as Name, Major, Year? taking a position of conceit. Sports team you’d be most excited to see play a measured impact by Arash Fallah, History and live? I’veapplying learned the lessonshow to of make tact. PoliticalFrom? Science, 2015 Potomac, Maryland challenge myself by taking LosWhat Angeles sport Lakers or activity It’s also encouraged me to Do you have any should UMBC compete in than merely coasting role models? What on a collegiate level? difficultthrough college.courses rather characteristics of theirs do you admire? have such an outstanding [email protected] I think it’s great that we There are two people who The catchiest disease “Hesitation Marks” embodies a ruined man many a personal downfall in this album BY MAX ROBISON Contributing Writer especially. -
Mr Bulloch Continuing Our Grilling of the Old Guard, We Now Speak to ‘Mr
Issue 4 Email: [email protected] February 2010 1 THE PUPILS’ VOICE Issue 4, February 2010 www.pupilsvoice.com Where in the school is this? See Pg.15 FChairman, Co-editor and layout: Hasan Ali Chief Editor: James Jordan Deputy Editor: Sanjeevan Ghag onse ent praestie con eriustio odolupt Interview with Heidi aka. ‘Really Friendly Dinner Lady’ Hasan Ali, Sanjeevan Ghag, Chris Jones and James Jordan PV: What is your job here? Heidi: To make sure PV: So, do you have the boys are safe at another job outside lunchtime. of Camp Hill? Heidi: Ooh, brownies; PV: What’s your funni- kid’s club. I go from est moment here? here at twenty to two, Heidi: I can’t think and then go over to of any...A lad on the Colmore from three fi eld doing sports – to six, but I’ve just fi n- he played rugby really ished that. I’m a lady well. But he said “I of leisure in the after- could only run half- noon. way round the fi eld and I’d collapse.’ So PV: Did you stop doing he ran halfway round that so you could and he collapsed, that HEIDI’S cheery face is known by current Camphillians and old boys come here more? was the funniest thing. it’s gotta be my husband really. two years before that, so about Heidi: Yep. So I’m cleaning in My children as well. 6 years. the morning and then lunch- PV: Most embarrassing time and then sometimes I do moment? PV: Do you fancy a celebrity? PV: What’s your favourite TV a few exams. -
Black Light Burns Cruel Melody Mp3, Flac, Wma
Black Light Burns Cruel Melody mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Rock Album: Cruel Melody Country: US Released: 2007 Style: Electro, Goth Rock MP3 version RAR size: 1390 mb FLAC version RAR size: 1273 mb WMA version RAR size: 1864 mb Rating: 4.4 Votes: 555 Other Formats: VQF WMA AU VOX MOD AC3 MIDI Tracklist Hide Credits Mesopotamia 1 4:29 Mixed By – Ross Robinson, Ryan Boesch 2 Animal 4:08 Lie 3 4:21 Bass – Danny LohnerProgrammed By [Additional] – Charlie Clouser Coward 4 4:36 Bass, Guitar – Danny LohnerVocals [Additional] – Sonny Moore Cruel Melody 5 5:00 Vocals [Additional] – Carina Round 6 The Mark 3:13 I Have A Need 7 4:24 Bass – Sam Rivers Guitar – Danny Lohner 8 4 Walls 3:51 9 Stop A Bullet 3:37 10 One Of Yours 4:51 New Hunger 11 Cello – John Krovoza, Matt Cooker*, Richard Dodd Viola – Leah KatzViolin – Daphne Chen, 5:24 Eric Gorfain I Am Where It Takes Me 12 Cello – John Krovoza, Matt Cooker*, Richard Dodd Drums – Wes BorlandViola – Leah 6:09 KatzViolin – Daphne Chen, Eric GorfainVocals [Additional] – Johnette Napolitano Iodine Sky 13 8:30 Mixed By – Wes Borland Credits Drums, Percussion – Josh Freese Engineer – Critter*, Josh Eustis* Engineer [Additional] – Danny Lohner, Wes Borland Lead Vocals, Guitar, Bass, Programmed By, Percussion, Synthesizer, Piano, Electric Piano [Rhodes], Violin, Cello – Wes Borland Mixed By – Tom Lord-Alge (tracks: 2 to 12) Performer [Live Bass] – Sean Fetterman Performer [Live Drums] – Marshall Kilpatric Performer [Live Guitar] – Nick Annis Performer [Live Vocals, Guitar] -
Artists and Labels
Roskilde Festival 2019 Artists and labels Artist/Kunstner Label/Pladeselskab Distribution 700 BLISS Don Giovanni ALDOUS HARDING 4AD Playground ALKYMIST ALMA PME Warner AMNESIA SCANNER PAN AMYL & THE SNIFFERS Rough Trade Playground ARRE! ARRE! ARTIGEARDIT Artige ASMÂA HAMZAOUI & BNAT TIMBOUKTOU ASTRID SONNE Escho AUÐUR AURORA Universal BABY IN VAIN X CORPUS Partisan BAEST Century Media BANTOU MENTALE BARSELONA Universal BEHEMOTH Nuclear Blast BIKSTOK Mermaid Sony BLACK MIDI Rough Trade Playground BLAWAN Ternesc BOB DYLAN WITH HIS BAND Columbia Sony Music BOMBINO Partisan BOUNDARIES BRENN. Big Day BRING ME THE HORIZON Sony Music BROCKHAMPTON Question Everything Sony CARDI B Atlantic Warner CARPENTER BRUT No Quarter Prod Universal CATFISH AND THE BOTTLEMEN Island Universal CHANCE THE RAPPER CHARLOTTE BENDIKS CHRISTINE AND THE QUEENS Caroline Universal CLAN CAIMÁN COLLIDER CONVERGE Epitaph Playground CRACK CLOUD Meat Machine CROATIAN AMOR Posh Isolation CULT LEADER Deathwish CUPCAKKE CYPRESS HILL BMG Rights Friendly DAWDA JOBARTEH FEAT. CTM DEATH GRIPS Harvest Universal DENZEL CURRY Loma Vista Universal DESCARTES A KANT Cleopatra DISCOSHAMAN DJ KOZE Pampa DŽAMBO AGUŠEVI ORCHESTRA ARC EA KAYA No3 ELBA EMILY DUST (DJ) EMPIRE OF THE SUN Universal ENA COSOVIC (DJ) FARVEBLIND Mermaid Sony/Friendly FATOUMATA DIAWARA Montuno Wagram FLEXLIKEKEV FLOHIO Alpha FONTAINES D.C. Partisan FOULI disco:wax FULL OF HELL & THE BODY Thrill Jockey FUNERAL FUTURE Kulør GAYE SU AKYOL Glitterbeat GHETTO KUMBÉ Galletas Calientes GIORGIA ANGIULI Stol vor Talent GIRLCRUSH -
Installation Guidelines
THE NEW WAVE IN ROOFING IINSTALLATIONNSTALLATION GGUIDEUIDE Visit our website at: www.ondura.com Thank you for buying Ondura – the corrugated roofing and siding material that brings you both good looks and long life. Even though Ondura is easy to install, before begin- Ondura, like all roofing materials, should be carefully ning, you should thoroughly read these instructions to installed. Mistakes in installation can cause roof prob- understand how they apply to your roofing or siding job. lems later on. So take your time and closely follow We recommend you have an architect or structural these installation guidelines. As you can imagine, they engineer check your roofing plan for soundness and cannot cover all possible situations. especially for proper ventilation. Please use extreme caution on the roof to insure your personal safety at all times. Be sure that ladders and other such devices are safely posi- tioned and properly secured. OSHA recommends the use of a safety harness when applying roofing. Protective eyewear is recommended when applying fasteners or using power tools. When walking on Ondura, wear soft-soled shoes and place your feet perpendicular to the corrugations. All roofing is slippery when wet, dusty, frosty or oily...avoid working or walking on the roof if any of these conditions exist. Working on the roof if windy conditions exist can be dangerous and should be avoided. And, like any asphalt product, refrain from walk- ing on in high heat. Quick Estimating Guide For Sheets. Roofing Materials GETTING STARTED Sheet Dimensions = 48˝ W x 79˝ L • Sheets to cover a square, 4.5 (3.8 sheets equal 100 square feet or ice water shield are required. -
January 1988
VOLUME 12, NUMBER 1, ISSUE 99 Cover Photo by Lissa Wales Wales PHIL GOULD Lissa In addition to drumming with Level 42, Phil Gould also is a by songwriter and lyricist for the group, which helps him fit his drums into the total picture. Photo by Simon Goodwin 16 RICHIE MORALES After paying years of dues with such artists as Herbie Mann, Ray Barretto, Gato Barbieri, and the Brecker Bros., Richie Morales is getting wide exposure with Spyro Gyra. by Jeff Potter 22 CHICK WEBB Although he died at the age of 33, Chick Webb had a lasting impact on jazz drumming, and was idolized by such notables as Gene Krupa and Buddy Rich. by Burt Korall 26 PERSONAL RELATIONSHIPS The many demands of a music career can interfere with a marriage or relationship. We spoke to several couples, including Steve and Susan Smith, Rod and Michele Morgenstein, and Tris and Celia Imboden, to find out what makes their relationships work. by Robyn Flans 30 MD TRIVIA CONTEST Win a Yamaha drumkit. 36 EDUCATION DRIVER'S SEAT by Rick Mattingly, Bob Saydlowski, Jr., and Rick Van Horn IN THE STUDIO Matching Drum Sounds To Big Band 122 Studio-Ready Drums Figures by Ed Shaughnessy 100 ELECTRONIC REVIEW by Craig Krampf 38 Dynacord P-20 Digital MIDI Drumkit TRACKING ROCK CHARTS by Bob Saydlowski, Jr. 126 Beware Of The Simple Drum Chart Steve Smith: "Lovin", Touchin', by Hank Jaramillo 42 Squeezin' " NEW AND NOTABLE 132 JAZZ DRUMMERS' WORKSHOP by Michael Lawson 102 PROFILES Meeting A Piece Of Music For The TIMP TALK First Time Dialogue For Timpani And Drumset FROM THE PAST by Peter Erskine 60 by Vic Firth 104 England's Phil Seamen THE MACHINE SHOP by Simon Goodwin 44 The Funk Machine SOUTH OF THE BORDER by Clive Brooks 66 The Merengue PORTRAITS 108 ROCK 'N' JAZZ CLINIC by John Santos Portinho A Little Can Go Long Way CONCEPTS by Carl Stormer 68 by Rod Morgenstein 80 Confidence 116 NEWS by Roy Burns LISTENER'S GUIDE UPDATE 6 Buddy Rich CLUB SCENE INDUSTRY HAPPENINGS 128 by Mark Gauthier 82 Periodic Checkups 118 MASTER CLASS by Rick Van Horn REVIEWS Portraits In Rhythm: Etude #10 ON TAPE 62 by Anthony J. -
Roskilde Festival Festival Internacional De Benicàssim
Julio 2013 ROSKILDE FESTIVAL FESTIVAL INTERNACIONAL DE BENICÀSSIM CRÓNICAS: Def Leppard, Bon Jovi, Whitesnake, Dover, Blues Brothers, Elvis Cotello, La Pandilla Voladora . Entrevistamos a Marx 1 Portada de : Jackster Slipknot (Corey Taylor “Number 8”) Esta revista ha sido posible gracias a: Alejandro Juarez Alex García Alfonso Camarero Andrés Moreno Antonio Maraver Bernabé Cantero Chema Pérez Daniel Herranz David Collados Héctor Checa Francisco Moreno Jackster José Luis Carnes José Ángel Romera Manuel Moreno Natalia Gütner Pamp Santiago Cerezo www.solo-rock.com se fundó en 2005 con la intención de con- tar a nuestra manera qué ocurre en el mundo de la música, poniendo especial atención a los conciertos. Desde entonces hemos cubierto la información de más de dos mil con- ciertos, además de informar de miles de noticias relacionadas con el Rock y la música de calidad en general. Solamente en los dos últimos años hemos estado en más de 600 conciertos, documentados de forma fotográfica y escrita. Los redactores de la web viven el Rock, no del Rock, por lo que sus opi- niones son libres. La web no se responsabiliza de los comentarios que haga cada colaborador si no están expresamente firmados por la misma. Si quieres contactar con nosotros para mandarnos información o promo- cional, puedes hacerlo por correo electrónico o por vía postal. Estas son las direcciones: Correo Electrónico: [email protected] Dirección Postal: Aptdo. Correos 50587 – 28080 Madrid 2 Sumario Crónicas de conciertos Pág. 4 IV Fiesta Solo Rock Pág. 5 Bon Jovi Pág. 8 Def Leppard + Whitesnake+ Europe Pág. 12 Dover Pág. -
Development of Musical Ideas in Compositions by Tortoise
DEVELOPMENT OF MUSICAL IDEAS IN COMPOSITIONS BY TORTOISE Reiner Krämer Prologue For more than 25 years, the Chicago-based experimental rock band Tortoise has crossed over multiple popular music genres (ambient music, krautrock, dub, electronica, drums and bass, reggae, etc.) as well as different types of jazz music, and has made use of minimalist Western art music.1 The group is often labeled a pioneer of the »post-rock« genre. Allegedly, Simon Reynolds first used the term in his review of the album Hex by the English east Lon- don band Bark Psychosis (Reynolds 1994a) and shortly afterwards in his arti- cle »Shaking the Rock Narcotic« (Reynolds 1994b: 28-32). In connection to Tortoise he used »post-rock« in his review article of their 1996 album Mil- lions Now Living Will Never Die (Reynolds 1996). Reynolds describes music he labels as ›post-rock‹ where bands use guitars »in [non-rock] ways« to manipulate »timbre and texture rather than riff[s]« and »augment rock's basic guitar-bass-drums lineup with digital technology such as samplers and sequencers« (Reynolds 2017: 509). Most members of Tortoise act as multi- instrumentalists that play different combinations of instruments at different times. As Jeanette Leech (2017: 16) has stated, a typical Tortoise stage set- up can feature vibraphones, marimbas, two drum sets, and a multitude of synthesizers. With regards to the instrumental setup Leech draws up paral- lels with progressive rock of the 1970s but points to one decisive difference within the genres: »for Tortoise, the range of instrumentation [is] about creating mood, not showboating« (ibid.).