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'The Big House and the Picket Fence'
CHICAGO’SFREEWEEKLYSINCE | NOVEMBER | NOVEMBER CHICAGO’SFREEWEEKLYSINCE ‘The big house and the picket fence’ Tonya Crowder still dreams that she and her fi ance, Roosevelt Myles—who’s been in prison for decades fi ghting what he says is a wrongful conviction—will one day build a life together somewhere “nice, quiet, and simple.” By MC 7 THIS WEEK CHICAGOREADER | NOVEMBER | VOLUME NUMBER IN THIS ISSUE T R - CITYLIFE televisionsitcomhasashowand THEATER @ 03 SightseeingTraveltipsfor moreartsandculturehappenings 20 ReviewDennisZačekstages ChicagofortheWorld’s WaitingforGodotagainyears ColumbianExpositionyesyou a erhisfi rsttimeanacademic PTB shouldtipyourservers debatebecomesaraciallycharged EC SKKH D EKS confl agrationinTheNiceties C LSK NEWS&POLITICS 22 PlaysofnoteTheNutcracker D P JR 05 Joravsky|PoliticsImagine returnstoHousewithafewtwistsa 30 ShowsofnoteHighonFire MEP M TDKR coveringMadiganandFoxxthe womanexploresherlimitsinQueen YoungMALasCafeterasand CEBW wayRepublicanrunmediacover ofSockPairingandWhyTorture morethisweek AEJL Trump IsWrongandthePeopleWho 32 TheSecretHistoryof SWDI BJ MS LoveThemisabrutalsendupof ChicagoMusicPiecesofPeace S WMD L G FEATURE Americanparanoia cutmostoftheirbrilliantsoulfunk EASN L 07 CriminalJusticeTonya 16 ComedyKorporateBidnessturns forotherpeople’srecords L CS C -J CEB N B Crowderstilldreamsthatshe toYouTubetohilariouslyhighlight 35 EarlyWarningsAirborne LCMDLC andherfi anceRooseveltMyles whatBlackChicagoBeLike ToxicEventKissKeithFullerton J F SF JH who’sbeeninprisonfordecades -
From Disco to Electronic Music: Following the Evolution of Dance Culture Through Music Genres, Venues, Laws, and Drugs
Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2010 From Disco to Electronic Music: Following the Evolution of Dance Culture Through Music Genres, Venues, Laws, and Drugs. Ambrose Colombo Claremont McKenna College Recommended Citation Colombo, Ambrose, "From Disco to Electronic Music: Following the Evolution of Dance Culture Through Music Genres, Venues, Laws, and Drugs." (2010). CMC Senior Theses. Paper 83. http://scholarship.claremont.edu/cmc_theses/83 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. Table of Contents I. Introduction 1 II. Disco: New York, Philadelphia, Chicago, and Detroit in the 1970s 3 III. Sound and Technology 13 IV. Chicago House 17 V. Drugs and the UK Acid House Scene 24 VI. Acid house parties: the precursor to raves 32 VII. New genres and exportation to the US 44 VIII. Middle America and Large Festivals 52 IX. Conclusion 57 I. Introduction There are many beginnings to the history of Electronic Dance Music (EDM). It would be a mistake to exclude the impact that disco had upon house, techno, acid house, and dance music in general. While disco evolved mostly in the dance capital of America (New York), it proposed the idea that danceable songs could be mixed smoothly together, allowing for long term dancing to previously recorded music. Prior to the disco era, nightlife dancing was restricted to bands or jukeboxes, which limited variety and options of songs and genres. The selections of the DJs mattered more than their technical excellence at mixing. -
Groovebasert Musikkproduksjon III
Groovebasert musikkproduksjon III Groove, rytmisk grunnmønster og forslagstoner Foreleser: Hans T. Zeiner-Henriksen e-mail: [email protected] Tlf.: Mob.: 48059723 Kontor: 22854857 Shazz: “Fallin’ In Love” (PT. G Remix) (2001) Bpm: 127 Underworld: “Dark & Long” (1993) Bpm: 135 Frankie Knuckles Frankie Knuckles feat. Satoshi Tomiie: “Tears” (1989) Satoshi Tomiie Medway: “Resurrection” (1993) Bpm: 135 Boogie Drama: “Hypnofunk” (2002) Bpm: 125 Daft Punk: “Revolution 909” (1996) Bpm: 126 Groovebasert musikkproduksjon III Chicago house og demokratiseringsprosesser innen musikkproduksjon Foreleser: Hans T. Zeiner-Henriksen e-mail: [email protected] Tlf.: Mob.: 48059723 Kontor: 22854857 Paradise Garage, New York Paradise Garage, Larry Levan Studio 54, New York Frankie Knuckles - The Warehouse (77-83) Frankie Knuckles Select Discography (Warehouse 1977-79) Ashford & Simpson, “It Seems to Hang On” Roy Ayers, “Running Away” Peter Brown, “Do You Wanna Get Funky with Me” Bumble Bee Unlimited, “Love Bug” Candido, “Thousand Finger Man” George Duke, “I Want You for Myself” Ecstasy, Passion & Pain featuring Barbara Roy, “Touch and Go” First Choice, “Let No Man Put Asunder” Taana Gardner, “Work That Body” Jimmy “Bo” Horne, “Spank” Inner Life featuring Jocelyn Brown, “I’m Caught Up (In a One Night Love Affair)” Kat Mandu, “The Break” Chaka Kahn, “I’m Every Woman” Patti LaBelle, “Music Is My Way of Life” Machine, “There but for the Grace of God Go I” Sergio Mendes, “I’ll Tell You MFSB, “Love is the Message” Moroder, “E=MC ”2 The Originals, “Down to Love Town” Positive Force, “We Got the Funk” Diana Ross, “The Boss” Skatt Bross., “Walk the Night” Gino Soccio, “Dancer” Two Man Sound, “Que Tal America” T. -
February 2015 Newsletter
February 2015 NEWSLETTER A n E n t e r t a i n m e n t I n d u s t r y O r g a n i z a t i on The Economics of Electronic Dance Music Festivals By, Thierry Godard DJ Shadow stated in late 2012 that “we are livening in a musical The President’s Corner renaissance.” In that same year the genre commonly known as electronic dance music was valued at an estimated $4 billion worldwide. 2012 also saw the establishment of The Association Hello Members and Guests, For Electronic Music, the first new lobbying group in over 50 years. The last was formed in 1958 for country music. One year Thank you so much for being with us this evening. later dance music legends Daft Punk, who rose to super stardom Tonight we are excited to share with you a whole evening by reintroducing Chicago house music to the world, broke dedicated to Electronic Dance Music (EDM). Special Spotify’s streaming record with 27 million plays of their hit single “Get Lucky.” thanks to our moderator Gali Firstenberg, board members Michael Morris and Charley Londono for putting this The growth of EDM would be virtually impossible without the stellar panel together! internet. Similar to book publishing, the web has completely and thoroughly disrupted the music industry. Anyone and everyone Please join us next month for our panel dedicated to with a fairly decent internet connection is only milliseconds away from a millenia’s worth of musical knowledge. branding. The announcement for this panel will be out very soon. -
House Music: How the Pop Industry Excused Itself from One of the Most Important Musical Movements of the 20Th Century
House Music: How the Pop Industry Excused Itself From One Of The Most Important Musical Movements of The 20th Century By Brian Lindgren MUSC 7662X - The History of Popular Music and Technology Spring 2020 18 May 2020 © Copyright 2020 Brian Lindgren Abstract In the words of house music legend Frankie Knuckles, house music was disco's revenge. What did he mean by that? In many important ways, house music continued where it left off when it was dramatically cast from American society in the now infamous Disco Demolition Night of July 1979. Riding on the wave of many important social upheavals of the 1960s, disco laid a few important foundations for dance music as we know it today. It also challenged the pop industry power-structure by creating new avenues for music to top the Billboard charts. However, in the final analysis the popularity of disco became its undoing. House music continued to ride on a few of the important waves of disco. The longstanding success of house, however, was in a new development: the independent artist/producer. Young people who began to experiment with early consumer electronic instruments were responsible for creating this new genre of music. This new and exciting sound took hold in Chicago, Detroit and the UK before spreading around the world as the sound we know today as house music. 1 Thirty eight years after the term "House Music" was coined in 1982, the genre has incontestably become a global musical and cultural phenomenon. Few genres in music history can claim this kind of influence. -
Read Book Digital Music Collection for Use with Music: the Art Of
DIGITAL MUSIC COLLECTION FOR USE WITH MUSIC: THE ART OF LISTENING 9TH EDITION PDF, EPUB, EBOOK Jean Ferris | 9780077493080 | | | | | Digital Music Collection for use with Music: The Art of Listening 9th edition PDF Book Kelly and XXXTentacion from its editorial and algorithmic playlists because "When we look at promotion, we look at issues around hateful conduct, where you have an artist or another creator who has done something off-platform that is so particularly out of line with our values, egregious, in a way that it becomes something that we don't want to associate ourselves with". In January , the free trial periods began to expire, and limited users to ten hours of streaming each month and five plays per song. Most recently won by Calvin Harris. It is noted that about ten years ago there was a large revolutionary time in electro music being mixed with pop. That way, you can listen to music even without a data or Wi-Fi connection. You can find lots of answers to common customer questions in our FAQs. CBC News. See also: Rapping and Turntablism. Retrieved 9 February It arose as a distinct genre in Japan and the United Kingdom in the post-punk era as part of the new wave movement of the late s to the mids. Go do it. As with most music history, it isn't certain. Spotify has a median playback latency of ms including local cache. In addition to the previous criticism, the company has attracted media attention for several forms of security breaches, [] [] as well as for controversial company behaviours, including a significant change to its privacy policy, [] "pay for play" practices based on receiving money from labels for putting specific songs on popular playlists, [] and allegedly creating "fake artists" for prominent playlist placement, [] the last of which Spotify has vehemently denied. -
Chicago Hip Hop & Counter-Narrative
Vassar College Digital Window @ Vassar Senior Capstone Projects 2019 "I hope y'all hear me" : Chicago hip hop & counter-narrative Tamar Ballard Vassar College Follow this and additional works at: https://digitalwindow.vassar.edu/senior_capstone Recommended Citation Ballard, Tamar, ""I hope y'all hear me" : Chicago hip hop & counter-narrative" (2019). Senior Capstone Projects. 886. https://digitalwindow.vassar.edu/senior_capstone/886 This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. Title page “ ’ ” & - page 2 “ ' , , , ' ' , ' , , ' ' .”1 ...................................................................................................... ........................................................ .................................................................... ............................... ................................................................................... : .............. : .................................... : ( ) ....................................... : ............ : ......... ...................................................................................... , , , . , . , . : . , , - . , , . , . : – . ’ . ’ . , . “I hope Y’all hear Me.”3 “this life, this new story & history you cannot steal or sell or cast overboard or hang or beat or drown or own or redline or shackle or silence or cheat -
Disco's Revenge
Disco’s Revenge: House Music’s Nomadic Memory Feature Article Hillegonda C. Rietveld London South Bank University Abstract This article addresses the role of house music as a nomadic archival institution, constituted by the musical history of disco, invigorating this dance genre by embracing new production technologies and keeping disco alive through a rhizomic assemblage of its affective memory in the third record of the DJ mix. This exploration will be illustrated through a close analysis of a specific DJ set by a Chicago house music producer, Larry Heard, in the setting of Rotterdam, 2007, in which American house music is recontextualised. Refining the analysis through close attention to one of the tracks played during that particular set, Grand High Priest’s 2006 “Mary Mary”, the analysis shows how DJ and music production practices intertwine to produce a plurality of unstable cultural and musical connections that are temporarily anchored within specific DJ sets. The conceptual framework draws on the work of Deleuze, Guattari and Foucault, as well as Baudrillard’s sense of seduction, with the aim to introduce a fluid notion of mediated nomadic cultural memory, a type of counter- memory, enabled by the third record and thereby to playfully re-imagine the dynamic function of a music archive. Keywords: house music, DJ practices, third record, cultural memory, nomadology Dr. Hillegonda Rietveld is Reader in Cultural Studies at London South Bank University, UK, where she teaches and supervises topics in sonic culture. Her publications address the development and experience of electronic dance music cultures and she is the author of This Is Our House: House Music, Cultural Spaces and Technologies. -
Founder of House Music Jesse Saunders Premieres Real Story Live @ “House Heaven” A/V Projection Extravaganza Show Sat
DJ Biography 2010 JESSE SAUNDERS www.myspace.com/JesseSaunders Jesse Saunders is the architect of what we know as House Music. A Yahoo Search will return an unprecedented 2,400,000 results! His Wikipedia entry is an amazing overview of the worldwide phenomenon known as House Music (http://en.wikipedia.org/wiki/Jesse_Saunders). Why is there so much information on this man? Jesse wrote, produced, performed, mixed and released the 1st documented House record, "ON & ON," on his upstart label Jes Say Records out of Chicago in 1984, which sparked the worldwide phenomenon (http://www.youtube.com/watch?v=K9s-OKokud0). He went on to have the first House record played on National Radio in the USA and The U.K., “Funk U Up” (http://www.youtube.com/watch?v=SKSfm0MWYt4), and wrote & produced the world's most covered and largest selling House single "Love Can't Turn Around," which topped the charts in more than 20 countries and secure the 1st major record deal for a House Music artist/producer DJ with Geffen/Warner Bros. Records in 1986. During his 10 year stint at Geffen/Warner Bros. he produced and remixed such records as De La Soul "Me, Myself and I," Paula Abdul "Vibeology," Gerardo "We Want The Funk," Jermaine Stewart "Set Me Free" (album), and the chart topping Simple Pleasure "Where do We Go From Here." He went on to further build Chicago's reputation as the birthplace of House within the Jive records system with his brother Wayne Williams with remixes on DJ Pierre "Come and Fly" and Mr. -
Redeye Exclusive! Our One-On-One Interview with R. Kelly
RedEye exclusive! Our one-on-one interview with R. Kelly Kyra Kyles on 12.30.10 at 8:15 AM | no comments R. Kelly Getty images File R. Kelly is in his element, striding around the log cabin-inspired living room of his Olympia Fields home about an hour south of downtown Chicago. Wearing black horn-rimmed glasses, a velvet jacket and a starchy green bow tie, he's making sure every person in the room--music industry insiders, friends and other guests--is holding a glass of Champagne at this party to celebrate his new concept album, "Love Letter," which dropped earlier this month. The record is a significant departure from Kelly's signature style, swapping his over-the-top baby-making music for a chaste, romantic approach closer to the soul numbers he admired growing up. In the dim lighting, Kelly even looks like an artist from a bygone era. The art on his album, in which Kelly wears formal attire and sings into vintage microphones, makes one wonder: Has the singer who brought us "Ignition" done a complete U-turn from the hits that made him famous and stoked his scandalous reputation? Is the Kelly who titillated us with the Jerry Springer-esque, soapy "Trapped in the Closet" gone for good? The answer is not so simple, RedEye learned during a one-on-one interview with the notoriously media-shy Kelly during his holiday party last week. "I feel like it's time for me to show the world who I am," said Kelly, who barely has spoken to the media since his 2008 acquittal on child pornography charges. -
"For a Girl, You Can Really Throw Down" : Women
l 200% LIBRARY Michigan State University This is to certify that the thesis entitled “FOR A GIRL, YOU CAN REALLY THROW DOWN”: WOMEN DJS IN CHICAGO HOUSE MUSIC presented by Margaret Lynn Rowley has been accepted towards fulfillment of the requirements for the Master of degree in Musicology Arts ' filial-(>6 a ‘ flfl’O/é/ Major Professor’s Signathe 2/2 7 / 0 6/ Date MSU is an Affirmative Action/Equal Opportunity Employer PLACE IN RETURN BOX to remove this checkout from your record. TO AVOID FINES return on or before date due. MAY BE RECALLED with earlier due date if requested. DATE DUE DATE DUE DATE DUE 5/08 K:/ProilAcc&PresIClRC/DateDue indd “FOR A GIRL, YOU CAN REALLY THROW DOWN”: WOMEN DJ S IN CHICAGO HOUSE MUSIC By Margaret Lynn Rowley A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Musicology 2009 ABSTRACT “FOR A GIRL, YOU CAN REALLY THROW DOWN”: WOMEN DJ S IN CHICAGO HOUSE MUSIC By Margaret Lynn Rowley Although the disc jockey or “DJ” has been gaining prestige in the world of popular music, women DJ 5 have remained a minority, especially in Chicago's house music. Despite many difficulties for women. in this field, like male-dominated management, emphasis on appearance, and being subjects of the male “gaze,” women DJ 3 in house music are creating spaces for themselves. Many women DJ 5 are using varieties of social resistance to gain entry into the heavily male club industry in Chicago. DJ 3' personal social interactions with the pubic ensure that they will have a sizable and enthusiastic crowd at their shows, and since many club owners rely on DJ 5' drawing power, this tactic helps to stabilize some women's careers. -
J E S S E S a U N D E R S
(http://www.dmcworld.net) J E S S E S A U N D E R S FEATURES (HTTP://WWW.DMCWORLD.NET/CATEGORY/FEATURES/) Facebook (http://www.facebook.com/sharer/sharer.php?u=http://www.dmcworld.net/features/jesse-saunders/&t=Jesse+Saunders) Twitter Google+ (https://plus.google.com/share?url=http://www.dmcworld.net/features/jesse-saunders/) LinkedIn (http://www.linkedin.com/shareArticle? mini=true&ro=true&trk=EasySocialShareButtons&title=Jesse+Saunders&url=http://www.dmcworld.net/features/jesse-saunders/) WhatsApp (whatsapp://send?text=Jesse%20Saunders%20http%3A%2F%2Fwww.dmcworld.net%2Ffeatures%2Fjesse-saunders%2F) The legend that brought house music it’s very rst record ‘On & On’ in 1984 Interview : Dan Prince Jesse Saunders is the architect of what we all know as House Music, using a blueprint of old school funk, disco, R&B, early pop and hiphop. He wrote, produced and released the first documented House record titled ‘On & On’ in 1984 through his own label Jes Say Records. He went on to pen hits including ‘Funk U Up,’ ‘Real Love’, ‘Body Music’ and the platinum selling single ‘Love Can’t Turn Around’, which served as the foundation for a funky and soulful new sound in electronic music. Jesse has appeared in countless documentaries, magazine publications, books and conferences (WMC, ADE, RBMA, among many!) over the years and has also written his own semiautobiography “House Music…The Real Story’. He has released countless successful singles and albums on his own labels Jes Say and BrokenRecords and has worked with and influenced key DJs such as Grammy Award winner Roger Sanchez, Marshall Jefferson, DJ Pierre, Farley “Jackmaster” Funk, Steve Hurley and Frankie Knuckles, among others.