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Phylogenetic Reconstruction of the Cultural Evolution of Electronic Music Via Dynamic Community Detection (1975–1999)
Phylogenetic reconstruction of the cultural evolution of electronic music via dynamic community detection (1975{1999) Mason Youngblooda,b,1, Karim Baraghithc, and Patrick E. Savaged a Department of Psychology, The Graduate Center, City University of New York, New York, NY, USA bDepartment of Biology, Queens College, City University of New York, Flushing, NY, USA cDepartment of Philosophy, DCLPS, Heinrich-Heine University, D¨usseldorf,NRW, Germany dFaculty of Environment and Information Studies, Keio University SFC, Fujisawa, Japan [email protected] Abstract Cultural phylogenies, or \trees" of culture, are typically built using methods from biology that use similarities and differences in artifacts to infer the historical relationships between the populations that produced them. While these methods have yielded important insights, particularly in linguistics, researchers continue to debate the extent to which cultural phylogenies are tree-like or reticulated due to high levels of horizontal transmission. In this study, we propose a novel method for phylogenetic reconstruction using dynamic community detection that explicitly accounts for transmission between lineages. We used data from 1,498,483 collaborative relationships between electronic music artists to construct a cultural phylogeny based on observed population structure. The results suggest that, although the phylogeny is fun- damentally tree-like, horizontal transmission is common and populations never become fully isolated from one another. In addition, we found evidence that electronic music diversity has increased between 1975 and 1999. The method used in this study is available as a new R package called DynCommPhylo. Future studies should apply this method to other cultural systems such as academic publishing and film, as well as biological systems where high resolution reproductive data is available, to assess how levels of reticulation in evolution vary across domains. -
Vicissitudes of Youth Culture: Primary Epoch to the New Fangled World Jaspreet Kaur Student of M
International Journal of Humanities & Social Science Studies (IJHSSS) A Peer-Reviewed Bi-monthly Bi-lingual Research Journal ISSN: 2349-6959 (Online), ISSN: 2349-6711 (Print) Volume-II, Issue-II, September 2015, Page No. 303-319 Published by Scholar Publications, Karimganj, Assam, India, 788711 Website: http://www.ijhsss.com Vicissitudes of Youth Culture: Primary Epoch to the New Fangled World Jaspreet Kaur Student of M. E d., Punjab University, Chandigarh, India Abstract In historical terms, the study of "youth cultures" is a relatively new of area of sociological analysis. The term youth culture is used generally in reference to the ways adolescents set themselves apart from the adult culture. The study of youth culture in the social and human sciences has become a major academic enterprise since the 1960s. Hip hop culture or hip-hop is a cultural movement that formed during the late 1960s among African American youths residing in the South Bronx in New York City. Punk "started out as a music-based subculture"; that much is agreed upon by all, whether they laud punk or deplore it. In sociology, the jock is thought to be included within the socialite subculture, which also contains the preps and Ivy-Leaguers. Geoffrey Pearson in his work namely "Hooligan: A History of Respectable Fears" published in 1983 gives us a solid historical perspective on the "recurrent problem of youth" in Britain throughout the 19th and 20th centuries. In recent developments in identity theory, identities are organized as control systems that act to maintain congruency between the internalized self-meanings (one's identity standard) and perceptions of the meaning of the self in ongoing social situations. -
Year of Publication: 2006 Citation: Lawrence, T
University of East London Institutional Repository: http://roar.uel.ac.uk This paper is made available online in accordance with publisher policies. Please scroll down to view the document itself. Please refer to the repository record for this item and our policy information available from the repository home page for further information. To see the final version of this paper please visit the publisher’s website. Access to the published version may require a subscription. Author(s): Lawrence, Tim Article title: “I Want to See All My Friends At Once’’: Arthur Russell and the Queering of Gay Disco Year of publication: 2006 Citation: Lawrence, T. (2006) ‘“I Want to See All My Friends At Once’’: Arthur Russell and the Queering of Gay Disco’ Journal of Popular Music Studies, 18 (2) 144-166 Link to published version: http://dx.doi.org/10.1111/j.1533-1598.2006.00086.x DOI: 10.1111/j.1533-1598.2006.00086.x “I Want to See All My Friends At Once’’: Arthur Russell and the Queering of Gay Disco Tim Lawrence University of East London Disco, it is commonly understood, drummed its drums and twirled its twirls across an explicit gay-straight divide. In the beginning, the story goes, disco was gay: Gay dancers went to gay clubs, celebrated their newly liberated status by dancing with other men, and discovered a vicarious voice in the form of disco’s soul and gospel-oriented divas. Received wisdom has it that straights, having played no part in this embryonic moment, co-opted the culture after they cottoned onto its chic status and potential profitability. -
Top 40 Singles Top 40 Albums
10 April 1983 CHART #100373 Top 40 Singles Top 40 Albums Twisting By The Pool We've Got Tonight Greatest Hits Night And Day 1 Dire Straits 21 Kenny Rogers and Sheena Easton 1 Little River Band 21 Joe Jackson Last week 1 / 4 weeks POLYGRAM Last week 13 / 6 weeks EMI Last week 1 / 6 weeks Platinum / EMI Last week 35 / 24 weeks Gold / FESTIVAL Billie Jean Lies Love Over Gold Songs 2 Michael Jackson 22 Thompson Twins 2 Dire Straits 22 The Kids From Fame Last week 2 / 5 weeks CBS Last week 27 / 5 weeks FESTIVAL Last week 2 / 24 weeks Platinum / POLYGRAM Last week 21 / 7 weeks RCA Under The Boardwalk Young Love Thriller Greatest Hits Volume 3 3 Tom Tom Club 23 Janet Jackson 3 Michael Jackson 23 Olivia Newton-John Last week 3 / 11 weeks WEA Last week 35 / 4 weeks FESTIVAL Last week 5 / 11 weeks Gold / CBS Last week 49 / 10 weeks Platinum / FESTIVAL The Other Guy A Cha Cha At The Opera Living My Life Difficult Shapes & Passive Rhythms... 4 Little River Band 24 Cha Cha 4 Grace Jones 24 China Crisis Last week 4 / 8 weeks EMI Last week 24 / 7 weeks FESTIVAL Last week 3 / 10 weeks Gold / FESTIVAL Last week 18 / 4 weeks RTC Too Shy Shame On The Moon Primitive Man Enz Of An Era 5 Kajagoogoo 25 Bob Seger 5 Icehouse 25 Split Enz Last week 8 / 5 weeks EMI Last week 33 / 8 weeks EMI Last week 4 / 24 weeks Platinum / WEA Last week 26 / 13 weeks Platinum / FESTIVAL Young Guns (Go For It) Der Kommissar Making Movies The Skys Gone Out 6 Wham 26 Falco 6 Dire Straits 26 Bauhaus Last week 6 / 3 weeks CBS Last week - / 1 weeks FESTIVAL Last week 7 / 110 weeks -
Cooked in the Lab Dark, Techy D&B Trio Ivy Lab Break Bad on LP P.108
MUSIC DECEMBER ON THE DANCEFLOOR This month’s tracks played out p. 92 GO LONG! The long-players listened to p. 108 WILD COMBINATION The most crucial compilations p. 113 Cooked In The Lab Dark, techy d&b trio Ivy Lab break bad on LP p.108 djmag.com 091 HOUSE REVIEWS BEN ARNOLD [email protected] melancholy pianos, ‘A Fading Glance’ is a lovely, swelling thing, QUICKIES gorgeously understated. ‘Mayflies’ is brimming with moody, building La Fleur Fred P atmospherics, minor chord pads Make A Move Modern Architect and Burial-esque snatches of vo- Watergate Energy Of Sound cal. ‘Whenever I Try To Leave’ winds 9.0 8.5 it up, a wash of echoing percus- The first lady of Berlin’s A most generous six sion, deep, unctuous vibrations Watergate unleashes tracks from the superb and gently soothing pianos chords. three tracks of Fred Peterkin. It’s all This could lead Sawyer somewhere unrivalled firmness. If great, but ‘Tokyo To special. ‘Make A Move’’s hoover Chiba’, ‘Don’t Be Afraid’, bass doesn’t get you, with Minako on vocals, Hexxy/Andy Butler ‘Result’’s emotive vibes and ‘Memory P’ stand Edging/Bewm Chawqk will. Lovely. out. Get involved. Mr. Intl 7. 5 Various Shift Work A statuesque release from Andy Hudd Traxx Now & Document II ‘Hercules & Love Affair’ Butler’s Mr. Then Houndstooth Intl label. Hexxy is his new project Hudd Traxx 7. 5 with DJ Nark, founder of the excel- 7. 5 Fine work in the lent ‘aural gallery’ site Bottom Part four of four in this hinterland between Forty and Nark magazine. -
1 Grace Jones
GRACE JONES: BLOODLIGHT AND BAMI Directed and edited by Sophie Fiennes With Grace Jones, Jean-Paul Goude, Sly Dunbar, Robbie Shakespeare, Ivor Guest – World Premiere, Toronto International Film Festival 2017 – 115 min. – UK/Ireland PRESS CONTACT: Krista Williams – [email protected] Sacks & Co 119 West 57th Street, PHN New York, NY 10019 Office: +1.212.741.1000 DISTRIBUTOR CONTACT: Rodrigo Brandão – [email protected] Kino Lorber Inc 333 W. 39th Street / Suite 503 New York, NY 10018 Office: +1.212.629.6880 1 LOG LINE This electrifying journey through the public and private worlds of pop culture mega-icon Grace Jones juxtaposes musical sequences with intimate personal footage, all the while brimming with Jones’ bold aesthetic. SHORT SYNOPSIS This electrifying journey through the public and private worlds of pop culture mega-icon Grace Jones juxtaposes musical sequences with intimate personal footage, all the while brimming with Jones’s bold aesthetic. A larger-than-life entertainer, an androgynous glam-pop diva, an unpredictable media presence––Grace Jones is all these things and more. Sophie Fiennes’s documentary goes beyond the traditional music biography, offering a portrait as stylish and unconventional as its subject. Taking us home to Jamaica, the studio with long-time collaborators Sly & Robbie, and behind-the-scenes at shows all around the world, the film reveals Jones as lover, daughter, mother, and businesswoman. But the stage is the fixed point to which the film returns, with eye- popping performances of "Slave to the Rhythm," “Pull Up to the Bumper,” "Love is the Drug," and more. Jones herself has said watching the film “will be like seeing me almost naked” and, indeed, Fiennes’s treatment is every bit as genre-bending as its subject, untamed by neither age nor life itself. -
By Billups Allen Billups Allen Is a Record Store Clerk Who Spent His Formative Years in and Around the Washington D.C
By Billups Allen Billups Allen is a record store clerk who spent his formative years in and around the Washington D.C. punk scene. He graduated from the University of Arizona with a creative writing major and film minor. He currently lives in Memphis, Tennessee where he publishes Cramhole zine, contributes regularly to Razorcake, Lunchmeat, and Ugly Things, and writes fiction (cramholezine.com, billupsallen@ gmail.com) Illustrations by Danny Martin: Zines, murals , stickers, woodcuts, and teachin’ screen printing at a community college on the side. (@DannyMartinArt) Zine design by Todd Taylor Razorcake is a bi-monthly, Los Angeles-based fanzine that provides consistent coverage of do-it-yourself punk culture. We believe in positive, progressive, community-friendly DIY punk, and are the only bona fide 501(c)(3) non-profit music magazine in America. We do our part. One Punk’s Guide to Patrick Cowley originally appeared in Razorcake #107, released in December 2018/January 2019. This zine is made possible in part by support by the Los Angeles County Board of Supervisors through the Los Angeles Arts Commission. Printing Courtesy of Razorcake Press razorcake.org n 1978 a DJ subscription-only remix of the already popular Donna Summer song “I Feel Love” went out in the mail. It was 15:43 long. The bass line was looped so overdubbed synthesizer effects could be added. This particular version of the song went largely unnoticed by the general public and did nothing to make producer Patrick Cowley a household name. But dancers in nightclubs reacted. They may have been unaware and/or unconcerned about what they were hearing, but they reacted. -
Grace Jones: Bloodlight and Bami
presenta GRACE JONES: BLOODLIGHT AND BAMI regia di SOPHIE FIENNES con Grace Jones, Jean-Paul Goude, Sly Dunbar, Robbie Shakespeare, Ivor Guest UK/Irlanda - 2017 - 115 min. EVENTO SPECIALE AL CINEMA SOLO IL 30 E 31 GENNAIO distribuito da Officine UBU – www.officineubu.com materiali disponibili al sito: www.officineubu.com/areapress user: ospite – pw: stampa Ufficio Stampa: Echo srl Stefania Collalto - [email protected] - +39 339.4279472 Lisa Menga - [email protected] - +39 347.5251051 Stefania Gargiulo - [email protected] - +39 334.7562824 Giulia Bertoni - [email protected] - +39 338.5286378 SINOSSI BREVE Grace Jones: Bloodlight and Bami è un viaggio elettrizzante attraverso la carriera pubblica e la vita privata dell’icona della musica e della cultura pop Grace Jones. L’audace estetica di Jones emerge nell’intera pellicola grazie al sapiente lavoro delle regista Sophie Fiennes, capace di creare un’esperienza cinematografica di grande potenza, accostando a contrasto sequenze musicali, riprese più intime e materiale personale per ritrarre la persona che si nasconde dietro la maschera indossata dall’artista sul palco. SINOSSI LUNGA Fuori dal comune, selvaggia, strepitosa e androgina – Grace Jones è tutto questo e molto altro. Il documentario tratteggia un profilo inedito della Jones: amante, figlia, madre, sorella e nonna, senza filtri, alla ricerca di chi si cela davvero dietro la maschera da diva. Il palcoscenico è il luogo dove si possono realizzare le fantasie più estreme e dove si può sprigionare in libertà la fantasia: è proprio sul palcoscenico che si mette in scena il musical della vita di Grace Jones. Il film include, tra gli altri, frammenti di performance inedite tratte dalle sue canzoni più famose come Slave To The Rhythm e Pull Up To The Bumper, ma anche brani autobiografici e più recenti come Williams' Blood, This Is e Hurricane. -
Song List by Member
song artist album label dj year-month-order leaf house animal collective sung tongs 2004-08-02 bebete vaohora jorge ben the definitive collection 2004-08-08 amor brasileiro vinicius cantuaria tucuma 2004-08-09 crayon manitoba up in flames 2004-08-10 transit fennesz venice 2004-08-11 cold irons bound bob dylan time out of mind 2004-08-13 mini, mini, mini jacques dutronc en vogue 2004-08-14 unspoken four tet rounds 2004-08-15 dead homiez ice cube kill at will 2004-08-16 forever's no time at all pete townsend who came first 2004-08-17 mockingbird trailer bride hope is a thing with feathers 2004-08-18 call 1-800 fear lali puna faking the books 2004-08-19 vuelvo al sur gotan project la revancha del tango 2004-08-21 brick house commodores pure funk polygram tv adam 1998-10-09 louis armstrong - the jazz collector mack the knife louis armstrong edition laserlight adam 1998-10-18 harry and maggie swervedriver adam h. 2012-04-02 dust devil school of seven bells escape from desire adam h. 2012-04-13 come on my skeleton plug back on time adam h. 2012-09-05 elephant tame impala elephant adam h. 2012-09-09 day one toro y moi everything in return adam h. 2014-03-01 thank dub bill callahan have fun with god adam h. 2014-03-10 the other side of summer elvis costello spike warner bros. adam s (#2) 2006-01-04 wrong band tori amos under the pink atlantic adam s (#2) 2006-01-12 Baby Lemonade Syd Barrett Barrett Adam S. -
University of Nevada, Reno Partying with Hello Kitty: How Electronic Dance Music and Rave Culture Are Transforming, Commercializ
University of Nevada, Reno Partying with Hello Kitty: How Electronic Dance Music and Rave Culture are transforming, commercializing, and globalizing youth culture in the twenty-first century A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History By Geoff Scott Dr. Hugh Shapiro/Thesis Advisor May 2014 i Abstract This thesis will demonstrate how electronic dance music (EDM) has evolved from the musical underground during the second half of the twentieth century into the mainstream, commercial powerhouse it is now in the early twenty-first-century world. EDM at its core is a musical style characterized by the use of synthetic, electronic sounds. The combination of technological devices such as drum machines, repetitive bass lines, electronic builds and releases and inorganic noises in tandem with instrumental and vocal samples makes EDM an incredibly malleable style of dance music that has branched into a variety of forms over the course of its less than fifty year existence. Innovations in technology, like the tape reel, the Moog synthesizer, the vinyl mixer and the computer have led to new ways of contemplating and creating music. I argue that the innovative musical voices of late modernism and early postmodernism set the foundation for early EDM, who were not afraid to harness the new synthetic sounds at their disposal. Electronic dance music can trace its roots back to the repetitive, minimalist structures used since the 1960’s by postmodern composers such as Philip Glass and the electronic instrumentation of artists like Terry Riley and John Cage. Owing to its flexibility, EDM has also been re-contextualized in different cultures. -
The Forging of a White Gay Aesthetic at the Saint, 1980–84
The Forging of a White Gay Aesthetic at the Saint, 1980–84 Feature Article Tim Lawrence University of East London Abstract An influential private party for white gay men that opened in downtown New York in 1980 and closed in 1988, the Saint was a prolific employer of high-profile DJs, yet their work has gone largely unanalysed. This article describes and contextualises the aesthetic of these DJs, paying particular attention to the way they initially embraced music recorded by African American musicians, yet shifted to a notably “whiter” sound across 1982 and 1983, during which time new wave and Hi-NRG recordings were heard much more regularly at the spot. The piece argues that this shift took place as a result of a number of factors, including the introduction of a consumer ethos at the venue, the deepening influence of identity politics and the encroaching impact of AIDS, which decimated the venue’s membership. These developments led Saint DJs to place an ever-greater emphasis on the creation of a smooth and seamless aesthetic that enhanced the crowd’s embrace of a synchronized dancing style. DJs working in electronic dance music scenes would go on to adopt important elements of this approach. Keywords: The Saint, DJing, whiteness, neoliberalism, AIDS Tim Lawrence is the author of Love Saves the Day: A History of Dance Music Culture (1970–79) (Duke, 2003) and Hold On to Your Dreams: Arthur Russell and the Downtown Music Scene, 1973–92 (Duke, 2009). He is currently writing a book on New York club culture, 1980–84, again for Duke, and leads the Music Culture: Theory and Production programme at the University of East London. -
Xiami Music Genre 文档
xiami music genre douban 2021 年 02 月 14 日 Contents: 1 目录 3 2 23 3 流行 Pop 25 3.1 1. 国语流行 Mandarin Pop ........................................ 26 3.2 2. 粤语流行 Cantopop .......................................... 26 3.3 3. 欧美流行 Western Pop ........................................ 26 3.4 4. 电音流行 Electropop ......................................... 27 3.5 5. 日本流行 J-Pop ............................................ 27 3.6 6. 韩国流行 K-Pop ............................................ 27 3.7 7. 梦幻流行 Dream Pop ......................................... 28 3.8 8. 流行舞曲 Dance-Pop ......................................... 29 3.9 9. 成人时代 Adult Contemporary .................................... 29 3.10 10. 网络流行 Cyber Hit ......................................... 30 3.11 11. 独立流行 Indie Pop ......................................... 30 3.12 12. 女子团体 Girl Group ......................................... 31 3.13 13. 男孩团体 Boy Band ......................................... 32 3.14 14. 青少年流行 Teen Pop ........................................ 32 3.15 15. 迷幻流行 Psychedelic Pop ...................................... 33 3.16 16. 氛围流行 Ambient Pop ....................................... 33 3.17 17. 阳光流行 Sunshine Pop ....................................... 34 3.18 18. 韩国抒情歌曲 Korean Ballad .................................... 34 3.19 19. 台湾民歌运动 Taiwan Folk Scene .................................. 34 3.20 20. 无伴奏合唱 A cappella ....................................... 36 3.21 21. 噪音流行 Noise Pop ......................................... 37 3.22 22. 都市流行 City Pop .........................................