Introduction
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Top 40 Singles Top 40 Albums Mood Dynamite Six60 (3) WHEN WE ALL FALL ASLEEP, WH
07 December 2020 CHART #2272 Top 40 Singles Top 40 Albums Mood Dynamite Six60 (3) WHEN WE ALL FALL ASLEEP, WH... 1 24kGoldn feat. iann dior 21 BTS 1 Six60 21 Billie Eilish Last week 1 / 16 weeks Platinum / Columbia/SonyMusic Last week 15 / 15 weeks Gold / BigHit/TheOrchard Last week 3 / 56 weeks Platinum x3 / Massive/Universal Last week 21 / 88 weeks Platinum x3 / Darkroom/Interscop... positions you broke me first Plastic Hearts Divide 2 Ariana Grande 22 Tate McRae 2 Miley Cyrus 22 Ed Sheeran Last week 2 / 6 weeks Gold / Republic/Universal Last week 23 / 15 weeks Platinum / RCA/SonyMusic Last week - / 1 weeks RCA/SonyMusic Last week 23 / 196 weeks Platinum x14 / Asylum/Warner In The Air Take You Dancing PWR / UP Impossible: Music By The Book 3 L.A.B. 23 Jason DeRulo 3 AC/DC 23 Stan Walker Last week 6 / 49 weeks Platinum x4 / LOOP/Border Last week 21 / 12 weeks Gold / Atlantic/Warner Last week 2 / 3 weeks LeidsepleinPresse/SonyMusic Last week 25 / 9 weeks SonyMusic Therefore I Am Prisoner Shoot For The Stars Aim For The Mo... L.A.B. 4 Billie Eilish 24 Miley Cyrus feat. Dua Lipa 4 Pop Smoke 24 L.A.B. Last week 3 / 3 weeks Darkroom/Interscope/Universal Last week 24 / 2 weeks RCA/SonyMusic/Warner Last week 5 / 22 weeks Platinum / VictorVictorWorldwide/... Last week 27 / 24 weeks Platinum / LOOP/Border Holy Bigger Positions Jolly Holiday 5 Justin Bieber feat. Chance The Rapp... 25 Stan Walker 5 Ariana Grande 25 Andre Rieu And The Johann Strauss.. -
Specious Poisons?: Reputation, Gender, and Democratic Politics (Under the Direction of Susan Bickford.)
SPECIOUS POISONS?: REPUTATION, GENDER, AND DEMOCRATIC POLITICS Erin N. Taylor A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Political Science. Chapel Hill 2006 Approved by Advisor: Susan Bickford Reader: Michael Lienesch Reader: John McGowan Reader: Jeff Spinner-Halev Reader: Marco Steenbergen ABSTRACT ERIN N. TAYLOR: Specious Poisons?: Reputation, Gender, and Democratic Politics (Under the direction of Susan Bickford.) Suggesting that reputation and gossip have been largely ignored by contemporary political theorists, I argue that both reputation and the gossip that helps to constitute it are important aspects of our communal and political lives. I begin with the work of Jean-Jacques Rousseau as representative of a larger early modern discourse that identified the desire for reputation as one that is central to human beings. Arguing that this desire for reputation simultaneously poses great dangers and great power for political communities, Rousseau’s vision urges careful attention to political arrangements as a way of harnessing the positive effects of the desire for reputation. In my second chapter, I move to a focus on the relationship between reputation and gender, interrogating the necessity that women maintain spotless sexual reputations (a central feature to Rousseau’s political schema) in light of both Mary Wollstonecraft’s critique of Rousseau as well as my examination of the fate of Rousseau’s heroines. Turning to the work of Harriet Taylor and John Stuart Mill, I contend that their arguments about the stifling effects of reputational politics for individual liberty point to a nuanced understanding of the differential effects of reputation for individuals in various echelons of society. -
F a L L W I N T E R 2 0
NEW BOOKS FALL WINTER 2020 TABLE OF CONTENTS Welcome New Publishers ..............................................................................................2 Featured Titles ...................................................................................................................3 Biography/History/True Crime......................................................................................5 Science and Social Sciences ......................................................................................30 Fiction/Poetry/Graphic Novels ...................................................................................41 Religion and Inspiration ..............................................................................................64 Games/Gifts/Seasonal .................................................................................................72 Crafts and Hobbies .......................................................................................................81 Performing Arts and The Arts ............................................................................... 102 Cooking .......................................................................................................................... 117 Children’s ....................................................................................................................... 125 Health/Self-Help/Parenting ..................................................................................... 137 Sports and Recreation ......................................................................................... -
Dec. 22, 2015 Snd. Tech. Album Arch
SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London. -
Malcolm Chisholm: an Evaluation of Traditional Audio Engineering
Butler University Digital Commons @ Butler University Scholarship and Professional Work - Communication College of Communication 2013 Malcolm Chisholm: An Evaluation of Traditional Audio Engineering Paul Linden Butler University, [email protected] Follow this and additional works at: https://digitalcommons.butler.edu/ccom_papers Part of the Audio Arts and Acoustics Commons, and the Communication Technology and New Media Commons Recommended Citation Linden, Paul, "Malcolm Chisholm: An Evaluation of Traditional Audio Engineering" (2013). Scholarship and Professional Work - Communication. 137. https://digitalcommons.butler.edu/ccom_papers/137 This Article is brought to you for free and open access by the College of Communication at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - Communication by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Journal of the Music & Entertainment Industry Educators Association Volume 13, Number 1 (2013) Bruce Ronkin, Editor Northeastern University Published with Support from Malcolm Chisholm: An Evaluation of Traditional Audio Engineering Paul S. Linden University of Southern Mississippi Abstract The career of longtime Chicago area audio engineer and notable Chess Records session recorder Malcolm Chisholm (1929-2003) serves as a window for assessing the stakes of technological and cultural develop- ments around the birth of Rock & Roll. Chisholm stands within the tradi- tional art-versus-commerce debate as an example of the post-World War II craftsman ethos marginalized by an incoming, corporate-determined paradigm. Contextual maps locate Chisholm’s style and environment of audio production as well as his impact within the rebranding of electri- fied Blues music into mainstream genres like Rock music. -
Framework for Visualising Music Mood Using Visual Texture
FRAMEWORK FOR VISUALISING MUSIC MOOD USING VISUAL TEXTURE Adzira Husain MA Art and Design (Visual Communication and New Media) UiTM, Shah Alam 2008 Bachelor in Multimedia (Hons) (Digital Media) Multimedia University, Cyberjaya 2004 This thesis is presented for the degree of Doctor of Philosophy 2020 DECLARATION I declare that this thesis is my own account of my research and contains as its main content work, which has not previously been submitted for a degree at any tertiary education institution. i ABSTRACT Modernised online music libraries and services provide effortless access to unlimited music collections. When contending with other competitors, online music developers have to devise interesting, fun, and easy‐to‐use interaction methods for their users to browse for music. The conventional way of browsing a music collection is by going through a text list of songs by song title or artist name. This method may not be sufficient to maintain an overview of the music collection. Users will end up searching for the same artist that they are familiar with, and will not be able to discover other new and interesting songs that are available in the music collection. There are many ways of browsing songs in an online music library. In the field of Music Information Retrieval (MIR), various types of visual variables such as colour, position, size, and shape have been investigated when representing music data. Texture is also one of the visual variables. However, to the best of our knowledge, there is no research focusing explicitly on texture. Mood of music is one of the essential cues used for music exploration. -
Pat Paxton in PHOENIX Airplay Leaders the Interview Page 3 Page 17 Page 33
POWER Entercom’s IS FORTY 31 PAT PAXTON IN PHOENIX Airplay Leaders The Interview PAGE 3 PAGE 17 PAGE 33 SEPTEMBER 2008 Guitar Heroes: Tim Hattrick (l) and Willy D. Loon (r) don the KNIX logo suits and bookend PD Alan Sledge. KNIX IS 4 In Phoenix hen Buck Owens bought KNIX-FM in Phoenix for $75,000, few could have imagined the extent to which his station’s commitment to country and to its listeners would succeed. At its peak, the station Wwas beyond dominant and, more important, perhaps the most influential and trendsetting Country station ever on the FM dial. As KNIX celebrates its 40th anniversary, Country Aircheck contacted several current and former executives for their favorite recollections of the station Buck built. and 30 Dolly Parton look-alike contestants paraded onstage Michael Owens, KNIX GM 1978-1999: before more than 1,000 listeners who had jammed into the Sometime in early 1979 – about a year after I became General club. Unfortunately, another 500 couldn’t get in because the Manager of KNIX-AM/FM – we were struggling with ratings place was filled! We had a couple people from RCA/Nashville and revenue. We were 10th or 12th at the time, trying hard to (Dolly’s label at the time) as judges, along with local newspaper break through to become a player in this big Phoenix market. We and TV celebrities. Local TV stations covered it live and the came up with an idea for a promotion and teamed with a local Phoenix Gazette newspaper ran a front-page photo plus a two- independent gasoline company to sell gas at 10 cents per gallon. -
Copy UPDATED KAREOKE 2013
Artist Song Title Disc # ? & THE MYSTERIANS 96 TEARS 6781 10 YEARS THROUGH THE IRIS 13637 WASTELAND 13417 10,000 MANIACS BECAUSE THE NIGHT 9703 CANDY EVERYBODY WANTS 1693 LIKE THE WEATHER 6903 MORE THAN THIS 50 TROUBLE ME 6958 100 PROOF AGED IN SOUL SOMEBODY'S BEEN SLEEPING 5612 10CC I'M NOT IN LOVE 1910 112 DANCE WITH ME 10268 PEACHES & CREAM 9282 RIGHT HERE FOR YOU 12650 112 & LUDACRIS HOT & WET 12569 1910 FRUITGUM CO. 1, 2, 3 RED LIGHT 10237 SIMON SAYS 7083 2 PAC CALIFORNIA LOVE 3847 CHANGES 11513 DEAR MAMA 1729 HOW DO YOU WANT IT 7163 THUGZ MANSION 11277 2 PAC & EMINEM ONE DAY AT A TIME 12686 2 UNLIMITED DO WHAT'S GOOD FOR ME 11184 20 FINGERS SHORT DICK MAN 7505 21 DEMANDS GIVE ME A MINUTE 14122 3 DOORS DOWN AWAY FROM THE SUN 12664 BE LIKE THAT 8899 BEHIND THOSE EYES 13174 DUCK & RUN 7913 HERE WITHOUT YOU 12784 KRYPTONITE 5441 LET ME GO 13044 LIVE FOR TODAY 13364 LOSER 7609 ROAD I'M ON, THE 11419 WHEN I'M GONE 10651 3 DOORS DOWN & BOB SEGER LANDING IN LONDON 13517 3 OF HEARTS ARIZONA RAIN 9135 30 SECONDS TO MARS KILL, THE 13625 311 ALL MIXED UP 6641 AMBER 10513 BEYOND THE GREY SKY 12594 FIRST STRAW 12855 I'LL BE HERE AWHILE 9456 YOU WOULDN'T BELIEVE 8907 38 SPECIAL HOLD ON LOOSELY 2815 SECOND CHANCE 8559 3LW I DO 10524 NO MORE (BABY I'MA DO RIGHT) 178 PLAYAS GON' PLAY 8862 3RD STRIKE NO LIGHT 10310 REDEMPTION 10573 3T ANYTHING 6643 4 NON BLONDES WHAT'S UP 1412 4 P.M. -
THE STAGING of the FEMALE BODY in University of Stavanger COUNTRY MUSIC [email protected]
MÜZİKTE TEMSİL & MÜZİKSEL TEMSİL II ‘STAND BY YOUR MAN’ Lise K. Özgen THE STAGING OF THE FEMALE BODY IN University of Stavanger COUNTRY MUSIC [email protected] I am going to look at performativity and expressions of femininity in popular music; more specifically in country music. An interesting example can be the Canadian singer d.lang, where the transition between women/man dynamic to a more ambiguous gender construction is fundamental in how lang represents herself through her songs. Performativity The connection between gender and performance has been discussed in many cultural theoretical settings, using the term ‘masquerade’. The term has become an important and nuanced theoretical aspect of femininity and its representation. Joan Riviere’s ‘Womanliness as a Masquerade’ from 1929 holds a key place in discussion of female sexuality in psychoanalysis. Riviere argued that femininity was a performance where there was no genuine femininity separate from the masquerade; there is no distinction between authentic womanliness and its masquerade. “Womanliness ... could be assumed and worn as a mask, both to hide the possession of masculinity and to avert the reprisals expected if she was found to possess it…” (Riviere 1929:213). According to this, gendered identities are produced and performed in everything one does, and there is no gendered identity separate from performance. Performance demands the idea of an act, where the performer constructs a fabricated or invented identity. In this context we can also include Judith Butler’s ideas about performativity. We as individuals create ourselves through activities. Performance is not something passive which carries in it an inherent meaning; instead we are created by active actions that confirm meaning. -
Once a Day”--Connie Smith (1964) Added to the National Registry: 2020 Essay by Barry Mazor (Guest Post)*
“Once a Day”--Connie Smith (1964) Added to the National Registry: 2020 Essay by Barry Mazor (guest post)* Bill Anderson, Connie Smith and Bob Ferguson in the studio Just months before Connie Smith would step up to the microphone at RCA Records’ Music Row Studio B for her very first recording session, she was a virtually unknown Ohio housewife who’d performed at nearby fairs and on local television. Then, fatefully, at an August 1963 talent contest near Columbus, the contest judge proved to be recording star and country songwriting master Bill Anderson. He would note in his memoir, “None of us could believe such a big voice was coming out of such a petite lady.” He’d told her that if she ever came to Nashville to pursue a country career, he’d be there for her. It took her months to decide to give that a try. RCA’s Nashville label head, Chet Atkins, was impressed by her demo tapes, and when Anderson assured him that he’d have new songs for her that could help get her established, she was signed to the label and in the studio within three weeks. Constance June Meador Smith was 23 as her recording career began that day--July 16, 1964--a young wife and mother. The third song she recorded at that first session, Bill Anderson’s “Once a Day,” in which the singer tells us how the loss of a love to another can be devastating, and as a matter of fact, there’s no denying it has been, would become a country music phenomenon. -
Songs by Title
Karaoke Song Book Songs by Title Title Artist Title Artist #1 Nelly 18 And Life Skid Row #1 Crush Garbage 18 'til I Die Adams, Bryan #Dream Lennon, John 18 Yellow Roses Darin, Bobby (doo Wop) That Thing Parody 19 2000 Gorillaz (I Hate) Everything About You Three Days Grace 19 2000 Gorrilaz (I Would Do) Anything For Love Meatloaf 19 Somethin' Mark Wills (If You're Not In It For Love) I'm Outta Here Twain, Shania 19 Somethin' Wills, Mark (I'm Not Your) Steppin' Stone Monkees, The 19 SOMETHING WILLS,MARK (Now & Then) There's A Fool Such As I Presley, Elvis 192000 Gorillaz (Our Love) Don't Throw It All Away Andy Gibb 1969 Stegall, Keith (Sitting On The) Dock Of The Bay Redding, Otis 1979 Smashing Pumpkins (Theme From) The Monkees Monkees, The 1982 Randy Travis (you Drive Me) Crazy Britney Spears 1982 Travis, Randy (Your Love Has Lifted Me) Higher And Higher Coolidge, Rita 1985 BOWLING FOR SOUP 03 Bonnie & Clyde Jay Z & Beyonce 1985 Bowling For Soup 03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 BOWLING FOR SOUP '03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 Bowling For Soup 03 Bonnie And Clyde Jay Z & Beyonce 1999 Prince 1 2 3 Estefan, Gloria 1999 Prince & Revolution 1 Thing Amerie 1999 Wilkinsons, The 1, 2, 3, 4, Sumpin' New Coolio 19Th Nervous Breakdown Rolling Stones, The 1,2 STEP CIARA & M. ELLIOTT 2 Become 1 Jewel 10 Days Late Third Eye Blind 2 Become 1 Spice Girls 10 Min Sorry We've Stopped Taking Requests 2 Become 1 Spice Girls, The 10 Min The Karaoke Show Is Over 2 Become One SPICE GIRLS 10 Min Welcome To Karaoke Show 2 Faced Louise 10 Out Of 10 Louchie Lou 2 Find U Jewel 10 Rounds With Jose Cuervo Byrd, Tracy 2 For The Show Trooper 10 Seconds Down Sugar Ray 2 Legit 2 Quit Hammer, M.C. -
Model LA-610 Channel Strip
Model LA-610 Channel Strip Universal Audio Manual Number 65-0901 Revision 1.00 Universal Audio, Inc. www.uaudio.com 330 Encinal St. Santa Cruz, CA 95060 (831) 466-3737 voice (831) 466-3775 fax www.uaudio.com The LA-610 Channel Strip Thank you for purchasing the LA-610 Channel Strip. This unit combines a modified channel of our 2-610 Mic Pre with an LA2A style T4 Optical Compressor. Our 610 was inspired by the microphone preamp section of the 610 tube console designed by my father, M.T. “Bill” Putnam, in the 1950s. The 610 was a rotary-control console and was the first console of the modular design. Although technologically simple compared to modern consoles, the 610 possessed a warmth and character that kept it in demand for decades. As a prominent part of my father’s United/Western studios, the 610 was used on many classic recordings by Frank Sinatra and Sarah Vaughan. The Beach Boys Pet Sounds, the Doors LA Woman, and Van Halen’s debut album were all recorded on the 610. The legendary Wally Heider used the 610 in his remote truck for many of his best-known live recordings. At Ocean Way Studios (formerly United), the 610 is lovingly preserved and still used in Studio B. The T4 Compressor element in the LA-610 is identical to the circuit components housed inside the T4 optical cell used on the legendary LA- 2A compressor. The heart and soul of the LA-2A is mostly a result of this special optical gain control element.