Nine Vie for Jerry's Job
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25-29 Music Listings 4118.Indd
saturday–sunday MUSIC Ladysmith Black Mambazo Guantanamo Baywatch, Hurry Up, SUNDAY, MARCH 8 [AFRIcA’S GoLDEn tHRoAtS] the Cumstain, Pookie and Poodlez legendary, Grammy-hoarding South [GARAGE RocK] on its new single African vocal group, now halfway Retox, Whores, ”too Late,” Portland’s Guantanamo through its fifth decade, has tran- Rabbits, Phantom Family Baywatch trades its formerly scended the Western pop notori- [HARDCORE] Fatalist, nihilist, blis- reverb-flooded garage-rock sound ety that followed its contributions tering, brutal—these are just a few for tamer, Motown-influenced bal- to Paul Simon’s Graceland, becom- of the better words to describe ladry. It’s a signal that the upcom- ing a full-fledged ambassador for hardcore crew Retox, a group whose ing Darling…It’s Too Late, dropping the culture of its homeland. But pedigree includes members of sim- in May on Suicide Squeeze, may one doesn’t need familiarity with ilarly thorny outfits such as the fully shift the band away from that its lengthy history to be stirred Locust, Head Wound city and Holy signature Burger Records’ sound, by those golden voices. Aladdin Molar. one adjective that doesn’t which has flooded the market Theater, 3017 SE Milwaukie Ave., get used very often, though it with pseudo-psychedelic surf-rock 234-9694. 8 pm. $35. 21+. should, is “funny.” It’s understand- groups indistinguishable from one able that this quality wouldn’t trans- another. LUcAS cHEMOTTI. The late through singer Justin Pearson’s Low Cut Connie Know, 2026 NE Alberta St., 473- larynx-ripping screech. But Retox [tHE WHItE KEYS] An invasive 8729. -
Bart Constant
Het blad van/voor muziekliefhebbers 10 februari 2012 nr. 284 No Risk Disc: Bart Constant www.platomania.eu • www.sounds-venlo.nl • www.kroese-online.nl • www.velvetmusic.nl N RISK mania 284 2 VOOR 15,- € 8,50 per sTuk UG DISCNIET GOED GELD TER Black Keys - Brothers James Blake - James Blake Blaudzun - Blaudzun BarT COnsTanT Tell Yourself Whatever You Have To Solomon Burke & De Dijk - Coldplay - Viva La Vida De Jeugd van tegenwoordig - De Hold On Tight Lachende Derde (PIAS) Rutger Hoedemaekers is de man achter Bart Constant. Onder de naam About genoot hij in zijn woonplaats Berlijn, samen met Marg van Eenbergen, bekendheid middels het uitbrengen van met name technoplaten. Hij vond hij betreffende scene echter niet langer spannend en uitdagend genoeg. Ruim vier jaar geleden besloot hij derhalve om aan een heus popalbum te beginnen, waarbij hij zijn ruime ervaring als dj Elbow - The Seldom Seen Kid Fleet Foxes - Fleet Foxes Kings Of Leon - Aha Shake Heartbreak kon gebruiken bij de opbouw van een nummer en het samenstellen van ritmes. Hoedemaekers nam de tijd, liet zich veelvuldig inspireren en maakte gebruik van de talenten van ondermeer Tjeerd Bomhof (Voicst), Steve Slingeneyer (Soulwax) en Seven-Minute Revolution, Point en Tough Cookie Colin Benders (Kyteman). Hij knutselde, puzzelde worden afgewisseld met intieme composities, zoals en bleef de grote perfectionist uithangen. Wat goed Joralemon Street en het emotionele bolwerk Do is komt niet áltijd snel. Complexiteit moest aan Better (Animals Make Me Angry). Hoedemaekers is toegankelijkheid worden gekoppeld en diepgang misschien geen groot zanger, maar zijn onmiskenbare Mark Lanegan Band - Spinvis - Dagen van Gras The Vaccines - What Did aan onbezorgdheid. -
This Is How We Do: Living and Learning in an Appalachian Experimental Music Scene
THIS IS HOW WE DO: LIVING AND LEARNING IN AN APPALACHIAN EXPERIMENTAL MUSIC SCENE A Thesis by SHANNON A.B. PERRY Submitted to the Graduate School Appalachian State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS MAY 2011 Center for Appalachian Studies THIS IS HOW WE DO: LIVING AND LEARNING IN AN APPALACHIAN EXPERIMENTAL MUSIC SCENE A Thesis by SHANNON A.B. PERRY May 2011 APPROVED BY: ________________________________ Fred J. Hay Chairperson, Thesis Committee ________________________________ Susan E. Keefe Member, Thesis Committee ________________________________ Patricia D. Beaver Member, Thesis Committee ________________________________ Patricia D. Beaver Director, Center for Appalachian Studies ________________________________ Edelma D. Huntley Dean, Research and Graduate Studies Copyright by Shannon A.B. Perry 2011 All Rights Reserved ABSTRACT THIS IS HOW WE DO: LIVING AND LEARNING IN AN APPALACHIAN EXPERIMENTAL MUSIC SCENE (2011) Shannon A.B. Perry, A.B. & B.S.Ed., University of Georgia M.A., Appalachian State University Chairperson: Fred J. Hay At the grassroots, Appalachian music encompasses much more than traditional music genres, like old-time and bluegrass. While these prevailing musics continue to inform most popular and scholarly understandings of the region’s musical heritage, many contemporary scholars dismiss such narrow definitions of “Appalachian music” as exclusionary and inaccurate. Many researchers have, thus, sought to broaden current understandings of Appalachia’s diverse contemporary and historical cultural landscape as well as explore connections between Appalachian and other regional, national, and global cultural phenomena. In April 2009, I began participant observation and interviewing in an experimental music scene unfolding in downtown Boone, North Carolina. -
Bye, Bye, Miss American Pie? the Supply of New Recorded Music Since Napster
NBER WORKING PAPER SERIES BYE, BYE, MISS AMERICAN PIE? THE SUPPLY OF NEW RECORDED MUSIC SINCE NAPSTER Joel Waldfogel Working Paper 16882 http://www.nber.org/papers/w16882 NATIONAL BUREAU OF ECONOMIC RESEARCH 1050 Massachusetts Avenue Cambridge, MA 02138 March 2011 The title refers to Don McLean’s song, American Pie, which chronicled a catastrophic music supply shock, the 1959 crash of the plane carrying Buddly Holly, Richie Valens, and Jiles Perry “The Big Bopper” Richardson, Jr. The song’s lyrics include, “I saw Satan laughing with delight/The day the music died.” I am grateful to seminar participants at the Carlson School of Management and the WISE conference in St. Louis for questions and comments on a presentation related to an earlier version of this paper. The views expressed in this paper are my own and do not reflect the positions of the National Academy of Sciences’ Committee on the Impact of Copyright Policy on Innovation in the Digital Era or those of the National Bureau of Economic Research. NBER working papers are circulated for discussion and comment purposes. They have not been peer- reviewed or been subject to the review by the NBER Board of Directors that accompanies official NBER publications. © 2011 by Joel Waldfogel. All rights reserved. Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission provided that full credit, including © notice, is given to the source. Bye, Bye, Miss American Pie? The Supply of New Recorded Music Since Napster Joel Waldfogel NBER Working Paper No. 16882 March 2011 JEL No. -
The Twilight Sad No One Can Ever Know
THE TWILIGHT SAD NO ONE CAN EVER KNOW As made clear already by widely-spread preview track “Kill It In The Morning” and first single “Sick,” The Twilight Sad’s third full-length, No One Can Ever Know, marks a sonic shift for the band. Freshly inspired by a listening diet of Cabaret Voltaire, Can, Liars, Magazine, Autechre, and Public Image Limited, the band turn to a dark, synth-heavy sound for No One Can Ever Know; the resulting LP shares thematic and sonic space with the most innovative offerings from Depeche Mode, The Cure, or even Nine Inch Nails. “We wanted to be a lot more spontaneous, get outside our comfort zone - not to fall back into repeating what we've done previously,” explains guitarist Andy MacFarlane. “So we moved to London for a month to record at The Pool and got Andrew Weatherall involved to bounce ideas off and to generally reassure us of Release date: 2/7/12 the direction we were already progressing Format: CD/LP/digital in – toward a sparser sound, with a colder, NOT AVAILABLE FOR EXPORT slightly militant feel.” File Under: Rock Under the guidance of Weatherall the band experimented with vintage analog synths - borrowed from producer Ben Hillier – to work on the core sounds they wanted, finding further inspiration in the distinctive FAT0098CD production style of innovators like Factory UPC: 600116999825 Records’ Martin Hannett and Cluster‘s Box 25 Conny Plank. Throughout the record, the band move away from the “wall of sound” effect typifying previous recordings, while lyrically, No One Can Ever Know finds singer James Graham - his vocals having grown FAT0098LP only richer and more accomplished - in characteristically ominous form, deliver- UPC: 600116999818 ing lightning bolts of malevolent threat. -
BEDBANK Red Bank Prepares to Fight State Plan to Close Broad
' Wether Distribution fib fetor, *u tmm> BEDBANK Today ww-Hifb both y •Ight, «. See (ides and weather page 2. MONDAY THROUGH FRWAY-EST. 1178 16,800 BY VOL. 83, NO. 101 Issued Dally, Monday through Frldty. •mered ai Second Class Mattel .RED BANK, N. J., TUESDAY, NOVEMBER 22, 1960 /C COPY I CARRIER at the Post OJUc* at Red Bank, N. J.. under the Act of March 3, 1S79. LUl-X j Mc pER WE£K AU-Night Siege Red Bank Prepares Routs Ghanian To Fight State Plan LEOPOLDV1LLE, The Congo (AP) — Ghana's charge d'affaires Nathaniel UN Seat Welbeck quit his besieged To Close Broad St. residence for home today after'an all-night battle be- Due For tween his UN defenders Would Block Southbound •nd a Congo army determined Kennedy to force his ouster from the Kasavubu Traffic at 35 Intersection country. UNITED NATIONS, N. Y. (AP) Welbeck said he had decided —Weary delegates headed for a Reduces RED BANK — Borough officials were up in arms to leave after a long and stub- vote today on whether to give born refusal, "because my gov- the Congo's bitterly disputed UN last night over a proposal to block Broad St. to south- ernment wants me to." He gave seat to President Joseph Kasavu bound traffic at its intersection with Rt. 35 as part of no further explanation but said bu. Top Staffthe State Highway Department's widening of Rt. 35 in he would make another state- Western delegates predicted he Shrewsbury. ment upon his arrival at Accra, would win by a comfortable mar- PALM BEACH, Fla. -
Prom 46: Gurrelieder @ Royal Albert Hall, London | Classical and Opera Revi
Prom 46: Gurrelieder @ Royal Albert Hall, London | Classical and Opera Revi ... Pàgina 1 de 3 Custom Search Search home reviews features london gigs classical MASTER NEURODIDÁCTICA ONLINE - TÍTULO PROPIO DE LA U R J C Aplica los Avances Neurocientíficos a un Entorno Educativo ¡Contáctanos! classical and opera reviews latest popular Prom 46: Gurrelieder @ Royal Albert Prom 56: The Hall, London Bohemian Reformation @ Royal 19 August 2017 Albert Hall, London 28 aug 2017 London Gigs: 28 by Barry Creasy | first published: 20 Aug 2017 in reviews August-3 September 2017 Like 18 Tweet 27 aug 2017 Prom 51: BBC Symphony Orchestra / Oramo @ Royal Albert Hall, London 24 aug 2017 Festival Preview: Reading and Leeds 2017 22 aug 2017 The War On Drugs – A Deeper Understanding 22 aug 2017 Prom 48: A Sir Simon Rattle Patchwork Passion @ (Photo: Chris Christodoulou) Royal Albert Hall, Next month Sir Simon Rattle takes up his post as the London Symphony Orchestra’s London Principal Conductor, and if any doubts remained of this being a perfect match, then 22 aug 2017 Saturday night’s Prom will have dispelled them. EMA – Exile In The Outer Ring Schoenberg’s Gurrelieder rarely gets an outing, largely because of the massive forces 21 aug 2017 involved (it’s in the Mahler 8 bracket: Saturday night’s performance involved 150 instrumentalists and over 300 singers), but also because Schoenberg’s name isn’t necessarily guaranteed to attract an audience, who fear the challenge of a serial piece. The https://www.musicomh.com/classical/reviews -classical/prom -46 -gurrelieder -roy ... 28/ 08/ 2017 Prom 46: Gurrelieder @ Royal Albert Hall, London | Classical and Opera Revi .. -
(2012) the Girl Who Kicked the Hornets Nest (2009) Super
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Queer Performativity and Grieving Through Music in the Work of Rufus Wainwright
TRUE LOVES, DARK NIGHTS: QUEER PERFORMATIVITY AND GRIEVING THROUGH MUSIC IN THE WORK OF RUFUS WAINWRIGHT Stephanie Salerno A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2016 Committee: Jeremy Wallach, Advisor Christian Coons Graduate Faculty Representative Kimberly Coates Katherine Meizel © 2016 Stephanie Salerno All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This dissertation studies the cultural significance of Canadian-American singer/songwriter Rufus Wainwright’s (b. 1973) album All Days Are Nights: Songs for Lulu (Decca, 2010). Lulu was written, recorded, and toured in the years surrounding the illness and eventual death of his mother, beloved Québécoise singer/songwriter Kate McGarrigle. The album, performed as a classical song cycle, stands out amongst Wainwright’s musical catalogue as a hybrid composition that mixes classical and popular musical forms and styles. More than merely a collection of songs about death, loss, and personal suffering, Lulu is a vehicle that enabled him to grieve through music. I argue that Wainwright’s performativity, as well as the music itself, can be understood as queer, or as that which transgresses traditional or expected boundaries. In this sense, Wainwright’s artistic identity and musical trajectory resemble a rhizome, extending in multiple directions and continually expanding to create new paths and outcomes. Instances of queerness reveal themselves in the genre hybridity of the Lulu song cycle, the emotional vulnerability of Wainwright’s vocal performance, the deconstruction of gender norms in live performance, and the circulation of affect within the performance space. -
Are Heavy Metal Music Bands/Musicians Managers of Their Own Music Business?
UNIVERSIDADE DA BEIRA INTERIOR Ciências Sociais e Humanas Are Heavy Metal Music Bands/Musicians Managers of their own Music Business? A Multiple Case Study: Portuguese vs. Finnish bands Lídia Baltazar Dissertação para obtenção do grau de mestre em Gestão (2º ciclo de estudos) Orientadora: Prof. Doutora Anabela Dinis Covilhã, Outubro 2013 Are Heavy Metal Music Bands/Musicians Managers of their own Music Business? ii Are Heavy Metal Music Bands/Musicians Managers of their own Music Business? Dedication To all the “start-up” bands and/or musicians out there, especially underground/unsigned Heavy Metal bands, who face many challenges in making their music heard: Do not give up! There are many ways to win in the Music Industry and it all starts with You! Stay loyal to your dreams, your music and Rock On! iii Are Heavy Metal Music Bands/Musicians Managers of their own Music Business? iv Are Heavy Metal Music Bands/Musicians Managers of their own Music Business? Acknowledgments Cordially, I would like to thank Professor Anabela Dinis for accepting my research proposal, providing me with the opportunity to learn and grow, both academically and personally. It was an enduring and time-consuming process but it was worth it! I am especially grateful to all the people I had the pleasure to meet throughout my research and data collection, in particular, to Toni-Matti Karjalainen for his availability, friendly reception, enthusiasm, support and valuable help in getting the right contacts. Thank you very much! Without your help this would be a lot harder to accomplish! I would also like to express my sincere gratitude to the guys that accepted making part of this study with their bands and spared some of their precious time to meet and talk with me. -
The Twilight Sad Nobody Wants to Be Here and Nobody Wants to Leave
The Twilight Sad Nobody Wants To Be Here And Nobody Wants To Leave Following their stark nod to the heroes of an industrial past, No One Can Ever Know, The Twilight Sad has dug into their own past to form an album that’s bracing, biting and as widescreen as anything in their canon. The band, ever ambassa- dors of Scottish gloom, have harnessed their dark muse once again and drawn on their prowess in the live arena to track a record that proves they can translate the power of their stage show to tape. Where each album prior to No One Wants To Be Here and No One Wants to Leave saw the Release date: 10/28/14 Twilight Sad tackling new sounds and ways of writing, their latest work draws from their entire career. MacFarlane says: “Over the 8 years we've been touring, our live sound has Format: CD, LP taken on different forms, from full on noise/feedback, to a sparse, synth led sound, to a File Under: Rock stripped back set up with just keys, drum machine and guitar, to playing with an orches- Territory Restrictions: tra, and to just an acoustic with vocal. We wanted to try and capture all of those elements Only available to North America, South America and develop them in some way to make the new record.” Opting to stay in Glasgow, the album was produced at Mogwai’s Castle Of Doom studio, engineered by the band’s live soundman Andrew Bush, mixed by Peter Katis (also responsible for Fourteen Autumns), with touring member Johnny Docherty playing bass. -
The Vinyl Dialogues Mike Morsch
The Vinyl Dialogues Volume III “Stacks of Wax” Mike Morsch Copyright©2016 Mike Morsch i Cover photo and design by Ron Dacanay. Editing by Frank D. Quattrone and Gemini Wordsmiths: Ruth Littner and Ann Stolinsky. ISBN: 978-1-62249-352-4 Published by Biblio Publishing BiblioPublishing.com ii Table of Contents Introduction 1 Watching the Beatles take America by snowstorm Sands of Time Jay and the Americans 3 Standing out while . Sittin’ In Loggins and Messina 15 Stretching right up and touching the sky Electronically Tested Mungo Jerry 29 Kicks just kept getting harder to find Indian Reservation The Raiders 39 The bluesman and the bad boys Hooker ’n Heat John Lee Hooker and Canned Heat 49 iii Mike Morsch A wolf in simple clothing Of a Simple Man Lobo 57 People all over the world get on board Back Stabbers The O’Jays 67 A new Cadillac for the guy who couldn’t even drive Spinners The Spinners 79 It was a movement, not a rock band Wovoka Redbone 91 A worn-out, ragtag bunch of musicians Bloodshot J. Geils Band 99 They don’t know you, but they know these people Friends and Legends Michael Stanley 109 iv Stacks of Wax A vintage look with a different sound Self-titled The Pointer Sisters 121 Failing at something long enough to be a legend Sold American Kinky Friedman 131 Re-launching a career with help from the Rocket Man Sedaka’s Back Neil Sedaka 139 Wacky cover photo, cool music inside Daryl Hall and John Oates (The Silver Album) Hall & Oates 149 A ‘reunion’ song for two different solo albums Breakaway Art Garfunkel 165 Blown away by her own