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JEN CLOHER Jen Cloher
JEN CLOHER Jen Cloher Album Biography: June 6, 2017 Album Release: August 11, 2017 “It’s self-titled.” The three-word answer is all that Jen Cloher requires to describe her new album, a letter in triplicate addressed to music, to Australia and to love. It’s the most honest album she’s ever written. Jen liKes best to tell the truth. Jen Cloher is the culmination of a period of artistic and personal growth in which the artist tooK her rightful place as the punk-rocK figurehead of Melbourne’s famous DIY music scene. The NIDA graduate is an outspoKen advocate for artist rights, a label boss and band-leader, she also happens to be the partner of acclaimed songwriter Courtney Barnett. Cloher’s fascinating life-story is enough justification to taKe notice here, but it’s the music that will have you returning to this album again and again. Cloher says: “It’s a classic rocK album, recorded live in one room with minimal overdubs… I’m not too good at going into descriptive language around my own music but I suppose it is intimate without ever feeling too precious.” The bulK of Cloher’s album was recorded in October 2016 by Greg WalKer amidst the rolling greenery of Jumbunna in Victoria’s Gippsland, these are songs of distance and songs of driving. Four years on, the band that first played together on Cloher’s acclaimed third album, the Australian Music Prize nominated In Blood Memory, are bold and assured. The songs are split here and there by the melodic intricacy of guitarist Courtney Barnett while drummer Jen Sholakis and bassist Bones Sloane add weight and space, playing only what is needed, leaving room for the songs to breathe, transform and soar. -
For Immediate Release: Thursday 9Th August 2018
FOR IMMEDIATE RELEASE: THURSDAY 9TH AUGUST 2018: Following the success of the inaugural SummerSalt concert series across Australia last Summer, Zaccaria Concerts & Touring are thrilled to announce the first Summersalt concert event of Summer 2018-19. SummerSalt continues to deliver cream of the crop artists to the great Australian outdoors as it announces two of Australia’s finest artists – The Waifs and Pete Murray with strong support from Busby Marou, Mama Kin Spender and Carla Geneve performing live at Hotel Rottnest on Sunday January 13th, 2019. SummerSalt takes place in some of the most picturesque locations around the country. On top of showcasing the best of home-grown and international bands, it also brings cultural attractions, placing a very heavy emphasis on local community and sustainability. With sun, salt air, and sweet music to wash over Thompsons Bay at Rottnest Island, SummerSalt will create the perfect setting to dance the afternoon away with your friends on the sand or chill in the awesome venue of Hotel Rottnest. Soak up some Summer sun under the spell of some of the country’s finest Australian talent. A trip that began in a van in 1992, playing gigs anywhere in Australia that would have them has led The Waifs to multiple ARIA Awards, platinum albums and successful tours across the world. With a career spanning 25 years off the back of relentless touring and ground- breaking records such as Up All Night and A Brief History, the hard yards in those early days paid off in terms of their career, but also bound them together as friends. -
K21 Any Given D-Day Mp3, Flac, Wma
K21 Any Given D-Day mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Any Given D-Day Country: Australia Released: 2018 MP3 version RAR size: 1601 mb FLAC version RAR size: 1400 mb WMA version RAR size: 1262 mb Rating: 4.5 Votes: 832 Other Formats: MPC AC3 MOD MMF AU AAC VQF Tracklist Hide Credits Prelude A1 Horns – Chris Weber Producer – K21 One Man Army A2 Horns – Chris Weber Producer, Written-By – K21 Vocals [Additional] – Ben Martin Anti Hero (Wrath Of K) A3 Horns – Chris Weber Producer, Written-By – K21 Scratches – Faint One One Shot A4 Featuring – Adrian EagleProducer – K21 Vocals [Additional] – Chloe HockeyWritten-By – Adrian Eagle, K21 The Family A5 Featuring – Remi Producer – K21 Scratches – Faint OneWritten-By – K21 , Remi Rider A6 Featuring – RhymefestHorns – Chris Weber Producer – Jayteehazard*Scratches – Faint OneVocals [Additional] – Adam SlutskyWritten-By – K21 , Rhymefest Tequila Suicide A7 Featuring – Hilltop HoodsHorns – Chris Weber Producer – K21 Vocals [Additional] – Anilyn GonzalezWritten-By – Hilltop Hoods, K21 Greatest Living Nightmare B1 Guitar – Mountain StrangerProducer – TrialsVocals [Additional] – Adam SlutskyWritten-By – K21 Bootcamp B2 Featuring – Ikas MillisProducer – K21 Written-By – Ikas Millis, K21 Issue B3 Featuring – Sesta, TrialsProducer – LinkrustWritten-By – K21 , Sesta, Trials Change My Way B4 Featuring – Joy & Sparks*Horns – Chris Weber Producer – K21 Written-By – Joy & Sparks*, K21 Rap Game Travolta (Chris Horrell Remix) B5 Featuring – Mac LethalRemix, Producer – Chris HorrellWritten-By -
Artie Shaw 1938-1939
Glenn Miller Archives ARTIE SHAW 1938-1939 Prepared by: Reinhard F. Scheer-Hennings and Dennis M. Spragg In Cooperation with the University of Arizona Updated December 11, 2020 1 Table of Contents I. 1938 ................................................................................................................... 3 June 1938 ............................................................................................................... 3 July 1938 ................................................................................................................ 4 August 1938 ......................................................................................................... 12 September 1938 ................................................................................................... 15 October 1938 ........................................................................................................ 32 November 1938 .................................................................................................... 37 December 1938 .................................................................................................... 60 II. 1939 ............................................................................................................... 101 January 1939 ...................................................................................................... 101 February 1939 .................................................................................................... 131 March 1939 ........................................................................................................ -
“I Rep for My Mob” Blackfellas Rappin' from Down-Unda1 Chiara
“I Rep for My Mob” Blackfellas Rappin’ from Down-Unda1 Chiara Minestrelli In an era of decentering globalizing forces that continuously shift the locale of cultural production and consumption from global markets to local realities and vice versa, music has come to play a crucial role in redefining the value of regional discourses. Hip hop music,2 with its long and solid history of indigenization in different parts of the globe, has provided marginalized and stigmatized communities around the world with accessible “artistic tools” of self-expression. Tony Mitchell (2001), Samy H. Alim, Awad and Pennycook (2009), Sujatha Fernandes (2011) and more recently Christopher Malone and George Martinez (2014), amongst others, have explored the multifaceted and compelling expressivity of “glocal” discourses articulated through hip hop. Many are the local stories of struggle and empowerment that have gained global recognition thanks to the new media. Recent emblematic cases of this movement from the local to the global are well represented by three distinct and yet interrelated cases that testify the power of hip hop as an amplifier for unique stories. The first example is that Sonita Alizadeh, a young Afghani girl who used her personal experience to convey a message of dissent against the issue of child marriage with a hip hop track called “Brides for Sale” (2014). In a similar fashion, with the track “Kodaikanal Won’t” (2015) a young Indian Tamil woman, Sofia Ashraf, launched her protest against the pollution of Kodaikanal (India) caused by the multinational company Unilever. Fitting into a similar “template,” Kylie Sambo, a young Indigenous activist from Australia’s Northern Territory, released the track “Muckaty” (2010),3 where she lamented the Australian govern-ment’s decision to create a nuclear waste dump on Indigenous land. -
October 10 2018
INAUGURAL CEREMONY October 10 2018 “I know that there are vast numbers of men who support woman and huge numbers of women who want more so together let’s create the mother of all paradigm shifts.” Jenny Morris Chrissy Amphlett PHOTOGRAPHER: TONY MOTT 2 1 “I know that there are vast numbers of men who support woman and huge numbers of women who want more so together let’s create the mother of all paradigm shifts.” Jenny Morris Chrissy Amphlett PHOTOGRAPHER: TONY MOTT 2 1 A FEW WORDS Message From AWMA Founding Director Message from the Premier & Ministers & Executive Producer It is our great pleasure to welcome you to the first Australian Women in Music Awards. VICKI GORDON We’re proud that Queensland is the inaugural home to this phenomenal program. The Queensland Government is committed to promoting the work of women in all fields, including the arts, and positions of leadership. We have pledged to appoint 50 per cent women to government boards by 2020, because we know that companies This evening we will make Australian music history. that appoint more women do better. The inaugural Australian Women in Music Awards is the result of many Australian women contribute a great deal to the country’s contemporary music industry, and yet only one in five voices and many visions coming together, all of whom refuse to allow registered songwriters and composers in our nation are women. Women also represent almost half of all Australians women’s contribution in the Australian Music Industry to be sidelined with a music qualification, and yet hold only one in four senior roles in our key music industry organisations. -
26 March 2017 EXHIBITION WALL LABELS Drafted by Max Dela
SOVEREIGNTY Australian Centre for Contemporary Art 17 December 2016 – 26 March 2017 EXHIBITION WALL LABELS Drafted by Max Delany, Paola Balla and Stephanie Berlangieri BROOK ANDREW Born 1970, Sydney Wiradjuri Lives and works in Melbourne Against all odds 2005 Hope and Peace series screenprint 100.0 x 98.0 cm Private Collection, Melbourne Black and White: Special Cut 2005 Hope and Peace series screenprint 100.0 x 98.0 cm Private Collection, Melbourne Maralinga clock 2015 inkjet and metallic foil on linen 280.0 x 160.0 x 120.0 cm Courtesy the artist and Tolarno Galleries, Melbourne; Roslyn Oxley 9, Sydney; and Galerie Nathalie Obadia, Paris and Brussels The weight of history, the mark of time (sphere) 2015 coated nylon, fan, LED 500.0 cm (diameter) Courtesy the artist and Tolarno Galleries, Melbourne; Roslyn Oxley 9, Sydney; and Galerie Nathalie Obadia, Paris and Brussels Brook Andrew’s practice encompasses bold inter-disciplinary projects that explore the ongoing histories, image cultures and effects of colonialism and modernity. Presented in Sovereignty is a selection of works from over the past decade. Andrew’s silkscreen prints, from the Hope and Peace series of 2005, deftly connect the traditions of pop art and political posters in a form of agit-pop. Alongside these are presented two sculptural works: a large, soft sculpture Maralinga clock 2015, based on a souvenir clock in the collection of Sydney’s Powerhouse Museum which commemorates the British nuclear test explosions on the desert homelands of the Tjarutja people; and The weight of history, the mark of time (sphere) 2015, a living, breathing balloon form adorned with a distinctive design inspired by the artist’s Wiradjuri heritage. -
Music Business and the Experience Economy the Australasian Case Music Business and the Experience Economy
Peter Tschmuck Philip L. Pearce Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Music Business and the Experience Economy . Peter Tschmuck • Philip L. Pearce • Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Editors Peter Tschmuck Philip L. Pearce Institute for Cultural Management and School of Business Cultural Studies James Cook University Townsville University of Music and Townsville, Queensland Performing Arts Vienna Australia Vienna, Austria Steven Campbell School of Creative Arts James Cook University Townsville Townsville, Queensland Australia ISBN 978-3-642-27897-6 ISBN 978-3-642-27898-3 (eBook) DOI 10.1007/978-3-642-27898-3 Springer Heidelberg New York Dordrecht London Library of Congress Control Number: 2013936544 # Springer-Verlag Berlin Heidelberg 2013 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer. -
The Bolshevik Revolution and Tin Pan Alley: Anti-Revolutionary Song in the United States, 1917-1927
THE BOLSHEVIK REVOLUTION AND TIN PAN ALLEY: ANTI-REVOLUTIONARY SONG IN THE UNITED STATES, 1917-1927 By BRIAN HOLDER A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2008 1 © 2008 Brian Holder 2 To Lauren, Murphy, and Rufio. 3 ACKNOWLEDGMENTS I wish to thank the members of my supervisory committee and the many other professors who have guided me through my years at the University of Florida. Specifically I thank David Z. Kushner for his mentorship and inspiration. It has been an honor to study and work within his musicology program. Additional help and advice came from Robena Cornwell, Michele Wilbanks, and Mary Wood at the University of Florida Music Library, Jim Liversidge at the University of Florida Popular Culture Collections, the Performing Arts Reading Room staff at the Library of Congress, Nancy Mason, assistant to the Milne Special Collections at the University of New Hampshire, the Duke University Special Collections staff, sheet music collector and lecturer Lee Schreiner, and Bernard Parker, author and World War I song collector. I am very grateful for their assistance. My colleagues at Santa Fe College have also been very supportive during the preparation of this study. I appreciate their encouragement and understanding. I thank David Goldblatt for his willingness to both sing and accompany himself in performance of Let’s knock the bull out of the Bolsheviki. Finally I thank my mother, whose gift of the sheet music Johnny’s in town sparked an interest in the music of the First World War. -
THE AUSTRALIAN RECORD LABEL LANDSCAPE October, 2020
THE AUSTRALIAN RECORD LABEL LANDSCAPE October, 2020 HUSSLE RECORDINGS DOWNRIGHT FUTURE CLASSIC EMI Blanke, Heimanu Dave Winnel, ISLAND RECORDS AUSTRALIA ONELOVE FARMER & THE OWL Loud Luxury Dean Lewis, Thundamentals, Flume, G Flip, Middle Kids, Paul Kelly, ëmmë, JDG, Silva ABK RECORDS Hockey Dad, Totally Vera Blue Flight Facilities Troye Sivan Kerser, Rates TMRW MUSIC Unicorn, Tropical Strength SPECIFIC MUSIC WVS RISQUÉ MUSIC DOMINO RECORDS ADA BMG ASTRX Alt Fiction, Aydan, Sophiegrophy, THE AREA MOVEMENT Great Gable, Dope Lemon, Saint Lane, Kult Zekiel AUSTRALIA KRUDE, Wongo Kyss, Taka Perry Vic August Blueboy, Hooks, Jaecy The Hard Aches Dune Rats, Chet Faker RATBAG RECORDS BAD APPLES MUSIC DEF JAM ANZ YOU DO YOU Generik, Tough Break OCTOBER RECORDS The Gooch Palms, Alice Skye, Kobie Dee Kwame, Phi11a Totty etcetc RECORDS BUOY, Endgrain LAB78 FISHER, George Maple, THE ORCHARD Vlossom The Jungle Giants, CLOAK ENT PNAU GOLDEN ERA RECORDS Badrapper, Choomba, 66 Records Triple One, DB MUSIC A.B Original, Jesswar, DEW PROCESS Jia Lih BBG Smokey, Ziggy Alberts Day1, Creed Tha Kid Shadow Eves Karydas, Tkay Eco$ystem, Lil Jaye GREYSCALE RECORDS Maidza, Mallrat LOST WEEKEND Alphawolf, NEON RECORDS r e i s h i 生活, Make Them Suffer, TRENCH RECORDS WAY RARE CO The Beautiful Monument ROSE AVE RECORDS Ivan Gough, Planet Saturn Hands Cassian, Colyn Vegeta, Thandi Phoenix Miss Blanks, Moonbase, East Av3 Tobacco Rat COOKING VINYL CLUB LOVE WARNER MUSIC BARGAIN BIN AUSTRALIA OF LEISURE AUSTRALIA The Chats, Dennis Ceres, MUTO, Tyler Touche, SODF, Tom -
Sovereignty-Catalogue.Pdf
Sovereignty Sovereignty 17 December 2016 – 26 March 2017 Curators: Paola Balla & Max Delany 2 3 Foreword Contents Arweet Carolyn Briggs Arweet Carolyn Briggs To be able to welcome people on Country at this Foreword 4 place is an honour, this Yalukit Willam place of the Boon Wurrung peoples. Welcome to country gives a sense of connection for all people that come Max Delany along with us. Sovereignty 7 If you come with integrity, you are respecting the sacred ground that this cultural space is located on, and will be honoured with respect. As an Elder, Paola Balla how we transmit knowledge is important, as are the Sovereignty: ways we create a platform for our youth, in a safe environment. Dance, story, images and song – all Inalienable and intimate 13 have a role to play in knowledge transmission, and can create such an impact. Tony Birch We have been creating art since the beginning of ‘Our red sands dug and sifted’: time. We are continuing an age-old practice; we all have a story, some stories are traumatic, so it is Sovereignty and the act of being 19 especially important to have the opportunity and freedom to celebrate culture for wellbeing. Art can be Kimberley Moulton a healing space, and an opportunity to awaken the world to the impacts upon us, locally and globally. Sovereign art and the colonial canon; It is very exciting to see Sovereignty take place at ACCA, seeing our artists acknowledged in a Are we lost until we are found? 27 contemporary context at a national level. -
Funkoars the Hangover Mp3, Flac, Wma
Funkoars The Hangover mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: The Hangover Country: Australia Released: 2008 MP3 version RAR size: 1274 mb FLAC version RAR size: 1237 mb WMA version RAR size: 1935 mb Rating: 4.7 Votes: 895 Other Formats: DTS MIDI FLAC APE AHX MMF MP1 Tracklist Hide Credits A1 More Of The Raw A2 The Hangover Black Sally A3 Bass – Faculty Featuring – Maurice Greer A4 Show Money Bootleg It B1 Scratches – DJ Ad-Fu* B2 The Phallic Menace B3 What’s Your Malfunction Double Dutch C1 Featuring – Hilltop Hoods, Vents C2 Reign On The Masses This Is How C3 Featuring – Masta Ace D1 Let You Go D2 Never Coming Back D3 Do It Together D4 Lock Me Up Companies, etc. Manufactured By – Shogun Distribution Marketed By – Shogun Distribution Distributed By – Shogun Distribution Credits Mastered By – Neville Clark Mixed By – DJ Reflux Producer – Sesta (tracks: A4, B3, C2, D1, D2, D4), Suffa (tracks: D3), Trials (tracks: A1 to A3, B1, B2, C1, C3, D4) Scratches – DJ Reflux Barcode and Other Identifiers Barcode: 9 340963 000305 Other versions Category Artist Title (Format) Label Category Country Year The Hangover (Premium GER006 Funkoars Golden Era Records GER006 Australia 2009 Edition) (CD, Album) Peepshow PS003-CD Funkoars The Hangover (CD, Album) PS003-CD Australia 2008 Entertainment Related Music albums to The Hangover by Funkoars Meco - Love Theme From Shogun (Mariko's Theme) / The Main Theme From Shogun Moodymann Featuring Charlotte OC - Hangover Sontag Shogun - Tale Obie Trice - The Hangover Taggy - Hangover Akinyele & Sadat X / Snoop Doggy Dog - Loud Hangover / What's My Name C-Jay - Shogun Akinyele / Sadat X Featuring Yvette Michele - Loud Hangover (Allstar Remix) The Collective - Hangover Hilltop Hoods - The Hard Road Shogun feat.