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TMCA News, March 2021
TMCA NEWS • MARCH 2021 1 Newsletter of the Texas Municipal Clerks Association, Inc. Vol. XXXII No. 1 • Mar. 2021 President’s Message CONTENTS © Paul Traves © Paul Wow! By the time you read this, I will already be three months into my President’s Message • page 1 presidential year! Hindsight truly is 2020 and we are well on our way Happy Anniversary TMCA • page 3 into an interesting 2021. It has already been a busy year with a jam- President’s Chapter Visits • page 4 packed January… between the kick-off of May city council elections, Peggy Burnside Retires • page 5 Education Director’s Corner: “Graduate Institute” my first chapter visit, a successful Election Law Seminar; and then a Renamed “Advanced Institute” • page 6 freaky February with our entire state under a disaster declaration! Texas Nominate Now: Texas Municipal Clerk of the Year • page 7 cities and clerks have once again proven our resiliency and weathered Nominate Now: 2021 TMCA Awards • page 8 the Texas snowmageddon! Is anyone else beginning to think there is no TMCA President Apply Now to Serve as a 2022 Executive Board more “normal?” I’ve personally decided that everything is now going Trustee • page 9 Aimee Nemer, TRMC City Secretary, Richardson to be “lamron!” See how backward that is? Apply Now: 2022 TMCA Scholarships • page 10 TMCA Legislative Committee • page 12 As you will read about in this newsletter, our hybrid 49th annual Elec- TMCA Election Law Seminar • page 14 tion Law Seminar was a success! Can you believe TMCA, Inc., has been TMCCP Recertifying Class of 2021 • page 15 educating our members on election laws for nearly half a century? Due TMCCP Graduating Class of 2021 • page 16 to the ongoing pandemic, our TMCA staff of only five members worked Thank You to Our Seminar Volunteers • page 17 hard to pull together a virtual option for attendees. -
3/30/2021 Tagscanner Extended Playlist File:///E:/Dropbox/Music For
3/30/2021 TagScanner Extended PlayList Total tracks number: 2175 Total tracks length: 132:57:20 Total tracks size: 17.4 GB # Artist Title Length 01 *NSync Bye Bye Bye 03:17 02 *NSync Girlfriend (Album Version) 04:13 03 *NSync It's Gonna Be Me 03:10 04 1 Giant Leap My Culture 03:36 05 2 Play Feat. Raghav & Jucxi So Confused 03:35 06 2 Play Feat. Raghav & Naila Boss It Can't Be Right 03:26 07 2Pac Feat. Elton John Ghetto Gospel 03:55 08 3 Doors Down Be Like That 04:24 09 3 Doors Down Here Without You 03:54 10 3 Doors Down Kryptonite 03:53 11 3 Doors Down Let Me Go 03:52 12 3 Doors Down When Im Gone 04:13 13 3 Of A Kind Baby Cakes 02:32 14 3lw No More (Baby I'ma Do Right) 04:19 15 3OH!3 Don't Trust Me 03:12 16 4 Strings (Take Me Away) Into The Night 03:08 17 5 Seconds Of Summer She's Kinda Hot 03:12 18 5 Seconds of Summer Youngblood 03:21 19 50 Cent Disco Inferno 03:33 20 50 Cent In Da Club 03:42 21 50 Cent Just A Lil Bit 03:57 22 50 Cent P.I.M.P. 04:15 23 50 Cent Wanksta 03:37 24 50 Cent Feat. Nate Dogg 21 Questions 03:41 25 50 Cent Ft Olivia Candy Shop 03:26 26 98 Degrees Give Me Just One Night 03:29 27 112 It's Over Now 04:22 28 112 Peaches & Cream 03:12 29 220 KID, Gracey Don’t Need Love 03:14 A R Rahman & The Pussycat Dolls Feat. -
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The e-journal of analog and digital sound. no.24 2009 NOTHING BUT ANALOG! MoMA’s New York Clearaudio, Lyra, Air Tight and More NEW Punk Exhibit Grateful Dead Book By Ben Fong-Torres STYLE: We Ride Ducati’s Newest Supermotard At Indy! Box Sets: AC/DC and Thelonius Monk Perreaux Returns to the US Bob Gendron Goes To NYC to View Punk’s Past at MoMA TONE A 1 NO.24 2 0 0 9 PUBLISHER Jeff Dorgay EDITOR Bob Golfen ART DIRECTOR Jean Dorgay r MUSIC EDITOR Ben Fong-Torres ASSISTANT Bob Gendron MUSIC EDITOR M USIC VISIONARY Terry Currier STYLE EDITOR Scott Tetzlaff C O N T R I B U T I N G Tom Caselli WRITERS Kurt Doslu Anne Farnsworth Joe Golfen Jesse Hamlin Rich Kent Ken Kessler Hood McTiernan Rick Moore Jerold O’Brien Michele Rundgren Todd Sageser Richard Simmons Jaan Uhelszki Randy Wells UBER CARTOONIST Liza Donnelly ADVERTISING Jeff Dorgay WEBSITE bloodymonster.com Cover Photo: Blondie, CBGB’s. 1977. Photograph by Godlis, Courtesy Museum of Modern Art Library tonepublications.com Editor Questions and Comments: [email protected] 800.432.4569 © 2009 Tone MAGAZIne, LLC All rights reserved. TONE A 2 NO.24 2 0 0 9 55 (on the cover) MoMA’s Punk Exhibit features Old School: 1 0 The Audio Research SP-9 By Kurt Doslu Journeyman Audiophile: 1 4 Moving Up The Cartridge Food Chain By Jeff Dorgay The Grateful Dead: 29 The Sound & The Songs By Ben Fong-Torres A BLE Home Is Where The TURNta 49 FOR Record Player Is EVERYONE By Jeff Dorgay Here Today, Gone Tomorrow: 55 MoMA’s New York Punk Exhibit By Bob Gendron Budget Gear: 89 How Much Analog Magic Can You Get for Under $100? By Jerold O’Brien by Ben Fong-Torres, published by Chronicle Books 7. -
Helena Mace Song List 2010S Adam Lambert – Mad World Adele – Don't You Remember Adele – Hiding My Heart Away Adele
Helena Mace Song List 2010s Adam Lambert – Mad World Adele – Don’t You Remember Adele – Hiding My Heart Away Adele – One And Only Adele – Set Fire To The Rain Adele- Skyfall Adele – Someone Like You Birdy – Skinny Love Bradley Cooper and Lady Gaga - Shallow Bruno Mars – Marry You Bruno Mars – Just The Way You Are Caro Emerald – That Man Charlene Soraia – Wherever You Will Go Christina Perri – Jar Of Hearts David Guetta – Titanium - acoustic version The Chicks – Travelling Soldier Emeli Sande – Next To Me Emeli Sande – Read All About It Part 3 Ella Henderson – Ghost Ella Henderson - Yours Gabrielle Aplin – The Power Of Love Idina Menzel - Let It Go Imelda May – Big Bad Handsome Man Imelda May – Tainted Love James Blunt – Goodbye My Lover John Legend – All Of Me Katy Perry – Firework Lady Gaga – Born This Way – acoustic version Lady Gaga – Edge of Glory – acoustic version Lily Allen – Somewhere Only We Know Paloma Faith – Never Tear Us Apart Paloma Faith – Upside Down Pink - Try Rihanna – Only Girl In The World Sam Smith – Stay With Me Sia – California Dreamin’ (Mamas and Papas) 2000s Alicia Keys – Empire State Of Mind Alexandra Burke - Hallelujah Adele – Make You Feel My Love Amy Winehouse – Love Is A Losing Game Amy Winehouse – Valerie Amy Winehouse – Will You Love Me Tomorrow Amy Winehouse – Back To Black Amy Winehouse – You Know I’m No Good Coldplay – Fix You Coldplay - Yellow Daughtry/Gaga – Poker Face Diana Krall – Just The Way You Are Diana Krall – Fly Me To The Moon Diana Krall – Cry Me A River DJ Sammy – Heaven – slow version Duffy -
Gary Numan - Hammersmith Apollo, London - November 28, 2014
1 Gary Numan - Hammersmith Apollo, London - November 28, 2014 by Mireille Beaulieu Original French version © Obsküre magazine - http://www.obskuremag.net http://www.obskuremag.net/articles/gary-numan-live-hammersmith-apollo-londres- 28112014/ Gary Numan’s recent concert at London’s Hammersmith Apollo had long been announced as a major event. This show was the crowning moment of the world tour Numan had undertaken in October 2013, as he was promoting his new album Splinter (Songs from a broken mind ). Undoubtedly one of the artist’s major works, Splinter garnered unparalleled public and critical acclaim. It even entered the UK Top 20 – the first Numan album to do so since Warriors in 1983. Gary Numan started this long tour in the US before visiting the UK, Ireland, Israel, continental Europe (but sadly not Paris), Canada, Australia and New Zealand. Photos: Louise Barnes and Jim Napier © Jim Napier 2 But it was also a “homecoming concert”, a return to his roots for Numan, who currently resides in Los Angeles. For the first time since 1996, he was to take over the Hammersmith Apollo, the legendary UK venue formerly known as the Hammersmith Odeon. This is where David Bowie killed off his Ziggy Stardust character in 1973... Around the same period, a teenage Gary (then still Gary Webb) would often attend gigs there. Then, with the explosion of the Numan phenomenon in 1979, the “Hammy” became for many years the London venue of his choice when he was touring. Gary, who was born in Hammersmith, obviously has a deep connection with the place. -
CST2110 Individual Programming Assignment #2 Deadline For
CST2110 Individual Programming Assignment #2 Deadline for submission 16:00, Friday 16rd April, 2021 Please read all the assignment specification carefully first, before asking your tutor any questions. General information You are required to submit your work via the dedicated Unihub assignment link in the ‘week 24’ folder by the specified deadline. This link will ‘timeout’ at the submission deadline. Your work will not be accepted as an email attachment if you miss this deadline. Therefore, you are strongly advised to allow plenty of time to upload your work prior to the deadline. Submission should comprise a single ‘ZIP’ file. This file should contain a separate, cleaned1, NetBeans project for each of the three tasks described below. The work will be compiled and run in a Windows environment, so it is strongly advised that you test your work in a Windows environment prior to cleaning and submission. When the ZIP file is extracted, there should be three folders (viewed in Windows explorer) representing three independent NetBeans projects as illustrated by Figure 1 below. Figure 1: When the ZIP file is extracted there should be three folders named Task1, Task2 and Task3 Accordingly, when loaded into NetBeans, each task must be a separate project as illustrated by Figure 2 below. Figure 2: Each task must be a separate NetBeans Project To make this easier, a template NetBeans project structure is provided for you to download. 1 In the NetBeans project navigator window, right-click on the project and select ‘clean’ from the drop-down menu. This will remove .class files and reduce the project file size for submission. -
Sean Mcculloch – Lead Vocals Daniel Gailey – Guitar, Backing Vocals Bryce Kelly – Bass, Backing Vocals Lee Humarian – Drums
Sean McCulloch – Lead Vocals Daniel Gailey – Guitar, Backing Vocals Bryce Kelly – Bass, Backing Vocals Lee Humarian – Drums Utter and complete reinvention isn’t the only way to destroy boundaries. Oftentimes, the most invigorating renewal in any particular community comes not from a generation’s desperate search for some sort of unrealized frontier, but from a reverence for the strength of its foundation. The steadfast metal fury of PHINEHAS is focused, deliberate, and unashamed. Across three albums and two EPs, the Southern California quartet has proven to be both herald of the genre’s future and keeper of its glorious past. The New Wave Of American Metal defined by the likes of As I Lay Dying, Shadows Fall, Unearth, All That Remains, Bleeding Through, and likeminded bands on the Ozzfest stage and on the covers of heavy metal publications has found a new heir in PHINEHAS. Even as the NWOAM owed a sizeable debt to Europe’s At The Gates and In Flames and North America’s Integrity and Coalesce, PHINEHAS grab the torch from the generation just before them. The four men of mayhem find themselves increasingly celebrated by fans, critics, and contemporaries, due to their pulse-pounding brutality. Make no mistake: PHINEHAS is not a simple throwback. PHINEHAS is a distillation of everything that has made the genre great since bands first discovered the brilliant results of combining heavy metal’s technical skill with hardcore punk’s impassioned fury. SEAN MCCULLOCH has poured his heart out through his throat with decisive power, honest reflections on faith and doubt, and down-to-earth charm since 2007. -
C4 Music Guide
C4 Music Rights and Clearances Guide Part 1 – What do I need to clear and how much does it cost? Page. 1. Recording, Publishing and Performers Rights explained 3 2. Publishing a) Clearing publishing rights under the IPC scheme 3 b) Paying for publishing rights under the IPC scheme 4 c) Publishing Rights rate card 5 d) What about Broadcast rights? 7 3. Recordings a) Clearing recording rights 7 b) Paying for recording rights 8 4. Performers a) Clearing performers’ rights 8 b) Paying for performers’ rights 8 5. Cue Sheets and Music License forms 9 Part 2 – Clearing outside of C4’s blanket deals 1. Exceptions and Restrictions a) Respect the blankets! 11 b) Exempted artists 11 c) Appropriate Usage 11 d) Titles/Signature Music 12 e) Sponsorship and Advertising 12 f) Dramatico Musical Works 13 2. Help! My track won’t clear! a) I can’t find the track on the PRS/PPL databases 13 b) Copyright control / Non Society shares 13 c) International collecting societies 14 d) Out of copyright / Traditional / Public Domain 14 e) Sample suspense 15 3. How to clear non PRS/PPL repertoire a) Things to consider 16 i) Time Consuming 16 ii) Problematic 16 iii) Confusing 16 iv) Costly 16 b) Alternatives i) Use another track 17 ii) Use a library track 17 c) Negotiating a license i) Clearing PRS/PPL repertoire 17 ii) Clearing Non PRS/PPL repertoire 18 iii) MFN (Most Favoured Nations) 18 iv) Await Claim 18 1 Part 3 – Specialist music uses 1. Other music uses Cont…… a) Live performances by cast members 19 b) Live performances by artists or bands 19 c) Music Videos VPL 19 d) Music based shows 20 e) Dramatico Musical Works 20 f) Promos and Trailers 21 g) Online and ‘New Make’ 21 h) Clearing for DVD and DTO i) Publishing 21 ii) Recordings 22 iii) Reporting 22 2. -
Mood Music Programs
MOOD MUSIC PROGRAMS MOOD: 2 Pop Adult Contemporary Hot FM ‡ Current Adult Contemporary Hits Hot Adult Contemporary Hits Sample Artists: Andy Grammer, Taylor Swift, Echosmith, Ed Sample Artists: Selena Gomez, Maroon 5, Leona Lewis, Sheeran, Hozier, Colbie Caillat, Sam Hunt, Kelly Clarkson, X George Ezra, Vance Joy, Jason Derulo, Train, Phillip Phillips, Ambassadors, KT Tunstall Daniel Powter, Andrew McMahon in the Wilderness Metro ‡ Be-Tween Chic Metropolitan Blend Kid-friendly, Modern Pop Hits Sample Artists: Roxy Music, Goldfrapp, Charlotte Gainsbourg, Sample Artists: Zendaya, Justin Bieber, Bella Thorne, Cody Hercules & Love Affair, Grace Jones, Carla Bruni, Flight Simpson, Shane Harper, Austin Mahone, One Direction, Facilities, Chromatics, Saint Etienne, Roisin Murphy Bridgit Mendler, Carrie Underwood, China Anne McClain Pop Style Cashmere ‡ Youthful Pop Hits Warm cosmopolitan vocals Sample Artists: Taylor Swift, Justin Bieber, Kelly Clarkson, Sample Artists: The Bird and The Bee, Priscilla Ahn, Jamie Matt Wertz, Katy Perry, Carrie Underwood, Selena Gomez, Woon, Coldplay, Kaskade Phillip Phillips, Andy Grammer, Carly Rae Jepsen Divas Reflections ‡ Dynamic female vocals Mature Pop and classic Jazz vocals Sample Artists: Beyonce, Chaka Khan, Jennifer Hudson, Tina Sample Artists: Ella Fitzgerald, Connie Evingson, Elivs Turner, Paloma Faith, Mary J. Blige, Donna Summer, En Vogue, Costello, Norah Jones, Kurt Elling, Aretha Franklin, Michael Emeli Sande, Etta James, Christina Aguilera Bublé, Mary J. Blige, Sting, Sachal Vasandani FM1 ‡ Shine -
Confessions of a Black Female Rapper: an Autoethnographic Study on Navigating Selfhood and the Music Industry
Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-8-2020 Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry Chinwe Salisa Maponya-Cook Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation Maponya-Cook, Chinwe Salisa, "Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry." Thesis, Georgia State University, 2020. https://scholarworks.gsu.edu/aas_theses/66 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CONFESSIONS OF A BLACK FEMALE RAPPER: AN AUTOETHNOGRAPHIC STUDY ON NAVIGATING SELFHOOD AND THE MUSIC INDUSTRY by CHINWE MAPONYA-COOK Under the DireCtion of Jonathan Gayles, PhD ABSTRACT The following research explores the ways in whiCh a BlaCk female rapper navigates her selfhood and traditional expeCtations of the musiC industry. By examining four overarching themes in the literature review - Hip-Hop, raCe, gender and agency - the author used observations of prominent BlaCk female rappers spanning over five deCades, as well as personal experiences, to detail an autoethnographiC aCCount of self-development alongside pursuing a musiC career. MethodologiCally, the author wrote journal entries to detail her experiences, as well as wrote and performed an aCCompanying original mixtape entitled The Thesis (available on all streaming platforms), as a creative addition to the research. -
Hamokara: a System for Practice of Backing Vocals for Karaoke
HAMOKARA: A SYSTEM FOR PRACTICE OF BACKING VOCALS FOR KARAOKE Mina Shiraishi, Kozue Ogasawara, and Tetsuro Kitahara College of Humanities and Sciences, Nihon University shiraishi,ogasawara,kitahara @kthrlab.jp { } ABSTRACT the two singers do not have sufficient singing skill, the pitch of the backing vocals may be influenced by the lead Creating harmony in karaoke by a lead vocalist and a back- vocals. To avoid this, the backing vocalist needs to learn to ing vocalist is enjoyable, but backing vocals are not easy sing accurately in pitch by practicing the backing vocals in for non-advanced karaoke users. First, it is difficult to find advance. musically appropriate submelodies (melodies for backing In this paper, we propose a system called HamoKara, vocals). Second, the backing vocalist has to practice back- which enables a user to practice backing vocals. This ing vocals in advance in order to play backing vocals accu- system has two functions. The first function is automatic rately, because singing submelodies is often influenced by submelody generation. For popular music songs, the sys- the singing of the main melody. In this paper, we propose tem generates submelodies and indicates them with both a backing vocals practice system called HamoKara. This a piano-roll display and a guide tone. The second func- system automatically generates a submelody with a rule- tion is support of backing vocals practice. While the user based or HMM-based method, and provides users with is singing the indicated submelody, the system shows the an environment for practicing backing vocals. Users can pitch (fundamental frequency, F0) of the singing voice on check whether their pitch is correct through audio and vi- the piano-roll display. -
The Jazz Rag
THE JAZZ RAG ISSUE 140 SPRING 2016 EARL HINES UK £3.25 CONTENTS EARL HINES A HIGHLY IMPRESSIVE NEW COLLECTION OF THE MUSIC OF THE GREAT JAZZ PIANIST - 7 CDS AND A DVD - ON STORYVILLE RECORDS IS REVIEWED ON PAGE 30. 4 NEWS 7 UPCOMING EVENTS 8 JAZZ RAG CHARTS NEW! CDS AND BOOKS SALES CHARTS 10 BIRMINGHAM-SOLIHULL JAZZ FESTIVALS LINK UP 11 BRINGING JAZZ TO THE MILLIONS JAZZ PHOTOGRAPHS AT BIRMINGHAM'S SUPER-STATION 12 26 AND COUNTING SUBSCRIBE TO THE JAZZ RAG A NEW RECORDING OF AN ESTABLISHED SHOW THE NEXT SIX EDITIONS MAILED 14 NEW BRANCH OF THE JAZZ ARCHIVE DIRECT TO YOUR DOOR FOR ONLY NJA SOUTHEND OPENS £17.50* 16 THE 50 TOP JAZZ SINGERS? Simply send us your name. address and postcode along with your payment and we’ll commence the service from the next issue. SCOTT YANOW COURTS CONTROVERSY OTHER SUBSCRIPTION RATES: EU £20.50 USA, CANADA, AUSTRALIA £24.50 18 JAZZ FESTIVALS Cheques / Postal orders payable to BIG BEAR MUSIC 21 REVIEW SECTION Please send to: LIVE AT SOUTHPORT, CDS AND FILM JAZZ RAG SUBSCRIPTIONS PO BOX 944 | Birmingham | England 32 BEGINNING TO CD LIGHT * to any UK address THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 FESTIVALS IN PERIL Fax: 0121 454 9996 Email: [email protected] In his latest Newsletter Chris Hodgkins, former head of Jazz Services, heads one item, ‘Ealing Jazz Festival under Threat’. He explains that the festival previously ran for eight Web: www.jazzrag.com days with 34 main stage concerts, then goes on: ‘Since outsourcing the management of the festival to a private contractor the Publisher / editor: Jim Simpson sponsorships have ended, admission charges have been introduced and now it is News / features: Ron Simpson proposed to cut the Festival to just two days.