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A Comprehensive History of Techno and Finding God in the Music with Ellen Allien
Editorial A Comprehensive History of Techno and Finding God in the Music With Ellen Allien Kian McHugh | August 3, 2020 When my Zoom call with Ellen Allien connects, at last, I feel weeks of anticipation turn to uncontrollable excitement. My fingers, sweaty from nerves, and a poorly brewed Starbucks coffee, type out the instructions on how to get her audio configured. Ellen is lounging in her Ibiza flat where she has painted all of the walls completely black so that when the sun shines through her window, the room glows yellow. The first fully formed thought I could pencil down was that her posture seemed to denote a sincere attention to detail and confidence in comfort that most others lack. For the first 2 minutes of the call, we both instinctively laugh, muted, and unaware that our discussion of Techno would soon gravitate toward, and then find unexpected momentum in… a deep consideration of Techno, God, and religion. “Rap is where you rst heard it… If rap is more an American phenomenon, techno is where it all comes together in Europe as producers and musicians engage in a dialogue of dazzling speed.” – Jon Savage (English writer, broadcaster and music journalist). In Hanif Abdurraqib’s 2019 book, Go Ahead in the Rain: Notes to A Tribe Called Quest, he so beautifully praises “the low end” of a track: “The feeling of something familiar that sits so deep in your chest that you have to hum it out … where the bass and the kick drums exist.” His point rings true across all music that is heavily percussion driven. -
The BG News October 15, 2015
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 10-15-2015 The BG News October 15, 2015 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation State University, Bowling Green, "The BG News October 15, 2015" (2015). BG News (Student Newspaper). 8871. https://scholarworks.bgsu.edu/bg-news/8871 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Book is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. An independent student press serving the campus and surrounding community, ESTABLISHED 1920 Bowling Green State University Thursday, October 15, 2015 | Volume 95, Issue 17 FALCONS GOT TALENT Student run talent show debuets local performances. PAGE 2 Mens head coach Columnist says New local art Eric Nichols talks always fact studio opens about going from checking is downtown for playing to coaching important community PAGE 10 PAGE 4 PAGE 6 2015 FALCON FOOTBALL FALCONS VS. AKRON SATURDAY, OCT. 17, 3 P.M. • HOMECOMING ATTN. STUDENTS: VISIT BGSUFALCONS.COM/STUDENTTICKETS TO CLAIM YOUR FREE TICKET! JOIN US IN THE STUDENT PARKING AREA FOR FREE FOOD AND FREE PARKING! 877.BGSU.TICKET | #MAKEHISTORYNOW | BGSUFALCONS.COM SATURDAY OCT. 31 D. J. MANNY 419-352-3774 H 145 N. MAIN ST. H DOCSBG.COM MEGHAN MICK Costume Contests & COUNTRY LIVE 8:30 $3 FIREBALLS MUSIC 11:30 Spring Break FM SAT & SOUTHERN ROCK DJ TIL 2:30 50 BEERS/$3 Giveaway/Cash Prizes KISS NEWS OCTOBER 15, 2015 | PAGE 2 Talent show features homecoming spirit By Holly Shively Nico Lautanen, members of the Falcon Flyers, a group that uses acrobat and tum- members higher. -
A Study of the Rap Music Industry in Bogota, Colombia by Laura
The Art of the Hustle: A Study of the Rap Music Industry in Bogota, Colombia by Laura L. Bunting-Hudson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2017 © 2017 Laura L. Bunting-Hudson All Rights Reserved ABSTRACT The Art of the Hustle: A Study of the Rap Music Industry in Bogota, Colombia Laura L. Bunting-Hudson How do rap artists in Bogota, Colombia come together to make music? What is the process they take to commodify their culture? Why are some rappers able to become socially mobile in this process, while others are less so? What is technology’s role in all of this? This ethnography explores those questions, as it carefully documents the strategies utilized by various rap groups in Bogota, Colombia to create social mobility, commoditize products and to create a different vision of modernity within the hip-hop community, as an alternative to the ideals set forth by mainstream Colombian society. Resistance Art Poetry (RAP), is said to have originated in the United States but has become a form of international music. In conducting ethnographic research from December of 2012 to October 2014, I was able to discover how rappers organize themselves politically, how they commoditize their products and distribute them to create various types of social mobilities. In this dissertation, I constructed models to typologize rap groups in Bogota, Colombia, which I call polities of rappers to discuss how these groups come together, take shape, make plans and execute them to reach their business goals. -
2021 Hard to Find the HTFR Weekly Wanted List
© 2021 Hard To Find The HTFR Weekly Wanted List - Prices valid from 28 Sep 2021 to 5 Oct 2021 If you have any of the records in this list for sale, we will pay at minimum the price specified email: [email protected] - Tel: 0121 622 3269 - Visit our website for details on how to sell to us - http://www.htfr.com/secondhand/ MR26666 100Hz EP3 Pacific FIC020 1999 British 12" £4.00 MR75274 16B Trail Of Dreams Stonehouse STR12008 1995 British 12" £2.00 MR18837 2 Funky 2 Brothers And Sisters Logic FUNKY2 1994 British Promo 12" £2.00 MR759025 3rd Core Mindless And Broken WEA International Inc. SAM00291 2000 British 12" £2.00 MR12656 4 Hero Cooking Up Ya Brain Reinforced RIVET1216 1992 British Promo 12" £2.00 MR14089 A Guy Called Gerald 28 Gun Badboy / Paranoia Columbia XPR1684 1992 British Promo 12" £8.00 MR169958 A Sides Punks Strictly Underground STUR74 1996 British 12" £4.00 MR353153 Aaron Carl Down (Resurrected) Wallshaker WMAC30 2009 American Import 12" £2.00 MR759966 Academy Of St. Martin-in-the-F Amadeus (Original Soundtrack Recording) Metronome 8251261ME 1984 Double Album £2.00 MR4926 Acen Close Your Eyes Production House PNT034 1992 British 12" £3.00 MR12863 Acen Trip Ii The Moon Part 3 Production House PNT042RX 1992 British 12" £3.00 MR16291 Age Of Love Age Of Love (Jam & Spoon) React 12REACT9 1992 British 12" £7.00 MR44954 Agent Orange Sounds Flakey To Me Agent Orange AO001 1992 British 12" £8.00 MR764680 Akasha Cinematique Wall Of Sound WALLLP016 1998 Vinyl Album £1.00 MR42023 Alan Braxe & Fred Falke Running Vulture VULT001 2000 French -
Discographie
Discographie I. Précurseurs musiques savantes Compilations An Anthology Of Noise & Electronic Music, Vol. 1-5 (Sub Rosa, 2000-2007) Le bruit dans la musique 1900-1950 Compilations Dada et la musique (Centre Georges Pompidou/A&T, 2005) Futurism & Dada Reviewed 1912-1959, (Sub rosa, 1995) Musica Futurista : The Art Of Noise (LTM, 2005) George Antheil, Ballet mécanique, dirigé par Daniel Spalding (Naxos, 2001) Belà Bartók, Le mandarin merveilleux, dirigé par Pierre Boulez (Deutsche Grammophon, 1997) John Cage, Sonatas And Interludes For Prepared Piano, interprété par Boris Berman (Naxos, 1999) John Cage, Imaginary Landscapes, dirigé par Jan Williams (Hat Hut, 1995) Henry Cowell, New Music : Piano Compositions By Henry Cowell, interprété par Sorrel Hays, Joseph Kubera, Sarah Cahill (New Albion Records, 1999) Charles Ives, Symphony n°2 etc., dirigé par Léonard Bernstein (Deutsche Grammophon, 1990) Erik Satie, Parade, dirigé par Manuel Rosenthal (Ades, 2007) Arnold Schoenberg, Pierrot lunaire, Lied der Waldtaube, Erwartung dirigé par Pierre Boulez (Sony, 1993) Edgard Varese, The Complete Works, dirigé par Riccardo Chailly (Decca, 1998) Musique et timbre, 1950 à nos jours Luciano Berio, Differences, Sequenzas III & VII, Due pezzi, Chamber Music (Lilith, 2007) György Ligeti, Requiem, Aventures, Nouvelles Aventures (Wergo, 1985) György Ligeti, Chamber Concerto, Ramifications, String Quartet n°2, Aventures, Lux aeterna, dirigé par Pierre Boulez (Deutsche Grammophon, 1983) Tristan Murail, Gondwana, Désintégrations, Time and Again (Disques Montaigne, 2003) Giacinto Scelsi, The Orchestral Works 2 (Mode, 2006) Krzysztof Penderecki, Anaklasis, Threnody, etc., dirigé par Wanda Wilkomirska (EMI, 1994) Karlheinz Stockhausen, Aus den sieben Tagen (Harmonia Mundi, 1988) Karlheinz Stockhausen, Stimmung (Hyperion, 1986) Iannis Xenakis, Orchestral Works, Vol. -
Detroit: Techno City 27 July – 25 September 2016 ICA Fox Reading Room Preview 26 July
ICA Press release: 26 May 2016 Detroit: Techno City 27 July – 25 September 2016 ICA Fox Reading Room Preview 26 July Techno! The New Dance Sound of Detroit (1988). Courtesy Neil Rushton and 10 Records LTD The next ICA Fox Reading Room exhibition will present a studied look at the evolution and subsequent dispersion of ‘Detroit Techno music’. This term, coined in the late 1980s, reflects the musical and social influences that informed early experiments merging sounds of synth-pop and disco with funk to create this distinct music genre. For the first time in the UK, a dedicated exhibition will chart a timeline of ‘Detroit Techno music’ from its 1970s origins, continuing through to the early 1990s. The genre’s origins begin in the disco parties of Ken Collier with influence from local radio stations and DJs, such as Electrifying Mojo and The Wizard (aka Jeff Mills). The ICA’s exhibition explores how a generation was inspired to create a new kind of electronic music that was evidenced in the formative UK compilation: Techno! The New Dance Sound of Detroit. Using inexpensive analogue technology, such as the Roland TR 808 and 909, DJs and producers including Juan Atkins, Blake Baxter, Eddie Fowlkes, Derrick May, and Kevin Saunderson, formed this seminal music genre. Although the music failed to gain mainstream audiences in the U.S, it became a phenomenon in Europe. This success established Detroit Techno, as a new strand of music which absorbed exterior European tastes and influences. This introduced a second wave of DJs and producers to the sound including Carl Craig, Richie Hawtin and Kenny Larkin. -
House, Techno & the Origins of Electronic Dance Music
HOUSE, TECHNO & THE ORIGINS OF ELECTRONIC DANCE MUSIC 1 EARLY HOUSE AND TECHNO ARTISTS THE STUDIO AS AN INSTRUMENT TECHNOLOGY AND ‘MISTAKES’ OR ‘MISUSE’ 2 How did we get here? disco electro-pop soul / funk Garage - NYC House - Chicago Techno - Detroit Paradise Garage - NYC Larry Levan (and Frankie Knuckles) Chicago House Music House music borrowed disco’s percussion, with the bass drum on every beat, with hi-hat 8th note offbeats on every bar and a snare marking beats 2 and 4. House musicians added synthesizer bass lines, electronic drums, electronic effects, samples from funk and pop, and vocals using reverb and delay. They balanced live instruments and singing with electronics. Like Disco, House music was “inclusive” (both socially and musically), infuenced by synthpop, rock, reggae, new wave, punk and industrial. Music made for dancing. It was not initially aimed at commercial success. The Warehouse Discotheque that opened in 1977 The Warehouse was the place to be in Chicago’s late-’70s nightlife scene. An old three-story warehouse in Chicago’s west-loop industrial area meant for only 500 patrons, the Warehouse often had over 2000 people crammed into its dark dance foor trying to hear DJ Frankie Knuckles’ magic. In 1982, management at the Warehouse doubled the admission, driving away the original crowd, as well as Knuckles. Frankie Knuckles and The Warehouse "The Godfather of House Music" Grew up in the South Bronx and worked together with his friend Larry Levan in NYC before moving to Chicago. Main DJ at “The Warehouse” until 1982 In the early 80’s, as disco was fading, he started mixing disco records with a drum machines and spacey, drawn out lines. -
Detroit : Techno
Until recently, Detroit has not had much attention at all con cerning its role as the birthplace of techno. "Detroit, globally known as the birthplace of techno, is virtually unrecognized nationally and locally beyond its Motown and rock roots". It DETROIT: TECHNO has always existed as such under the popular culture radar. First and foremost, why was Detroit the breeding ground for techno music? Why has the general population taken so long in recognizing Detroit for its techno accomplishments? Could it be simply because Detroit is not a mega-city like New York or Los Angeles? Or is it simply because the time and the place ]ohnathan Bowen were not right until recently? The Belleville 3: Juan Atkins, Derrick May, and Kevin Detroit has long been known by many names: Motown, the Saunderson, arc the three individuals who are credited as Motor City, Hockey Town, and even the less than flattering techno's creators. These three individuals grew up in Murder City. However, with the passing of time and the dim Belleville, hence the term "The Belleville 3," but they later ming and brightening of trends, Detroit would come to be moved into Detroit to carry on their pioneering work in the known by another name: TechnoTown. \Vhat is techno? Upon 1980's and beyond. Atkins, May, and Saunderson didn't actu opening an Encyclopedia Britannica and looking under the ally begin this pioneering work of creating techno in Detroit entry labeled "Techno," one will find this encompassing and however. Juan Atkins sums it up best: "vVhen I first started revealing definition: making music, I lived in Detroit. -
Clever Children: the Sons and Daughters of Experimental Music?
Clever Children: The Sons and Daughters of Experimental Music Author Carter, David Published 2009 Thesis Type Thesis (PhD Doctorate) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/1356 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367632 Griffith Research Online https://research-repository.griffith.edu.au Clever Children: The Sons and Daughters of Experimental Music? David Carter B.Music / Music Technology (Honours, First Class) Queensland Conservatorium Griffith University A dissertation submitted in fulfilment of the requirements for the award of the degree Doctor of Philosophy 19 June 2008 Keywords Contemporary Music; Dance Music; Disco; DJ; DJ Spooky; Dub; Eight Lines; Electronica; Electronic Music; Errata Erratum; Experimental Music; Hip Hop; House; IDM; Influence; Techno; John Cage; Minimalism; Music History; Musicology; Rave; Reich Remixed; Scanner; Surface Noise. i Abstract In the late 1990s critics, journalists and music scholars began referring to a loosely associated group of artists within Electronica who, it was claimed, represented a new breed of experimentalism predicated on the work of composers such as John Cage, Karlheinz Stockhausen and Steve Reich. Though anecdotal evidence exists, such claims by, or about, these ‘Clever Children’ have not been adequately substantiated and are indicative of a loss of history in relation to electronic music forms (referred to hereafter as Electronica) in popular culture. With the emergence of the Clever Children there is a pressing need to redress this loss of history through academic scholarship that seeks to document and critically reflect on the rhizomatic developments of Electronica and its place within the history of twentieth century music. -
BG News (Student Newspaper) University Publications
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 4-20-2001 The BG News April 20, 2001 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News April 20, 2001" (2001). BG News (Student Newspaper). 6802. https://scholarworks.bgsu.edu/bg-news/6802 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. State University FRIDAY April 20, 2001 SIBS&KIDS: SHOWERS For three days the cam- HIGH: 64 I LOW 46 pus becomes their giant wvw.bgnews.com playground; PAGE 9 independent student press VOLUME 90 ISSUE 144 Shepard to AUTHORITIES speak on campus SEARCH U today By Marie Cliiche ■ OHIO »»0 N1II0N SFPORltB Michael lehmkuhle BG News ludy Shepard, Matthew LONG WAIT: Press waits patiently for information on the recovery of Shepard's mother, will lx' speak- Rizzi's body but receives little response from authorities. ing on campus Friday, April 2t) at 2 p.m. in 101 Olscamp. The event, organized lor the 2001 Office of Residence Life Paulsen Lecture, is called "File Tragedy of I late." According to Michael Ginsburg, Interim Assistant Director of Residence life, ludy Shepard is going to talk about the situation With her son anil how the University and the community can help to prevent hate crimes, Vision and the Office of Residence life Diversity Committee helped post livers and posters about the event On October 12, 1998, Matthew Shepard, a 21 year-old college student in Laramie, Wyoming, died from severe injuries due to brutal beating and torture I le was attacked because he was gay Since the death of her son, ludy Shepard has been actively light- ing against hale crime. -
Now Open B.J
--------------- Calendar • On The Road --------------- Aaron Lewis of Staind Apr. 1 Firekeepers Casino Battle Creek Aaron Lewis of Staind ($27-$60) May 5 Honeywell Center Wabash Abandon All Ships w/Sleeping with Sirens May 2 Frankie’s Inner-City Toledo Accept w/Sabaton Apr. 21 Blondie’s Detroit Accept w/Sabaton Apr. 22 Bottoms Lounge Chicago Adam Carolla Apr. 1 Murat Egyptan Room Indianapolis Adele May 24 Riviera Theatre Chicago Adler’s Appetite ($10) May 19 The Vogue Indianapolis Air Supply ($25) Aug. 6 Foellinger Theatre Fort Wayne Airborne Toxic Event May 18-19 The Metro Chicago All Time Low w/Yellowcard, Hey Monday & The Summer Set Apr. 30 Bogart’s Cincinnati Alter Bridge w/Black Stone Cherry & Like A Storm May 2-3 House of Blues Chicago Alter Bridge w/Black Stone Cherry ($22 adv., $25 d.o.s.) May 12 Piere’s Fort Wayne Amos Lee w/The Secret Sisters Mar. 26 Vic Theatre Chicago Amos Lee w/The Secret Sisters (sold out) Mar. 27 Murat Egyptan Room Indianapolis Amos Lee w/The Secret Sisters ($35) Mar. 29 The Ark Ann Arbor Rave Motion Pictures is proud to present Arcade Fire w/The National Apr. 25 UIC Pavilion Chicago Arcade Fire w/The National ($43.50) Apr. 27 White River State Park Indianapolis a NEW IMAX theater at: Asia May 13 House of Blues Chicago Aska w/Shok Paris, Benedictum, Aura Azul, Horrifier, Dantesco, Deathalizer & Spellcaster June 18 Frontier Ranch Petaskala, OH Asking Alexandria w/Emmure, Chiodos, Miss May I & Evergreen Terrace Apr. 9 Headliners Toledo Augustana & The Maine June 1 House of Blues Cleveland Augustana & The Maine June 2 Bogart’s Cincinnati Augustana & The Maine June 4 House of Blues Chicago Awolnation w/Xero Sum & Dead Man’s Grill (sold out) Mar. -
Detroit Version US
Extract From GLOBAL TEKNO 1.0 Jean-Yves Leloup, Jean-Philippe Renoult, Pierre Emanuel Rastoin (US-English translation by Black Sifichi) Detroit, summer 1998 by Jean-Philippe Renoult There are no charter planes to Detroit and certainly no direct flight from Paris. When we give our destination to the customs officer who carries out the usual formalities at the stop over in Philadelphia, he bursts out laughing: - What, why the hell are you going to Detroit? - Well... to take landscape pictures. - Good luck, you will need it! It’s a fact, Detroit Michigan is not listed in the tour operators schedule but it is certainly present on the world map of contemporary electronic music. In the uncomfortable plane, which finally takes us there, we go over and over the story which ravers and techno heads repeat like a founding myth. After Kraftwerk, who blended with one unique rhythm Stockhausen and Pop music, followed a black trinity who gave birth to the sound of techno. It developed here, on the polluted edges of Lake Huron. The three founders are Juan Atkins, Derrick May, Kevin Saunderson. All three, born respectively in 1962, 1963 and 1964, instilled a black, funky and sensual groove into one of the first purely technological dance music. An essential mutation, which Derrick May sums up in a quote, which has remained well-known: « Our music is the meeting in one and the same elevator of George Clinton and Kraftwerk. It is the mirror image of Detroit: a complete error. » Of all our destinations, Detroit was the most anachronistic but also the most fundamental.