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SST Defies Industry, Defines New Music
Page 1 The San Diego Union-Tribune October 1, 1995 Sunday SST Defies Industry, Defines New Music By Daniel de Vise KNIGHT-RIDDER NEWSPAPERS DATELINE: LOS ALAMITOS, CALIF. Ten years ago, when SST Records spun at the creative center of rock music, founder Greg Ginn was living with six other people in a one-room rehearsal studio. SST music was whipping like a sonic cyclone through every college campus in the country. SST bands criss-crossed the nation, luring young people away from arenas and corporate rock like no other force since the dawn of punk. But Greg Ginn had no shower and no car. He lived on a few thousand dollars a year, and relied on public transportation. "The reality is not only different, it's extremely, shockingly different than what people imagine," Ginn said. "We basically had one place where we rehearsed and lived and worked." SST, based in the Los Angeles suburb of Los Alamitos, is the quintessential in- dependent record label. For 17 years it has existed squarely outside the corporate rock industry, releasing music and spoken-word performances by artists who are not much interested in making money. When an SST band grows restless for earnings or for broader success, it simply leaves the label. Founded in 1978 in Hermosa Beach, Calif., SST Records has arguably produced more great rock bands than any other label of its era. Black Flag, fast, loud and socially aware, was probably the world's first hardcore punk band. Sonic Youth, a blend of white noise and pop, is a contender for best alternative-rock band ever. -
The Sounds of Ideas Forming, Volume 2 Alan Dunn, 22 July 2019
The sounds of ideas forming, Volume 2 Alan Dunn, 22 July 2019 The Crushed This is the Waste Recycling Centre in Bidston, Wirral, and it’s been on my mind a lot recently no matter how I try to forget it. Maybe writing this will clear some of it up - we’ll find out in the last few paragraphs. In 2013 I threw half of my record collection away into those skips. Plastic in one, sleeves in another. I didn’t donate to a charity shop, sell on Discogs, give to a friend nor give to you, dear reader and probable record collector. They aren’t put in storage, but inconceivably crushed. At the time, I probably have around 1,000 discs and make choices to keep about 500. As we are packing to move home quickly, I make two piles and discard those records that have done nothing for me and that I’m sure I won’t listen to again. I reject expensive discs that have let me down with their lack of magic. I get rid of a lot of crap bought in charity shops and shit that I haven’t even listened to more than once. Or not even once. Why think back to it then, if it was only dross that got culled? After getting the vinyl bug back again in 2016, it’s inevitable that I recall those weeks. And since beginning The sounds of idea forming, Volume 2 on Instagram in July 2018, I begin to wonder if my confession may make interesting reading for the community out there, so please stay with me because there are methods behind the madness. -
Razorcake Issue
PO Box 42129, Los Angeles, CA 90042 #19 www.razorcake.com ight around the time we were wrapping up this issue, Todd hours on the subject and brought in visual aids: rare and and I went to West Hollywood to see the Swedish band impossible-to-find records that only I and four other people have RRRandy play. We stood around outside the club, waiting for or ancient punk zines that have moved with me through a dozen the show to start. While we were doing this, two young women apartments. Instead, I just mumbled, “It’s pretty important. I do a came up to us and asked if they could interview us for a project. punk magazine with him.” And I pointed my thumb at Todd. They looked to be about high-school age, and I guess it was for a About an hour and a half later, Randy took the stage. They class project, so we said, “Sure, we’ll do it.” launched into “Dirty Tricks,” ripped right through it, and started I don’t think they had any idea what Razorcake is, or that “Addicts of Communication” without a pause for breath. It was Todd and I are two of the founders of it. unreal. They were so tight, so perfectly in time with each other that They interviewed me first and asked me some basic their songs sounded as immaculate as the recordings. On top of questions: who’s your favorite band? How many shows do you go that, thought, they were going nuts. Jumping around, dancing like to a month? That kind of thing. -
The Ithacan, 1985-02-21
Ithaca College Digital Commons @ IC The thI acan, 1984-85 The thI acan: 1980/81 to 1989/90 2-21-1985 The thI acan, 1985-02-21 The thI acan Follow this and additional works at: http://digitalcommons.ithaca.edu/ithacan_1984-85 Recommended Citation The thI acan, "The thI acan, 1985-02-21" (1985). The Ithacan, 1984-85. 16. http://digitalcommons.ithaca.edu/ithacan_1984-85/16 This Newspaper is brought to you for free and open access by the The thI acan: 1980/81 to 1989/90 at Digital Commons @ IC. It has been accepted for inclusion in The thI acan, 1984-85 by an authorized administrator of Digital Commons @ IC. ... ,, • • 0 0 ,•. ,. > - .,. < _: - - p, • - ~ • '• • • H .- 0 •', :, 0 e •• • • ' ,• THE ITHACAN The Student Newspaper for Ithaca College Volume 16 Issue 15 February 21, 1985 l&IHM&MM AAA®Ai Dance aids cause By Reth Gracey Collegt' sin<<· lilt· ~lud<'lll 1'hyswc1\ llh,l< a nwrrh,mts donated pnz<·s I ht·rapy .\~son,111011 inll1cllt'd lhr for th1·~1· <onlcsti,. Dinnrrs at \oral ',.!.!01..!(; w,L., ra1srd ,II 1hr ll,mn· !IN Oil(' four yecJrs clj,(O. r<·staur,1111~ ,incl r\1>1hi11g n·r· Mar.ii hon for MW,( uldr I unher inspira1ion wcJs prov1ci<'d 11lic·,11t·s from loccll stows wt·w Just Dys1rophy 1hi~ pasl S,11tmlay. ·1 h<' h} lht· non-slop musi< of Honnu· cl f('\\' of th(' !,!lft~ giV<'n cl\\'cl} Sludml l'hy<,1(a\ Tlll'rapy A~'><>ncl· l.t·1gh ,HHI llw :\lh,lll( <·. cl prof<'~· Olll('r priLes "<·n· c1wardt·(I to 11011 and lh<· S1udrn1 :\C1ivi1it·~ .,,on,li li.md from Syra( use. -
The Carbon (April 5, 1993)
MUShare The Carbon Campus Newspaper Collection 4-5-1993 The Carbon (April 5, 1993) Marian University - Indianapolis Follow this and additional works at: https://mushare.marian.edu/crbn Recommended Citation Marian University - Indianapolis, "The Carbon (April 5, 1993)" (1993). The Carbon. 67. https://mushare.marian.edu/crbn/67 This Book is brought to you for free and open access by the Campus Newspaper Collection at MUShare. It has been accepted for inclusion in The Carbon by an authorized administrator of MUShare. For more information, please contact [email protected]. THE CARBON A Student Publication with a Sports Page April 5, 1993 ·They writhe upon the page in a veritable rage of adversity• - L. Ferlinghetti Theatre Department Sees Russia ST. PETERSBURG. CITY OF THE so goods and services were very Cz.ars and the sight of revolutionary CZARS inexpensive. internment. March 6-13. 1993 Out of only 43 reported days of sunshine Five members of the group opted to take St. Petersburg, City of the Cz.ars a year which the city is supposedly to the overnight Moscow trip and welcomed twenty-one alumni, friends, receive, we were given five swmy days. experienced history in the making. They students, and faculty for five swmy days The temperatures hovered around the were present on Red Square when the of theatre, sight-seeing, and shopping freezing mark, but with layered clothing, Communist Party demonstrated for the during the Spring Semester break of 1993 the warm Russian hospitality of our guide ouster of President Yeltsin. However, sponsored by the Theatre Department of and driver, and the excellent heating of their tour of the Armory, St. -
Green the Green Book
Book # 1 THE GREEN BOOK Universal Zulu Nation Infinity Lessons Archive 1973 - 2000 FOR THE MASSES Compiled By : King Mark Luv & Malika Saphire Table of Contents Myths and Misconceptions ..................................................................................................................................................... 2 Laws and Regulations of the Universal Zulu Nation Part 1 (1 – 20) ........................................................................................ 4 Laws and Regulations of the Universal Zulu Nation Part 2 (21 – 46) ...................................................................................... 5 INFINITY LESSON ONE ............................................................................................................................................................. 6 ABOUT ZULU NATION ......................................................................................................................................................... 6 Message to the People........................................................................................................................................................ 7 INFINITY LESSON TWO ............................................................................................................................................................ 8 THE HISTORY OF AFRIKA BAMBAATAA ............................................................................................................................... 8 INFINITY LESSON THREE ....................................................................................................................................................... -
Atom Age Industries Wholesale
ATOM AGE INDUSTRIES 17846 Bellflower Blvd. Bellflower, CA 90706 (562) 920-1919 ph (562) 920-1717 fax [email protected] Wholesale Term Sheet 2016 T-shirts $10 - $11 XXL & Larger $12 - $13 Sweatshirts $18 - $20 Hats $18 - $22 Buttons $0.75 Button Packs $3 - $5 Posters $5 - $25 Stickers $1 - $2 Patches $1 - $2 No Minimum Order. All orders are pre-paid prior to shipment. No exceptions. We accept the following payment methods: Cash, Credit Card, Money Order, Company Check (shipment will be dispatched after check clears), and PayPal. PayPal payments are subject to a 3% fee. Please inform us prior to using PayPal. Most orders are shipped within 48 hours of payment receipt. We ship FedEx Ground, UPS, and USPS. Ground service for the continental United States will be used unless instructed otherwise. International orders will be shipped via DHL or Fedex. Additional freight charges for expedited orders will be the responsibility of the customer. Returns will be accepted for unwashed, unworn items only. Any damaged items should be claimed within 48 hours of receipt of goods. Damages claimed after 48 hours of receipt will not be refunded. To report a damaged or lost shipment, please contact us immediately at the number or email above Mon-Fri 9AM-5PM Pacific time. There will be no refunds on promotional or discounted items. All items are licensed by the appropriate Copyright / Trademark holder. If you have a Trademark or Copyright question regarding our products, please call our office Mon-Fri 9AM-5PM Pacific time. Atom Age Industries Please submit all purchase orders to: 17846 Bellflower Blvd [email protected]. -
Manu Dibango Electric Africa Mp3, Flac, Wma
Manu Dibango Electric Africa mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Electric Africa Country: Belgium Released: 1998 Style: Electro MP3 version RAR size: 1203 mb FLAC version RAR size: 1810 mb WMA version RAR size: 1127 mb Rating: 4.6 Votes: 211 Other Formats: ADX MP3 AIFF AUD MPC TTA RA Tracklist Hide Credits Pata Piya A1 Guitar – Nicky SkopelitisSynthesizer [Dx7, Ob-8] – Wally BadarouSynthesizer [Prophet 5, 6:32 Fairlight] – Bernie WorrellWritten-By, Drum Machine [DMX] – Bill Laswell Electric Africa A2 Djembe – Aiyb DiengPiano, Synthesizer [Dx-7] – Herbie HancockSynthesizer [Fairlight] – 10:22 Bill Laswell Echos Beti B1 Drum Machine [DMX] – Bill LaswellPercussion [Chatan, Cowbell] – Aiyb DiengPiano, 6:18 Synthesizer [Fairlight] – Herbie Hancock L'Arbre A Palabres B2 Kora – Mory KantéPercussion [Chatan] – Aiyb DiengPiano, Synthesizer [Fairlight, Dx-7] – 11:44 Herbie Hancock Companies, etc. Printed By – Imp. Polygram Phonographic Copyright (p) – Celluloid Records Recorded At – Studio Plus XXX Mixed At – Studio Plus XXX Credits Bass, Vocals – Francis Mbappe Drums, Percussion – Brice Wouassy*, Valerie Lobe* Electronic Drums [Simmons] – Joseph Kuo* Engineer – Robert Musso Guitar – Jerry Malekani, Vincent Nguini Producer – Bill Laswell Programmed By [Fairlight] – Frédérick Rousseau Trumpet – Segona Peter Tholo Vocals – Florence Titty Dimbeng, Sissy Dipoko Written-By – Manu Dibango Notes Produced for Material / OAO. Avec l'aimable autorisation de CELLULOID RECORDS. Barcode and Other Identifiers Barcode: 0 42282 47451 -
Razorcake Issue #25 As A
ot too long ago, I went to visit some relatives back in Radon, the Bassholes, or Teengenerate, during every spare moment of Alabama. At first, everybody just asked me how I was my time, even at 3 A.M., was often the only thing that made me feel N doing, how I liked it out in California, why I’m not mar- like I could make something positive out of my life and not just spend N it mopping floors. ried yet, that sort of thing. You know, just the usual small talk ques- tions that people feel compelled to ask, not because they’re really For a long time, records, particularly punk rock records, were my interested but because they’ll feel rude if they don’t. Later on in the only tether to any semblance of hope. Growing up, I was always out of day, my aunt started talking to me about Razorcake, and at one point place even among people who were sort of into the same things as me. she asked me if I got benefits. It’s probably a pretty lame thing to say, but sitting in my room listen- I figured that it was pretty safe to assume that she didn’t mean free ing to Dillinger Four or Panthro UK United 13 was probably the only records and the occasional pizza. “You mean like health insurance?” time that I ever felt like I wasn’t alone. “Yeah,” she said. “Paid vacation, sick days, all that stuff. But listening to music is kind of an abstract. -
Leksykon Polskiej I Światowej Muzyki Elektronicznej
Piotr Mulawka Leksykon polskiej i światowej muzyki elektronicznej „Zrealizowano w ramach programu stypendialnego Ministra Kultury i Dziedzictwa Narodowego-Kultura w sieci” Wydawca: Piotr Mulawka [email protected] © 2020 Wszelkie prawa zastrzeżone ISBN 978-83-943331-4-0 2 Przedmowa Muzyka elektroniczna narodziła się w latach 50-tych XX wieku, a do jej powstania przyczyniły się zdobycze techniki z końca XIX wieku m.in. telefon- pierwsze urządzenie służące do przesyłania dźwięków na odległość (Aleksander Graham Bell), fonograf- pierwsze urządzenie zapisujące dźwięk (Thomas Alv Edison 1877), gramofon (Emile Berliner 1887). Jak podają źródła, w 1948 roku francuski badacz, kompozytor, akustyk Pierre Schaeffer (1910-1995) nagrał za pomocą mikrofonu dźwięki naturalne m.in. (śpiew ptaków, hałas uliczny, rozmowy) i próbował je przekształcać. Tak powstała muzyka nazwana konkretną (fr. musigue concrete). W tym samym roku wyemitował w radiu „Koncert szumów”. Jego najważniejszą kompozycją okazał się utwór pt. „Symphonie pour un homme seul” z 1950 roku. W kolejnych latach muzykę konkretną łączono z muzyką tradycyjną. Oto pionierzy tego eksperymentu: John Cage i Yannis Xenakis. Muzyka konkretna pojawiła się w kompozycji Rogera Watersa. Utwór ten trafił na ścieżkę dźwiękową do filmu „The Body” (1970). Grupa Beaver and Krause wprowadziła muzykę konkretną do utworu „Walking Green Algae Blues” z albumu „In A Wild Sanctuary” (1970), a zespół Pink Floyd w „Animals” (1977). Pierwsze próby tworzenia muzyki elektronicznej miały miejsce w Darmstadt (w Niemczech) na Międzynarodowych Kursach Nowej Muzyki w 1950 roku. W 1951 roku powstało pierwsze studio muzyki elektronicznej przy Rozgłośni Radia Zachodnioniemieckiego w Kolonii (NWDR- Nordwestdeutscher Rundfunk). Tu tworzyli: H. Eimert (Glockenspiel 1953), K. Stockhausen (Elektronische Studie I, II-1951-1954), H. -
[063N]⋙ Husker Du: the Story of the Noise-Pop Pioneers Who
Husker Du: The Story of the Noise-Pop Pioneers Who Launched Modern Rock Andrew Earles Click here if your download doesn"t start automatically Husker Du: The Story of the Noise-Pop Pioneers Who Launched Modern Rock Andrew Earles Husker Du: The Story of the Noise-Pop Pioneers Who Launched Modern Rock Andrew Earles Bob Mould, Grant Hart, and Greg Norton formed Hüsker Dü in 1979 as a wildly cathartic outfit fueled by a cocktail of anger, volume, and velocity. Here's the first book to dissect the trio that countless critics and musicians have cited as one of the most influential bands of the 1980s. Author Andrew Earles examines how Hüsker Dü became the first hardcore band to marry pop melodies with psychedelic influences and ear-shattering volume. Readers witness the band create the untouchable noise-pop of LPs like New Day Rising, Flip Your Wig, and Candy Apple Grey, not to mention the sprawling double-length Zen Arcade. Few bands from the original American indie movement did more to inform the alternative rock styles that breached the mainstream in the 1990s. Hüsker Dü truly were visionaries. Download Husker Du: The Story of the Noise-Pop Pioneers Who ...pdf Read Online Husker Du: The Story of the Noise-Pop Pioneers W ...pdf Download and Read Free Online Husker Du: The Story of the Noise-Pop Pioneers Who Launched Modern Rock Andrew Earles From reader reviews: Elsie Port: Throughout other case, little men and women like to read book Husker Du: The Story of the Noise-Pop Pioneers Who Launched Modern Rock. -
ARSC Journal XXV1 I Ii 1995 ©Association for Recorded Sound Collections 1995
PETER SHAMBARGER Cylinder Records: An Overview Few people realize that sound recordings were made in the cylinder format for forty years (from 1889 to 1929) for entertainment use and even longer for business and edu cational purposes. While much of their history coincided with that of acoustic disc records, many cylinder recordings were never duplicated on disc. Also, a cylinder ver sion of a recording often differed from the disc version, even by the same artist. Consequently, it is important that both a conscious and conscientious effort be made by private collectors and professional archivists to preserve our recorded heritage in this earliest ofall recorded formats. The purpose of this article is to provide keys to identify the different types of cylin ders and to answer the questions most often asked by collectors and archivists when they first come across these aging artifacts. The primary focus is on the most common types of cylinders manufactured in the United States, with some mention of a few important European cylinder types and manufacturers. Most oddities and ultra-rare types of cylinders are beyond the scope of this article. Why Cylinders? en one first encounters records in the cylinder format, the likely question hat comes to mind is "Why a cylinder?" Thomas Edison, Chichester Bell, Charles Sumner Tainter, and other early developers chose the cylindrical configuration because of inherent advantages the cylinder offered over the disc for sound recording technology. Most importantly, the surface of a helically-grooved cylinder provides a constant stylus-to-groove motion throughout the recording, which affords a constant linear speed.