DOCSLIB.ORG

A Distopia Como Aceno a Uma Estética Do Lapso Em Canções Do Radiohead

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Distopia Como Aceno a Uma Estética Do Lapso Em Canções Do Radiohead UNIVERSIDADE FEDERAL DE MINAS GERAIS ESCOLA DE MÚSICA PEDRO HENRIQUE DUTRA MARTINS ROCHA ELIAS A distopia como aceno a uma estética do lapso em canções do Radiohead BELO HORIZONTE 2019 UNIVERSIDADE FEDERAL DE MINAS GERAIS ESCOLA DE MÚSICA PEDRO HENRIQUE DUTRA MARTINS ROCHA ELIAS A distopia como aceno a uma estética do lapso em canções do Radiohead Tese apresentada ao Programa de Pós- Graduação em Música da Escola de Música da Universidade Federal de Minas Gerais como requisito parcial para a obtenção do título de Doutor em Música. Linha de pesquisa: Música e Cultura Orientador: Prof. Dr. Flavio Terrigno Barbeitas BELO HORIZONTE 2019 AGRADECIMENTOS Dedico este estudo à minha mãe, Marisa, por tornar pequenas e vazias as palavras com que eu procurasse expressar minha gratidão. Não sei a quem agradecer pela oportunidade de ter conhecido, amado e me inspirado em minha avó, Nilza. Agradeço, então, a ela por ter existido e me encontrado. Ao André, meu irmão, na relação de espelhamento mútuo que mantemos. À Carla, pequena companheira de todas as horas, incansável em me confortar e amparar no dizível e indizível. Agradeço também ao meu avô, João, e às minhas tias, TKK e Denise, pelos incontáveis gestos de afetuoso incentivo. Ao meu orientador, Flavio Barbeitas, pelo instigante e prazeroso período de convivência e parceria intelectual. Ao meu amigo Gerdson Mourão, por me conduzir no elo da música que nos une. Ao Programa de Pós-Graduação em Música da UFMG, pelo espaço para desenvolver minhas competências com autonomia. Aos secretários do Programa, Alan e Geralda, cuja generosidade me dispensou de preocupações laterais durante o doutorado. À banca examinadora, pela disponibilidade e gentileza de contribuir com esta empreitada. À UFMG, extensivo aos servidores que tornam a universidade possível, pelos doze anos de formação que respondem em grande medida por quem sou. Aos desenvolvedores das plataformas MuseScore e Library Genesis, pelo suporte operacional desinteressado. Finalmente, à CAPES, pelo financiamento da pesquisa. v RESUMO Este estudo investiga representações da distopia em canções do grupo inglês Radiohead, com atenção a instantes de transcendência enfocados à luz de uma estética do lapso. As análises descrevem trajeto cronologicamente linear no repertório, iniciando pela canção “Fake Plastic Trees”, localizada no disco The Bends (1995), e seguindo com os álbuns subsequentes OK Computer (1997) e Kid A (2000). Esses momentos são concatenados por um fio conceitual: enquanto “Fake Plastic Trees” contém um embrião do sentimento distópico, comprimido em formato radiofônico, OK Computer apresenta um panorama de vícios contemporâneos, cuja percepção entre protagonistas distintos redunda em desorientação e melancolia; enfim, Kid A transfere os termos do conflito à trama musical, perfazendo metáfora da reificação na impossibilidade de articulação do sujeito no espaço de criação. O enfoque em lapsos de transcendência, a despeito das limitações inerentes à normalização da indústria cultural, fundamenta-se em releitura de categorias filosóficas tradicionais, notadamente entre obras de Theodor Adorno. Em preparação do terreno em que acontecem as análises, o repertório do Radiohead é colocado entre duas narrativas centrais: uma relacionada às formas musicais, a evolução do rock’n’roll ao art rock; outra com interesse no modelo de representação, num panorama da distopia, da origem na literatura a reconfigurações em linguagens como cinema e música. Palavras-chave: Radiohead. Distopia. Estética. Canção. vi ABSTRACT This study investigates depictions of dystopia in songs by the English group Radiohead, in attention to instants of transcendence approached in light of a lapse aesthetics. The analyses constitute a chronologically linear path in the repertoire, starting with the song “Fake Plastic Trees”, from the album The Bends (1995), followed by the subsequent albums OK Computer (1997) and Kid A (2000). These moments are connected by a conceptual thread: while “Fake Plastic Trees” contains the germ of a dystopian sentiment, compressed under the radiophonic format, OK Computer shows a broad picture of contemporary vices whose awareness between different protagonists results in disorientation and melancoly; finally, Kid A transfers the terms of this conflict to the musical interplay, creating a metaphor of reification in the impossibility of articulating the subject in the space of creation. The focus in lapses of transcendence, in spite of the limitations inherent to the culture industry, is grounded in a review of traditional philosophical categories, particularly among the writings of Theodor Adorno. In preparation of the ground where the analyses take place, Radiohead’s repertoire is placed between two core narratives: one related to musical form, the evolution from rock’n’roll to art rock; the other, dedicated to the pattern of representation, with an overview of dystopia from the origins in literature to reconfigurations in languages such as cinema and music. Keywords: Radiohead. Dystopia. Aesthetics. Song. vii SUMÁRIO Introdução .................................................................................................................................. ix 1. U(dis)topias críticas .............................................................................................................. 14 a. Do algo musical e suas narrativas .......................................................................... 21 b. Estética e outras estéticas ....................................................................................... 37 c. Adorno: caminhos para releitura ............................................................................ 51 d. Em direção a uma estética do lapso ....................................................................... 64 2. Breve história dos maus-lugares ........................................................................................... 76 a. Premissas literárias ................................................................................................. 81 b. Vitalidade e elaboração: rock’n’roll e art-rock...................................................... 98 c. Representações da distopia no Radiohead ........................................................... 108 3. Sobre flores de plástico....................................................................................................... 124 a. Aspectos da canção .............................................................................................. 132 b. Fake Plastic Trees e o Admirável Mundo Novo ................................................... 142 4. Limites humanos e alteridades robôs.................................................................................. 153 a. OK Computer: panorama de uma advertência ..................................................... 158 b. Kid A: uma distopia musical ................................................................................ 184 Conclusão ............................................................................................................................... 206 Bibliografia ............................................................................................................................. 208 viii LISTA DE EXEMPLOS Exemplo 1. “Airbag”: reivenção em prosa. .............................................................................. 79 Exemplo 2. “Fake Plastic Trees”: versos. .............................................................................. 132 Exemplo 3. “Fake Plastic Trees”: sequência das estrofes. ..................................................... 134 Exemplo 4. “Fake Plastic Trees”: sequência dos refrões. ...................................................... 134 Exemplo 5. “Fake Plastic Trees”: movimento descendente dos baixos na sequência das estrofes. ................................................................................................................................... 135 Exemplo 6. “Fake Plastic Trees”: transição para a terceira parte (2:30-2:40). ...................... 139 Exemplo 7. “Airbag”: introdução (guitarras). ........................................................................ 165 Exemplo 8. “Airbag”: sequência de acordes (estrofes e refrão). ............................................ 167 Exemplo 9. “Airbag”: estrutura. ............................................................................................. 169 Exemplo 10. “Paranoid Android”: Primeira parte. ................................................................. 171 Exemplo 11. “Paranoid Android”: baixos da abertura. .......................................................... 172 Exemplo 12. “Paranoid Android”: segunda parte. ................................................................. 173 Exemplo 13. “Paranoid Android”: segunda parte, solo de guitarra........................................ 173 Exemplo 14. “Paranoid Android”: terceira parte.................................................................... 174 Exemplo 15. “Paranoid Android”: terceira parte, harmonia. ................................................. 174 Exemplo 16. “Exit Music (For a Film)”: refrão. .................................................................... 176 Exemplo 17. “Exit Music (For a Film)”: terceira estrofe. ...................................................... 177 Exemplo 18. “No Surprises”: versos. ..................................................................................... 179 Exemplo 19. “No Surprises”: primeira estrofe,
Load more

Recommended publications
  • Radiohead Paranoid Android Reaction
    Radiohead paranoid android reaction Continue 1997 studio album RadioheadOK ComputerStudio album RadioheadReleased21 May 1997 (1997-05-21)Recorded4 September 1995 (Lucky) July 1996 - March 1997StudioCanned Applause Didcot, EnglandSt Catherine Court, Bath, EnglandGenreAlternative rockart rockprogressive rockLength53:21LabelParlophoneCapitolProducerNigel GodrichRadiohead chronology The Bends (1995) OK Computer (1995) OK Computer (1995)1997) No Surprises/Running from Demons (1997) Radiohead Studio Album Timeline The Bends (1995) OK Computer (1997) Kid A (2997) 000) Singles with OK Computer Paranoid Android Released: May 26, 1997 Karma Police Released: August 25, 1997 Lucky Released: December 1997 No Surprises Released: 12 January 1998 OK Computer is the third studio album by English rock band Radiohead, released on May 21, 1997 on the subsidiaries of EMIlo Parphone Records and Capitol Records. Radiohead members independently released the album with Nigel Godrich, an arrangement they used for their subsequent albums. In addition to the song Lucky, recorded in 1995, Radiohead recorded OK Computer in Oxfordshire and Bath between 1996 and early 1997, mainly in the historic St Catherine's Court mansion. The band distanced themselves from the guitar, lyrically introspective style of their previous album The Bends. THE abstract texts of OK Computer, densely layered sound and eclectic influences laid the groundwork for Radiohead's later, more experimental works. The album depicts a world fraught with unbridled consumerism, social exclusion, emotional isolation and political malaise; as such, OK Computer is said to have a prophetic understanding of the mood of 21st century life. Unconventional production methods on the album include natural reverb through recording on the stairs, and the lack of audio separation, allowing the instruments not to reconnect separately.
    [Show full text]
  • CMS-9909- Surprise Billing Disclaimer
    Notice: This HHS-approved document has been submitted to the Office of the Federal Register (OFR) for publication and has not yet been placed on public display or published in the Federal Register. The document may vary slightly from the published document if minor editorial changes have been made during the OFR review process. The document published in the Federal Register is the official HHS-approved document. [Billing Codes: 6523-63-P; 4830-01-P; 4510-29-P; 4120-01-P] OFFICE OF PERSONNEL MANAGEMENT 5 CFR Part 890 [RIN 3206-AO30] DEPARTMENT OF THE TREASURY Internal Revenue Service 26 CFR Parts 1 and 54 [TD9951] RIN 1545-BQ04 DEPARTMENT OF LABOR Employee Benefits Security Administration 29 CFR Parts 2510 and 2590 [RIN 1210-AB99] DEPARTMENT OF HEALTH AND HUMAN SERVICES 45 CFR Parts 144, 147, 149, and 156 CMS-9909-IFC [RIN 0938-AU63] Requirements Related to Surprise Billing; Part I CMS-9909-IFC 2 AGENCY: Office of Personnel Management; Internal Revenue Service, Department of the Treasury; Employee Benefits Security Administration, Department of Labor; Centers for Medicare & Medicaid Services, Department of Health and Human Services. ACTION: Interim final rules with request for comments. SUMMARY: This document sets forth interim final rules implementing certain provisions of the No Surprises Act, which was enacted as part of the Consolidated Appropriations Act, 2021 (Pub. L. 116-260). These interim final rules amend and add provisions to existing rules under the Internal Revenue Code, the Employee Retirement Income Security Act, the Public Health Service Act, and the Federal Employees Health Benefits Act. These interim final rules implement provisions of the No Surprises Act that protect participants, beneficiaries, and enrollees in group health plans and group and individual health insurance coverage from surprise medical bills when they receive emergency services, non-emergency services from nonparticipating providers at participating facilities, and air ambulance services from nonparticipating providers of air ambulance services, under certain circumstances.
    [Show full text]
  • Radiohead Ok Computer Album Download Radiohead - OK Computer Album Flac
    radiohead ok computer album download Radiohead - OK Computer album flac. Released May 21, 1997. OK Computer Tracklist. The result was 1997’s OK Computer, which was designed as a deliberate reaction against the grunge movement of the 1990s. Then new-ish engineer and future Radiohead mainstay Nigel Godrich told Rolling Stone of the recording sessions: They were the band of my dreams. There were no constraints. OK Computer OKNOTOK is a reissue of the 1997 album OK Computer by the English alternative rock band Radiohead. It was released in June 2017, the album's 20th anniversary, following the acquisition of Radiohead's back catalogue by XL Recordings from EMI in 2016. The album is remastered and includes B-sides released on OK Computer singles, plus three previously unreleased songs: "I Promise", "Man of War", and "Lift". OK Computer is the third album by the English rock band Radiohead, released in 1997. It reached on the UK Albums Chart and marked Radiohead's highest entry into the American market at the time, where it debuted at OK Computer expanded the band's worldwide popularity, becoming the last Radiohead album to have a delayed release outside of the United Kingdom. As of 2007, it has been certified triple platinum in the UK and double platinum in the US. OK Computer included the singles "Paranoid Android", "Karma Police" and "No Surprises". OK Computer obviously wasn’t it. But there has always been a tantalizing alternate-history version of Radiohead’s third LP lurking behind the finished product. Their sessions weren’t exactly a deep-dive into hell, despite the record’s now-concrete reputation as a piece of digital-age prophecy.
    [Show full text]
  • Fox Theatre Event Schedule
    FOX THEATRE EVENT SCHEDULE 9/21 OKTOBERFEST BRUNCH Presented by Lexus at the Marquee Club 11:30 AM 45.00 9/24-26 ROALD DAHL’S CHARLIE AND THE CHOCOLATE FACTORY 7:30 PM 35.00 – 109.00 9/27 ROALD DAHL’S CHARLIE AND THE CHOCOLATE FACTORY 8:00 PM 45.00 – 129.00 9/28 ROALD DAHL’S CHARLIE AND THE CHOCOLATE FACTORY 2:00 & 8:00 PM 45.00 – 129.00 9/29 ROALD DAHL’S CHARLIE AND THE CHOCOLATE FACTORY 1:00 & 6:30 PM 45.00 – 129.00 10/4 WE DO! Inclusive Wedding Planning for Atlanta’s LGBTQIA+ Community 11:00 AM 20.00 10/5 PEPPA PIG LIVE! Peppa Pig’s Adventure! 4:00 PM 25.00 – 65.00 10/6 THOM YORKE * NIGEL GODRICH * TARIK BARRI: TOMORROW’S MODERN BOXES 8:00 PM 59.00 10/10 FOR KING & COUNTRY: BURN THE SHIPS TOUR presented by 104.7 The Fish 7:00 PM 25.00 – 200.00 10/11 ONCE 8:00 PM 30.00 – 79.00 Tickets on sale 9/20 10/12 ATLANTA COMEDY JAM featuring Lavell Crawford, Deray Davis, Michael Blackson, Kountry Wayne, D.C. Young Fly, & Chico Bean 7:00 & 10:30 PM 63.00 – 129.00 10/13 PRIDE PARADE VIEWING PARTY Presented by Lexus at the Marquee Club 12:00 PM 50.00 10/13 RACHEL MADDOW 5:30 PM 41.00 – 85.00 10/14 MAGGIE ROGERS: HEARD IT IN A PAST LIFE TOUR 8:00 PM 29.50 – 45.00 10/18 FANTASIA: THE SKETCH BOOK TOUR with special guests Robin Thicke, Tank, and The Bonfyre 8:00 PM 48.50 – 128.50 10/19 RAY LAMONTAGNE: JUST PASSING THROUGH TOUR with special guests Kacy & Clayton 8:00 PM 35.50 – 121.50 10/23 WICKED 7:30 PM 43.00 – 173.00 10/24 WICKED 1:00 & 7:30 PM 43.00 – 173.00 10/25 WICKED 8:00 PM 53.00 – 173.00 10/26 WICKED 2:00 & 8:00 PM 63.00 – 203.00 10/27 WICKED
    [Show full text]
  • Does This Ring a Bell? Music-Cued Retrieval of Semantic Knowledge and Metamemory Judgments
    Does This Ring a Bell? Music-cued Retrieval of Semantic Knowledge and Metamemory Judgments Maya Zuckerman1, Daniel A. Levy2, Roni Tibon3, 1 1 Niv Reggev , and Anat Maril Downloaded from http://mitprc.silverchair.com/jocn/article-pdf/24/11/2155/1778611/jocn_a_00271.pdf by MIT Libraries user on 17 May 2021 Abstract ■ Failed knowledge recall attempts are sometimes accompanied indicated their retrieval state via button press. Stimulus-locked by a strong feeling of imminent success, giving rise to a “tip-of- analyses revealed a significant early left fronto-central difference the-tongue” (TOT) experience. Similar to successful retrieval between TOT and K, at 300–550 msec postcue onset. Post hoc (i.e., the Know state, K), a TOT commences with strong cue famil- analysis revealed that, in this time window, TOT also differed from iarity but involves only partial retrieval of related information. We DK (Donʼt Know) responses, which themselves were similar to sought to characterize the cognitive processes and temporal dy- the K responses. This finding indicates that neural processes, namics of these retrieval states and to extend the applicability which may reflect strategy selection, ease of semantic processing, of previous findings about TOT to the auditory modality. Par- familiarity-related processes, or conflict monitoring, are indicative ticipants heard 3-sec initial segments of popular songs and were of the fate of our knowledge judgments long before we actually asked to recall their names. EEG was recorded while participants execute them. ■ INTRODUCTION not familiar, the positive prediction will be weak or absent. Metacognition refers to individualsʼ knowledge, regulation, The accessibility account suggests that positive predictions and control of their own cognitive systems.
    [Show full text]
  • Paranoid Android. Everything the Commission Got Wrong in Its War on Google Massimiliano Trovato, Research Fellow at Instituto Bruno Leoni
    Paranoid Android. Everything the Commission got wrong in its war on Google Massimiliano Trovato, Research Fellow at Instituto Bruno Leoni The Commission’s decision to fine Google for unfair practice was based off of a misunderstanding of the Android ecosystem and a mistaken definition of the relevant market. This allowed Google’s activities to be wrongly cast as those of a monopoly abusing its position. Furthermore, such action as the Commission has taken is unlikely to be effective in achieving the Commissions stated goals. This paper examines the background to the case and goes through the flaws in the Commissions approach, and the arguments used to justify the fines imposed on Google. Introduction On April 15, 2015, less than six months into the job, EU Commissioner for Competition Margrethe Vestager picked Google as the opponent which would define her tenure as chief of the European Union Competition Authority. She did so by waging war on the company through a pincer movement: on one side, she formalized charges in the Shopping case (European Commission, Google Search (Shopping), 2017), regardless of the fact that on three different occasions her predecessor Joaquín Almunia had almost closed the proceedings by accepting the binding commitments offered by Google; on the other side, she started a separate fight with the Android case (European Commission, Google Android, 2018), launching an investigation into Google’s alleged abuses in the market for smartphone OSs.1 When the Shopping case concluded in June 2017 with a € 2,42 billion fine, the highest in antitrust history at the time, the amount of the penalty mostly captured the public’s interest; similarly, when the € 4,34 billion fine levied by the same authority on the same undertaking in the Android case crashed the previous record on July 18, all reactions focused on the decision’s monetary impact.
    [Show full text]
  • Subkultura Vývoj Hudební Skupiny Radiohead a Její Vliv Na Dnešní
    Tomáš Pokorný 416094 Subkultura „Pojem subkultura používám například při studování životního stylu mládeže, určitých sociálních a etnických vrstev, protestních hnutí nebo hodnotových představ delikventů. Škála projevů vyjadřujících distanci od převládající kultury je široká, od drobných změn až k radikálnímu popření.“ 1 „Významný sociolog a teoretik subkultur Cohen zastává názor, že subkultura vzniká, když určitý počet lidí s podobnými problémy se sociálním přizpůsobením má dostatečný počet interakcí a vytváří si vlastní pohled na společnost.“ 2 Z výše uvedených definic je jasné, co subkultura je. V hudebním prostředí se subkultura vyznačuje snahou oprostit se od všednosti hlavního proudu. Vývoj hudební skupiny Radiohead a její vliv na dnešní populární hudbu „Jsou tak dobří, až z toho jde strach“ Michael Stipe (R.E.M.) Vývoj Radiohead můžeme rozdělit do třech základních pilířů. První období se vymezuje od roku 1985 až do roku 1997, zde se budu věnovat projektu On a Friday až po album Ok Computer. Další období přichází s přelomovými alby Kid A a Amnesiac (2OO1). Třetí a poslední rozdělení zasahuje až do dnešní tvorby kapely. Dále se budu věnovat tomu, jaký vliv měla kapela na dnešní populární hudbu. 1985-1997 (On a Friday – Ok Computer) Na Oxfordské univerzitě se roku 1985 potkávají Thom Yorke, Ed O‘Brian, Phil Selway a Colin Greenwood a zakládají společně hudební skupinu. Později přibírají i Jonnyho Greenwooda. Podle dnů svých zkoušek si dávají název „On a Friday“ (V pátek). Obliba On a Friday roste především ve studentských kampusech a v oxfordských klubech. Počátkem roku 1991 vydávají svoji první „demo“ nahrávku s příznačným názvem „On a Friday Demo“.
    [Show full text]
  • Strathendrick, and Its Inhabitants from Early
    A.BS.o.. National Library of Scotland 11 *B000022713* *. Digitized by the Internet Archive in 2012 with funding from National Library of Scotland http://www.archive.org/details/strathendrickitsOOsmit STRATHENDRICK THE EDITION OF THIS BOOK FOR SALE IS LIMITED TO FOUR HUNDRED AND FORTY COPIES, OF WHICH EIGHTY-FIVE HAVE ALL THE FULL PAGE ENGRAVINGS IN PROOF ON JAPANESE PAPER. FhntccfraviiEEtrr Annan S_Saas from a Pnafflaropli "by JaTm Smart Hi <^{jQtj£<ruJ* STRATH END RICK AND ITS INHABITANTS FROM EARLY TIMES JU Jtcconnt of the parishes of Jfintru, ^alfron, gttllearn, IBrumen, |5urhanan, anb giUmaronock JOHN GUTHRIE SMITH, F.S.A.Scot. Author of "THE PARISH OF STRATHBLANE " GLASGOW JAMES MACLEHOSE AND SONS publishers to the StnibersitD 1896 GLASGOW : PRINTED AT THE UNIVERSITY PRESS BY ROBERT MACLEHOSE AND CO. "W ^ I take this opportunity of thanking all those who have helped in preparing this volume for the press. It is a grief to me that I have not been able to assist in the completion of this, the last work of my father, but at this distance from Scotland, it was out of the question to make an attempt requiring not only intimate acquaintance with the district, but also access to family records, charters, and other relics of the past. On behalf of my brothers and sisters as well as myself I thank all who have taken part in the preparation of 'Strathendrick.' H. GUTHRIE SMITH. Hawkes Bay, New Zealand, Decern her 1895. NOTE. The late Mr. Guthrie Smith had been engaged on this volume since the completion of The Parish of Strathblane in December 1886.
    [Show full text]
  • Hyperreality in Radiohead's the Bends, Ok Computer
    HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A Thesis Presented as Partial Fulfillment of the Requirements for the Attainment of the Sarjana Sastra Degree in English Language and Literature By: Azzan Wafiq Agnurhasta 08211141012 STUDY PROGRAM OF ENGLISH LANGUAGE AND LITERATURE DEPARTMENT OF ENGLISH LANGUAGE EDUCATION FACULTY OF LANGUAGES AND ARTS YOGYAKARTA STATE UNIVERSITY 2014 APPROVAL SHEET HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A THESIS By Azzan Wafiq Agnurhasta 08211141012 Approved on 11 June 2014 By: First Consultant Second Consultant Sugi Iswalono, M. A. Eko Rujito Dwi Atmojo, M. Hum. NIP 19600405 198901 1 001 NIP 19760622 200801 1 003 ii RATIFICATION SHEET HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A THESIS By: AzzanWafiqAgnurhasta 08211141012 Accepted by the Board of Examiners of Faculty of Languages and Arts of Yogyakarta State University on 14July 2014 and declared to have fulfilled the requirements for the attainment of the Sarjana Sastra degree in English Language and Literature. Board of Examiners Chairperson : Nandy Intan Kurnia, M. Hum. _________________ Secretary : Eko Rujito D. A., M. Hum. _________________ First Examiner : Ari Nurhayati, M. Hum. _________________ Second Examiner : Sugi Iswalono, M. A. _________________
    [Show full text]
  • “Stranger Things 3” Review: the New Dvds Tribune News Service Following Is a Partial Schedule of Coming Movies on DVD
    Page B2 Wyoming Tribune Eagle Saturday, July 6, 2019 NEW RELEASES “Stranger Things 3” review: The New DVDs Tribune News Service Following is a partial schedule of coming movies on DVD. Release dates are subject to same formula and New Coke, too change: By Verne Gay July 9 Newsday Pet Sematary Little WHAT IT’S ABOUT: A mall has After come to Hawkins, Ind., but there’s High Life something strange about this shiny Broad City: Season Five new establishment, packed with Gotham: Season 5 shiny new stores – real, recogniz- The Magicians: Season Four able ones, in fact. Or is that strange The Professor “something” what lies beneath? The mall is a magnet for the gang – Elev- July 16 en (Millie Bobby Brown), Lucas Shazam! (Caleb McLaughlin), Dustin (Gaten Breakthrough Matarazzo), Mike (Finn Wolfhard) Teen Spirit and Max (Sadie Sink). Lucas’ wise- Little Woods acre little sister, Erica (newcomer Abduction Priah Ferguson), is one of the mall Criminal Minds: Season 14 rats, too. Meanwhile, Billy (Dacre Fast Color Montgomery) is pool lifeguard, and Titans: The Complete First still, surprise, conceited. Season Oh, and speaking of magnets and July 23 rats – real ones – they’re behaving Alita: Battle Angel strangely in Hawkins. Hellboy This third season begins late June Missing Link 1985 and wraps a few days later, on Master Z: Ip Man Legacy July 4. Critters Attack MY SAY: Before getting their Manifest: Season 1 hands on these eight episodes, Netf- July 30 lix made critics promise not to reveal Cast at the “Stranger Things” Season 3 World Premiere at the Santa Monica High School on Sunday in Santa Monica, Calif.
    [Show full text]
  • XTC Go 2 Mp3, Flac, Wma
    XTC Go 2 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Go 2 Country: Japan Released: 2011 Style: Alternative Rock MP3 version RAR size: 1613 mb FLAC version RAR size: 1631 mb WMA version RAR size: 1792 mb Rating: 4.6 Votes: 579 Other Formats: ADX MOD XM ASF MPC WMA MP3 Tracklist Hide Credits Meccanik Dancing (Oh We Go!) = メカニック・ダンシング （オー・ウィ・ゴー！） 1 2:35 Written-By – A. Partridge* Battery Brides (Andy Paints Brian) = バッテリー・ブライズ （アンディ・ペインツ・ブライアン） 2 4:36 Written-By – A. Partridge* Buzzcity Talking = バズシティ・トーキング 3 2:41 Written-By – C. Moulding* Crowded Room = クラウデッド・ルーム 4 2:52 Written-By – C. Moulding* The Rhythm = ザ・リズム 5 3:00 Written-By – C. Moulding* Red = レッド 6 3:00 Written-By – A. Partridge* Beatown = ビータウン 7 4:36 Written-By – A. Partridge* Life Is Good In The Greenhouse = ライフ・イズ・グッド・イン・ザ・グリーンハウス 8 4:40 Written-By – A. Partridge* Jumping In Gomorrah = ジャンピング・イン・ゴモラ 9 2:02 Written-By – A. Partridge* My Weapon = マイ・ウェポン 10 2:20 Written-By – B. Andrews* Super-Tuff = スーパー・タフ 11 4:27 Written-By – B. Andrews* I Am The Audience = アイ・アム・ジ・オーディエンス 12 3:38 Written-By – C. Moulding* Bonus Track = ボーナス・トラッ クス Are You Receiving Me? = アー・ユー・レシーヴィング・ミー？ 13 3:05 Written-By – A. Partridge* Companies, etc. Manufactured By – EMI Music Japan Inc Phonographic Copyright (p) – Virgin Records Ltd. Copyright (c) – Virgin Records Ltd. Credits Engineer – John Leckie Engineer [Assistant] – Andy Llewelyn*, Haydn Bendall, Jess Sutcliffe, Pete James Management – Ian Reid Performer – Andy Partridge, Barry Andrews, Colin Moulding, Terry Chambers Photography
    [Show full text]
  • Radiohead and the Philosophy of Music
    1 Radiohead and the Philosophy of Music Edward Slowik There’s an old joke about a stranger who, upon failing to get any useful directions from a local resident, complains that the local “doesn’t know much.” The local replies, “yeah, but I ain’t lost”. Philosophers of music are kind of like that stranger. Music is an important part of most people’s lives, but they often don’t know much about it—even less about the philosophy that underlies music. Most people do know what music they like, however. They have no trouble picking and choosing their favorite bands or DJs (they aren’t lost). But they couldn’t begin to explain the musical forms and theory involved in that music, or, more importantly, why it is that music is so important to them (they can’t give directions). Exploring the evolution of Radiohead’s musical style and its unique character is a good place to start. Radiohead and Rock Music In trying to understand the nature of music, it might seem that focusing on rock music, as a category of popular music, is not a good choice. Specifically, rock music complicates matters because it brings into play lyrics, that is, a non-musical written text. This aspect of rock may draw people’s attention away from the music itself. (In fact, I bet you know many people who like a particular band or song based mainly on the lyrics—maybe these people should take up poetry instead!) That’s why most introductions to the philosophy of music deal exclusively with classical music, since classical music is often both more complex structurally and contains no lyrics, allowing the student to focus upon the purely musical structural components.
    [Show full text]