Magazin Ausgabe 05
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The Yes Catalogue ------1
THE YES CATALOGUE ----------------------------------------------------------------------------------------------------------------------------------------------------- 1. Marquee Club Programme FLYER UK M P LTD. AUG 1968 2. MAGPIE TV UK ITV 31 DEC 1968 ???? (Rec. 31 Dec 1968) ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- 3. Marquee Club Programme FLYER UK M P LTD. JAN 1969 Yes! 56w 4. TOP GEAR RADIO UK BBC 12 JAN 1969 Dear Father (Rec. 7 Jan 1969) Anderson/Squire Everydays (Rec. 7 Jan 1969) Stills Sweetness (Rec. 7 Jan 1969) Anderson/Squire/Bailey Something's Coming (Rec. 7 Jan 1969) Sondheim/Bernstein 5. TOP GEAR RADIO UK BBC 23 FEB 1969 something's coming (rec. ????) sondheim/bernstein (Peter Banks has this show listed in his notebook.) 6. Marquee Club Programme FLYER UK m p ltd. MAR 1969 (Yes was featured in this edition.) 7. GOLDEN ROSE TV FESTIVAL tv SWITZ montreux 24 apr 1969 - 25 apr 1969 8. radio one club radio uk bbc 22 may 1969 9. THE JOHNNIE WALKER SHOW RADIO UK BBC 14 JUN 1969 Looking Around (Rec. 4 Jun 1969) Anderson/Squire Sweetness (Rec. 4 Jun 1969) Anderson/Squire/Bailey Every Little Thing (Rec. 4 Jun 1969) Lennon/McCartney 10. JAM TV HOLL 27 jun 1969 11. SWEETNESS 7 PS/m/BL & YEL FRAN ATLANTIC 650 171 27 jun 1969 F1 Sweetness (Edit) 3:43 J. Anderson/C. Squire (Bailey not listed) F2 Something's Coming' (From "West Side Story") 7:07 Sondheim/Bernstein 12. SWEETNESS 7 M/RED UK ATL/POLYDOR 584280 04 JUL 1969 A Sweetness (Edit) 3:43 Anderson/Squire (Bailey not listed) B Something's Coming (From "West Side Story") 7:07 Sondheim/Bernstein 13. -
Touring Biz Awaits Rap Boom
Y2,500 (JAPAN) $6.95 (U.S.), $8.95 (CAN.), £5.50 (U.K.), 8.95 (EUROPE), II1I11 111111111111 IIIIILlll I !Lull #BXNCCVR 3 -DIGIT 908 #90807GEE374EM002# BLBD 863 A06 B0116 001 MAR 04 2 MONTY GREENLY 3740 ELM AVE # A LONG BEACH CA 90807 -3402 HOME ENTERTAINMENT THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO, AND Labels Hitching Stars To Clive Greeted As New RCA Chief Global Consumer Brands Artists, Managers Heap Praise On Davis, But Some Just Want Stability given five -year contracts, according BY MELINDA NEWMAN BY BRIAN GARRITY Goldstuck had been pres- While managers of acts signed to to Davis. NEW YORK -In the latest sign of J Records. Richard RCA Records are quick to praise out- ident/C00 that the marketing of music is will continue as executive going RCA Music Group (RMG) Sanders undergoing a sea change, the RCA Records. chairman Bob Jamieson, they are also VP /GM of major labels are forging closer ties "We absolutely loved and have heralding the news that J Records with global consumer brands in with Bob Jamieson head Clive Davis will now control enjoyed working an effort to gain exposure for their and hope our paths will cross with him both the J label and RCA Records. acts. As the deals become more says artist manager Irving BMG announced Nov. 19 that it is again," pervasive, they raise questions for whose client Christina Aguilera buying out Davis' 50 %, stake in J Azoff, artists, who have typically cut on RCA Oct. 29. "I've Records -the label he formed in released Stripped their own sponsorship deals. -
King Crimson Collectors' Club (1969-1974)
King Crimson Collectors' Club (1969-1974) Scritto da Gianluca Livi Mercoledì 30 Marzo 2016 19:23 King Crimson 1 / 10 King Crimson Collectors' Club (1969-1974) Scritto da Gianluca Livi Mercoledì 30 Marzo 2016 19:23 Collectors' Club (1969-1974) di Gianluca Livi Articolo originariamente apparso in due puntate sui nn. 35 e 37 (rispettivamente Marzo/Aprile e Luglio/Agosto del 2008) di "Musikbox. Rivista di cultura musicale e guida ragionata al collezionismo", qui pubblicato, con alcune varianti, per gentile concessione dell'autore. Premessa (2008) Alla fine degli anni '90, stanco dei bootleg, Robert Fripp decise di commercializzare ufficialmente alcuni live dei King Crimson su cd, muovendo dal presupposto che, se fino a quel momento i fan avevano acquistato materiale del gruppo dal vivo di scarsa qualità, facendo guadagnare esclusivamente biechi 2 / 10 King Crimson Collectors' Club (1969-1974) Scritto da Gianluca Livi Mercoledì 30 Marzo 2016 19:23 imprenditori pirata, poteva egli stesso vendere le medesime esibizioni, ufficializzandone l'uscita sul mercato discografico e, congiuntamente, perseguendo anche un (legittimo) fine di lucro. Poiché anche parte delle registrazioni in suo possesso erano qualitativamente scadenti, conscio dell'impossibilità di immetterle nel mercato senza suscitare polemiche, decise di distribuirle solo agli iscritti di un club, il cosiddetto “Collector's Club”. Coloro che vi avessero aderito, previo versamento di una cifra iniziale abbastanza consistente, avrebbero ricevuto i titoli pubblicati di volta in volta, vedendosi scalato il valore di ogni singolo disco dalla quota d'iscrizione. L'iniziativa andò avanti con ottimi risultati fino al 2002, quando - abbandonato definitivamente il metodo dell'iscrizione al Club - i cd furono inseriti nel catalogo della DGM, unitamente ad album ufficiali dei Crimson e di altri artisti della scuderia. -
59Th Annual Critics Poll
Paul Maria Abbey Lincoln Rudresh Ambrose Schneider Chambers Akinmusire Hall of Fame Poll Winners Paul Motian Craig Taborn Mahanthappa 66 Album Picks £3.50 £3.50 .K. U 59th Annual Critics Poll Critics Annual 59th The Critics’ Pick Critics’ The Artist, Jazz for Album Jazz and Piano UGUST 2011 MORAN Jason DOWNBEAT.COM A DOWNBEAT 59TH ANNUAL CRITICS POLL // ABBEY LINCOLN // PAUL CHAMBERS // JASON MORAN // AMBROSE AKINMUSIRE AU G U S T 2011 AUGUST 2011 VOLUme 78 – NUMBER 8 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed Associate Editor Aaron Cohen Contributing Editor Ed Enright Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
Montana Kaimin, February 20, 2004 Students of the Niu Versity of Montana, Missoula
University of Montana ScholarWorks at University of Montana Associated Students of the University of Montana Montana Kaimin, 1898-present (ASUM) 2-20-2004 Montana Kaimin, February 20, 2004 Students of The niU versity of Montana, Missoula Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/studentnewspaper Recommended Citation Students of The nivU ersity of Montana, Missoula, "Montana Kaimin, February 20, 2004" (2004). Montana Kaimin, 1898-present. 4779. https://scholarworks.umt.edu/studentnewspaper/4779 This Newspaper is brought to you for free and open access by the Associated Students of the University of Montana (ASUM) at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Kaimin, 1898-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. MONTANA KAIMIN Friday, February 20, 2004 V olume CVI, Issue 66 Try, try again Advice discourages blind student Natalie Storey every few steps. He told them the said. “You are using potentially Montana Kaimin news shyly: He was withdrawing harmful radiation and you can’t put from classes because he was dis- patients at risk that way.” Scott Boege’s enlarged eyes stare couraged from continuing in the Ceela Mcelveny, a public affairs out from behind multiple layers of radiology program. He’s changed representative for the American magnifying lenses like an insect’s. his mind about going to school at Society of Radiologic Technology, He’s wearing his “Back to the UM. Instead he’s now planning to said she agrees that radiology is a Future glasses,” as he calls them. -
“Run with the Fox and Hunt with the Hounds”: Managerial Trade Unionism and the British Association of Colliery Management, 1947-1994
“Run with the fox and hunt with the hounds”: managerial trade unionism and the British Association of Colliery Management, 1947-1994 Abstract This article examines the evolution of managerial trade-unionism in the British coal industry, specifically focusing on the development of the British Association of Colliery Management (BACM) from 1947 until 1994. It explores the organization’s identity from its formation as a conservative staff association to its emergence as a distinct trade union, focusing on key issues: industrial action and strike cover; affiliation to the Trades Union Congress (TUC); colliery closures; and the privatization of the coal industry. It examines BACM’s relationship with the National Union of Mineworkers (NUM) and the National Association of Colliery Overmen, Deputies and Shotfirers (NACODS), the National Coal Board (NCB) and subsequently the British Coal Corporation (BCC). This is explored within the wider context of the growth of managerial trade unions in post-war Britain and managerial identity in nationalized industries. Keywords: Managerial unionism; white-collar trade unions; public ownership; coal industry The British Association of Colliery Management was a very British institution in that it seemed to have the freedom both to run with the fox and hunt with the hounds … Although it never really joined in the dispute [1984-5 miners’ strike] when it came, it took some getting used to a situation in which people who clearly laid full claim to being representatives of “management” could, and did, through their union, criticize that management.1 Former NCB chairman Ian MacGregor’s vituperative attack on BACM reflected the breakdown between the two parties and their distinct 1 outlooks on the future of the industry in the 1980s. -
Alice Cooper the Eyes of Alice Cooper Mp3, Flac, Wma
Alice Cooper The Eyes Of Alice Cooper mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: The Eyes Of Alice Cooper Country: UK Released: 2003 Style: Garage Rock, Hard Rock MP3 version RAR size: 1666 mb FLAC version RAR size: 1588 mb WMA version RAR size: 1725 mb Rating: 4.5 Votes: 460 Other Formats: AU AA MP2 MP1 MMF MP4 ADX Tracklist Hide Credits 1 What Do You Want From Me? 3:25 2 Between High School & Old School 3:02 3 Man Of The Year 2:52 4 Novocaine 3:08 5 Bye Bye, Baby 3:27 6 Be With You Awhile 4:17 Detroit City 7 3:59 Saxophone – Scott Gilman 8 Spirits Rebellious 3:35 This House Is Haunted 9 3:31 Clarinet – Scott Gilman 10 Love Should Never Feel Like This 3:33 11 The Song That Didn't Rhyme 3:17 12 I'm So Angry 3:36 13 Backyard Brawl 2:37 Credits Bass Guitar, Backing Vocals – Chuck Garric Drums, Backing Vocals – Eric Singer Executive Producer – Mudrock Guitar, Backing Vocals – Eric Dover, Ryan Roxie Keyboards, Accordion, Percussion – Teddy Andreadis Mastered By – Tom Baker Mixed By – Mudrock Orchestrated By – Scott Gilman Photography – Ward Boult Vocals – Alice Cooper Written-By – Alice Cooper , Chuck Garric (tracks: 7), Eric Dover (tracks: 1 to 6, 8 to 13), Mikal Reid (tracks: 1), Ryan Roxie (tracks: 2 to 5, 8 to 13) Notes There are four versions of this album, each with different eye and circle color on the front album artwork. This is the Blue version. Recorded At Mates Studios, North Hollywood, CA Mixed At Track Record, North Hollywood, CA Mastered At Precision Mastering, Hollywood, CA Barcode and Other Identifiers Barcode: -
LIRICHE DI PETER SINFIELD FORMENTERA LADY Houses Iced
LIRICHE DI PETER SINFIELD FORMENTERA LADY Houses iced in whitewash guard a pale shore-line Cornered by the cactus and the pine. Here I wander where sweet sage and strange herbs grow Down a sun-baked crumpled stony road. Dusty wheels leaning rusting in the sun; Snuff brown walls where spanish lizards run (1). Here I'm shadowed by a dragon fig tree's fan (2) Ringed by ants and musing over man. I'll unwind my old strings while the sun shine down Won't climb any high thing while the sun shine. Formentera lady sing your song for me Formentera lady sweet lover. Lamplights glows on old guitars the travellers strum; Insence children dance to an indian drum. Here odysseus charmed for dark circe fell, Still her perfume lingers still her spell. Time's grey hand won't catch me while the sun shine down Untie and unlatch me while the stars shine. Formentera lady dance your dance for me Formentera lady dark lover. (1) Gli antichi greci chiamarono Formentera Ophiussa, ovvero “piena di serpenti”,proprio per la presenza di numerosi serpenti e lucertole. (2) Il “dragon fig tree” non esiste essendo l’unione di due diversi alberi: l’albero di fico e l’albero del drago (Dracaena draco). Quest’ultima è una pianta subtropicale diffusa oltre che nelle baleari, nelle canarie e in Marocco. Entrambe, comunque, sono ritenute avere poteri magici. Per le popolazioni indigene delle Isole Canarie, l’albero del drago possiede proprietà magiche. Tale credenza è in parte dovuta al fatto che quando la corteccia o le foglie vengono recise, secernono una resina che ossidandosi assume una colorazione rossastra, conosciuta come sangue di drago. -
Frank Zappa, Captain Beefheart and the Secret History of Maximalism
Frank Zappa, Captain Beefheart and the Secret History of Maximalism Michel Delville is a writer and musician living in Liège, Belgium. He is the author of several books including J.G. Ballard and The American Prose Poem, which won the 1998 SAMLA Studies Book Award. He teaches English and American literatures, as well as comparative literatures, at the University of Liège, where he directs the Interdisciplinary Center for Applied Poetics. He has been playing and composing music since the mid-eighties. His most recently formed rock-jazz band, the Wrong Object, plays the music of Frank Zappa and a few tunes of their own (http://www.wrongobject.be.tf). Andrew Norris is a writer and musician resident in Brussels. He has worked with a number of groups as vocalist and guitarist and has a special weakness for the interface between avant garde poetry and the blues. He teaches English and translation studies in Brussels and is currently writing a book on post-epiphanic style in James Joyce. Frank Zappa, Captain Beefheart and the Secret History of Maximalism Michel Delville and Andrew Norris Cambridge published by salt publishing PO Box 937, Great Wilbraham PDO, Cambridge cb1 5jx United Kingdom All rights reserved © Michel Delville and Andrew Norris, 2005 The right of Michel Delville and Andrew Norris to be identified as the authors of this work has been asserted by them in accordance with Section 77 of the Copyright, Designs and Patents Act 1988. This book is in copyright. Subject to statutory exception and to provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Salt Publishing. -
Private Values, Public Policy, and Poverty in America, 1890-1940
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1995 Private values, public policy, and poverty in America, 1890-1940. Margaret, Orelup University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Orelup, Margaret,, "Private values, public policy, and poverty in America, 1890-1940." (1995). Doctoral Dissertations 1896 - February 2014. 1221. https://scholarworks.umass.edu/dissertations_1/1221 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. PRIVATE VALUES, PUBLIC POLICY, AND POVERTY IN AMERICA, 1890-1940 A Dissertation Presented by MARGARET ORELUP Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY September 1995 Department of History Copyright by Margaret Orelup All Rights Reserved PRIVATE VALUES, PUBLIC POLICY, AND POVERTY IN AMERICA, 1890-1940 A Dissertation Presented by MARGARET ORELUP Approved as to style and content by: Bruce Laurie, Chair Pa [ila Baker , Member Kathy Peiss', Member Nancy Folpre, Member Bruce Laurie, Department Head History Department Anton and Victor ABSTRACT PRIVATE VALUES, PUBLIC POLICY AND POVERTY IN AMERICA, 1890-1940 SEPTEMBER 1995 MARGARET ORELUP, B.A., BUTLER UNIVERSITY M.A. , THE GEORGE WASHINGTON UNIVERSITY Ph.D., UNIVERSITY OF MASSACHUSETTS AMHERST Directed by: Professor Bruce Laurie Recent welfare histories highlighting reformers, bureaucrats, and recipients of aid have added immeasurably to our understanding of welfare policy formation, but have ignored the extent to which the parameters of change were set by public opinion. -
Les Archives Du Sombre Et De L'expérimental
Guts Of Darkness Les archives du sombre et de l'expérimental avril 2006 Vous pouvez retrouvez nos chroniques et nos articles sur www.gutsofdarkness.com © 2000 - 2008 Un sommaire de ce document est disponible à la fin. Page 2/249 Les chroniques Page 3/249 ENSLAVED : Frost Chronique réalisée par Iormungand Thrazar Premier album du groupe norvégien chz le label français Osmose Productions, ce "Frost" fait suite au début du groupe avec "Vikingligr Veldi". Il s'agit de mon album favori d'Enslaved suivi de près par "Eld", on ressent une envie et une virulence incroyables dans cette oeuvre. Enslaved pratique un black metal rageur et inspiré, globalement plus violent et ténébreux que sur "Eld". Il n'y a rien à jeter sur cet album, aucune piste de remplissage. On commence après une intro aux claviers avec un "Loke" ravageur et un "Fenris" magnifique avec son riff à la Satyricon et son break ultra mélodique. Enslaved impose sa patte dès 1994, avec la très bonne performance de Trym Torson à la batterie sur cet album, qui s'en ira rejoindre Emperor par la suite. "Svarte vidder" est un grand morceau doté d'une intro symphonique, le développement est excellent, 9 minutes de bonheur musical et auditif. "Yggdrasill" se pose en interlude de ce disque, un titre calme avec voix grave, guimbarde, choeurs et l'utilisation d'une basse fretless jouée par Eirik "Pytten", le producteur de l'album: un intemrède magnifique et judicieux car l'album gagne en aération. Le disque enchaîne sur un "Jotu249lod" destructeur et un Gylfaginning" accrocheur. -
Tesi Del Dott. Jacopo Conti: Minimalismo ... -.:: Franco Fabbri
UNIVERSITÀ DEGLI STUDI DI TORINO FACOLTÀ DI SCIENZE DELLA FORMAZIONE CORSO DI STUDIO TRIENNALE IN D.A.M.S. DISSERTAZIONE FINALE Minimalismo, modalità e improvvisazione nella musica dei nuovi King Crimson Relatore: Candidato: Ernesto Napolitano Jacopo Conti matr. n° 259083 Anno accademico 2006 - 2007 A mia zia, che credeva in me e mi ha sempre sostenuto. 1 PREMESSA “King Crimson was more a revolving door than a band. ” - Robert Palmer La cronologia dei King Crimson (KC) dal 1969 al 2003 è assai articolata, e include vari stili e molti musicisti con una sola presenza fissa, quella di Robert Fripp (1946), chitarrista e compositore inglese fondatore del gruppo. Considerati tra i fondatori del progressive rock, pubblicano l’album In The Court Of The Crimson King 1 nel 1969 con Fripp alla chitarra, Ian McDonald (1946) al sax e al mellotron, Michael Giles (1942) alla batteria, Greg Lake (1948) al basso e alla voce e Peter Sinfield (1943) nel ruolo di paroliere. I lunghi brani strutturati, gli elaborati riff suonati all’unisono e i testi di ispirazione fantastica e fiabesca non solo diventano la caratteristica principale del gruppo, ma anche gli elementi fondanti del nuovo genere. Già con il secondo lp, In The Wake Of Poseidon (1970), la formazione viene rimodellata: Mel Collins (1947) prende il posto di McDonald al sax, Gordon Haskell canta in alcuni brani (durante la lavorazione del disco Greg Lake abbandona il gruppo per andare a costituire il trio Emerson, Lake & Palmer), si aggiunge al pianoforte Keith Tippett (1947). Il gruppo si scioglie per qualche mese dopo l’incisione del disco per poi tornare, con un’altra formazione, alla fine del 1970.