Chapter 3. Environmental Setting and Impact Analysis
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New Year's Weekend Continues with Breaking
For Immediate Release NEW YEAR’S WEEKEND CONTINUES WITH BREAKING BENJAMIN AT HARD ROCK HOTEL & CASINO ATLANTIC CITY DECEMBER 30 AT 8 PM Atlantic City, NJ (October 29, 2018) – New Year’s weekend at Hard Rock Hotel & Casino Atlantic City just got even bigger with the addition of hard rockers, Breaking Benjamin at Hard Rock Live at Etess Arena on Sunday, December 30 at 8 p.m. Tickets are on-sale this Friday, November 2 at 10 a.m. Multi-platinum band Breaking Benjamin has amassed a sizeable and diehard fan base, both through their chart-topping music, as well as their electrifying live performances. Their latest release, Dark Before Dawn certified GOLD and debuted #1 on Billboard’s Top 200 chart and spun off two #1 rock tracks, “Failure” and “Angels Fall.” “Failure” was also named the most played song at Active Rock for 2015. 2009’s Dear Agony, certified PLATINUM and debuted #4 on the Billboard Top 200 and #1 on the iTunes Rock Album Chart. Dear Agony also spun off the platinum selling and #1 Active Rock single “I Will Not Bow” where it stayed #1 for five weeks straight. Their discography also includes 2002’s Saturate, 2004’s We Are Not Alone, 2006’s Phobia. We Are Not Alone spawned a pair of #1 radio hits, “So Cold” and “Sooner or Later.” Phobia debuted at # 2 on Billboard’s Top 200, hit #1 on the Rock Album Chart and was one of the top 50 selling rock albums of 2006. It featured one #1 and two Top 5 rock radio hits “Breath,” “Diary of Jane” and “Until The End.” Tickets to see Breaking Benjamin, ranging from $39.00 to $59.00, go on sale this Friday, November 2 at 10 AM. -
A Madison Wisconsin Story
EAST MEETS WEST IN MADISON: CHINESE SOPRANO POP STAR RUHAN JIA AND NEW YORK BASED ROCK BAND, EDISUN WILL PERFORM TO PROMOTE CROSS-CULTURAL COLLABORATION, MUSICAL ARTISTRY, AND INNOVATIVE TECHNOLOGY. A Madison Wisconsin Story Edisun front man, Ethan Isaac grew up in Madison, attending James Madison Memorial High School. While in high school, his first recording was with Butch Vig (producer of nirvana sonic youth smashing pumpkins, and foo fighters) at the legendary Smart Studios. Playing in various bands on the Madison music scene he often played at the once popular clubs O’caz Corral and Club de Wash. He later moved his band, Wooden, that formed in Madison Wisconsin, to NYC. They were to get involved in a much larger music market, playing clubs like CBGB’s, Irving Plaza, The Continental, and the like. After years of success in the New York music scene, with his band, Wooden, Ethan found himself in the west village, NYC, on September 11th watching the attack on the Trade Towers. Heeding the word to evacuate the NYC area, Ethan managed to escape in his truck, while moving barricades, and maneuvering through chaotic, NYC law enforced streets…. eventually he made his way to the parkway, where he reached his cabin in the Catskills. Moved by the incredible effects, and magnitude of the tragedy, Ethan wrote a song called “Into the Sunlight” which lyrically reflects his experiences on 9/11. This would change his music career dramatically. His story, and song gets national press. And is discovered by the U.S. Armed Forces Entertainment Division (AFE). -
Rock Rally by Luke Klink Endust and Released Their Self-Titled Metal
Northwoods Escape 2013 - 13 Summer really rocks at Northwoods Rock Rally By Luke Klink endust and released their self-titled metal. Then, all of a sudden, we If you wanna rock this summer, debut album on April 15, 1997. were playing alternative metal. We there is no better place than the Since formation, Sevendust has re- are some kind of heavy and some Northwoods Rock Rally in Rusk leased eight studio albums, earned kind of rock and some kind of met- County. The out additional charting success and gold al.” Rock Rally runs Thursday through sales certiications. The bands gold Trapt is an American rock band Saturday, Aug. 15-17, south of Glen albums are Sevendust, released in that formed in Los Gatos, Calif., in Flora on County B. 1997, Home, released in 1999, and August 1997. The group consists The top-billed Animosity, re- of lead singer Chris Taylor Brown, bands include Sev- leased in 2001. lead guitarist Travis Miguel, drum- endust, Trapt, 3 Pill Sevendust Their top- mer Dylan Thomas Howard and Morning and Royal Trapt charting tracks bass guitarist Peter Charell. Bliss. They will be are “Enemy” (10), The band can be described as joined by at least 10 3 Pill Morning “Ugly,” (12), modern, aggressive hard rock. The more hard rocking “Driven” (10), band expanded its sound to include acts. Party or stay Royal Bliss “Angel’s Son” synthesizers and samples. home, organizers More than 10 bands (11), “Praise” Two of the band’s six studio al- say. (15) and “Denial” bums have peaked higher than 20 on The annual hard- (14). -
Pop/Adult Contemporary
Digital Broadcast Satellite ClassiC rock wOrkOut: The most riviera: Hypnotic music styles includ- Rock en españOl: Acclaimed, ClassiCal up-tempo tunes from the Classic Rock ing Latin, Italian, and World beat with a cutting-edge Spanish-language arias & Overtures: Highlights from era with no down-time. 32 Southern European emphasis. 53 Rock groups. 86 Opera’s greatest moments. 42 glOw: Dance and remix classics from salsa: Latin rhythms infused with light ClassiCal: Familiar works of the 70’s and 80’s. 102 JaZZ elements of R&B, Jazz, and Funk. 14 the Baroque and Classical periods. 50 mOdern wOrkOut: Ideal for trendy big band/swing: A mix of Big Band symphOniC: Orchestral works from city gyms or sophisticated suburban and small group Swing. 6 Oldies the Baroque, Classical, and Romantic fitness applications.100 ClassiC Jazz Vocal blend: Jazz 60’s revOlutiOn: Classic hits from periods. 1 PUMP!: High-intensity Rock, Pop, and instrumentals and vocalists from the 50’s the mid 60’s and early 70’s. 19 Alternative. 101 and 60’s to today. 68 70’s hits: A mix of mainstream Pop COuntry Zen: Meditative Trip-Hop, Trance, and Jazz Vocal blend: A mix of contem- of the 70’s. 70 bluegrass: The roots of Country played Drum and Bass. 82 porary Smooth Jazz instrumentals and 80’s hits: A mix of mainstream Pop by traditional and contemporary artists. 13 vocalists. 49 of the 80’s. 80 tOwn & country: A 50/50 blend of INSTRUMENTAL Jazz: Straight ahead Jazz instrumental malt shOp Oldies: Classics hits from all-time Pop and Country favorites. -
The Graying of Active Rock
A PUBLICATION OF DEMERS PROGRAMMING MEDIA CONSULTANTS SUMMER 2006 The Graying of Active Rock rogramming any radio station targeted to While it’s too general to state that the traditional younger men is an ever more challenging Active Rock target demo has shifted completely, a Pproposition. In addition to the ongoing large number of influential (and successful) stations Arbitron sampling issues, the last few years have have adjusted their focus. With aging Gen-Xers the seen an explosion of competitive media and delivery primary target, these stations have been putting systems. more emphasis on 30+ listeners, and set their sights on a 25 to 39 base. From satellite radio and the iPod to Internet-based audio services and the emergence of the cell phone We have seen that change reflected in national as perhaps the ultimate audio playlist trends for a good number delivery device -- more than ever, of Active Rock stations. For these “STATIONS FOCUSED the consumer is in control. stations, there has been a signifi- ON CHASING THE cant increase in Gold content Today’s Active Rock programmers overall with a reduced emphasis YOUNGEST VIABLE have much less margin for error on both Current and Recurrent when making musical choices. ARBITRON TARGET material. The challenge is not only trying to (MEN 18-24) propel cume and increase TSL for When looking at music released their own product, but to compel HAVE FOUND since the year 2000, fewer titles listeners to spend time with the are surviving the playlist cut on a THEMSELVES FACING medium at all. year-to-year basis at more Active A SIMPLE CHOICE — Rockers. -
Joint Meeting with IASPM Canada
IASPM-US & IASPM-Canada 2007 Joint Conference Program & Schedule of Events Thursday April 26 1 Friday April 27 1 Saturday April 28 5 Sunday April 29 8 Abstracts 10 Index of Presenters 57 Acknowledgments 58 All events are scheduled in the Curry Student Center, as are the book display and auction. 2007 IASPM-US / IASPM-Canada Joint Conference Program Committee: Jacqueline Warwick, Chair Holly Everett Ellie Hisama David Todd Lawrence Tom McCourt Paul Théberge Thursday April 26 3:00 – 5:30 PM Registration Curry Student Center IASPM-US EC Board Meeting (Room 435) IASPM-Canada EC Board Meeting (Room 433) 7:30 – 11:00 PM Opening Reception (Curry Center Ballroom) Book signing: Reebee Garofalo Rockin’ Out: Popular Music in the U.S.A. (4th Edition) Sponsored by Prentice Hall Publishing Entertainment featuring Peter Narvaez, the Blue Suede Boppers, and DJ Shyne Friday April 27 All Day Book/Media Display 8:00-8:30 AM Continental breakfast sponsored by the Canadian Consulate General, Boston 8:45 – 10:00 AM Plenary Session (Curry Center Ballroom) Welcome; Keynote address by Susan Fast, McMaster University, “On Limits, Peripheries, Edges and Popular Music” 10:15 – 12:00 PM Panel Session 1 1) Negotiations of the Cultural (Room 322) Moderator: Dale Chapman, Bates College 10:15 Imagining the Spiritual and Absolute in John Coltrane’s Love Supreme — Gregory Erickson, Mannes College of Music 10:35 Afro-Dominicans, Fusión Musicians and a New Social Movement in the Dominican Republic — Angelina Tallaj, CUNY Graduate Center 10:55 From Utopia to Engagement: Bruce -
Music Guide Music HISTORY There Was a Time When “Elevator Music” Was All You Heard in a Store, Hotel, Or Other Business
Music Guide Music HisTORY There was a time when “elevator music” was all you heard in a store, hotel, or other business. Yawn. 1 1971: a group of music fanatics based out of seattle - known as Aei Music - pioneered the use of music in its original form, and from the original artists, inside of businesses. A new era was born where people could enjoy hearing the artists and songs they know and love in the places they shopped, ate, stayed, played, and worked. 1 1985: DMX Music began designing digital music channels to fit any music lover’s mood and delivered this via satellite to businesses and through cable TV systems. 1 2001: Aei and DMX Music merge to form what becomes DMX, inc. This new company is unrivaled in its music knowledge and design, licensing abilities, and service and delivery capability. 1 2005: DMX moves its home to Austin, TX, the “Live Music capital of the World.” 1 Today, our u.s. and international services reach over 100,000 businesses, 23 million+ residences, and over 200 million people every day. 1 DMX strives to inspire, motivate, intrigue, entertain and create an unforgettable experience for every person that interacts with you. Our mission is to provide you with Music rockstar service that leaves you 100% ecstatic. Music Design & Strategy To get the music right, DMX takes into account many variables including customer demographics, their general likes and dislikes, your business values, current pop culture and media trends, your overall décor and design, and more. Our Music Designers review hundreds of new releases every day to continue honing the right music experience for our clients. -
Programming Policy : Can-Con & Hits
Programming Policy #003 Monday, March 21, 2011 Programming Policy : Can-Con & Hits 1.0 Reasoning: The purpose of this policy is to define the restrictions on Can-Con and Hits, as described by the CRTC. The role of the programming committee is to fulfill the mandate and broadcast licence requirements of CIVL Radio; as delegated by the board, the programming committee is directly responsible for upholding these requirements and standards. 2.0 Back Ground: CIVL Radio has maintained a 35% Canadian content requirement for all its category 2 music programs, a 12% Can-Con requirement for its category 3 music programs, and has been critical of programs whose content of hits exceeds 10%. Formerly, CIVL Radio developed its programming policies on hits from CRTC 1997-42. however, since then CRTC 2010-819, CRTC 2010-499, and CRTC 2009-61 have been released. It has been expressed that programmers have not been provided enough resources or direction from which to research hits. This policy is intended to provide direction to CIVL programmers on the content restrictions for Can-Con and hits placed on CIVL Radio by the CRTC. 3.0 Policy 3.1 Programs defined by Content Category 2*, unless granted an exemption, are required to uphold a 35% Canadian content requirement for their musical selections. 3.2 Programs defined by Content Category 3*, unless granted an exemption, are required to uphold 12% Canadian content requirement for their musical selections. 3.3 CIVL programs may not contain more hits than 10% of their total logged musical selections, unless granted an exception. -
A Marginalized Music?
32\5 "AMARGINALIZED MUSIC?" UNDERGROUND ROCK MUSIC CULTURE IN SEOUL SINCE THE MID-1990S A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC MAY 2005 By Shinwon Moon Thesis Committee: Byong Won Lee, Chairperson Frederick Lau RuthHsu Abstract This thesis identifies and discusses aspects ofthe underground rock music scene formed after the mid-1990s in the Shinchon and Hongik University area of western Seoul, Korea. Although initially the Korean underground rock music was marginalized outside the mainstream of Korean popular mUSIC, its audience has gradually increased. In the 2000s, the scene is lively, active, and energetic. The study details how this Korean underground rock music culture has developed as a subculture (Hebdige) through the processes of globalization and localization (Appadurai) by examining first how the underground rock music culture has been influenced by the Western countries, including the U.S., and then how this culture creates its own social significances. III TABLE OF CONTENTS Abstract .iii List ofMusic Examples vi List ofTables vi Chapter I. Introduction 1 1. Scope and Goal ofStudy .1 2. Romanization 8 3. Research Methods 9 4. Definitions .11 5. A Short History ofPopular Music and Rock Music in Korea 14 6. The Rock Musicians in the United States and Britain in the 1990s 21 Chapter II. The Rock Music Cultures in China and Japan 29 1. Chinese Rock Music .33 2. Japanese Rock Music '" .36 3. A Comparison ofRock Music in China, Japan, and Korea 39 Chapter III. -
MAX TRAX – Continued VOLUME 6-Tapestries (New Age Pastels) 14001-14010 Written and Produced by Leslie Waller 1
1-800-HOT MUSIC (1-800-468-6874) VOLUME 1- Sports/Hi-tech (13501-13513) Track Title Tempo Time Description 1. 3rd and Long 122 5:00 Powerful, energetic, driving 2. Rugby Rock 120 5:00 Strong, Medium Hard, edged, live guitar lead 3. Slam Dunk 93 5:00 Bouncy, Up-beat, R&B, Contemporary 4. Speedway 174 5:00 Fast, Pulsing, Dramatic 5. Down Hill 222 5:00 Up tempo, Positve, Medium-light beat 6. Ice Dancing 122 5:00 Uplifting, Majestic, Light with Motion, New Age 7. Sat. Night Wrestling 103 5:00 Contemporary, Jazz rock 8. Marathon Man 139 5:00 Solid pulse, Bright, Uplifting 9. In Training 97 5:00 Electronic, Building, Active 10. Rowing River 146 5:00 Light, easy, Shuffle 11. Aerobic #1 134 5:50 Shuffle, Bounce, Med-Up Tempo, positive 12. Aerobic #2 134 6:06 Med. Tempo, Easy feeling 13. Aerobic #3 134 6:04 Shuffle, Bounce, Jazz oriented VOLUME 2- Industrial/Business (13601-13610) 1. Higher Productivity 106 5:00 Motivational, strong, driving, Sports 2. European Board Room 143 5:00 Stately, Soft Horns, Regal 3. Sort & Ship 111 5:00 Forward motion, March of progress 4. Factory of Fortune 129 5:00 Positive, Medium rock, Motion, Sports 5. R & D 145 5:00 Active Rock, Driving, Machine-like 6. Product Development 133 5:00 Classical, Strings, Winds, “arty”, dark 7. Profit Centre 143 5:00 Hard driving, French Horn, Big, Sports 8. Employee Participation 116 5:00 Gentle, Flute, Light Beat, Strings, Soft 9. C.E.O. 128 5:00 Decisive, Med. -
Note to Users
NOTE TO USERS Page(s) not included in the original manuscript and are unavailable from the author or university. The manuscript was microfilmed as received. This reproduction is the best copy available. Psychedelic Music in San Francisco: Style, Context, and Evolution Craig Morrison A Thesis in The Department of Humanities Presented in Partial Fulfillment d the Requirements for the Degree of Doctor of Philosophy at Concordia University Montreal, Quebec, Canada Septernber 2000 O Craig Morrison 2000 National Library Bibliothèque nationale 1*1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellington OttawaON KlAON4 Ottawa ON K1A ON4 Canada Canada Yovr lFie Votre réf8rmce Our lile Noire reftirence The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seli reproduire, prêter, distribuer ou copies of this thesis in microfom, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts from it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author7s ou autrement reproduits sans son permission. autorisation. ..- III ABSTRACT Psychedelic Music in San Francisco: Style, Context, and Evolution Craig Momson, Ph-D Concordia University, 2000 Psychedelic rock began in 1965 and was popular until around 1970. -
New Release Guide
ada–music.com @ada_music NEW RELEASE GUIDE June 26 July 3 ORDERS DUE MAY 22 ORDERS DUE MAY 29 2020 ISSUE 14 June 26 ORDERS DUE MAY 22 "4,*/("-&9"/%3*")"7&&"3/&%"1-"$&".0/(5)&.045453&".&% %08/-0"%&% 8"5$)&% "/% "-50(&5)&3-*45&/&%50#"/%4*/"(&/&3"5*0/ $0.#*/*/(5)&*//07"5*0/0'.0%&3/30$,8*5) 5)&53"%*5*0/"-"55*56%&0'5)&$6-563&n453"*-#-";&34 • 2.2M SPOTIFY MONTHLY LISTENERS W/ 615M STREAMS • OVER 1M COMBINED SALES WORLDWIDE W/ 815K US SCANS • 1.5 BILLION COMBINED STREAMS ARTIST : ASKING ALEXANDRIA • ASKING ALEXANDRIA (SELF-TITLED, 2017), DEBUTED AT #1 ON BOTH ROCK AND HARD ROCK BILLBOARD CHARTS TITLE : LIKE A HOUSE ON FIRE • 580M YOUTUBE STREAMS W/ 308K SUBSCRIBERS CATALOG # : SUM1312 UPC : 810016762126 BOX LOT : 30 GENRE : ROCK / METAL MSRP : $11.98 • 50K+ SPINS AND 250M+ RADIO AUDIENCE (TO-DATE, COMBINED) HOMETOWN : UNITED KINGDOM • EIGHT CONSECUTIVE TOP 20 CHARTING RADIO SINGLES (ACTIVE ROCK), W/ FOUR PEAKING IN TOP 10 "MOVING ON" #5 "ALONE IN A ROOM" #7 "HERE I AM" #9 SPOTIFY PLAYLISTS : "VULTURES" #9 ROCK THIS!, BEAST MODE, VIRAL HITS, ACOUSTIC ROCK, ROCKED, "INTO"IN THE FIRE" #12 ADRENALINE WORKOUT, NEW CORE, ALL NEW ROCK, ETC. "I WON'T GIVE IN" #14 "BREAK DOWN THE WALLS" #16 TOUR HISTORY : SHINEDOWNSHINEDOWN, PAPA ROACH, BREAKING BENJAMIN, AVENGED "THE DEATH OF ME" #18 SEVENFOLD, BULLET FOR MY VALENTINE, SLIPKNOT, BLACK VEIL TRACKLISTING BRIDES, ETC. HOUSE ON FIRE THEY DON’T WANT WHAT WE WANT (AND THEY DON’T CARE) DOWN TO HELL • “LIKE A HOUSE ON FIRE” AVAILABLE ON CD, VINYL AND DIGITAL ANTISOCIALIST • TERRESTRIAL/SPECIALTY RADIO CAMPAIGNS