Sylvester Step II Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Sylvester Step II Mp3, Flac, Wma Sylvester Step II mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Funk / Soul Album: Step II Country: US Released: 1978 Style: Soul, Disco MP3 version RAR size: 1196 mb FLAC version RAR size: 1310 mb WMA version RAR size: 1615 mb Rating: 4.8 Votes: 522 Other Formats: MIDI AA AHX VOX ASF APE WAV Tracklist Hide Credits You Make Me Feel (Mighty Real) A1 Arranged By [Rhythm Arrangements] – Tip Wirrick*, SylvesterWritten-By – Wirrick*, Sylvester Dance (Disco Heat) (Cont.) A2 Arranged By [Rhythm Arrangements] – Eric Robinson Written-By – Robinson*, Orsborn* B1 Dance (Disco Heat) (Concl.) I Took My Strength From You (Cont.) B2 Arranged By [Rhythm Arrangements] – SylvesterWritten-By – Bacharach - David* C1 I Took My Strength From You (Concl.) C2 You Make Me Feel (Mighty Real) (Epilogue) Grateful C3 Arranged By [Rhythm Arrangements] – Michael C. Finden*, SylvesterWritten-By – Finden*, Sylvester Was It Something That I Said D1 Arranged By [Rhythm Arrangements] – SylvesterWritten-By – Fuqua*, Sylvester Just You And Me Forever D2 Arranged By [Rhythm Arrangements] – Eric Robinson Bass – James Jamerson Jr.Drums – James GadsonWritten-By – Robinson*, Orsborn* Companies, etc. Phonographic Copyright (p) – Fantasy Records Copyright (c) – Fantasy Records Recorded At – Fantasy Studios Recorded At – Conway Studios Recorded At – Clark-Brown Audio Mixed At – Fantasy Studios Mastered At – Kendun Recorders Produced For – Honey Records Productions Credits Arranged By [Strings And Horns] – Leslie Drayton Art Direction – Phil Carroll Backing Vocals – Izora Rhodes*, Martha Wash Bass – Bob Kingson (tracks: A1 to B3) Concertmaster, Contractor [String Contractor] – Charles Veal* Contractor [Horn Contractor] – George Bohanon Design – Dennis Gassner Drums – Randy Merritt (tracks: A1 to B3) Engineer [Assistant] – Wally Buck Engineer [Recording] – Buddy Bruno, Eddie Bill Harris Guitar – Tip Wirrick* Lead Vocals, Piano [Acoustic] – Sylvester Mastered By [Mastering] – George Horn Organ, Electric Piano, Clavinet – Michael C. Finden* Percussion – David Frazier Photography By – Phil Bray Producer – Harvey Fuqua, Sylvester Producer [Associate] – Nancy C. Pitts Remix – Eddie Bill Harris Synthesizer [String, Electro-comp 101 And 200 Models, Oberheim Ds-2 Sequencer], Effects [Special Effects] – Pat Cowley* Notes Recorded at Fantasy Studios, Berkeley; Conway Studio, Los Angeles; Clark-Brown Audio, Los Angeles. Mixed at Fantasy; Mastered at Kendun Recorders, Burbank. ℗ 1978 Fantasy Records © Fantasy Records, 1978 Printed in U.S.A. Might include a pres kit/bio along with two 4x6 professional photos, one of him alone in a chair and one with his back-up singers. Step II has same cat.#, but different label layout. Other versions Category Artist Title (Format) Label Category Country Year F-9556 Sylvester Step II (LP, Album, San) Fantasy F-9556 US 1978 F.5959, F 5959 Sylvester Step II (LP, Album, Gat) Fantasy, Fantasy F.5959, F 5959 France 1978 AMI 9556 Sylvester Step II (LP, Album) Fantasy AMI 9556 Italy 1978 MC 290 Sylvester Step II (Cass, Album) Fantasy MC 290 Italy 1978 0061.105 Sylvester Step II (LP, Album) Fantasy 0061.105 Germany 1978 Related Music albums to Step II by Sylvester Sylvester - Too Hot To Sleep Sylvester - All I Need Sylvester - Don't Stop / Hard Up Everything But The Girl - The Language Of Life Sylvester - Mighty Real (Greatest Dance Hits) Sylvester - Too Late / Trouble In Paradise Sylvester - You Make Me Feel (Mighty Real) Sylvester - Dance (Disco Heat) Dream Frequency - You Make Me Feel Mighty Real Sylvester - Sylvester.
Recommended publications
  • Sylvester You Make Me Feel (Mighty Real) Mp3, Flac, Wma
    Sylvester You Make Me Feel (Mighty Real) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: You Make Me Feel (Mighty Real) Country: Netherlands Released: 1978 Style: Disco MP3 version RAR size: 1654 mb FLAC version RAR size: 1505 mb WMA version RAR size: 1941 mb Rating: 4.2 Votes: 755 Other Formats: VOC WMA VOX FLAC DMF MP3 DTS Tracklist A You Make Me Feel (Mighty Real) 6:34 B Dance (Disco Heat) 5:47 Companies, etc. Phonographic Copyright (p) – Fantasy Records Made By – Festival Records Pty. Ltd. Published By – Copyright Control Published By – Castle Credits Producer – Harvey Fuqua Notes Produced by Harvey Fuqua for Honey Records Productions. Made in Australia by Festival Records Pty. Ltd. ℗ Fantasy Records, U.S.A. Barcode and Other Identifiers Matrix / Runout (Side A runout): SMX53617 2A Matrix / Runout (Side B runout): SMX53618 2A Matrix / Runout (Side A label): MX53617 Matrix / Runout (Side B label): MX53618 Other versions Category Artist Title (Format) Label Category Country Year You Make Me Feel BZC 4405, BZ Fantasy, BZC 4405, BZ Sylvester (Mighty Real) / Dance Germany 1978 4405 Fantasy 4405 (Disco Heat) (12") You Make Me Feel 9135 Sylvester Carrere 9135 France 1990 (Mighty Real) (12") You Make Me Feel FTC 160 Sylvester Mighty Real (7", Fantasy FTC 160 UK 1978 Single, Promo) You Make Me Feel K 7247 Sylvester Fantasy K 7247 New Zealand 1978 (Mighty Real) (7") You Make Me Feel K052Z-61678 Sylvester Fantasy K052Z-61678 Netherlands 1978 (Mighty Real) (12") Related Music albums to You Make Me Feel (Mighty Real) by Sylvester Sylvester - Living Proof Sylvester - Step II Byron Stingily - You Make Me Feel (Mighty Real) Part I Various - Disco Dancin' 78 Various - Disco Heat Various - Billboard Top Dance Hits 1978 Jimmy Somerville - Mighty Real Sylvester - Stars.
    [Show full text]
  • Richard Aldag Broadway Boogie-Woogie
    RICHARD ALDAG BROADWAY BOOGIE-WOOGIE 9 My lover asks [1:58] Marnie Breckenridge, soprano | Jennifer Kloetzel, cello Hadley McCarroll, piano RICHARD ALDAG Duo for Flute & Violin (2017) TROY1764 10 Allegro ma non troppo [2:24] 11 Presto [1:37] 1 Fantasy for Flute, Piano & Percussion (2015) [11:00] 12 Affettuoso [2:53] Gina Gulyas, flute | Ian Scarfe, piano 13 Vivace [2:39] Divesh Karamchandani, percussion Gina Gulyas, flute | Rachel Patrick, violin Due Celli (2013) 14 Romance for Cello & Piano (2015) [5:43] 2 Toccata: Calmly, vivo [3:23] Jennifer Kloetzel, cello | Hadley McCarroll, piano 3 Aria: Lento e cantabile [3:32] 4 Saltarello: Presto con fuoco [2:01] 15 Lacrimosa for String Quartet (2016) [7:22] Jean-Michel Fonteneau, cello | Jennifer Kloetzel, cello Chamber Music Society of San Franciso Jory Fankuchen, violin | Natasha Makhijani, violin Nocturne & Dance (2014) Clio Tilton, viola | Samsun van Loon, cello 5 Nocturne [6:42] 6 Dance [5:22] 16 Serenade for Chamber Ensemble Matthew Boyles, clarinet | Rachel Patrick, violin “Broadway Boogie-Woogie” (1991, rev. 2014) [9:05] Ian Scarfe, piano Gina Gulyas, flute | Matthew Boyles, clarinet Rachel Patrick, violin | James Jaffe, cello Arab Love Songs (2015) Ian Scarfe, piano | Divesh Karamchandani, percussion 7 Oh, my love [2:37] Andy Meyerson, percussion | Richard Aldag, conductor [3:14] 8 I am no teacher Total Time = 71:12 TROY1764 WWW.ALBANYRECORDS.COM TROY1764 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2019 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL.
    [Show full text]
  • Handout 2 - Sylvester Biography Sylvester Was Born September 6, 1947, in the Watts Neighbor- Hood of Los Angeles, California
    Handout 2 - Sylvester Biography Sylvester was born September 6, 1947, in the Watts neighbor- hood of Los Angeles, California. He spent most of his childhood in a church until his preteen years, when news of his sexuality spread throughout the community. Sylvester, whose childhood nickname was “Dooni,” was not completely accepted by his mother and eventually left home as a teenager, but returned home several times before leaving Watts by 1970. Sylvester found acceptance from his grandmother and as a member of the group the Disquotays, which featured black drag queens and trans women. In the late 1960s, Sylvester accompa- nied members of the Disquotays around Los Angeles. He began to dress in drag, even appearing in his graduation picture in a blue chiffon dress and beehive hairdo. His style was often described as androgynous, combining both feminine and masculine influences. After the Disquotays disbanded, Sylvester moved to San Francisco, and soon joined the drag troupe the Cockettes. After the Cockettes gained some popularity from San Francisco locals, celebrities, and publications like Rolling Stone, the show went on the road, travelling to cities with prominent drag and LGBTQ+ scenes. Sylvester’s performance during the Cockette’s shows often attracted the most attention. He claimed to have sought inspiration from black performers and singers Josephine Baker and Billie Holiday, and was offered his own recording contract after he left the Cockettes. Sylvester began recording and performing with a rock band known together as Sylvester and the Hot Band. And while they opened for famous musicians such as David Bowie, Sylvester and the Hot Band were commercially unsuccessful.
    [Show full text]
  • 2. Case Study: Anime Music Videos
    2. CASE STUDY: ANIME MUSIC VIDEOS Dana Milstein When on 1 August 1981 at 12:01 a.m. the Buggles’ ‘Video Killed the Radio Star’ aired as MTV’s first music video, its lyrics parodied the very media pre- senting it: ‘We can’t rewind, we’ve gone too far, . put the blame on VTR.’ Influenced by J. G. Ballard’s 1960 short story ‘The Sound Sweep’, Trevor Horn’s song voiced anxiety over the dystopian, artificial world developing as a result of modern technology. Ballard’s story described a world in which natu- rally audible sound, particularly song, is considered to be noise pollution; a sound sweep removes this acoustic noise on a daily basis while radios broad- cast a silent, rescored version of music using a richer, ultrasonic orchestra that subconsciously produces positive feelings in its listeners. Ballard was particu- larly criticising technology’s attempt to manipulate the human voice, by con- tending that the voice as a natural musical instrument can only be generated by ‘non-mechanical means which the neruophonic engineer could never hope, or bother, to duplicate’ (Ballard 2006: 150). Similarly, Horn professed anxiety over a world in which VTRs (video tape recorders) replace real-time radio music with simulacra of those performances. VTRs allowed networks to replay shows, to cater to different time zones, and to rerecord over material. Indeed, the first VTR broadcast occurred on 25 October 1956, when a recording of guest singer Dorothy Collins made the previous night was broadcast ‘live’ on the Jonathan Winters Show. The business of keeping audiences hooked 24 hours a day, 7 days a week, promoted the concept of quantity over quality: yes- terday’s information was irrelevant and could be permanently erased after serving its money-making purpose.
    [Show full text]
  • Ilhiiiletter 93024--O24-O April 1997 I Vol
    P.(). BOX 24-O Ojai, Calif. ilhiiiletter 93024--O24-O April 1997 i Vol. I6 No. 4 pubescent life forms, I truly believe it will be the Harry Allens Other Voices who carry the important message forward. Richard M. Sudhalter, Southold, New York Congratulations on your piece OfMs and Men and the discussion Cornetist Sudhalter was at one time a European correspondent of ebonics. for UPI. He is the co-author of a biography of Bix Beiderbecke And I all but jumped for joy on reading the profile on Julie La and is completing a new study ofjazz history Rosa. First, because he’s a singer I admire and of whom I’m very fond. But there’s another dimension to it as well. While your two-part article While Ibu Wereni Watching has The ongoing feminization of America has vandalized a number your usual clarity ofthought and meticulous structure, it leaves the of usefiil distinctions. Among them seem to be clear understanding reader who accepts your premises the choice of responding with Ehe specific essences brought to the table by male and female. impotent despair or with a fatalistic shrug and a tum to more never subscribed to the concept of interchangeable “gender pleasant topics. Yet neither of these responses is constructive; they roles” by which either sex can discharge the fimctions historically only drive the ethos of the artistically educated fiirther toward performed by the other. I’ve always felt that the polarity itself being a marginalized, self-pitying, backward-looking tribe of (with all the infinite intemal gradations) was invaluable, offering elitists.
    [Show full text]
  • Not Just a Fantasy: Fantasy Studios Jul 1, 2008 12:00 PM, by Barbara Schultz
    Not Just a Fantasy: Fantasy Studios Jul 1, 2008 12:00 PM, By Barbara Schultz LEGENDARY STUDIO IS BACK FROM THE BRINK Fantasy Studios’ grand Studio A is equipped with an SSL 8056 G+ console, Pro Tools HD3 and Augspurger custom mains. Photo: Steve Maruta In the San Francisco Bay Area studio scene and beyond, Fantasy Studios (www.fantasystudios.com) and the Fantasy Records label are the stuff of legend. The facility has been situated in West Berkeley for more than three decades — part of an indie media mini-empire once owned by filmmaker Saul Zaentz. The studio most famously hosted recordings by the Fantasy label's biggest act, Creedence Clearwater Revival, as well as other national acts, including Santana and Green Day. Because the facility changed hands a couple of times in recent years, you may have heard through the grapevine that Fantasy Studios was going to close last year, or this year… There was more than a grain of truth to those rumors. The studios, label and back catalog were taken over by Concord Records a few years ago, with Concord renting space in the building Zaentz still owned, but then Zaentz sold the building itself to a real estate developer, Wareham Development. When Concord's long-term lease on the building expired at the end of 2007, the label's management decided to move the label and catalog south to Concord's Beverly Hills headquarters and dismissed all of the Fantasy Studios staff. Longtime studio manager Nina Bombardier began making plans for a new life outside the music business, and all of her employees assumed the studios would close.
    [Show full text]
  • Sylvester Free
    FREE SYLVESTER PDF Georgette Heyer | 352 pages | 12 May 2015 | Cornerstone | 9780099465775 | English | London, United Kingdom Sylvester - IMDb Looking for a movie the entire family can enjoy? Check out our picks for family friendly movies movies that transcend all ages. For even Sylvester, visit our Family Entertainment Guide. See the full list. Looking for some great streaming picks? Check out some of the IMDb editors' favorites movies and shows to Sylvester out your Watchlist. Visit our What to Watch page. Sign In. Down 26, this week. Soundtrack Sylvester Music Department. He died on December 16, in San Francisco, California. Filmography by Job Trailers and Videos. Share Sylvester page:. Deaths: Sylvester AIDS Sylvester. Deaths Sylvester AIDS. Do you have a demo reel? Add it to your IMDbPage. How Much Have You Seen? How much of Sylvester's work have you Sylvester Oscar Face-Off: Sean Sylvester vs. Known For. Trading Places Soundtrack. Milk Soundtrack. Hit and Run Soundtrack. Longtime Companion Soundtrack. The Adventures of Dr. Self - Performer. Self - Guest. The Sylvester Years Official Sites: Last. Alternate Names: Sylvester James. Edit Did You Know? Star Sign: Virgo. Edit page. October Streaming Picks. Back Sylvester School Picks. Clear your history. NPR Choice page O n a sunny Thursday Sylvester, the theatre at the University of Sussex is playing host to an interdisciplinary academic conference. Sylvester subject is disco, Sylvester today, more specifically, the singer Sylvester. Still, you do wonder if even he might raise a perfectly pencilled eyebrow at how he Sylvester being discussed 30 years after his death. As Wirrick points out, in earlySylvester Sylvester in desperate need of a hit.
    [Show full text]
  • San Francisco University High School
    JACKSON STREET GALLERY EXHIBITIONS Theatre tickets may September 13 – October 25 | Artist’s Reception: September 13, 5:00-7:00 p.m. be purchased on sfuhs.org/arts. November 1 – November 29 | Artist’s Reception: November 1, 5:00-7:00 p.m. Our arts program urges students All other events to think about the arts beyond January 31 – March 8 | Artist’s Reception: January 31, 5:00-7:00 p.m. are free and open the studio or stage, and consider to the public. how they intersect with society, AP STUDIO ART SHOW For more information history, literature, science, and April 2 – April 24 | Artist’s Reception: April 2, 5:00-7:00 p.m. go to sfuhs.org/arts technology. Investigate the or call 415.447.3136 creative process through a variety THEATRE of lenses, including Western Fall Play | Preview, October 24, Noon | October 25 & 26, 7:30 p.m. Civilization: History of the Arts, AP Art History, and more. Winter Play | Preview, January 23, Noon | January 24 & 25, 7:30 p.m. Students collaborating in the uLab, our fabrication and design thinking space. Student Drama Series | February 28, 4:00 p.m. & 7:00 p.m. Spring Musical | Preview: April 23, Noon | April 24-25, 7:30 p.m. and April 26, 5:00 p.m. MUSIC Spacious painting and drawing studio Our brand new uLab features Ample storage for our extensive Fall Concert | November 7, 7:00 p.m. with plenty of natural light, easels, and traditional shop tools plus laser cutter, instrument collection Projects in Music 4.1: Fall Recitals | November 11-12, Lunch and after school large work tables 3D printers, computer-controlled router Music library that houses our expansive and more.
    [Show full text]
  • By Billups Allen Billups Allen Is a Record Store Clerk Who Spent His Formative Years in and Around the Washington D.C
    By Billups Allen Billups Allen is a record store clerk who spent his formative years in and around the Washington D.C. punk scene. He graduated from the University of Arizona with a creative writing major and film minor. He currently lives in Memphis, Tennessee where he publishes Cramhole zine, contributes regularly to Razorcake, Lunchmeat, and Ugly Things, and writes fiction (cramholezine.com, billupsallen@ gmail.com) Illustrations by Danny Martin: Zines, murals , stickers, woodcuts, and teachin’ screen printing at a community college on the side. (@DannyMartinArt) Zine design by Todd Taylor Razorcake is a bi-monthly, Los Angeles-based fanzine that provides consistent coverage of do-it-yourself punk culture. We believe in positive, progressive, community-friendly DIY punk, and are the only bona fide 501(c)(3) non-profit music magazine in America. We do our part. One Punk’s Guide to Patrick Cowley originally appeared in Razorcake #107, released in December 2018/January 2019. This zine is made possible in part by support by the Los Angeles County Board of Supervisors through the Los Angeles Arts Commission. Printing Courtesy of Razorcake Press razorcake.org n 1978 a DJ subscription-only remix of the already popular Donna Summer song “I Feel Love” went out in the mail. It was 15:43 long. The bass line was looped so overdubbed synthesizer effects could be added. This particular version of the song went largely unnoticed by the general public and did nothing to make producer Patrick Cowley a household name. But dancers in nightclubs reacted. They may have been unaware and/or unconcerned about what they were hearing, but they reacted.
    [Show full text]
  • One-Of-A-Kind Recording Project Fills Fantasy Studios Karen Lile, An
    www.musictrades.com DECEMBER 2018 One-Of-A-Kind Recording Project Fills Fantasy Studios Karen Lile, an independent executive producer and co- + owner of Piano Finders, brings together Grammy winners and top producers for one special benefit album INDUSTRY FOREFRONT ONE-OF-A-KIND RECORDING PROJECT FILLS FANTASY STUDIOS Karen Lile, an independent executive producer and co-owner of Piano Finders, brings together Grammy winners and top producers for one special benefit album tracks. Even musicians who couldn’t record in person found a way to partici- pate: Recording artist Alison Miller called into the studio for a recorded interview from New York’s Times Square, while a touring George Winston called in from Washington state. (The complete list of artists who donated time for the project is posted at www.comteams.com.) It wasn’t what you’d call a modest undertaking. In fact, says Lile, it would have been impossible if not for the long- term relationships she had with several of the producers—because there was no time to debate contracts. Everyone A 1952 Steinway 9' signed a simple “memorandum of under- grand rebuilt by Piano standing” and dove into the project on Finders was part of a just two weeks’ notice. three-piano comparison “Whenever time is short, and improvi- at Fantasy Studios. sation is required, I treat it like a jazz music improvisation,” Lile says. “I SEVENTY HOURS in a recording stu- 2019 would be too late to use those 70 brought in a team of experienced profes- dio is enough time to lay down quite a lot hours.
    [Show full text]
  • A Cena Black Rio: Circulação De Discos E Identidade Negra / Andre Garcia Braga
    UNIVERSIDADE FEDERAL DO RIO GRANDE DO NORTE – UFRN CENTRO DE CIÊNCIAS HUMANAS, LETRAS E ARTES – CCHLA DEPARTAMENTO DE ANTROPOLOGIA – DAN PROGRAMA DE PÓS-GRADUAÇÃO EM ANTROPOLOGIA SOCIAL – PPGAS A CENA BLACK RIO : circulação de discos e identidade negra Andre Garcia Braga Natal, fevereiro de 2015 1 UNIVERSIDADE FEDERAL DO RIO GRANDE DO NORTE – UFRN CENTRO DE CIÊNCIAS HUMANAS, LETRAS E ARTES – CCHLA DEPARTAMENTO DE ANTROPOLOGIA – DAN PROGRAMA DE PÓS-GRADUAÇÃO EM ANTROPOLOGIA SOCIAL – PPGAS A CENA BLACK RIO : circulação de discos e identidade negra Andre Garcia Braga Dissertação apresentada aoPrograma dePós- Graduação emAntropologia Social da UFRN,como requisito parcial para obtenção do título de mestre em Antropologia Social. Orientador: Prof. Dr. Edmundo Marcelo Mendes Pereira Natal, fevereiro de 2015 2 Catalogação da Publicação na Fonte Biblioteca Central Zila Mamede – Setor de Informação e Referência Braga, Andre Garcia. A cena black Rio: circulação de discos e identidade negra / Andre Garcia Braga. - Natal, 2016. 135 f. : il. Orientador: Dr. Edmundo Marcelo Mendes Pereira. Dissertação (Mestrado em Antropologia Social) – Universidade Federal do Rio Grande do Norte. Centro de Ciências Sociais Aplicadas. Programa de Pós-graduação em Antropologia Social. 1. Cena Black Rio - Dissertação. 2. Discos - Dissertação. 3. Atlântico Negro - Dissertação. I. Pereira, Edmundo Marcelo Mendes. II. Título. RN/UF/BCZM CDU 39 3 A CENA BLACK RIO : circulação de discos e identidade negra Andre Garcia Braga MEMBROS DA BANCA EXAMINADORA: _________________________________________________________________ Prof. Dr. Edmundo Marcelo Mendes Pereira – Orientador (PPGAS/UFRN) __________________________________________________________________ Prof. Dr. João Miguel Sautchuk– Membro externo (PPGAS/UnB) ___________________________________________________________________ Prof. Dr. Carlos Guilherme Octaviano do Valle – Membro interno (PPGAS/UFRN) ___________________________________________________________________ Prof.Dr.
    [Show full text]
  • Dissertation June 14
    LISTENING BACKWARD LISTENING BACKWARD: QUEER TIME AND RHYTHM IN POPULAR MUSIC PERFORMANCE By CRAIG JENNEX, BA (Hons.), MA A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy McMaster University © Copyright by Craig Jennex, May 2017 McMaster University DOCTOR OF PHILOSOPHY (2017) Hamilton, Ontario (English and Cultural Studies) TITLE: Listening Backward: Queer Time and Rhythm in Popular Music Performance AUTHOR: Craig Jennex, BA (Dalhousie University), MA (McMaster University) SUPERVISOR: Dr. Susan Fast NUMBER OF PAGES: ix, 314 !ii ABSTRACT Listening to music has the capacity to connect us with others. In a society structured by the stultifying logic of heteronormativity, patriarchy, white supremacy, and neoliberalism —ideals that usher all of us into normative and limiting modes of relations—musical listening serves as a bastion of collective queer potential. Music can enhance queer collectivity particularly when it offers us experiences of non-normative temporality. In this dissertation, I argue for a form of music participation that I call listening backward: the act of listening closely and collectively to past musical moments in which alternative worlds were once possible. This form of listening, I argue, encourages resistance to normative signifiers of progressive linear temporality and interrogates notions of progress in both musical sound and society more broadly. Listening backward is important for building queer collectives—in the present and for the future—that can develop and sustain coalitions and resist homonormative impulses and neoliberal claims of individuality and competition. In this dissertation I analyze a variety of music performances that vary in their genre markers, the historical moments from which they come, and the forms of participation they encourage.
    [Show full text]