In-State Coal for UI Slicken by Miry Tlbor Citing the Traditional M Practice of Band Staff Writer Forming Only One-Year Coal Contracts
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Conclusion: Popular Music, Aesthetic Value, and Materiality
CONCLUSION: POPULAR MUSIC, AESTHETIC VALUE, AND MATERIALITY Popular music has been accused of being formulaic, homogeneous, man- ufactured, trite, vulgar, trivial, ephemeral, and so on. These condemna- tions have roots in aspects of the Western aesthetic tradition, especially its modernist and expressivist branches, according to which great art innovates, breaks and re-makes the rules, expresses the artist’s personal vision or unique emotions, or all these. Popular music has its defenders. But they have tended to appeal to the same inherited aesthetic criteria, defending some branches of popular music at the expense of others― valorising its artistic, expressive, innovative, or authentic branches against mere ‘pop’. These evaluations are problematic, because they presuppose all along a set of criteria that are slanted against the popular fi eld. We therefore need new frameworks for the evaluation of popular music. These frameworks need to enable us to evaluate pieces of popular music by the standards proper to this particular cultural form―to judge how well these pieces work as popular music, not how successfully they rise above the popular condition. To devise such frameworks we need an account of popular music’s standard features and of the further organising qualities and typical val- ues to which these features give rise. Popular music normally has four layers of sound―melody, chords, bass, and percussion―and each layer is normally made up of repetitions of short elements, these repeti- tions being aligned temporally with one another, with whole sections of repeated material then being repeated in turn to constitute song sections. © The Author(s) 2016 249 A. -
Synthpop: Into the Digital Age Morrow, C (1999) Stir It Up: Reggae Album Cover Art
118 POPULAR MUSIC GENRES: AN INTRODUCTION Hebdige, D. (1987) Cut 'n' mix: Identity and Caribbean MUSIc. Comedia. CHAPTER 7 S. (1988) Black Culture, White Youth: The Reggae Tradition/romJA to UK. London: Macmillan. Synthpop: into the digital age Morrow, C (1999) StIr It Up: Reggae Album Cover Art. San Francisco: Chronicle Books. Potash, C (1997) Reggae, Rastafarians, Revolution: Jamaican Musicfrom Ska to Dub. London: Music Sales Limited. Stolzoff, N. C (2000) Wake the Town and Tell the People: Dancehall Culture in Jamaica. Durham, NC, and London: Duke University Press. Recommended listening Antecedents An overview of the genre Various (1989) The Liquidators: Join The Ska Train. In this chapter, we are adopting the term synthpop to deal with an era Various (1998) Trojan Rocksteady Box Set. Trojan. (around 1979-84) and style of music known by several other names. A more widely employed term in pop historiography has been 'New Generic texts Romantic', but this is too narrowly focused on clothing and fashion, Big Youth ( BurI).ing Spear ( and was, as is ever the case, disowned by almost all those supposedly part Alton (1993) Cry Tough. Heartbeat. of the musical 'movement'. The term New Romantic is more usefully King Skitt (1996) Reggae FIre Beat. Jamaican Gold. employed to describe the club scene, subculture and fashion associated K wesi Johnson, Linton (1998) Linton Kwesi Johnson Independam Intavenshan: with certain elements ofearly 1980s' music in Britain. Other terms used to The Island Anthology. Island. describe this genre included 'futurist' and 'peacock punk' (see Rimmer Bob Marley and The Wailers (1972) Catch A Fire. -
Representation of 1980S Cold War Culture and Politics in Popular Music in the West Alex Robbins
University of Portland Pilot Scholars History Undergraduate Publications and History Presentations 12-2017 Time Will Crawl: Representation of 1980s Cold War Culture and Politics in Popular Music in the West Alex Robbins Follow this and additional works at: https://pilotscholars.up.edu/hst_studpubs Part of the European History Commons, Music Commons, Political History Commons, and the United States History Commons Citation: Pilot Scholars Version (Modified MLA Style) Robbins, Alex, "Time Will Crawl: Representation of 1980s Cold War Culture and Politics in Popular Music in the West" (2017). History Undergraduate Publications and Presentations. 7. https://pilotscholars.up.edu/hst_studpubs/7 This Thesis is brought to you for free and open access by the History at Pilot Scholars. It has been accepted for inclusion in History Undergraduate Publications and Presentations by an authorized administrator of Pilot Scholars. For more information, please contact [email protected]. Time Will Crawl: Representation of 1980s Cold War Culture and Politics in Popular Music in the West By Alex Robbins Submitted in partial fulfillment of the requirements for the degree of Bachelor of Arts in History University of Portland December 2017 Robbins 1 The Cold War represented more than a power struggle between East and West and the fear of mutually assured destruction. Not only did people fear the loss of life and limb but the very nature of their existence came into question. While deemed the “cold” war due to the lack of a direct military conflict, battle is not all that constitutes a war. A war of ideas took place. Despite the attempt to eliminate outside influence, both East and West felt the impact of each other’s cultural movements. -
* Inside: the Brat 'The Hunger 'Valley Girl ' Sparks Heaven 17
é ^ T ? * inside: The Brat 'The Hunger 'Valley Girl ' Sparks Heaven 17 2A Thursday, May 5,1963 Daily Nexus Lighthearted Romp Through the Valley 'The Hunger' By JOHN KRIST brains) saunters up to Julie, who gives him the bad news. Shakespeare would, like, be totally grossed out. “ Like, I’m just totally not in love with you anymore.” A Visual Feast Although the beginning of the film is somewhat less than Then again, if he had lived and written in Los Angeles, By JONATHAN ALBURGER auspicious, things pick up a bit when Randy (Nicolas Cage) perhaps he would have cast a punker from “ Hollywierd” If a film can be voluptuous, then The Hunger is a sexy enters the scene. Dragged to a party by his best friend, who and a princess from the San Fernando Valley in the roles of visual feast. It is a glossy, campy, high-chic movie Romeo and Juliet. Either way, the Bard’s timeless story of overheard the address while at the beach, he puts on his fashioned around gorgeous star personalities, tauntingly adolescent love has found new expression in the unlikely best evening dress and crashes the party. tailored and voguely coiffed, who vamp through scene after The two of them are greeted by a strange sight — a form of Valley Girl, a genuinely funny and lighthearted scene with all the cliche affectations you would associate milling crowd of valley clones drinking soft drinks, dancing romantic romp through the Southern California subculture. with their names. Julie (Deborah Foreman) is an angel with a charge gingerly lest they muss their hair, and eating sushi. -
Synths Our Fathers | News
Synths our fathers | news http://www.blacklink.me/news/?p=20368&utm_source=rss&utm_med... news home Synths our fathers 19 November 2010 Posted by mr-vip news ostentatiously intellectual and scornful of rock and roll clichés like to get out of OMD and Heaven 17 set short-80s pop – and now they are back in favor. The original ideas men talk to Dorian Lynskey ‘It’s funny how things go, “says Orchestral maneuvers in the Dark Andy McCluskey, suggesting the reunited band of the last successful tour.” You are sitting in a hotel bar? Please be write me € Vision hit for Jedward ‘, reveling in the fact that you go even in the situation and make intellectual pop music, and Louis Walsh comes and says: “One of the McCluskey eyebrows shot north, he enjoys a good anecdote. “This is really happened to me yesterday.” had In 1978, McCluskey and Paul Humphreys his bandmates a vision of the sound of tomorrow and they are not tone-deaf twins from a TV talent show. A touch of this vision is in the pointed title OMD excellent comeback album, given the history of modernism. “When we started we thought naively that one day all music would sound like, and rock ‘n’ roll clichés would be away,” Humphreys says wistfully McCluskey characteristic hyperbolic, explains: “.. The last modernist movement was English electronic pop music in the late 20th Century “ Next year marks the 30th anniversary of synthpop annus mirabilis, the release of Architecture & Morality OMD, Depeche Mode’s Speak & Spell, Soft Cell Non Stop Erotic Cabaret, Japan’s Tin Drum, The Human League’s and dare Heaven 17′s Penthouse and Pavement Hailing from different parts of the saw, the country put the bands so much a scene as a common sensibility. -
B Movies and Beyond: Heaven 17 - Liv… Share Report Abuse Next Blog» Create Blog Sign In
3/24/2011 B Movies and Beyond: Heaven 17 - Liv… Share Report Abuse Next Blog» Create Blog Sign In SUNDAY, FEBRUARY 20, 2011 ABOUT ME Heaven 17 - Live at Scala, London (2011) STARMUMMY My name is Starmummy. I am not from Earth. I do live here though. I like to review movies, particularly ones that will offend the average person. I review whatever movie I feel like reviewing whenever I want. I will gladly take suggestions and free stuff. VIEW MY COMPLETE PROFILE SITES YOU SHOULD CHECK OUT 3B Theater Micro-brewed Reviews Attack from Planet B B Movie Central B Movie Film Vault Heaven 17 is a synth pop band best known for their musical output Bad Movie Realm in the 1980s, especially their number 2 hit single "Temptation". BadMovies.org Formed in 1980 by vocalist Glenn Gregory and ex-Human League members Martyn Ware and Ian Craig Marsh, the band named itself Basement of Ghoulish Decadence after a fictional music group from the novel Clockwork Orange. After BugEyedMovies.com releasing several singles and albums in the 80's, the band went on Cani Arrabbiati (Italian Genre hiatus but has reunited several times since then, including this 2005 Cinema) concert in London. Classic-Horror.com Darksider's Realm Live at Scala shows Heaven 17 in an intimate setting in front of a Dire Wit Films small crowd of enthusiastic fans. The band itself include Gregory, DVD Holocaust Ware, Marsh and three female vocalists. Included are "Temptation", Eccentric Cinema "(We Don't Need This) Fascist Groove Thang", "Let Me Go" and Flat Iron Film Company "Penthouse and Pavement" as well as 11 other singles and album Full Moon Reviews tracks (new and old). -
Deutsche Mugge.De
Heaven 17 live in der "Fabrik" zu Hamburg am 23. März 2010 Seite 1 von 3 Heaven 17 live in der "Fabrik" zu Hamburg am 23. März 2010 Bericht: Holger Stürenburg Fotos: Pressefotos Im Jahr 1980 entstand in Sheffield das junge, kreative Musikproduktionsprojekt "British Electric Foundation" ("B.E.F."), welches Ian Craig Marsh und Martyn Ware, zuvor Mitglieder der morbiden Synthipop- Pioniere "The Human League", gemeinsam mit dem Sänger Glenn Gregory ins Leben gerufen hatten. Aus diesem Künstlerkollektiv heraus, entwickelte sich bald die wegweisende New-Romantic-Formation "HEAVEN 17", die zunächst bis 1988 zusammen musizierte, sich dann auflöste, und seit 1996 wiederum gemeinsam auftritt. Ein Jahr darauf veröffentlichte das Elektropop-Trio seine schier genialische Debüt-LP "Penthouse and Pavement", eine sehr experimentelle, hoch intellektuelle, immens Heaven 17 außergewöhnliche Produktion, die zwar durchgehend auf Synthesizern und Drum-Computern basierte, aber auch und gerade zig Elemente aus Funk und Disco in ihre stets tanzbaren Klangorgien integrierte. 2010 bestehen "Heaven 17" aus Sänger Glenn, Keyboarder Martyn; der zweite Keyboarder Ian Craig verließ die Truppe vor zwei Jahren, die heute von der so bildhübschen, wie äußerst stimmstarken Vokalistin Billie Godfrey unterstützt wird. Auf der Bühne werden die Drei von Gitarrist Asa Bennett, Bassist Randy Hope-Taylor und Joel Farland am elektronischen Schlagzeug begleitet. Zu ihrem 30-jährigen Gründungsjubiläum, beschloss die bahnbrechende New-Romantic-Legende, sich mit dem Repertoire ihres gefeierten Erstlingswerks auf ausgiebige Europatournee zu begeben. So gastierten die beiden freundlichen Mitt-50er, mitsamt ihrer jugendlichen Mitstreiter (die bei Bandgründung kaum geboren waren), am vergangenen Dienstag, dem 23. März 2010, in einem endlich (!) frühlingshaft milden Hamburg, genau gesagt, dort in der FABRIK, gelegen im Stadtteil Altona/Ottensen. -
Trouser Press
ARTIST TITLE SECTION ISSUE Steve Hackett article 29, 49 incl (guitarists) 34 Spectral Morning 41 Cured 70 See also Genesis Sammy Hagar All Night Long Hit and Run 33 Nina Hagen (Band) incl (Germany) 78 Nina Hagen Band 43 Unbehagen 54 Nunsexmonkrock 77 Fearless 96 Kit Hain Looking for You Hit and Run 80 Haircut 100 article 77 Pelican West 75 Green Circles 72, 94 question column 79 Fax n Rumours 85 See also Nick Heyward Robit Hairman Green Circles 95 Bill Haley Fax n Rumours 61 Half Japanese Loud 65 Green Circles 91 America Underground 25, 64, 84 See also Jad Fair Daryl Hall article 50 Sacred Songs 49 Hall and Oates Voices 55 Along the Red Ledge Hit and Run 34 Olly (Ollie) Halsall incl (guitarists) 34 See also Boxer, Patto Hambi and the Dance Heartache 79 Dirk Hamilton Thug of Love Hit and Run 50 Peter Hammill article 21, 28, 37 discography 21 incl 37 live 68 letters 23 Over 20 Future Now 34 pH7 45 A Black Box 55 Sitting Targets 70 See also Van der Graaf Generator Lowry Hamner and the Cryers Midnight Run Hit and Run 45 Billy Hancock America Underground 47, 51 Hey Little Rock & Roller Hit and Run 89 Billy Hancock and the Shakin’ That Rockabilly Fever Hit and Run 69 Tennessee Rockets Hansie Green Circles 51 Happy the Man Crafty Hands Hit and Run 34 Pearl Harbor (& the Explosions) article 64 Pearl Harbor and the Explosions 47 Don’t Follow Me, I’m Lost Too 61 America Underground 45 Fax n Rumours 53 Hardcore article 76, 94 Tim Hardin Unforgiven 75 Fax n Rumours 60 Steve Harley (& Cockney Rebel) article 8, 11, 19 Timeless Flight 13 Love’s a Primadonna -
10000 MANIACS the Wishing Chair 1985 Or. 13TH FLOOR ELEVATORS the Psychedelic Sounds of 13Th Floor E 1966 Or
10000 MANIACS The wishing chair 1985 or. 13TH FLOOR ELEVATORS The psychedelic sounds of 13th Floor E 1966 or. 13TH FLOOR ELEVATORS Easter everywhere 1967 or. 4 NON BLONDES Bigger, better, faster, more! 1992 or. ABC The lexicon of love 1982 or. AC/DC Highway to hell 1979 or. ADAMS, BRYAN Cuts like a knife 1983 or. ADAMS, BRYAN Reckless 1984 or. ADELE 19 2008 or. ADELE 21 2011 or. ADELE 25 2015 or. AEROSMITH Toys in the attic 1975 or. AEROSMITH Exclusive collection 2001 or. ALABAMA SHAKES Boys & girls 2012 cop. ALLMAN BROTHERS BAND, THE The Allman Brothers Band 1969 or. ALLMAN BROTHERS BAND, THE Idlewild south 1970 or. ALLMAN BROTHERS BAND, THE At Fillmore East 1971 or. ALLMAN BROTHERS BAND, THE Eat a peach 1972 or. ALLMAN BROTHERS BAND, THE Brothers and sisters 1973 or. ALMOND, MARC Singles 1984-1987 1987 or. AMERICA History: America's greatest hits 1975 or. AMOS, TORI The beekeeper 2005 or. AMOS, TORI American doll posse 2007 or. ANASTACIA Not that kind 2000 or. ANDERSON, LAURIE Big science 1982 or. ANDERSON, LAURIE Mister Heartbreak 1984 or. ANIMALS, THE The Animals 1964 or. ANIMALS, THE Vol. 2 1965 or. ANIMALS, THE Animalisms 1966 or. ANIMALS, THE The best of the Animals 1987 or. ANKA, PAUL Paul Anka 1989 or. ANTONY AND THE JOHNSONS I am a bird now 2005 or. ANTONY AND THE JOHNSONS The crying light 2009 or. ARCADE FIRE Funeral 2004 or. ARCADE FIRE Neon bible 2007 or. ARCADE FIRE The suburbs 2010 or. ARCTIC MONKEYS Whatever people say I am, that's what I 2006 or. -
GPDF064-AS-SG.Pdf
Supergroup Andy Sterling High Minus Ian Thomas – drums Ed Simons – DJ Danny Kortchmar – guitar, bass Francis Dunnery – guitars, vocals, tapboard John Stahl — assistant Chris Dyas — baritone guitar, e-bow, guitar, harpsichord, zither Malcolm Burn — guitar, keyboards, harmonica Everett Bradley — percussion on “Seven” David McMurray — saxophone Benny Latimore — piano Chris Gower — trombone Peter King — alto saxophone on “Disenchanted” Ken Gregson — vocals John Trotter — drums (1996—2000) Lloyd “Mooseman” Roberts — bass guitar Damon Albarn — vocals, keyboards Brian Hibbard — vocals J.G.Bennett (courtesy of Elizabeth Bennett) – voice for “Extracts from the Sherbourne House talks” Duff McKagan — bass guitar Lady June — vocals John 5 — guitar Harry Miller — double bass on “Islands” Steve Marcantonio — engineer Emeli Sandé — vocals, guitar, piano Lee Shepherd — engineer Phil Soussan — bass guitar Martin Kierszenbaum — A&R Colin Elliot — percussion, synthesizers Ben Mandelson — fiddle Nick Ingram — string arrangements Eric Johnson — engineer Kara DioGuardi — producer Sly Dunbar — drums, percussion, drum programming Pete Barnacle — drums Frank Stribbling — guitar Goran Kajfes — horn Greg Parker — engineer, second engineer Fergus Gerrand — drums, percussion Alyssa Hanson — vocals Mary Scully — double bass Hereward Kaye — vocals Kenny Earl “Rhino” Edwards — drums (1992—1995, 2008 sessional) David Williams — guitars Manny Marroquin — mixing Joni—Ayanna Portee — backing vocals Billy Joel — piano on “You Get What You Want” Mike Sobieski — violin Robert -
15/8/16 Slagg Brothers Rhythm & Blues, Soul & Grooves Show
15/8/16 Slagg Brothers Rhythm & Blues, Soul & Grooves Show Released as the album's lead single from the 1981 album Tattoo You. Microsoft paid Start Me Up 3:34 The Rolling Stones about $3 million to use this song in their Windows 95 marketing campaign - the first time that Stones allowed a company to use their songs in an ad Backslop 2:33 Baby Earl & The Trinidads This was the first of Shannon's four #1s on the US Dance chart, reaching the top spot Let The Music Play Radio Edit 3:32 Shannon in November 1983. Was an inspiration on the acid house scene. Rip It Up 3:44 Orange Juice Second single to be released from their 1982 album of the same name. Reached #29 on the UK Singles Chart on its release in 1982 on Factory Records. The Temptation (7" Version) 5:24 New Order band's name doesn’t appear on the sleeve; instead the song title and catalogue number FAC 63 were embossed into the cover. From their 1981 debut album Penthouse and Pavement. Banned by the BBC as thay (We Don't Need This) Fascist 4:20 Heaven 17 thought it was that it was extremely offensive to Ronald Reagan who was the new US Groove Thang President at the time. 1982, produced by Kevin Godley & Lol Creme. Members of the group went on to form Klactoveesedstein 3:43 Blue Rondo A La Turk Matt Bianco. Opening track on their 1982 debut The Lexicon of Love. Produced by Trevor Horn and Show Me 4:05 ABC features orchestrations by Anne Dudley. -
Computational Analysis of Musical Influence: a Musicological Case Study Using Mir Tools
11th International Society for Music Information Retrieval Conference (ISMIR 2010) COMPUTATIONAL ANALYSIS OF MUSICAL INFLUENCE: A MUSICOLOGICAL CASE STUDY USING MIR TOOLS Nick Collins Department of Informatics, University of Sussex, Falmer, Brighton, BN1 9QJ, UK [email protected] ABSTRACT of genres is implicit in much discussion of the philosophy of stylistic categories in music [1, 10], and related to sim- Are there new insights through computational methods to ilar questions in biology concerning speciation events and the thorny problem of plotting the flow of musical influ- memetics [4, 6]. ence? This project, motivated by a musicological study of Automated methods for the analysis of musical similar- early synth pop, applies MIR tools as an aid to the inves- ity provide a new angle on relationships between works, tigator. Web scraping and web services provide one an- whether comparing individual pieces or within larger cor- gle, sourcing data from allmusic.com, and utilising python pora. For example, the data-driven analyses explored by APIs for last.fm, EchoNest, and MusicBrainz. Charts of David Cope across MIDI files [3] are primarily used for influence are constructed in GraphViz combining artist sim- synthesis, but can also help to explore the links between ilarity and dates. Content based music similarity is the sec- composers. Symbolic analysis tools in MIR parallel such ond approach, based around a core collection of synth pop movements in algorithmic composition: McKay and Fu- albums. The prospect for new musical analyses are dis- jinaga [11] discuss the application of their jSymbolic fea- cussed with respect to these techniques.