DOCSLIB.ORG

Pitchfork April 2020 | Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pitchfork April 2020 | Vol Pitchfork April 2020 | Vol. 6 How Long Does It Take To Make A Classic Album PAGE 8 How TikTok Gets Rich Without Paying Artists PAGE 4 How Artist Imposters and Fake Songs Sneak Onto Streaming Services PAGE 6 Jockstrap Interview PAGE 12 The Record Industry Expects A Windfall, Where Will the Money Go? PAGE 14 Briefs Remembering Bill Withers For several decades, perplexed interviewers had been asking Bill Withers, the great, reclusive soul singer, variations of the same questions: Did he miss the musical life he’d once had and did he ever imagine returning to it? In 1985, having already built an impressive legacy—Gold plaques, Hot 100 hits, Grammy wins—he left the industry and never looked back. The answer was always firm, unsentimental, and unambiguous: No. We aren’t Bill Withers photo via Michael Ochs Archives/Getty Images used to seeing those who step out of the spotlight never yearn virus at the hospital and remains albums due to the global coronavi- such a hectic and scary time for for it, but Withers found freedom there as she recovers from pneu- rus pandemic. all of us, and while I believe art is in retirement. For him, there was monia. Penny Arcade also posted Wes Anderson’s previous one the strongest things we have nothing to do but enjoy a quiet life, an update to Facebook about film was the animated Isle of Dogs. to provide joy and healing to each unbothered. The thrall of celebrity her friend’s health, relaying that Read Pitchfork’s feature “How other during times like this, it just didn’t have any hold on him. “I’m Faithfull is isolated from visitors. Wes Anderson Perfected the doesn’t feel right to me to release not motivated to wanna draw Music-Nerd Soundtrack.” this album with all that is going on attention to myself or travel all during this global pandemic.” over the place,” he said in 2010. Wes Anderson’s “There was a time for that. When New Movie The Lady Gaga it was done it was done. Now it’s Reveals New King Gizzard & something else.” French The Lizard Dispatch Album Marianne Chromatica Wizard An- Faithfull Delayed nounce New There is a new release date Artwork Hospitalized for Wes Anderson’s forthcoming Concert Film with COVID-19 film The French Dispatch. The and Album movie was scheduled to arrive July Marianne Faithfull has been 24, but will now hit theaters on King Gizzard & The Lizard hospitalized in London due to October 16. The French Dispatch Wizard have announced a new coronavirus (COVID-19). She stars Frances McDormand, Bill concert film. Chunky Shrapnel was is “stable and responding to treat- Murray, Tilda Swinton, Benicio recorded on the band’s 2019 tour ment,” according to her manager del Toro, Owen Wilson, Elisabeth of Europe. It arrives April 17 with a François Ravard. Moss, Adrien Brody, Timothée live-streamed premiere, accompa- Faithfull’s longtime friend Chalamet, and more. Chromatica is the follow-up nied by a double-LP release of the Penny Arcade told Rolling Stone Tours, concerts, and festivals to Joanne and her A Star Is Born live album. Check out the trailer that Faithfull had checked herself have been postponed or canceled soundtrack. The record includes below. into a hospital on Monday (March en masse due to COVID-19. In her single “Stupid Love.” Gaga “Chunky Shrapnel was 30) following a few days of addition, many musicians— explained that she decided made for the cinema but as both symptoms. She told the outlet that including HAIM, Lady Gaga, and to delay the album due to the concerts and films are currently Faithfull had tested positive for the Kelly Lee Owens—have delayed COVID-19 pandemic. “This is outlawed, it feels poetic to release. 2 Pitchfork News How TikTok Gets Rich While Paying Artists Pennies The company behind lip-sync app TikTok is reportedly worth three times as much as Spotify, but the artists whose music powers the platform are seeing very little of that money. BY DUNCAN COOPER What is TikTok? goes by Smokehijabi, hitting one year later, people pay awed February, Smokehijabi is at her a blunt in a hijab and making tribute in that post’s comments absolute brattiest: “Hit or miss, I • An app, mostly used by unsparing use of the N-word. section. “BRO,” says one, “YOU guess they never miss, huh?/You young people Problematic in a half-dozen ways, CREATED AN EMPIRE.” got a boyfriend, I bet he doesn’t • Create and share short videos the video was a minor sensation The image was quickly kiss yaaaa!” Though Smokehijabi • Can add filters, effects, online, particularly among the copied and re-posted on dozens lives in Atlanta, her delivery has and sounds edgy sort of joker with a meme of other meme pages. There’s some an almost Midwestern whine to • Emphasizes user account on Instagram. In January debate whether iLOVEFRiDAY it; her melodies are straight and interaction 2018, one such user posted initially understood it was a joke, piercing, catchy to an obnoxious FROM NY TIMES a fake tweet that looked to be but they say it doesn’t really degree. According to Xeno Carr, written by the retired porn actress matter. “All of our fans were like, her partner in the group, in its first iLOVEFRiDAY’s first Mia Khalifa that paired a screen- ‘Screw Mia Khalifa, we don’t like few months on YouTube, the song song was a troll. The music shot of Smokehijabi from the clip her, diss her!’ So we dropped amassed five million views, , an video for “Hate Me” saw one with the caption, “She’s so disre- a diss track,” Smokehijabi tells inspiring number for an unsigned half of the duo, a 21-year-old spectful to all Muslim women and me. On that song, dubbed act. Then it hit TikTok, and people’s Pakistani-American rapper who gives us a bad image smh.” Now, “Mia Khalifa” and released last lives changed. Priscilla Ermel: Origens Da Luz Album Review Following Music From Memory’s Outro Tempo, a collection of Brazilian obscuri- ties, the label turns the spotlight on a forgotten composer who fused cello and guitar with the sounds of the rainforest. BY ANDY BETA Even the most committed end of the country’s military soundworlds glimpsed in Origens students of Brazilian music might regime. Ermel described that era Da Luz, a crucial compendium not have been familiar with the as not just “another time” but of Ermel’s singular work, drawn work of composer Priscilla Ermel “another tempo,” inspiring from the four albums she released until 2017. That was when Music compiler John Gómez to title the between 1986 and 1992. Born From Memory released Outro anthology after her phrase. and raised in São Paulo, Ermel, Tempo: Electronic and Ermel has called recordings who studied cello and guitar, was Contemporary Music From Brazil, from that period “portals through reared on Brazilian composer 1978-1992, introducing a which stories, people, and cultures Heitor Villa-Lobos and number of obscure Brazilian artists can be revealed.” It’s an apt bossa-nova master Tom Jobim, who were making music at the tail metaphor for the uncanny and both sensibilities filter down. 4 Pitchfork Illustration by Drew Litowitz, Playboi Carti photo by Edward Berthelot/Getty Images How Artist Imposters and Fake Songs Sneak Onto Streaming Services When songs leak on Spotify and Apple Music, illegal uploads can generate substantial royalty payments—but for whom? BY NOAH YOO Last December, new music In the most troubling of these released officially because of The related artists on Lil from Beyoncé and SZA appeared scenarios, fake releases have sample clearance issues involving Kambo’s page revealed even out of nowhere on Spotify and actually crept up the streaming Mai Yamane, whose 1980 song more Playboi Carti leakers, as Apple Music. Released under charts. In March 2019, when a “Tasogare” serves as the basis well as “artists” who were mas- the names “Queen Carter” and fake Rihanna album called Angel for its beat. None of the involved querading as Juice WRLD and Lil “Sister Solana” respectively, these was uploaded to iTunes and Apple artists—Yamane, Carti, Nudy—ul- Uzi Vert. Given the prevalence full-length projects initially seemed Music under the name “Fenty Fan- timately saw a dime from streams of such impersonators, it came as like surprise drops with a twist. tasia,” it made it as far as No. 67 of the song. no surprise when “Pissy Pamper Soon fans realized that something on the iTunes worldwide albums / Kid Cudi” made its way up the wasn’t right: Many of the Beyoncé chart before being yanked off the In the most Spotify Viral chart again, under a recordings came from old sessions, platform. Then, in May, a leak of “ different name, a month after the and the SZA songs sounded like Playboi Carti and Young Nudy’s troubling of these first fake was removed. Before the unfinished demos, which the singer “Pissy Pamper / Kid Cudi” was scenarios, fake end of June, five more unreleased later confirmed. Neither Beyoncé uploaded to Spotify as “Kid Playboi Carti tracks appeared on nor SZA had anything to do with Carti,” under the artist name “Lil releases have the rapper’s official Apple Music the releases, in fact. It wasn’t the Kambo.” Two million-plus streams actually crept page. Fans celebrated the leaks, first time a big artist’s music had later, “Kid Carti” topped the ser- up the streaming which made headlines on Genius been uploaded illegally to Spotify vice’s U.S.
Load more

Recommended publications
  • MCA-700 Midline/Reissue Series
    MCA 700 Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan MCA-700 Midline/Reissue Series: By the time the reissue series reached MCA-700, most of the ABC reissues had been accomplished in the MCA 500-600s. MCA decided that when full price albums were converted to midline prices, the albums needed a new number altogether rather than just making the administrative change. In this series, we get reissues of many MCA albums that were only one to three years old, as well as a lot of Decca reissues. Rather than pay the price for new covers and labels, most of these were just stamped with the new numbers in gold ink on the front covers, with the same jackets and labels with the old catalog numbers. MCA 700 - We All Have a Star - Wilton Felder [1981] Reissue of ABC AA 1009. We All Have A Star/I Know Who I Am/Why Believe/The Cycles Of Time//Let's Dance Together/My Name Is Love/You And Me And Ecstasy/Ride On MCA 701 - Original Voice Tracks from His Greatest Movies - W.C. Fields [1981] Reissue of MCA 2073. The Philosophy Of W.C. Fields/The "Sound" Of W.C. Fields/The Rascality Of W.C. Fields/The Chicanery Of W.C. Fields//W.C. Fields - The Braggart And Teller Of Tall Tales/The Spirit Of W.C. Fields/W.C. Fields - A Man Against Children, Motherhood, Fatherhood And Brotherhood/W.C. Fields - Creator Of Weird Names MCA 702 - Conway - Conway Twitty [1981] Reissue of MCA 3063.
    [Show full text]
  • National Arts Awards Monday, October 19, 2015
    2015 Americans for the Arts National Arts Awards Monday, October 19, 2015 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Musical Director, Jake Goldbas Philanthropy in the Arts Award Legacy Award Joan and Irwin Jacobs Maria Arena Bell Presented by Christopher Ashley Presented by Jeff Koons Outstanding Contributions to the Arts Award Young Artist Award Herbie Hancock Lady Gaga 1 Presented by Paul Simon Presented by Klaus Biesenbach Arts Education Award Carolyn Clark Powers Alice Walton Lifetime Achievement Award Presented by Agnes Gund Sophia Loren Presented by Rob Marshall Dinner Closing Remarks Remarks by Robert L. Lynch and Abel Lopez, Chair, introduction of Carolyn Clark Powers Americans for the Arts Board of Directors and Robert L. Lynch Remarks by Carolyn Clark Powers Chair, National Arts Awards Greetings from the Board Chair and President Welcome to the 2015 National Arts Awards as Americans for the Arts celebrates its 55th year of advancing the arts and arts education throughout the nation. This year marks another milestone as it is also the 50th anniversary of President Johnson’s signing of the act that created America’s two federal cultural agencies: the National Endowment for the Arts and the National Endowment for the Humanities. Americans for the Arts was there behind the scenes at the beginning and continues as the chief advocate for federal, state, and local support for the arts including the annual NEA budget. Each year with your help we make the case for the funding that fuels creativity and innovation in communities across the United States.
    [Show full text]
  • What's the Download® Music Survival Guide
    WHAT’S THE DOWNLOAD® MUSIC SURVIVAL GUIDE Written by: The WTD Interactive Advisory Board Inspired by: Thousands of perspectives from two years of work Dedicated to: Anyone who loves music and wants it to survive *A special thank you to Honorary Board Members Chris Brown, Sway Calloway, Kelly Clarkson, Common, Earth Wind & Fire, Eric Garland, Shirley Halperin, JD Natasha, Mark McGrath, and Kanye West for sharing your time and your minds. Published Oct. 19, 2006 What’s The Download® Interactive Advisory Board: WHO WE ARE Based on research demonstrating the need for a serious examination of the issues facing the music industry in the wake of the rise of illegal downloading, in 2005 The Recording Academy® formed the What’s The Download Interactive Advisory Board (WTDIAB) as part of What’s The Download, a public education campaign created in 2004 that recognizes the lack of dialogue between the music industry and music fans. We are comprised of 12 young adults who were selected from hundreds of applicants by The Recording Academy through a process which consisted of an essay, video application and telephone interview. We come from all over the country, have diverse tastes in music and are joined by Honorary Board Members that include high-profile music creators and industry veterans. Since the launch of our Board at the 47th Annual GRAMMY® Awards, we have been dedicated to discussing issues and finding solutions to the current challenges in the music industry surrounding the digital delivery of music. We have spent the last two years researching these issues and gathering thousands of opinions on issues such as piracy, access to digital music, and file-sharing.
    [Show full text]
  • The University of Wyoming Board of Trustees' Report
    THE UNIVERSITY OF WYOMING BOARD OF TRUSTEES’ REPORT November 12-14, 2014 The final report can be found on the University of Wyoming Board of Trustees website at http://www.uwyo.edu/trustees/ University of Wyoming Mission Statement (March 2009) The University of Wyoming aspires to be one of the nation’s finest public land-grant research universities. We serve as a statewide resource for accessible and affordable higher education of the highest quality; rigorous scholarship; technology transfer; economic and community development; and responsible stewardship of our cultural, historical, and natural resources. In the exercise of our primary mission to promote learning, we seek to provide academic and co-curricular opportunities that will: • Expose students to the frontiers of scholarship and creative activity and the complexities of an interdependent world; • Ensure individual interactions among students, faculty, and staff; • Nurture an environment that values and manifests diversity, free expression, academic freedom, personal integrity, and mutual respect; and • Promote opportunities for personal growth, physical health, athletic competition, and leadership development for all members of the University community. As Wyoming’s only university, we are committed to outreach and service that extend our human talent and technological capacity to serve the people in our communities, our state, the nation, and the world. The primary vehicles for identifying the specific actions and resource allocations needed to accomplish this complex mission are the University’s strategic plans, revised periodically. TRUSTEES OF THE UNIVERSITY OF WYOMING AGENDA November 12-14, 2014 WORK SESSIONS UW Students, Student Safety, McGinity/Samp/Axelson ................................................................ 1 UW Response to University of North Carolina’s Academic Fraud Findings, Burman/Hagy ........
    [Show full text]
  • Eva Dahlgren 4 Vast Resource of Information Not Likely Found in Much of Gay Covers for Sale 6 Mainstream Media
    Lambda Philatelic Journal PUBLICATION OF THE GAY AND LESBIAN HISTORY ON STAMPS CLUB DECEMBER 2004, VOL. 23, NO. 4, ISSN 1541-101X Best Wishes French souvenir sheet issued to celebrate the new year. December 2004, Vol. 23, No. 4 The Lambda Philatelic Journal (ISSN 1541-101X) is published MEMBERSHIP: quarterly by the Gay and Lesbian History on Stamps Club (GLHSC). GLHSC is a study unit of the American Topical As- Yearly dues in the United States, Canada and Mexico are sociation (ATA), Number 458; an affiliate of the American Phila- $10.00. For all other countries, the dues are $15.00. All telic Society (APS), Number 205; and a member of the American checks should be made payable to GLHSC. First Day Cover Society (AFDCS), Number 72. Single issues $3. The objectives of GLHSC are to promote an interest in the col- There are two levels of membership: lection, study and dissemination of knowledge of worldwide philatelic material that depicts: 1) Supportive, your name will not be released to APS, ATA or AFDCS, and 6 Notable men and women and their contributions to society 2) Active, your name will be released to APS, ATA and for whom historical evidence exists of homosexual or bisex- AFDCS (as required). ual orientation, Dues include four issues of the Lambda Philatelic Journal and 6 Mythology, historical events and ideas significant in the his- a copy of the membership directory. (Names will be with- tory of gay culture, held from the directory upon request.) 6 Flora and fauna scientifically proven to having prominent homosexual behavior, and ADVERTISING RATES: 6 Even though emphasis is placed on the above aspects of stamp collecting, GLHSC strongly encourages other phila- Members are entitled to free ads.
    [Show full text]
  • A Jewinican (Re)Collection Roberto Alejandro Santos University of Texas at El Paso, [email protected]
    University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2010-01-01 Exile in the Gramola: A Jewinican (Re)Collection Roberto Alejandro Santos University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the American Literature Commons, Ethnic Studies Commons, Fine Arts Commons, and the Literature in English, North America Commons Recommended Citation Santos, Roberto Alejandro, "Exile in the Gramola: A Jewinican (Re)Collection" (2010). Open Access Theses & Dissertations. 2777. https://digitalcommons.utep.edu/open_etd/2777 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. EXILE IN THE GRAMOLA: A JEWINICAN (RE)COLLECTION ROBERTO ALEJANDRO SANTOS Department of Creative Writing APPROVED: _____________________________________________ Benjamin Alire Sáenz, Committee Chair _____________________________________________ Sasha Pimentel Chacón, M.F.A. _____________________________________________ Maceo Dailey, Ph.D. _____________________________________________ Patricia D. Witherspoon, Ph.D. Dean of the Graduate School Copyright © 2010 by Roberto Alejandro Santos All Rights Reserved. Livication For my family & friends EXILE IN THE GRAMOLA: A JEWINICAN (RE)COLLECTION by ROBERTO ALEJANDRO SANTOS, B.A., M.F.A. THESIS Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF FINE ARTS Department of Creative Writing THE UNIVERSITY OF TEXAS AT EL PASO May 2010 Preface to Exile in the Gramola : A Jewinican (Re)Collection What is a book of poetry but a collection of words and lines, truths and lies, questions and almost-answers.
    [Show full text]
  • Biu Withers by Rob Bowman He Was the Leading Figure in the Nascent Black Singer-Songwriter Movement of the Early 1970S
    PERFORMERS BiU Withers By Rob Bowman He was the leading figure in the nascent black singer-songwriter movement of the early 1970s. BILL WITHERS WAS SIMPLY NOT BORN TO PLAY THE record industry game. His oft-repeated descriptor for A&R men is “antagonistic and redundant.” Not surprisingly, most A&R men at Columbia Records, the label he recorded for beginning in 1975, considered him “difficult.” Yet when given the freedom to follow his muse, Withers wrote, sang, and in many cases produced some of our most enduring classics, including “Ain’t No Sunshine,” “Lean on Me,” “Use Me,” “Lovely Day,” “Grandma’s Hands,” and “Who Is He (and What Is He to You).” ^ “Not a lot of people got me,” Withers recently mused. “Here I was, this black guy playing an acoustic guitar, and I wasn’t playing the gut-bucket blues. People had a certain slot that they expected you to fit in to.” ^ Withers’ story is about as improb­ able as it could get. His first hit, “Ain’t No Sunshine,” recorded in 1971 when he was 33, broke nearly every pop music rule. Instead of writing words for a bridge, Withers audaciously repeated “I know” twenty-six times in a row. Moreover, the two-minute song had no introduction and was released as a throwaway B-side. Produced by Stax alumni Booker T. Jones for Sussex Records, the single’s struc­ ture, sound, and sentiment were completely unprecedented and pos­ sessed a melody and lyric that tapped into the Zeitgeist of the era. Like much of Withers’ work, it would ultimately prove to be timeless.
    [Show full text]
  • Scatternagaris
    1. In a parody Genius Verified video about this verse, a man dressed up as its artist spills lean on himself and says “what I mean by those lyrics is uh...I don’t really know...you know what I’m saying?”. This verse’s “LYRICS CANNOT BE (+) TRANSCRIBED” according to a tweet made by the primary artist of the song its featured on. In the music video for that song, this verse plays while a person wearing a blonde wig plays a rotating piano that catches on fire. A person described in this verse as (*) “wicked” was once embroiled in a feud with Bhad Bhabie [“baby”] and is known as “Woah Vicky”. This verse begins “We ain’t gotta ball, D. Rose.” For 10 points, name this verse by a mumble rapper on a song from Tyler the Creator’s Igor. ANSWER: Playboi Carti’s Earfquake verse [prompt on “Playboi Carti” or “Earfquake” alone] 2. This show is referenced by an ad-lib that follows the line “I was crusin’ down the street, four deep'' in “I <3 [“heart”] My Choppa” by Tay-K. The lines “she got ironic tattoos on her back / that ain't ironic...I love [this show]” appear on Childish Gambino’s “L.E.S.” Lil Yachty raps “keep that choppa on me at all times / these [people] be snakes,” on a song that samples this show’s title track. YBN Cordae’s raps about how he keeps a (+) submachine gun on him like this show on the chorus of “Kung Fu''. On (*) Cocoa Butter Kisses,” Chance reminisces about “orange cassette tapes” and this TV how.
    [Show full text]
  • LA VIE EN ROSE LIVIN’ and LOVIN’ with LOUIS ARMSTRONG
    LA VIE EN ROSE LIVIN’ and LOVIN’ with LOUIS ARMSTRONG Words are completely inadequate when attempting to convey the spirit of Louis Armstrong to anyone unfamiliar with his genius. It is far better to learn about Armstrong, also known as Satchmo, Pops, Papa Dip, through his music. And yet, to define his accomplishment solely through music is to overlook the totality of his unique contributions to the world. There is much to discover when we widen our focus. Through his story, we can examine how technology can be used to document change through the lens of a single person’s life. His long career spans the timeline of developing media: print media, photography, sound recordings, radio and television broadcasting, and film. Even today his legacy is spread through developing new media. With Internet access, any student can get their daily dose of Satchmo through iTunes, YouTube, Facebook, or Twitter. Satchmo used every means possible to create and communicate, and he was truly a pioneer exploring new technologies. Armstrong was constantly recording his story, first with pen and paper, next using with his trusty typewriter to write memoirs, essays and letters. He took to lugging around a reel‐to‐reel tape recorder on tour. He tucked scissors and scotch tape in his pockets to make collages whenever he had a spare moment. He amassed a personal collection of 1,600 recordings, 650 home recorded tapes in hand‐decorated boxes, 5,000 photographs, and 86 scrapbooks. He was often the first African American performer to break through racial barriers — in radio programs, animated shorts, early soundies, television shows, commercial advertisements, and in full‐length feature films — in a time when people of color could not walk through the front door of many public establishments, sit in the front of the bus, or go to an integrated school.
    [Show full text]
  • Identifying Atlanta: John Portman, Postmodernism, and Pop-Culture" (2017)
    Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Identifying Atlanta: John Portman, Postmodernism, and Pop- Culture August McIntyre Dine Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Architectural History and Criticism Commons, and the Urban, Community and Regional Planning Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Dine, August McIntyre, "Identifying Atlanta: John Portman, Postmodernism, and Pop-Culture" (2017). Senior Projects Spring 2017. 128. https://digitalcommons.bard.edu/senproj_s2017/128 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Identifying Atlanta: John Portman, Postmodernism, and Pop Culture Senior Project Submitted to The Division of Social Studies of Bard College by August Dine Annandale-on-Hudson, New York May 2016 Acknowledgements Thanks to my advisor, Pete L’Official; my friends; and my family. Table of Contents Introduction…………………………………………………………………….…………………1 Chapter 1: Two Atlantas………………………………………………………….………………4 Chapter 2: The Peachtree Center…..…………………………...………………………………..23 Chapter 3: Pop Culture…………………………..……………………………………………....33 1 Introduction In his 1995 text “Atlanta,” architect, theorist, and notorious provocateur1 Rem Koolhaas claims, “Atlanta has culture, or at least it has a Richard Meier Museum.”2 Koolhaas is implying that the collection at Atlanta’s High Museum of Art is a cultural veneer.
    [Show full text]
  • "Eustace the Monk" and Compositional Techniques
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 An original composition, Symphony No. 1, "Eustace the Monk" and compositional techniques used to elicit musical humor Samuel Howard Stokes Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Stokes, Samuel Howard, "An original composition, Symphony No. 1, "Eustace the Monk" and compositional techniques used to elicit musical humor" (2013). LSU Doctoral Dissertations. 1053. https://digitalcommons.lsu.edu/gradschool_dissertations/1053 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. AN ORIGINAL COMPOSITION, SYMPHONY NO. 1, "EUSTACE THE MONK" AND COMPOSITIONAL TECHNIQUES USED TO ELICIT MUSICAL HUMOR A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements of the degree of Doctor of Philosophy in The School of Music by Samuel Stokes B.M., University of Central Missouri, 2002 M.A., University of Central Missouri, 2005 M.M., The Florida State University, 2006 May 2013 ACKNOWLEDGMENTS I would like to thank Dinos Constantinides for his valuable guidance and enthusiasm in my development as a composer. He has expanded my horizons by making me think outside of the box while leaving me enough room to find my own compositional voice.
    [Show full text]
  • Dream Shake Song List
    Dream Shake Song List My Stupid Mouth – John Mayer Nature Boy – Nat King Cole Africa – D’angelo On & On – Erykah Badu Aint No Sunshine – Bill Withers One Mo Gin’ – D’angelo Back in the Day – Erykah Badu Ordinary People – John Legend Banana Pancakes – Jack Johnson Roses – Outkast Brown Sugar – D’angelo Save Room – John Legend City Love – John Mayer Senorita – Justin Timberlake Crazy – Gnarls Barkley Seven Nation Army – White Stripes (Ben l Oncle Cruisin’ – D’angelo Soul) Don’t Worry Be Happy – Bobby Mcferrin Sitting, Waiting, Wishing – Jack Johnson Easy Like Sunday Morning – Lionel Richie Slow Dancing – John Mayer Fallin’ – Alicia Keys Stay With You – John Legend Feel Like Making Love – Roberta Flack (D’angelo) Suit & Tie – Justin Timberlake Georgia On My Mind – Ray Charles Sunday Morning – Maroon 5 Get Lucky – Daft Punk Sunny – Bobby Hebb Got to Give it up – Marvin Gaye Super Rich Kids – Frank Ocean Gravity – John Mayer Taylor – Jack Johnson Hey Ya – Outkast Thinkin Bout You - Frank Ocean Hit the Road Jack – Ray Charles Vallery – Amy Winehouse I Need a Dollar – Aloe Black Waiting in Vain – Bob Marley I Shot the Sheriff – Bob Marley What’s Going On – Marvin Gaye Isn’t She Lovely – Stevie Wonder When We get By – D’angelo Just Friends – Musiq Soulchild Why Georgia – John Mayer Lazy Song – Bruno Mars Wonderful World – Louis Armstrong Lean On Me – Bill Withers Your Body is a Wonderland – John Mayer Lovely Day – Bill Withers And many more… Man’s World – James Brown Mercy Mercy Me – Marvin Gaye Ms. Jackson – Outkast .
    [Show full text]