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Indie Mixtape 20 Q&A Is with Proper., Who Can Sing All the Words to Every Kanye and Say Anything Album (Even the Bad Ones)
:: View email as a web page :: Chuck Klosterman once observed that every straight American man “has at least one transitionary period in his life when he believes Led Zeppelin is the only good band that ever existed.” Typically, this “Zeppelin phase” occurs in one’s teens, when a band that sings lasciviously about squeezing lemons while contemplating hobbits aligns with the surging hormones of the listener. But what about when you hit your early 30s? Is there a band that corresponds with graying beards and an encroaching sense of mortality? We believe, based on anecdotal evidence, that this band is the Grateful Dead. So many people who weren’t Dead fans when Jerry Garcia was alive have come to embrace the band, including many people in the indie-rock community, whether it’s Ezra Koenig of Vampire Weekend, Jim James of My Morning Jacket, or scores of others. Check out this piece on why the Dead is so popular now, even as the 25th anniversary of Garcia’s death looms, and let us know why you like them on Twitter. -- Steven Hyden, Uproxx Cultural Critic and author of This Isn't Happening: Radiohead's "Kid A" And The Beginning Of The 21st Century PS: Was this email forwarded to you? Join the band here. In case you missed it... Our YouTube channel just added a swath official music videos from Tori Amos and Faith No More. After a handful of delays, we now have an official release date for the new album from The Killers, as well as a new song. -
SOCIAL CLASS in AMERICA TRANSCRIPT – FULL Version
PEOPLE LIKE US: SOCIAL CLASS IN AMERICA TRANSCRIPT – FULL Version Photo of man on porch dressed in white tank top and plaid shorts MAN: He looks lower class, definitely. And if he’s not, then he’s certainly trying to look lower class. WOMAN: Um, blue collar, yeah, plaid shorts. MAN: Lower middle class, something about the screen door behind him. WOMAN ON RIGHT, BROWN HAIR: Pitiful! WOMAN ON LEFT, BLOND HAIR, SUNGLASSES: Lower class. BLACK WOMAN, STANDING WITH WHITE MAN IN MALL: I mean, look how high his pants are up–my god! Wait a minute–I’m sorry, no offense. Something he would do. Photo of slightly older couple. Man is dressed in crisp white shirt, woman in sleeveless navy turtle neck with pearl necklace. WOMAN: Upper class. MAN: Yeah, definitely. WOMAN: Oh yeah. WOMAN: He look like he the CEO of some business. OLD WOMAN: The country club set- picture of smugness. GUY ON STREET: The stereotypical “my family was rich, I got the money after they died, now we’re happily ever after.” They don’t really look that happy though. Montage of images: the living situations of different social classes Song: “When you wish upon a star, makes no difference who you are. Anything your heart desires will come to you. If your heart is in your dream, no request is too extreme.” People Like Us – Transcript - page 2 R. COURI HAY, society columnist: It’s basically against the American principle to belong to a class. So, naturally Americans have a really hard time talking about the class system, because they really don’t want to admit that the class system exists. -
Pulp Intro the Gift Recordings Mp3, Flac, Wma
Pulp Intro The Gift Recordings mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Rock Album: Intro The Gift Recordings Country: UK Released: 1993 Style: Synth-pop, Indie Rock MP3 version RAR size: 1273 mb FLAC version RAR size: 1963 mb WMA version RAR size: 1418 mb Rating: 4.7 Votes: 791 Other Formats: MOD MPC MP4 ASF AAC AU RA Tracklist Hide Credits Space 1 5:11 Engineer – Alan Fish*Producer – Mike Timm, Simon Hinkler O.U. (12" Mix) 2 Engineer – Alan Fish*Producer – Mike Timm, Pulp, Simon HinklerRemix – Ed 3:44 Buller Babies 3 4:05 Engineer – Santiago Mixed By – Ed BullerProducer – Ed Buller Styloroc (Nites Of Suburbia) 4 3:10 Engineer – Santiago Mixed By – Ed BullerProducer – Ed Buller Razzmatazz 5 Engineer – John Smith , Luke GordonProducer, Recorded By – Ed BullerRemix, 3:40 Producer [Additonal] – Phil Vinall Sheffield: Sex City 6 Engineer – Santiago Mixed By – Jarvis Cocker, Steve Mackey, ZebeeProducer – 8:30 Ed Buller Inside Susan: A Story In 3 Songs Stacks 7 2:42 Producer – PulpStylophone [Additional] – Mark Webber Inside Susan 8 5:35 Producer – Pulp 59 Lyndhurst Grove 9 3:33 Producer – Pulp Companies, etc. Phonographic Copyright (p) – Island Records Ltd. Copyright (c) – Island Records Ltd. Made By – PDO, UK – 10255741 Published By – Island Music Ltd. Credits Artwork – The Designers Republic Bass – Steve Mackey Drums – Nick Banks Guitar – Russell Senior Lyrics By – Jarvis Cocker Music By – Pulp Organ – Candida Doyle Photography By – Kevin Westerberg* Stylophone – Candida Doyle Synthesizer – Candida Doyle Violin – Russell Senior Vocals – Jarvis Cocker Notes This release is similar to Intro. The Gift Recordings but with "Promo Only Not For Sale" printed on the CD. -
'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Glasgow School of Art: RADAR 'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir) David Sweeney During the Britpop era of the 1990s, the name of Mike Leigh was invoked regularly both by musicians and the journalists who wrote about them. To compare a band or a record to Mike Leigh was to use a form of cultural shorthand that established a shared aesthetic between musician and filmmaker. Often this aesthetic similarity went undiscussed beyond a vague acknowledgement that both parties were interested in 'real life' rather than the escapist fantasies usually associated with popular entertainment. This focus on 'real life' involved exposing the ugly truth of British existence concealed behind drawing room curtains and beneath prim good manners, its 'secrets and lies' as Leigh would later title one of his films. I know this because I was there. Here's how I remember it all: Jarvis Cocker and Abigail's Party To achieve this exposure, both Leigh and the Britpop bands he influenced used a form of 'real world' observation that some critics found intrusive to the extent of voyeurism, particularly when their gaze was directed, as it so often was, at the working class. Jarvis Cocker, lead singer and lyricist of the band Pulp -exemplars, along with Suede and Blur, of Leigh-esque Britpop - described the band's biggest hit, and one of the definitive Britpop songs, 'Common People', as dealing with "a certain voyeurism on the part of the middle classes, a certain romanticism of working class culture and a desire to slum it a bit". -
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in Partial Fulfillment Of
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Dana DeVlieger, B.A., M.A. Graduate Program in Music The Ohio State University 2016 Thesis Committee: Graeme M. Boone, Advisor Johanna Devaney Anna Gawboy Copyright by Dana Lauren DeVlieger 2016 Abstract “Whiskey in the Jar” is a traditional Irish song that is performed by musicians from many different musical genres. However, because there are influential recordings of the song performed in different styles, from folk to punk to metal, one begins to wonder what the role of the song’s Irish heritage is and whether or not it retains a sense of Irish identity in different iterations. The current project examines a corpus of 398 recordings of “Whiskey in the Jar” by artists from all over the world. By analyzing acoustic markers of Irishness, for example an Irish accent, as well as markers of other musical traditions, this study aims explores the different ways that the song has been performed and discusses the possible presence of an “Irish feel” on recordings that do not sound overtly Irish. ii Dedication Dedicated to my grandfather, Edward Blake, for instilling in our family a love of Irish music and a pride in our heritage iii Acknowledgments I would like to thank my advisor, Graeme Boone, for showing great and enthusiasm for this project and for offering advice and support throughout the process. I would also like to thank Johanna Devaney and Anna Gawboy for their valuable insight and ideas for future directions and ways to improve. -
American Punk: the Relations Between Punk Rock, Hardcore, and American Culture
American Punk: The Relations between Punk Rock, Hardcore, and American Culture Gerfried Ambrosch ABSTRACT Punk culture has its roots on both sides of the Atlantic. Despite continuous cross-fertiliza- tion, the British and the American punk traditions exhibit distinct features. There are notable aesthetic and lyrical differences, for instance. The causes for these dissimilarities stem from the different cultural, social, and economic preconditions that gave rise to punk in these places in the mid-1970s. In the U. K., punk was mainly a movement of frustrated working-class youths who occupied London’s high-rise blocks and whose families’ livelihoods were threatened by a declin- ing economy and rising unemployment. Conversely, in America, punk emerged as a middle-class phenomenon and a reaction to feelings of social and cultural alienation in the context of suburban life. Even city slickers such as the Ramones, New York’s counterpart to London’s Sex Pistols and the United States’ first ‘official’ well-known punk rock group, made reference to the mythology of suburbia (not just as a place but as a state of mind, and an ideal, as well), advancing a subver- sive critique of American culture as a whole. Engaging critically with mainstream U.S. culture, American punk’s constitutive other, punk developed an alternative sense of Americanness. Since the mid-1970s, punk has produced a plethora of bands and sub-scenes all around the world. This phenomenon began almost simultaneously on both sides of the Atlantic—in London and in New York, to be precise—and has since spread to the most remote corners of the world. -
“All Politicians Are Crooks and Liars”
Blur EXCLUSIVE Alex James on Cameron, Damon & the next album 2 MAY 2015 2 MAY Is protest music dead? Noel Gallagher Enter Shikari Savages “All politicians are Matt Bellamy crooks and liars” The Horrors HAVE THEIR SAY The GEORGE W BUSH W GEORGE Prodigy + Speedy Ortiz STILL STARTING FIRES A$AP Rocky Django Django “They misunderestimated me” David Byrne THE PAST, PRESENT & FUTURE OF MUSIC Palma Violets 2 MAY 2015 | £2.50 US$8.50 | ES€3.90 | CN$6.99 # "% # %$ % & "" " "$ % %"&# " # " %% " "& ### " "& "$# " " % & " " &# ! " % & "% % BAND LIST NEW MUSICAL EXPRESS | 2 MAY 2015 Anna B Savage 23 Matthew E White 51 A$AP Rocky 10 Mogwai 35 Best Coast 43 Muse 33 REGULARS The Big Moon 22 Naked 23 FEATURES Black Rebel Motorcycle Nicky Blitz 24 Club 17 Noel Gallagher 33 4 Blanck Mass 44 Oasis 13 SOUNDING OFF Blur 36 Paddy Hanna 25 6 26 Breeze 25 Palma Violets 34, 42 ON REPEAT The Prodigy Brian Wilson 43 Patrick Watson 43 Braintree’s baddest give us both The Britanys 24 Passion Pit 43 16 IN THE STUDIO Broadbay 23 Pink Teens 24 Radkey barrels on politics, heritage acts and Caribou 33 The Prodigy 26 the terrible state of modern dance Carl Barât & The Jackals 48 Radkey 16 17 ANATOMY music. Oh, and eco light bulbs… Chastity Belt 45 Refused 6, 13 Coneheads 23 Remi Kabaka 15 David Byrne 12 Ride 21 OF AN ALBUM De La Soul 7 Rihanna 6 Black Rebel Motorcycle Club 32 Protest music Django Django 15, 44 Rolo Tomassi 6 – ‘BRMC’ Drenge 33 Rozi Plain 24 On the eve of the general election, we Du Blonde 35 Run The Jewels 6 -
Different Class Pulp Island; 1 995 Originally Published January 22, 2013 on Probably Just Hungry
Different Class Pulp Island; 1 995 originally published January 22, 2013 on Probably Just Hungry Despite a love for fish and chips and a nostalgic fondness for my punk and goth phases, I don’t claim to know much more than a little about the way class systems work in the United Kingdom. What I do understand is that it’s something that pervades the culture there, maybe a bit like race does in the U.S. — a topic with a long and complex history, further complicated by the tumult of the post-Industrial age. I mean, that would make sense looking back at the way counter culture movements seemed to flourish there. Punk, as an example, is an original concoction of the grimy underbelly of New York City, but it never really took off until it hit British shores, where it went global and remains, to this day, a defining characteristic of that generation. Of course, in 1 995, when Pulp’s Different Class was released, I knew nothing of the above, much less who Pulp was. In fact, I wouldn’t even discover the band/album until almost 1 0 years later. Even then, well into high school, I wasn’t aware of any of the topical undercurrents on the album. (Well, aside from the smarmy swagger of Jarvis Cocker, which reach near-predatory levels here.) But now, much later, it clicks. With a name like Different Class, a track titled ”Common People” and lyrics like, ”Mis-shapes, mistakes, misfits / raised on a diet of broken biscuits / We don’t look the same as you / We don’t do the things you do / but we live around here too,” there’s no question that this is an album about class. -
Dusting 'Em Off: Lush – Lovelife
Dusting ‘Em Off: Lush – Lovelife consequenceofsound.net/2012/04/dusting-em-off-lush-lovelife/ 4/28/2012 Lush’s third and final album, Lovelife, turns 16 this year. A sixteenth birthday is admittedly an unusual time to revisit an album, as tradition dictates that such occasions be reserved for anniversaries divisible by five, but Lovelife is one of those albums that has and will likely continue to remain uncelebrated and forgotten on its milestone anniversaries. Sure, Lush still retains a dedicated, loyal following and continues to gain new fans, but how often do they appear in critics’ “top albums and songs of the ’90s” lists? Not often enough. One of the guarantees in the world of music journalism is that any discussion of the history and relevance of 1/3 shoegaze will inevitably focus on how Cocteau Twins and The Jesus and Mary Chain pioneered the shimmering style, while My Bloody Valentine perfected it. Sometimes, Slowdive and Ride will be included, but Lush will likely earn a passing reference at best. Despite generally positive reviews and a commercial viability that found the London quartet playing television shows everywhere and successfully touring American cities other British bands of the ’90s never dared to tread, Lush has seemingly been forgotten or omitted for consideration as one of the shoegaze greats. This diminished legacy is at least partly because Lovelife is when Lush allegedly “went pop.” “Ladykillers” opens Lovelife with an attention-seizing circular melody and spunky vocals from Miki Berenyi that are no longer floating along in a sea of reverb. Confidently at the forefront, Berenyi eviscerates Anthony Kiedis, Matt Sharp, and men with transparent agendas and dubious attitudes towards women everywhere with an infectiously sarcastic wit. -
112 It's Over Now 112 Only You 311 All Mixed up 311 Down
112 It's Over Now 112 Only You 311 All Mixed Up 311 Down 702 Where My Girls At 911 How Do You Want Me To Love You 911 Little Bit More, A 911 More Than A Woman 911 Party People (Friday Night) 911 Private Number 10,000 Maniacs More Than This 10,000 Maniacs These Are The Days 10CC Donna 10CC Dreadlock Holiday 10CC I'm Mandy 10CC I'm Not In Love 10CC Rubber Bullets 10CC Things We Do For Love, The 10CC Wall Street Shuffle 112 & Ludacris Hot & Wet 1910 Fruitgum Co. Simon Says 2 Evisa Oh La La La 2 Pac California Love 2 Pac Thugz Mansion 2 Unlimited No Limits 20 Fingers Short Dick Man 21st Century Girls 21st Century Girls 3 Doors Down Duck & Run 3 Doors Down Here Without You 3 Doors Down Its not my time 3 Doors Down Kryptonite 3 Doors Down Loser 3 Doors Down Road I'm On, The 3 Doors Down When I'm Gone 38 Special If I'd Been The One 38 Special Second Chance 3LW I Do (Wanna Get Close To You) 3LW No More 3LW No More (Baby I'm A Do Right) 3LW Playas Gon' Play 3rd Strike Redemption 3SL Take It Easy 3T Anything 3T Tease Me 3T & Michael Jackson Why 4 Non Blondes What's Up 5 Stairsteps Ooh Child 50 Cent Disco Inferno 50 Cent If I Can't 50 Cent In Da Club 50 Cent In Da Club 50 Cent P.I.M.P. (Radio Version) 50 Cent Wanksta 50 Cent & Eminem Patiently Waiting 50 Cent & Nate Dogg 21 Questions 5th Dimension Aquarius_Let the sunshine inB 5th Dimension One less Bell to answer 5th Dimension Stoned Soul Picnic 5th Dimension Up Up & Away 5th Dimension Wedding Blue Bells 5th Dimension, The Last Night I Didn't Get To Sleep At All 69 Boys Tootsie Roll 8 Stops 7 Question -
005-130101-Intelligent-Life-Magazine
CULTURE MUSIC Something in the air For the past year, a boat in the sky has been London’s quirkiest rock venue. The curator was Laura Barton, music writer and IL contributor There was a problem with the spinny horn. Was the boat big enough to accommodate a shellacked double-horn speaker, standing 28 inches tall and with a 40-inch wingspan? And who would pay for its safe passage from Chicago to London? It was two weeks before the start of Sounds from a Room. The multi-instrumentalist Andrew Bird was due to perform the inaugural concert, and suddenly everything was in jeopardy; the elaborate speaker was looking like a deal-breaker. I googled a picture of the spinny horn, pressed my face into my hands, and wondered whether this sense of imminent catastro- phe would continue all year. It had all started with a glass of wine. One warm evening in 2011, Michael Morris, co-director of the and designed by David Kohn Architects in collabora- Boating song innovative arts organisation Artangel, invited me tion with the artist Fiona Banner, it was inspired by the ABOVE Laura Barton joins the Texan singer for a drink. We sat outside and sipped rosé while he Roi des Belges — the steamer that Joseph Conrad sailed Josh T. Pearson on explained a grand project for the coming year: as part down the Congo in 1889, on the journey that led him board. OPPOSITE The of London’s Cultural Olympiad, Artangel would be to write “Heart of Darkness”. Our boat was not inten- boat, inspired by “Heart of Darkness” placing a boat on top of the Queen Elizabeth Hall. -
Negus MQ 3 FINAL For
Narrative, Interpretation and the Popular Song Keith Negus FINAL VERSION submitted to Musical Quarterly February 2012 (prior to editing for publication). This text includes a minor amendment to acknowledge the passing of Walter Becker. For the published version go here – https://academic.oup.com/mq/article-abstract/95/2- 3/368/1009964?redirectedFrom=fulltext The text includes lyrics from Kid Charlemagne Words and Music by Walter Becker and Donald Fagen Copyright © 1976 UNIVERSAL MUSIC CORP. Copyright Renewed. All Rights Reserved. Used by Permission. Narrative, Interpretation and the Popular Song The value of narratives in human understanding of the world is widely recognized. The importance of narrative is apparent in varieties of everyday storytelling as well is in written fiction, drama, spectacle and ritual, visual art and film, architecture, legal proceedings, scientific reports and political theory, to provide a only partial list indicative of the range. Yet, the popular song - one of the most pervasive narrative forms that people encounter in their daily lives - has been almost entirely ignored in the vast literature on narrative.1 Whilst narratological methods have often featured in the interpretation of western art music2 and film music3, and although literary approaches to lyrics have sometimes emphasized a poetics of storytelling4, theories of narrative have rarely been foregrounded in the study of popular songs.5 In this article I will focus on narrative to explore practices of interpretation in both scholarship and everyday discussion about popular songs. I will emphasize the intersubjective interpretation of song meanings and advocate an “intercontextual” approach to the understanding of song narratives, drawing from research which emphasizes how our knowledge of the world is cumulative and always in a process of becoming through time.