You Disco I Freak: New Single Reviews
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Dennis Morris: Pil - First Issue to Metal Box 23 March - 15 May 2016 ICA Fox Reading Room
ICA For immediate release: 13 January 2016 Dennis Morris: PiL - First Issue to Metal Box 23 March - 15 May 2016 ICA Fox Reading Room Album cover image from PiL’s first album Public Image: First Issue (1978). © Dennis Morris – all rights reserved. The ICA presents rarely seen photographs and ephemera relating to the early stages of the band Public Image Ltd’s (PiL) design from 1978-79 with a focus on the design of the album Metal Box. Original band members included John Lydon (aka Johnny Rotten - vocals), Keith Levene (lead guitar), Jah Wobble (bass) and Jim Walker (drums). Working closely with photographer and designer Dennis Morris, the display explores the evolution of the band’s identity, from their influential journey to Jamaica in 1978 to the design of the iconic Metal Box. Set against a backdrop of political and social upheaval in the UK, the years 1978-79 marked a period that hailed the end of the Sex Pistols and the subsequent shift from Punk to New Wave. Morris sought to capture this era by creating a strong visual identity for the band. His subsequent designs further aligned PiL with a style and attitude that announced a new chapter in music history. For PiL’s debut single Public Image, Morris designed a record sleeve in the format of a single folded sheet of tabloid newspaper featuring fictional content about the band. His unique approach to design was further illustrated by the debut PiL album, Public Image: First Issue (1978). In a very un-Punk manner, its cover and sleeve design imitated the layout of popular glossy magazines. -
1 "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music S
"Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music Studies, 20, 3, 2008, 276-329 This story begins with a skinny white DJ mixing between the breaks of obscure Motown records with the ambidextrous intensity of an octopus on speed. It closes with the same man, debilitated and virtually blind, fumbling for gospel records as he spins up eternal hope in a fading dusk. In between Walter Gibbons worked as a cutting-edge discotheque DJ and remixer who, thanks to his pioneering reel-to-reel edits and contribution to the development of the twelve-inch single, revealed the immanent synergy that ran between the dance floor, the DJ booth and the recording studio. Gibbons started to mix between the breaks of disco and funk records around the same time DJ Kool Herc began to test the technique in the Bronx, and the disco spinner was as technically precise as Grandmaster Flash, even if the spinners directed their deft handiwork to differing ends. It would make sense, then, for Gibbons to be considered alongside these and other towering figures in the pantheon of turntablism, but he died in virtual anonymity in 1994, and his groundbreaking contribution to the intersecting arts of DJing and remixology has yet to register beyond disco aficionados.1 There is nothing mysterious about Gibbons's low profile. First, he operated in a culture that has been ridiculed and reviled since the "disco sucks" backlash peaked with the symbolic detonation of 40,000 disco records in the summer of 1979. -
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House, Techno & the Origins of Electronic Dance Music
HOUSE, TECHNO & THE ORIGINS OF ELECTRONIC DANCE MUSIC 1 EARLY HOUSE AND TECHNO ARTISTS THE STUDIO AS AN INSTRUMENT TECHNOLOGY AND ‘MISTAKES’ OR ‘MISUSE’ 2 How did we get here? disco electro-pop soul / funk Garage - NYC House - Chicago Techno - Detroit Paradise Garage - NYC Larry Levan (and Frankie Knuckles) Chicago House Music House music borrowed disco’s percussion, with the bass drum on every beat, with hi-hat 8th note offbeats on every bar and a snare marking beats 2 and 4. House musicians added synthesizer bass lines, electronic drums, electronic effects, samples from funk and pop, and vocals using reverb and delay. They balanced live instruments and singing with electronics. Like Disco, House music was “inclusive” (both socially and musically), infuenced by synthpop, rock, reggae, new wave, punk and industrial. Music made for dancing. It was not initially aimed at commercial success. The Warehouse Discotheque that opened in 1977 The Warehouse was the place to be in Chicago’s late-’70s nightlife scene. An old three-story warehouse in Chicago’s west-loop industrial area meant for only 500 patrons, the Warehouse often had over 2000 people crammed into its dark dance foor trying to hear DJ Frankie Knuckles’ magic. In 1982, management at the Warehouse doubled the admission, driving away the original crowd, as well as Knuckles. Frankie Knuckles and The Warehouse "The Godfather of House Music" Grew up in the South Bronx and worked together with his friend Larry Levan in NYC before moving to Chicago. Main DJ at “The Warehouse” until 1982 In the early 80’s, as disco was fading, he started mixing disco records with a drum machines and spacey, drawn out lines. -
View the Redux Book Here
1 Photo: Alex Hurst REDUX This Redux box set is on the 30 Hertz Records label, which I started in 1997. Many of the tracks on this box set originated on 30 Hertz. I did have a label in the early eighties called Lago, on which I released some of my first solo records. These were re-released on 30 Hertz Records in the early noughties. 30 Hertz Records was formed in order to give me a refuge away from the vagaries of corporate record companies. It was one of the wisest things I have ever done. It meant that, within reason, I could commission myself to make whatever sort of record took my fancy. For a prolific artist such as myself, it was a perfect situation. No major record company would have allowed me to have released as many albums as I have. At the time I formed the label, it was still a very rigid business; you released one album every few years and ‘toured it’ in the hope that it became a blockbuster. On the other hand, my attitude was more similar to most painters or other visual artists. I always have one or two records on the go in the same way they always have one or two paintings in progress. My feeling has always been to let the music come, document it by releasing it then let the world catch up in its own time. Hopefully, my new partnership with Cherry Red means that Redux signifies a new beginning as well as documenting the past. -
Techno's Journey from Detroit to Berlin Advisor
The Day We Lost the Beat: Techno’s Journey From Detroit to Berlin Advisor: Professor Bryan McCann Honors Program Chair: Professor Amy Leonard James Constant Honors Thesis submitted to the Department of History Georgetown University 9 May 2016 2 Table of Contents Acknowledgements 3 Introduction 5 Glossary of terms and individuals 6 The techno sound 8 Listening suggestions for each chapter 11 Chapter One: Proto-Techno in Detroit: They Heard Europe on the Radio 12 The Electrifying Mojo 13 Cultural and economic environment of middle-class young black Detroit 15 Influences on early techno and differences between house and techno 22 The Belleville Three and proto-techno 26 Kraftwerk’s influence 28 Chapter Two: Frankfurt, Berlin, and Rave in the late 1980s 35 Frankfurt 37 Acid House and Rave in Chicago and Europe 43 Berlin, Ufo and the Love Parade 47 Chapter Three: Tresor, Underground Resistance, and the Berlin sound 55 Techno’s departure from the UK 57 A trip to Chicago 58 Underground Resistance 62 The New Geography of Berlin 67 Tresor Club 70 Hard Wax and Basic Channel 73 Chapter Four: Conclusion and techno today 77 Hip-hop and techno 79 Techno today 82 Bibliography 84 3 Acknowledgements Thank you, Mom, Dad, and Mary, for putting up with my incessant music (and me ruining last Christmas with this thesis), and to Professors Leonard and McCann, along with all of those in my thesis cohort. I would have never started this thesis if not for the transformative experiences I had at clubs and afterhours in New York and Washington, so to those at Good Room, Flash, U Street Music Hall, and Midnight Project, keep doing what you’re doing. -
Contents Acknowledgments Ii I. Summary 1 II. Background 2 A. Our
Contents Acknowledgments ii I. Summary 1 II. Background 2 A. Our investigation 2 B. Prior contra abuses, ambushes, kidnappings, and killings in the area 3 1. Ambushes on the highway, deaths 3 2. Executions 5 3. Kidnappings 5 C. Prior Sandinista abuses 5 D. The setting 9 1. Coperna 9 2. Military outpost at Baká Hill, Ojo de Agua 10 3. Contra presence 11 III. The Ambush 14 A. The kidnapping of two boys 14 1. Going fishing 14 2. The contras eat a cow on the Aráuz farm 14 3. The kidnapping 15 4. Evaristo Aguinaga, or Rubén 18 5. Identification of contra troops 19 B. The church vehicle and the permission given 22 C. The scene in Ojo de Agua 27 D. The ambush 31 1. The injuries 33 2. Damage to the car; ballistics 34 E. Immediately after the ambush 36 1. Immediate contact with the Baká post 36 2. The two kidnapped boys escape 37 3. The Coperna base sends out an exploratory party 38 4. The army party led by the lieutenant arrives at the scene later that night and enlists civilians to move the wounded and dead to a nearby farmhouse 40 F. The day after the ambush 42 1. The boys arrive at the Gutiérrez house 42 2. Reporting to Coperna 44 3. The dead and wounded are brought in to Siuna 45 4. State Security locates the kidnapped boys 45 VI. Conclusion 48 A. Could the Sandinistas have committed the crime? 48 B. Did the contras commit the crime? 51 iii Acknowledgments This report was written by Jemera Rone, Counsel to Americas Watch, and is based on Ms. -
Officially Born on the Artistic Public Scene in 1992 During a Summer DJ Performance at Very Renamed Lucciola Club in Cariati, Ca -..::|| CARMELO CARONE ||
Officially born on the artistic public scene in 1992 during a summer DJ performance at very renamed Lucciola Club in Cariati, Carmelo Carone is an Italian a Milan native DJ Producer but shares his southern origins, he grew up in a very welcoming family and in attracted by the whole musical culture, so daddy Giorgio transmits to Carmelo knowledge bases music culture of Disco, Funk, Rock 70-80 years to more varied, Hip Hop, Italo Dance, Pop, Folk, and all the world music. In over 20 years of production, Carmelo has developed many productions and his music mainly reflects sonorities of Deep House/ Clubbing/ Urban/ House/ Acid/ Jackin/ Tech House/ Soulful/Dub/Soundtrack, so starting in the background, collaborating in the Nineties with various staff that were included in labels like UMM, Emotive Records .. but with his first album"Genuine Compositions" he consecrates his Underground sonorities and following many other projects and he has been distributed by many labels and music distributions throughout these years of artistic activity, including by legendary label such as Henry Street Music, Soundmen On Wax, King Street Sounds, Trax Records Chicago, Drizzly Music, Karmic Power, Open Bar Music, Emotive, Sheeva, Piston Recordings, and all his music has always been fully supported by the pillars of the world music scene. In 2016 Chicago has been released on TRAX Records, a track that is an anthem, which contains the Jackin House's spirit, in fact it was fully supported by Beatport staff, which included it in 4 of its official charts! same year -
Documan Regular (Selected Glyphs) Displaay: Documan
Displaay: Documan Documan Documan Regular (Selected Glyphs) Aaa Bb Gg Rrr 321 Lazer Thin ExtraLight Light Regular Medium SemiBold Bold Heavy Displaay: Documan Family (Weights) Atoms for Peace Default 5:15 (Amok) [XL Records] XLDA583 Documan Lazer 48 pt (Basic characters & alternates) ÅäâBbČçDdÉèFfĞgg HhIiJjKkLlMmÑň ØǫPpQqRrr*@→ SsTtUűVv„W“wXx% YyyyZż?#ẞß.$€£ 1[1]2(2)345678900& Documan Lazer 14 pt House music is a genre of electronic dance music created by club DJs and music producers in Chicago in the early 1980s. Early house music was generally characterized by repetitive 4/4 beats, rhythms provided by drum machines, [not in citation given] off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, which preceded and influenced it, as both were DJ and record producer-created dance music, house was more electronic and minimalistic. The mechanical, repetitive rhythm of house was one of its main components. Many house compositions were instrumental, with no vocals; some had singing throughout the song with lyrics; and some had singing but no actual words. House music developed in Chicago's underground dance club culture in the early 1980s, as DJs from the subculture began altering the pop-like disco dance tracks to give them a more mechanical beat and deeper basslines. As well, these DJs began to mix synth pop, rap, Latin, and even jazz into their tracks. Latin music, particularly salsa clave rhythm, became a dominating riff of house music. It was pioneered by Chicago Documan Thin 48 pt (Basic characters & alternates) ÅäâBbČçDdÉèFfĞgg HhIiJjKkLlMmÑň ØǫPpQqRrr*@→ SsTtUűVv„W“wXx% YyyyZż?#ẞß.$€£ 1[1]2(2)345678900& Documan Thin 14 pt House music is a genre of electronic dance music created by club DJs and music producers in Chicago in the early 1980s. -
Viv Albertine, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys, Paperback, 421 Pages, London: Faber & Faber, 2014
Viv Albertine, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys, paperback, 421 pages, London: Faber & Faber, 2014. ISBN: 978-0571297757; £14.99. Reviewed by Simon W. Goulding (Freelance, UK) The Literary London Journal, Volume 11 Number 2 (Autumn 2014) It is a truism that history is written by the winners, and even in the punk period this tended to be the men. Jon Savage’s exhaustive account of the period England’s Dreaming (1991) is great on the ale figures, the theories and the art of manipulation, but less good on the women of the period; only Vivienne Westwood comes across as an engaging and engaged figure. All the more reason to admire to Viv Albertine’s new book, which is honest, informative and entertaining. As she says: ‘I’m too outspoken for most people, they think you’re rude if you tell the truth’ (407). Albertine was the eldest child of a single mother; she grew up in Muswell Hill, made it through the secondary schools of the time into the relative haven of Art School. She got a job at Dingwalls, a key music venue of the seventies. She met Mick Jones, shared a squat with Paul Simonon, made friends with Sid Vicious, failed with the first band and then joined The Slits. This then is an account by someone who was there at the beginning of punk: I’ve crossed the line from ‘sexy wild girl just fallen out of bed’ to unpredictable, dangerous, unstable, girl’. Not so appealing. Pippi Longstocking meets Barbarella meets juvenile delinquent. -
Includes Hammers, Level, Steel Tape, Screw Drivers, Etc 2 1 Handcrafted
Prichard #2 Catalog 12/13/2019 Lot Qty Description 1 1 Box Lot of Hand Tools; includes Hammers, Level, Steel Tape, Screw Drivers, etc 2 1 Handcrafted Solid Wood Box Chest with Nine Drawers, 16x12x12, Heavy 3 1 Full Color Round Granite "Batemans Good Honest Ales" Plaque, 10" diameter 4 1 Metal Reproduction Advertising Sign "Fischer Beer", 21x15, an Old Milwaukee Beer Tray, 11" diameter, and a Inglenook 100 Year Anniversary Tray, 10" diameter 5 1 Seven Round Textile/Old Mill Spools, 6.5" to 8" tall 6 1 Group of Old Mill Shuttles; Two Converted to Candle Holders, Five are Original 7 1 Large Group of Vintage LP Record Albums; includes Joan Baez, Linda Ronstadt, Carly Simon, Diana Ross, Roberta Flack, B.B. King, and Classical Albums, etc; Approximately 45 Albums Total 8 1 Three New Recipe Notebooks, Various Styles and Designs 9 1 Large Box of Table Linens; includes Table Cloths, Napkins, etc; Many are Vintage 10 1 Wooden Oval Sheraton Serving Tray with Inlayed Medallion and Brass Handles, 24" diameter (as seen on Downton Abbey) 11 1 Wooden Red Wagon (15x9x10) with Santa Claus Figure and Two Tin Angel Candle Holders 12 1 Vintage Hand Painted Tole Trays, Various Sizes and Shapes, Approximately 12 Trays Total 13 1 Three Artificial Flowers and Plants; includes Holly Berry Tree, Snake Plant, and Amaryllis 14 1 Two Lighted Decorative Fruit Wreaths, 17" diameter each 15 1 Five Pressed Glass Items; includes Bowl (12" diameter), Cake Stand, Vase, Flower Basket Style Candy Dish, and Blue Vase 16 1 Three Pottery Pieces and Four Bone Plates; Pottery Pieces -
Service Manual
CME1356 and CME1656 INTRODUCTION This product manual contains the information Be certain that the information applies to the model needed for the setup, installation, initial start up, in question. If no model is listed, the information sanitation and maintenance of this ice machine. applies to all models. Keep it for future reference. This manual is organized in the same way as the There are 2 models covered in this manual: expected use of the machine, it begins with specifications, goes thru unpacking and setup, • CME1356, having 5 evaporators shows where everything is; continues with initial • CME1656, having 6 evaporators start up, then describes how it works. After that is the sanitation section, followed by service diagnosis and repair. TABLE OF CONTENTS Specifications .................PAGE2 Technicians Only: Harvest Cycle Operational Sequence ...................PAGE23 Air Cooled Layout ...............PAGE3 Sanitation and Cleaning ............PAGE24 Water Cooled Layout .............PAGE4 Additional Maintenance ............PAGE25 Pre-Installation .................PAGE5 Additional Maintenance: Water Distributors . PAGE 26 Location & Assembly .............PAGE6 Additional Maintenance: Inlet Water Valve Stacking ....................PAGE7 Screen .....................PAGE27 Stacking ....................PAGE8 Additional Maintenance: Ice Sensors, Condenser ........................PAGE28 Bin Control: Installation ............PAGE9 Service Diagnosis: Controller Diagnostic Light Bin Control ...................PAGE10 Analysis ....................PAGE29