THE BOOGIE! a NIGHTCLUB THAT DEFIED TRADITIONAL PROBLEM SOLVING EFFORTS Or When Jack Met SARA
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
PTSVNWU JS-5 Jam Station Style Listing
PTSVNWU JS-5 Jam Station Style Listing ROCK 1 POP BLUES JAZZ 01 JS-5HardRock 11 ElectricRock 01 Shuffle 1 01 ChicagoBlues 01 DublTimeFeel 02 BritHardRck1 12 Grunge 02 Shuffle 2 02 OrganBlues 02 Organ Jazz 03 BritHardRck2 13 Speedy Rock 03 Mid Shuffle 03 ShuffleBlues 03 5/4 Jazz 04 80'sHardRock 14 Funk Rock 04 Simple8btPop 04 Boogie 04 Latin Jazz 05 Fast Boogie 15 Glam Rock 05 70's Pop 05 Rockin'Blues 05 Soul Jazz 06 Heavy & Loud 16 Funk Groove 06 Early80'sPop 06 RckBeatBlues 06 Swing Jazz 1 07 Slow Rock 1 17 Spacy Rock 07 Dance Pop 07 Medium Blues 07 Swing Jazz 2 08 Slow Rock 2 18 Progressive 08 Synth Pop 08 Funky Blues 08 Swing 6/8 09 Slow & Heavy 09 Honky Piano 09 Jump Blues 09 BigBandJazz 10 Hyper Metal ROCK 3 10 Slow Pop 10 BluesInMinor 10 Combo Jazz 11 Old HvyMetal 11 Reggae Pop 11 Blues Brass 11 Modern Jazz 12 Speed Metal 01 AcousticRck1 12 Rockabilly 12 AcGtr Boogie 12 Jazz 6/8 13 HvySlowShffl 02 AcousticRck2 13 Surf Rock 13 Gospel Shout 13 Jazz Waltz 14 MidFastHR 1 03 Gtr Arpeggio 14 8thNoteFeel1 14 Jazz Ballad 15 MidFastHR 2 04 CntmpraryRck 15 8thNoteFeel2 R&B 16 80sHeavyMetl 05 8bt Rock 1 16 16thNoteFeel FUSION 17 ShffleHrdRck 06 8bt Rock 2 01 RhythmGtrFnk 18 FastHardRock 07 8bt Rock 3 BALLAD 02 Brass Funk 01 Power Fusion 19 HvyFunkRock 08 16bt Rock 03 Psyche-Funk 02 Smooth Jazz 09 5/4 Rock 01 NewAgeBallad 04 Cajun Funk 03 Wave Shuffle ROCK 2 10 Shuffle Rock 02 PianoBallad1 05 Funky Soul 1 04 Super Funk 11 Fusion Rock 03 PianoBallad2 06 Funky Soul 2 05 Crossover 01 90sGrooveRck 12 Sweet Sound 04 E.PianoBalad 07 60's Soul 06 -
Ctif News International Association of Fire & Rescue
CTIF Extra News October 2015 NEWS C T I F INTERNATIONAL ASSOCIATION OF FIRE & RESCUE Extra Deadly Fire Roars through Romanian Nightclub killing at least 27 people From New York Times OCT. 30, 2015 “Fire tore through a nightclub in Romania on Friday night during a rock concert that promised a dazzling pyrotechnic show, killing at least 27 people and spreading confusion and panic throughout a central neighborhood of Bucharest, the capital, The Associated Press reported. At least 180 people were injured in the fire at the Colectiv nightclub, according to The Associated Press”. 1 CTIF Extra News October 2015 CTIF starts project to support the increase of safety in entertainment facilities “Information about the large fires always draws a lot of interest. This is especially true in the case when fire cause casualties what is unfortunately happening too often. According to available data, fire at Bucharest nightclub killed at least 27 people while another 180 were injured after pyrotechnic display sparked blaze during the rock concert. The media report that there were 300 to 400 people in the club when a fireworks display around the stage set nearby objects alights. It is difficult to judge what has really happened but as it seems there was a problem with evacuation routes, number of occupants and also people didn’t know whether the flame was a part of the scenario or not. Collected data and testimonials remind us on similar fires and events that happened previously. One of the first that came to the memory is the Station Night Club fire that happened 12 years ago. -
Dance 6 Before
And Then We Raved A REVIEW OF THE TBILISI NIGHTCLUB INDUSTRY 2019 TBILISI NIGHTCLUB INDUSTRY Tbilisi Nightclub industry Unlike Tbilisi itself, the city’s nightlife is not able to boast a long history. Yet, the city has achieved recognition as having one of Europe’s best underground scenes. In Georgia, clubbing is about more than just a wild night out. By dismantling stereotypes, Tbilisi underground movement is trying to modify the nation’s stodgy attitudes, which stem from the soviet regime. In this sense, Tbilisi’s clubs can be viewed as islands of free expression. The under- ground culture builds community and gathers like-minded people in one space. The search for new experiences has begun to define numerous sectors, and the nightclub industry is no exception. An unusual and authentic environment is now a crucial part of captivating an audience’s attention. That’s why club owners hunt for places that are guaranteed to create this kind of experience for ravers. In most cases, Tbilisi’s nightclubs are housed in old historical buildings, which adds an additional pull and creates an enigmatic atmosphere for ravers. This practice has been common in the EU for a long time already, especially in Berlin, where former factories and warehouses have been redesigned into clubs. New Trends These days, club owners are integrating the new concept by making night- club spaces available for artistic exhibitions and venues for multifunctional use. Category : c.8,500 80 events Renting price per sq m 10 - 40 GEL “ Tbilisi nightclubs have revived spaces in post-soviet buildings that Capacity per month from USD 2.4 to USD 9 Ticket price went unused for several years.” 02 03 Colliers International Georgia I 2019 TBILISITBILISI NIGHTCLUB HOSTEL INDUSTRY MARKET Nightclubs in Tbilisi Bassiani Khidi Mtkvarze Monohall Located in the underbelly of Dinamo Arena, Bassiani is Khidi, a former industrial space which reopened as a Mtkvarze, a soviet-era seafood restaurant transformed Monohall is a newly opened multifunctional space on renowned as one of the best clubs in Europe. -
Global Nomads: Techno and New Age As Transnational Countercultures
1111 2 Global Nomads 3 4 5 6 7 8 9 1011 1 2 A uniquely ‘nomadic ethnography,’ Global Nomads is the first in-depth treat- 3111 ment of a counterculture flourishing in the global gulf stream of new electronic 4 and spiritual developments. D’Andrea’s is an insightful study of expressive indi- vidualism manifested in and through key cosmopolitan sites. This book is an 5 invaluable contribution to the anthropology/sociology of contemporary culture, 6 and presents required reading for students and scholars of new spiritualities, 7 techno-dance culture and globalization. 8 Graham St John, Research Fellow, 9 School of American Research, New Mexico 20111 1 D'Andrea breaks new ground in the scholarship on both globalization and the shaping of subjectivities. And he does so spectacularly, both through his focus 2 on neomadic cultures and a novel theorization. This is a deeply erudite book 3 and it is a lot of fun. 4 Saskia Sassen, Ralph Lewis Professor of Sociology 5 at the University of Chicago, and Centennial Visiting Professor 6 at the London School of Economics. 7 8 Global Nomads is a unique introduction to the globalization of countercultures, 9 a topic largely unknown in and outside academia. Anthony D’Andrea examines 30111 the social life of mobile expatriates who live within a global circuit of counter- 1 cultural practice in paradoxical paradises. 2 Based on nomadic fieldwork across Spain and India, the study analyzes how and why these post-metropolitan subjects reject the homeland to shape an alternative 3 lifestyle. They become artists, therapists, exotic traders and bohemian workers seek- 4 ing to integrate labor, mobility and spirituality within a cosmopolitan culture of 35 expressive individualism. -
“Rapper's Delight”
1 “Rapper’s Delight” From Genre-less to New Genre I was approached in ’77. A gentleman walked up to me and said, “We can put what you’re doing on a record.” I would have to admit that I was blind. I didn’t think that somebody else would want to hear a record re-recorded onto another record with talking on it. I didn’t think it would reach the masses like that. I didn’t see it. I knew of all the crews that had any sort of juice and power, or that was drawing crowds. So here it is two years later and I hear, “To the hip-hop, to the bang to the boogie,” and it’s not Bam, Herc, Breakout, AJ. Who is this?1 DJ Grandmaster Flash I did not think it was conceivable that there would be such thing as a hip-hop record. I could not see it. I’m like, record? Fuck, how you gon’ put hip-hop onto a record? ’Cause it was a whole gig, you know? How you gon’ put three hours on a record? Bam! They made “Rapper’s Delight.” And the ironic twist is not how long that record was, but how short it was. I’m thinking, “Man, they cut that shit down to fifteen minutes?” It was a miracle.2 MC Chuck D [“Rapper’s Delight”] is a disco record with rapping on it. So we could do that. We were trying to make a buck.3 Richard Taninbaum (percussion) As early as May of 1979, Billboard magazine noted the growing popularity of “rapping DJs” performing live for clubgoers at New York City’s black discos.4 But it was not until September of the same year that the trend gar- nered widespread attention, with the release of the Sugarhill Gang’s “Rapper’s Delight,” a fifteen-minute track powered by humorous party rhymes and a relentlessly funky bass line that took the country by storm and introduced a national audience to rap. -
Music 3500: American Music This Final Exam Is Comprehensive —It Covers the Entire Course (Monday December Starting at 5PM In
FINAL EXAM STUDY GUIDE Music 3500: American Music This final exam is comprehensive —it covers the entire course (Monday December starting at 5PM in Knauss Hall 2452) Exam Format: 70 questions (each question is worth 4 points), plus a 40-point "fill-in-the-chart" (described below) (these two things total a maximum of 320 possible points toward your final course grade total). The format of the 70-question computer-graded section of the final exam will be: ...Matching ...Multiple Choice ...True/False (from text readings, class lectures, YouTube video links) General study recommendations: - Do the online quiz assignments for Chapters 1-9 (these must be completed by Monday April 24) ---------- For the Computer-Graded part of the final exam: 1. Know the definitions of Important Terms at the ends of Chapters 2-8 - Chapter 1 (textbook, page 5) -- know "popular music," "roots music," "Classical art- music" - Chapter 2 (textbook, page 19) -- know "old-time music," "hot jazz," "race music" - Chapter 3 (textbook, page 31) -- know "bebop," "big-band," "boogie-woogie" - Chapter 4 (textbook, page 42) -- know "backbeat," "chance music," "cool jazz," "multi- serialism," "rhythm & blues," "soul" - Chapter 5 (textbook, page 52) -- know "soundtrack," "free jazz" - Chapter 6 (textbook, pages 58-59) -- know "fusion," minimalism," - Chapter 7 (textbook, pages 69-70) -- know "techno," "smooth jazz," "hip-hop" - Chapter 8 (textbook, page 81) -- know "sound art" 2. Know which decade the following music technologies came from: (Review the chronological order of -
The DIY Careers of Techno and Drum 'N' Bass Djs in Vienna
Cross-Dressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music Feature Article David Madden Concordia University (Canada) Abstract Addressing the international emergence of electroclash at the turn of the millenium, this article investigates the distinct character of the genre and its related production practices, both in and out of the studio. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony. Electroclash also emphasizes, rather than hides, the European, trashy elements of electronic dance music. The coming together of rock and electro is examined vis-à-vis the ongoing changing sociality of music production/ distribution and the changing role of the producer. Numerous women, whether as solo producers, or in the context of collaborative groups, significantly contributed to shaping the aesthetics and production practices of electroclash, an anomaly in the history of popular music and electronic music, where the role of the producer has typically been associated with men. These changes are discussed in relation to the way electroclash producers Peaches, Le Tigre, Chicks on Speed, and Miss Kittin and the Hacker often used a hybrid approach to production that involves the integration of new(er) technologies, such as laptops containing various audio production softwares with older, inexpensive keyboards, microphones, samplers and drum machines to achieve the ironic backbeat laden hybrid electro-rock sound. Keywords: electroclash; music producers; studio production; gender; electro; electronic dance music Dancecult: Journal of Electronic Dance Music Culture 4(2): 27–47 ISSN 1947-5403 ©2011 Dancecult http://dj.dancecult.net DOI: 10.12801/1947-5403.2012.04.02.02 28 Dancecult 4(2) David Madden is a PhD Candidate (A.B.D.) in Communications at Concordia University (Montreal, QC). -
MUSIC, Dvds, PROGRAMS, PE CLASSES & SOUND SYSTEMS
MUSIC, DVDs, PROGRAMS, PE CLASSES & SOUND SYSTEMS ® and “Hi! I’m Christy Lane, creator of Dare to Dance owner of Christy Lane Enterprises. How can we help you? As you browse through this catalog, you will notice we expanded our line of products and services. When our company was established 20 years ago our philosophy was simple. To educate children that dance can benefit them physically, mentally, That's me on my first video shoot. socially, and emotionally. We did this by producing quality educational products for the physical Catalog Listings: education teachers and dance studio instructors. LINE DANCING Our customer base has expanded tremendously over PARTY DANCING the years and so has the popularity of dance. Now, DECADE DANCING moms, dads, single adults, seniors, and kids who HIP HOP have never danced before are dancing! So join the PARTNER/BALLROOM fun!” LATIN DANCING SQUARE DANCING AMERICA SPORTS & NOVELTY MULTICULTURAL FOLK Christy Lane is one of America’s most well-known and respected dance instructors. Her DANCING extensive dance training has led her to become an acknowledged dance educator, producer, choreographer, and writer. Her work has been recognized by U.S. News and World Report, AFRICAN-CARIBBEAN American Fitness, USA Today and Shape Magazine. Her credits include Disney, Pepsi and DANCING Capezio to name a few. A former private dance studio owner, she tours nationally and her PHYSICAL FITNESS conventions and workshops have delighted thousands of all ages. MUSIC EDITING JAZZ DANCING TAP DANCING DANCE CONVENTIONS HOLIDAY DANCE SHIRTS DANCE FLOORS SOUND SYSTEMS & MICROPHONES TEACHER WORKSHOPS “Christy Lane has the magic to motivate the non-dancer and insight to move DANCE SCHOOL ASSEMBLIES accomplished dancers to the next level.”-Bud Turner, P.E. -
Disclaimer Statement for Nightclub/Bar
Disclaimer Statement for Nightclub/Bar This Packet Includes: 1. General Information 2. Instructions and Checklist 3. Disclaimer Statement for Nightclub/Bar General Information Disclaimer Statement for Nightclub/Bar This Disclaimer Statement for a Nightclub/Bar indemnifies a bar or nightclub from liability in the event of injury to an individual or property damage. This disclaimer sets out the services which the establishment promotes (i.e., live music, karaoke, live DJ or dancing), the inherent risks and that the services offered by nightclub are provided on an "as is" or "as available" basis. It also sets forth that patrons understand that the club, its employees or agents are not liable for any damages resulting from use the of the nightclub services. It is imperative that every nightclub and bar have a disclaimer displayed in a prominent area or location. A written Disclaimer Statement for Nightclub/Bar will prove invaluable in the event of accidents or damages suffered by the patrons of your establishment. Instructions and Checklist Disclaimer Statement for Nightclub/Bar The parties should read the document carefully. Insert all requested information in the spaces provided on the form. This form contains the basic terms and language that should be included in similar agreements. This form contains indemnification and disclaimer language and should be prominently displayed within your nightclub or bar. The parties should retain either an original or copy of this disclaimer statement. All legal documents should be kept in a safe location such as a fireproof safe or safe deposit box. DISCLAIMER: FindLegalForms, Inc. (“FLF”) is not a law firm and does not provide legal advice. -
Report on the Arapahoe High School Shooting
REPORT ON THE ARAPAHOE HIGH SCHOOL SHOOTING: Lessons Learned on Information Sharing, Threat Assessment, and Systems Integrity Sarah Goodrum, Ph.D. William Woodward, M.P.A. University of Northern Colorado University of Colorado Boulder January 18, 2016 Report on the Arapahoe High School Shooting: Lessons Learned on Information Sharing, Threat Assessment, and Systems Integrity1 Presented to and Colorado SB 15-214: Committee on School Safety and Youth in Crisis In compliance with JAG No. 2015-0665A, In re the arbitration of: Michael and Desiree Davis, Claimants and Littleton Public School District, Respondent William Woodward, M.P.A. Center for the Study and Prevention of Violence University of Colorado Boulder Boulder, CO 80302 Sarah Goodrum, Ph.D. Department of Criminal Justice University of Northern Colorado Greeley, CO 80639 January 18, 2016 1 The project was funded by a grant the Arapahoe High School Community Fund Honoring Claire Davis, a donor-advised fund of The Denver Foundation. Report design by Rachel Kennedy, Center for the Study & Prevention of Violence. DEDICATION This report is dedicated to Claire Davis, and her parents, Michael and Desiree Davis. A MESSAGE FROM MICHAEL & DESIREE DAVIS As we write this dedication page, almost two years after our daughter died from the gunshot wounds she suffered at a Colorado high school on December 13, 2013, we are reminded of the God-given gift of life that we all share. One year ago, on the first anniversary of the tragedy that took this gift away from our daughter, we were contemplating what we would say to the students and families that gathered at the school to remember our daughter. -
Is Rock Music in Decline? a Business Perspective
Jose Dailos Cabrera Laasanen Is Rock Music in Decline? A Business Perspective Helsinki Metropolia University of Applied Sciences Bachelor of Business Administration International Business and Logistics 1405484 22nd March 2018 Abstract Author(s) Jose Dailos Cabrera Laasanen Title Is Rock Music in Decline? A Business Perspective Number of Pages 45 Date 22.03.2018 Degree Bachelor of Business Administration Degree Programme International Business and Logistics Instructor(s) Michael Keaney, Senior Lecturer Rock music has great importance in the recent history of human kind, and it is interesting to understand the reasons of its de- cline, if it actually exists. Its legacy will never disappear, and it will always be a great influence for new artists but is important to find out the reasons why it has become what it is in now, and what is the expected future for the genre. This project is going to be focused on the analysis of some im- portant business aspects related with rock music and its de- cline, if exists. The collapse of Gibson guitars will be analyzed, because if rock music is in decline, then the collapse of Gibson is a good evidence of this. Also, the performance of independ- ent and major record labels through history will be analyzed to understand better the health state of the genre. The same with music festivals that today seem to be increasing their popularity at the expense of smaller types of live-music events. Keywords Rock, music, legacy, influence, artists, reasons, expected, fu- ture, genre, analysis, business, collapse, -
Programming Nightclub & Lounge Controller
nightclub & lounge controller Part Number: MC1010 Disco Lighting Control Software is designed specifically for the club, lounge and DJ markets to fill the needs of Lighting Jockeys and DJ’s alike. The user interface is designed with a built in wizard system that makes creating looks a step-by-step process. Disco uses a revolutionary concept of building the looks one at a time and then “mixing” them together to produce an unlimited array of combinations for all your fixtures. Disco makes it easy to create an awesome light show, regardless of experience level. programming • Step by Step Wizard walks the user through creating • Password protection for User Only Mode a look or sequence • Copy/Paste scenes and sequences • Unlimited pages of buttons that trigger Still Looks, • LED Matrix engine and LED Macros Sequences, Multiple Buttons and Timeline schedules. • Printable Patch List • Multiple Views to arrange fixtures graphically in • Unlimited fixtures different rooms or areas • Fixture Groups • More advanced users can program looks step by step • Unique movement control making positioning without the wizard fixtures easier • Palettes are automatically created on Patching or can be made custom • Patch fixtures from a list of available profiles or create your own • Palettes presets is the foundation of the programming system • Up to 24 Universes (CPU and USB interface dependent) • Direct fader Control with virtual Wheel Controls • Shape Generator for movement with Offsets • Easy Backup and Restore of Entire Shows playback • Move any button