DOCSLIB.ORG

Free Download Stereogum Free Download Stereogum

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Free Download Stereogum Free Download Stereogum free download stereogum Free download stereogum. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 66c5395d0dc784e0 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Neil Young Sues Donald Trump. Donald Trump has been using Neil Young songs at his campaign rallies for years now — he literally first announced his candidacy to “Rockin’ In The Free World” — and Neil Young has been annoyed at Donald Trump for using Neil Young songs at his campaign rallies for about as long. Just last week, following Neil Young-soundtracked rallies in Tulsa and Mount Rushmore, Young announced that he was considering suing Trump over the issue: I am changing my mind about suing Donald Trump. Reconsidering. I am looking at it again. There is a long history to consider and I originally considered it, deciding not to pursue. But then President Trump ordered thugs in uniform into our streets. His idea. He ordered this himself. This is all DJT. He told them to wear camouflage, use unmarked vehicles to take people away, innocent people peacefully protesting — their constitutional right as US citizens. It seems like Young is now doing more than just considering a lawsuit. Today, he’s posted a legal complaint to his Neil Young Archives website with the caption “Action against Trump Campaign begins.” Per The Hollywood Reporter , the suit was filed in New York federal court. It states that Trump’s campaign “does not now have, and did not at the time of the Tulsa rally, have a license or Plaintiff’s permission” to play Young’s songs “Rockin’ In The Fee World” and “Devil’s Sidewalk” and that Young “in good conscience cannot allow his music to be used a ‘theme song’ for a divisive, un-American campaign of ignorance and hate.” Young intends to seek “statutory damages in the maximum amount allowed for willful copyright infringement.” 10 Overlooked Gems From Soul Legend Bill Withers. When I saw the news this morning that Bill Withers had passed away, the first thing I did — besides the new perverse ritual of finding out whether a recently deceased person had contracted COVID-19, to make some pointless calculation of exactly how upset I was and why — was tell my wife. “Who’s Bill Withers?” she asked (don’t judge her, she’s a virologist with a PhD, and has things on her mind besides the album liner notes that fill my brain). So I proceeded to list off the songs that she could instantly recognize just by their title: “Lean On Me.” “Ain’t No Sunshine.” “Lovely Day.” “Just The Two Of Us.” Bill Withers was only an active recording artist for a little over a decade, but the handful of Top 40 hits he accrued in that time were the durable stuff that standards are made of. He may not have the catalog of a Stevie Wonder, but his signature songs could go toe-to-toe with anybody else’s five biggest hits. Just about everybody who was born after his ‘70s heyday can probably remember a moment when they asked who Bill Withers was, and then realized he sang a song they’d been hearing their whole lives, and another one, and another, and another. “I lived a good portion of my life before I started to play music,” Withers recalled in the 2009 documentary Still Bill , which is available to watch on YouTube. “The first live singing I ever did was in front of about five thousand people.” Part of the Bill Withers legend is that he kept his day job at a factory for a while even after “Ain’t No Sunshine” debuted on the charts. But the factory was in Los Angeles, where the West Virginia native had moved to start his music career after nine years in the United States Navy. Bill Withers was an unpretentious everyman, but an ambitious one who worked harder at his success than he may have liked to admit. But by his own admission, “the fame game was kicking my ass,” and he hadn’t made an album in 35 years when he passed away from heart complications at 81 this week. And while there’s a core of songs that he’ll always be remembered for, his eight studio albums are full of overlooked gems. “I Wish You Well” “If nobody throws all their rules at you, you might make a song with no introduction,” Withers lamented in Still Bill about advice he got from A&R men as his career went on. “Instead of singing about romantic love all the time, you make a love song about your grandmother. Or you make a friendship song a la ‘Lean On Me,’ searching through your feelings and your vulnerabilities and your strengths and your weaknesses.” A minor R&B hit in 1976, “I Wish You Well” epitomizes the familial warmth and spirit of generosity that emanated from Bill Withers songs more naturally than his peers’ lustier love songs. “Let Me In Your Life” 1972’s “Let Me In Your Life” was a sweetly pleading acoustic song that served as the B-side to Withers’ sexiest hit, “Use Me.” A year later on the Bill Withers Live At Carnegie Hall double album, he preceded it with a bantering introduction — labeled a “rap” on the record sleeve — in which he explains why a man might sing a song like this to a woman: “A lot of cats get up in an age around in their early thirties, and they start to think of, like, lifetime companionship. And that’s when they start to meet ladies who are not too prone to trust anybody, and they got plenty of history to prove to you why they shouldn’t trust anybody.” “Naked & Warm” “New words started to enter my life that had never been there before like ‘handsome.’ Boy, you sure do get better lookin’ when you get a hit record,” Withers joked in Still Bill . While he never exactly became Teddy Pendergrass, Withers did begin to lean into the sex symbol status granted to him by songs like “Use Me,” most notably on the title track to his funkiest but lowest charting album, 1976’s Naked & Warm . “Kissing My Love” Nobody knew it back when they were actually being recorded, but the best way to get a ‘70s soul record sampled by the next generation’s hip- hop producers was to open one side of an album with unaccompanied drums. And side two of the biggest Bill Withers album, 1972’s Still Bill , kicks off with eight bars of legendary session drummer James Gadson laying down a killer beat before anybody else plays a note on “Kissing My Love.” Inevitably, that breakbeat became the foundation of songs by Eric B. & Rakim, the Jungle Brothers, J. Cole, and most famously, Dr. Dre’s 1993 hit “Let Me Ride.” “Everybody’s Talkin’” Bill Withers covered a pair of contemporary pop/rock hits on his 1971 debut Just As I Am : “Let It Be” by the Beatles, and “Everybody’s Talkin’,” popularized by Harry Nilsson. But whether or not Withers knew it, he was the perfect singer to channel the spirit of folk singer Fred Neil’s original 1966 recording of “Everybody’s Talkin’.” As legend has it, Neil was anxious to finish the recording session for his self-titled second album and return home to Miami. So he quickly composed the yearning, weary song that expressed his exact emotion at that moment, penning a classic almost by accident. Like Withers, Neil recorded a few albums and then lived out his later years far away from the music industry. “Better Off Dead” The bone deep sorrow of “Ain’t No Sunshine” provided Withers with an unlikely pop breakthrough on Just As I Am . But the album ended with a song with even darker lyrics but a surprisingly lively conga groove. “She’s better off without me, and I’m better off dead,” Withers sings, before concluding his debut album with the sound of a gunshot, two decades before Notorious B.I.G. would do the same on “Suicidal Thoughts.” “Family Table” Bill Withers had just signed with a big label, CBS Records, for the first time in 1975 and was a decade away from leaving the music industry when he recorded his fourth album, Making Music . But the song “Family Table” is proof that he already had the mindset that where he came from was more important than where he was going: “I will follow my dreams wherever they take, I will stand up on the mountain and look down upon the seashore/ But I will always remember the family table if I don’t ever go back anymore.” “Lovely Night For Dancing” The follow-up to Withers’s comeback hit “Lovely Day” was another song from 1977’s Menagerie that feels like a deliberate sequel, the lovely night that follows the lovely day. The song’s chart performance paled in comparison to its predecessor, but the track’s slap bass, clavinet, and handclaps envelop a sumptuous and sensual vocal performance.
Load more

Recommended publications
  • 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]
  • Musician and Composer Owen Pallett on Being Thoughtful About Each Decision You Make
    To help you grow your creative practice, our website is available as an email. Subscribe The Creative Independent is a vast resource of emotional and practical guidance. We publish Guides, Focuses, Tips, Interviews, and more to help you thrive as a creative person. Explore our website to find wisdom that speaks to you and your practice… September 3, 2020 - As told to Max Mertens, 2681 words. Tags: Music, Film, Inspiration, Process, Identity, Production, Multi-tasking. On being thoughtful about each decision you make Musician and composer Owen Pallett on maintaining a punk ethos in the world of chamber music, their fool-proof lyric writing method, revisiting old work, and negative inspiration. This is your first solo album in six years, but you’ve been busy in that time with different scores and arranging for other musicians. Did these projects take any creative or financial pressure off you when it came to making this record? Sometimes they do and sometimes they don’t really. Film scores are always kind of a bit of a crapshoot. If you score a film and it becomes a bit of a hit, then you do get residuals off it, so it is a good investment if you pick the right films. I notoriously have a bit of a bad nose for a good script. Back in 2008 or 2007, Gus Van Sant was asking me to possibly score Milk prior to studio involvement, and I remember reading the script and thinking it was bullshit. It won an Oscar for Best Original Screenplay, and I was like “Oh wow, I don’t really have a good nose for that kind of stuff.” Most of the production work and arrangement work that I do is a little more labor of love.
    [Show full text]
  • Joanna Newsom Covers in the Blogosphere Shayne Pepper Northeastern Illinois University, [email protected]
    Northeastern Illinois University NEIU Digital Commons Communication, Media and Theatre Faculty Communication, Media and Theatre Publications 2010 Joanna Newsom Covers in the Blogosphere Shayne Pepper Northeastern Illinois University, [email protected] Follow this and additional works at: https://neiudc.neiu.edu/cmt-pub Part of the Film and Media Studies Commons, and the Other Music Commons Recommended Citation Pepper, Shayne, "Joanna Newsom Covers in the Blogosphere" (2010). Communication, Media and Theatre Faculty Publications. 3. https://neiudc.neiu.edu/cmt-pub/3 This Book Chapter is brought to you for free and open access by the Communication, Media and Theatre at NEIU Digital Commons. It has been accepted for inclusion in Communication, Media and Theatre Faculty Publications by an authorized administrator of NEIU Digital Commons. For more information, please contact [email protected],[email protected],[email protected]. Joanna Newsom Covers in the Blogosphere Shayne Pepper “This is an old song. These are old blues. And this is not my song, but it’s mine to use.” -- “Sadie” Joanna Newsom’s 2004 album, The Milk-Eyed Mender, was released at a time when music blogs were reaching new levels of popularity within certain sections of music and online communities. During this time, songs from nearly every high profile indie rock release seemed to find their way onto music blogs (often, to the chagrin of the music industry, far before slated release dates). Newsom’s songs were no exception – she was often something of a hot topic on blogs like Stereogum, My Old Kentucky Blog, Brooklyn Vegan, Gorilla vs.
    [Show full text]
  • Oslo, Norway – 31
    OSLO, NORWAY – 31. MARCH - 03. APRIL 2010 MAYHEM A RETROSPECTIVE OF GIANTS A VIEW FROM BERGEN TAAKE NACHTMYSTIUM THE TRANSATLANTIC PERSPECTIVE REVELATORY, TRANSFORMATIVE MAGICK JARBOE TEN YEARS OF INFERNO – THE PEOPLE TELL THEIR STORIES OSLO SURVIVOR GUIDE – CINEMATIC INFERNO – CONFERENCE – EXPO – AND MORE WWW.ROSKILDE-FESTIVAL.DK NÅ PÅ DVD OG BLU-RAY! Photo: Andrew Parker Inferno 2010 (from left): Carolin, Jan Martin, Hilde, Anders, Runa, Torje and Melanie (not present: Lars) HAIL ALL – WELCOME TO THE INFERNO METAL FESTIVALS TEN YEAR ANNIVERSARY! n annual gathering of metal, the black and extreme, the blasphemous Aand gory – music straight from hell! Worshippers from all over the world congregate for the fest of the the black metal easter in the North. YOU are hereby summoned! ron fisted, the Inferno Fest has ruled the first decade of the new Millenn- INFERNO MAGAZINE 2010 Iium. It has been a trail of hellfire. Sagas have been written and legacies Editor: Runa Lunde Strindin carved in willing flesh with new bands and new musical territory continously Writers: Gunnar Sauermann, Jonathan Seltzer, Hilde Hammer, conquered ! Bjørnar Hagen, Trond Skog, Anders Odden, Torje Norén. Photos: Andrew Parker, Alex Sjaastad, Charlotte Christiansen, Trond Skog, ail to all the bands, the crew and the volunteers, venues and clubs! Lena Carlsen. HHail to the dedicated media, labels and managements, our partners and IMX and IMC photos: Viktor Jæger collaborators! Inferno logos and illustrations, magazine layout: Hail to the Inferno audience with their dark force and energy. Asgeir Mickelson at MultiMono (www.multimo.no) With you all onboard we set our sails for the next Inferno! Advertising: Melanie Arends and Hilde Hammer at turbine agency (www.turbine.no) Join this years fest and the forthcoming gatherings in the Distribution: turbine agency + Scream Magazine years to come.
    [Show full text]
  • Steve Smith Steve Smith
    • SPEED • POWER • CONTROL • ENDURANCE • SPECIAL TECHNIQUE ISSUE STEVESTEVE SMITHSMITH VVITALITAL TTECHECH TTALKALK BBUILDUILD SSUPERUPER CCHOPSHOPS!! BBOZZIOOZZIO,, PPHILLIPSHILLIPS,, BBISSONETTEISSONETTE,, BBELLSONELLSON,, WWECKLECKL,, AANDND MMOREORE TTHEHE TTECHNICALECHNICAL EEDGEDGE HHUNDREDSUNDREDS OOFF GGREATREAT EEXERCISESXERCISES FFOROR YYOUROUR HHANDSANDS AANDND FFEETEET WIN JJOHNOHN DDOLMAYANOLMAYAN Exciting Sights OOFFFF TTHEHE RRECORDECORD And Sounds From Sabian & Hudson Music TTHEHE MMANYANY KKITSITS OOFF BBILLILL BBRUFORDRUFORD $4.99US $6.99CAN 05 WIN A Drum Lesson With Tico Torres 0 74808 01203 9 Contents ContentsVolume 27, Number 5 Cover photo by Alex Solca STEVE SMITH You can’t expect to be a future drum star if you haven’t studied the past. As a self-proclaimed “US ethnic drummer,” Steve Smith has made it his life’s work to explore the uniquely American drumset— and the way it has shaped our music. by Bill Milkowski 38 Alex Solca BUILDING SUPER CHOPS 54 UPDATE 24 There’s more than one way to look at technique. Just ask Terry Bozzio, Thomas Lang, Kenny Aronoff, Bill Bruford, Dave Weckl, Paul Doucette Gregg Bissonette, Tommy Aldridge, Mike Mangini, Louie Bellson, of Matchbox Twenty Horacio Hernandez, Simon Phillips, David Garibaldi, Virgil Donati, and Carl Palmer. Gavin Harrison by Mike Haid of Porcupine Tree George Rebelo of Hot Water Music THE TECHNICAL EDGE 73 Duduka Da Fonseca An unprecedented gathering of serious chops-increasing exercises, samba sensation MD’s exclusive Technical Edge feature aims to do no less than make you a significantly better drummer. Work out your hands, feet, and around-the-drums chops like you’ve never worked ’em before. A DIFFERENT VIEW 126 TOM SCOTT You’d need a strongman just to lift his com- plete résumé—that’s how invaluable top musicians have found saxophonist Tom Scott’s playing over the past three decades.
    [Show full text]
  • Volume I (Final) Proofread
    UCLA UCLA Electronic Theses and Dissertations Title The Influence of Pop Music in the Works of Three Contemporary American Composers: Steven Mackey, Julia Wolfe and Nico Muhly Permalink https://escholarship.org/uc/item/5h4626dd Author Lee, Hyunjong Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The Influence of Pop Music in the Works of Three Contemporary American Composers: Steven Mackey, Julia Wolfe and Nico Muhly A dissertation submitted in partial satisfaction of the requirements for the degree Doctoral of Philosophy in Music by Hyunjong Lee 2014 © copyright by Hyunjong Lee 2014 ABSTRACT OF THE DISSERTATION The Influence of Pop Music in the Works of Three Contemporary American Composers: Steven Mackey, Julia Wolfe and Nico Muhly by Hyunjong Lee Doctor of Philosophy in Music University of California, Los Angeles, 2014 Professor Ian Krouse, Chair There are two volumes in this dissertation: the first is a monograph, and the second a musical composition, both of which are described below. Volume I These days, labels such as classical, rock and pop mean less and less since young musicians frequently blur boundaries between genres. These young musicians have built an alternative musical universe. I construct five different categories to explore this universe. They are 1) circuits of alternate concert venues, 2) cross-genre collaborations, 3) alternative modes of musical groups, 4) new compositional trends in classical chamber music, and 5) new ensembles and record labels. ii In this dissertation, I aim to explore these five categories, connecting them to recent cultural trends in New York.
    [Show full text]
  • Download This PDF File
    Journal of Interdisciplinary Science Topics Lean on Me – Can Bill Withers stay true to his word? Jake Morris & Matt Perkins The Centre for Interdisciplinary Science, University of Leicester 27/03/2018 Abstract This paper aims to calculate the amount of force that Bill Withers would have to exert in order to support the people that have listened, or are listening to his song, Lean on Me, based upon the analytics from YouTube and Spotify. This will consider two scenarios: one in which everyone who has ever listened to his song leaned at him all at once, and another where all the concurrent listeners are leaning on him at any given time. These will be modelled through the use of component forces. The force that Bill Withers would have to exert when everyone leans on him at once, is calculated to equal 2.27×1010 N. The total force for the listeners at any given time is determined to be 19560 N. Introduction will be assumed that no sliding takes place. Bill The song Lean on Me was released in April 1972, by Withers is 1.87 m tall [4], and the average person’s the American singer songwriter Bill Withers [1]. In the height, representative of the constituents of the song Bill Withers sings “lean on me, when you’re not single mass being modelled, is 1.7 m tall [5]. If the strong”. This raises the question; what if everyone average head height, 23.9 cm [6] and neck length, that has listened, or is currently listening to the song 11 cm [7], for men, are taken away from Bill Withers’ took him up on his promise? This paper will height, the height that his shoulders are off the investigate the force Bill Withers would have to exert ground is found to be 1.52 m.
    [Show full text]
  • 1 Arcade Fire
    All Songs Considered Listeners Pick The Best Music Of 2010: The Top 100 1 Arcade Fire: The Suburbs 2 The Black Keys: Brothers 3 The National: High Violet 4 Mumford & Sons: Sigh No More 5 Broken Bells: Broken Bells 6 LCD Soundsystem: This Is Happening 7 Vampire Weekend: Contra 8 Sufjan Stevens: The Age Of Adz 9 Beach House: Teen Dream 10 Kanye West: My Beautiful Dark Twisted Fantasy 11 Gorillaz: Plastic Beach 12 Sleigh Bells: Treats 13 Jonsi: Go 14 Local Natives: Gorilla Manor 15 Band Of Horses: Infinite Arms 16 The Tallest Man On Earth: The Wild Hunt 17 Deerhunter: Halcyon Digest 18 Spoon: Transference 19 Janelle Monae: The ArchAndroid 20 Yeasayer: Odd Blood 21 Ray LaMontagne and The Pariah Dogs: God Willin' and the Creek Don't Rise 22 New Pornographers: Together 23 Broken Social Scene: Forgiveness Rock Record 24 Joanna Newsom: Have One On Me 25 Cee Lo: The Ladykiller 26 MGMT: Congratulations 27 Sharon Jones And The Dap Kings: I Learned The Hard Way 28 Massive Attack: Heligoland 29 Josh Ritter: So Runs The World Away 30 Girl Talk: All Day 31 She And Him: Volume II 32 Bruce Springsteen: The Promise 33 Belle And Sebastian: Write About Love 34 Big Boi: Sir Lucious Left Foot: The Son Of Dusty Chico 35 Best Coast: Crazy For You 36 The White Stripes: Under Great White Northern Lights 37 Danger Mouse And Sparklehorse: Dark Night Of The Soul 38 Caribou: Swim 39 The Roots: How I Got Over 40 Kings Of Leon: Come Around Sundown 41 Frightened Rabbit: The Winter Of Mixed Drinks 42 Neil Young: Le Noise 43 Drive-By Truckers: The Big To-Do 44 Flying Lotus: Cosmogramma 45 Carolina Chocolate Drops: Genuine Negro Jig 46 Dead Weather: Sea of Cowards 47 Laura Veirs: July Flame 48 The Walkmen: Lisbon 49 Dr.
    [Show full text]
  • Adventures in Film Music Redux Composer Profiles
    Adventures in Film Music Redux - Composer Profiles ADVENTURES IN FILM MUSIC REDUX COMPOSER PROFILES A. R. RAHMAN Elizabeth: The Golden Age A.R. Rahman, in full Allah Rakha Rahman, original name A.S. Dileep Kumar, (born January 6, 1966, Madras [now Chennai], India), Indian composer whose extensive body of work for film and stage earned him the nickname “the Mozart of Madras.” Rahman continued his work for the screen, scoring films for Bollywood and, increasingly, Hollywood. He contributed a song to the soundtrack of Spike Lee’s Inside Man (2006) and co- wrote the score for Elizabeth: The Golden Age (2007). However, his true breakthrough to Western audiences came with Danny Boyle’s rags-to-riches saga Slumdog Millionaire (2008). Rahman’s score, which captured the frenzied pace of life in Mumbai’s underclass, dominated the awards circuit in 2009. He collected a British Academy of Film and Television Arts (BAFTA) Award for best music as well as a Golden Globe and an Academy Award for best score. He also won the Academy Award for best song for “Jai Ho,” a Latin-infused dance track that accompanied the film’s closing Bollywood-style dance number. Rahman’s streak continued at the Grammy Awards in 2010, where he collected the prize for best soundtrack and “Jai Ho” was again honoured as best song appearing on a soundtrack. Rahman’s later notable scores included those for the films 127 Hours (2010)—for which he received another Academy Award nomination—and the Hindi-language movies Rockstar (2011), Raanjhanaa (2013), Highway (2014), and Beyond the Clouds (2017).
    [Show full text]
  • 'The Glowing Man': a Critical Analysis of A
    “‘The Glowing Man’: A Critical Analysis of a Social Media Disclosure of Sexual Violence in the Field of Cultural Production” by Christopher Worden A Thesis presented to The University of Guelph In partial fulfillment of requirements for the degree of Master of Arts in Sociology Guelph, Ontario, Canada © Christopher Worden, September, 2017 ABSTRACT “‘The Glowing Man’: A Critical Analysis of a Social Media Disclosure of Sexual Violence in the Field of Cultural Production” Chris Worden Advisor: University of Guelph, 2017 Dr. Mavis Morton This thesis examines the discourse surrounding an online disclosure of sexual violence in the music field. Research questions addressed three things: 1. The discursive role of symbolic capital and the field of cultural production; 2. The extent to which features of the online feminist counter-public were represented; and 3. How the logic of the music field and strategies of the online feminist counter-public contributed to accused and complainant outcomes. A critical thematic analysis of the online discourse demonstrated that symbolic capital and position were deployed to defend the accused and discredit the complainant. The response of the online feminist counter-public countered some discrediting discourse common in sexual assault cases, but did not fully engage with the logic of the field of cultural production that was used to discredit the complainant in this case. Recommendations are offered to music journalists, arts funding organizations, and online activists to mitigate against gendered power imbalances stemming from the devaluing of women as cultural producers. iii ACKNOWLEDGEMENTS I benefited immensely from the expertise and guidance of my advisor, Dr.
    [Show full text]
  • Pressemitteilung
    PRESSEMITTEILUNG MAXIMUM BLACK-Festival Club Tour Final Fantasy & Freunde gehen Ende Februar/Anfang März 2008 auf Festival Club Tour in drei europäischen Hauptstädten Owen Pallett, Singer/Songwriter und Kopf der kanadischen Band Final Fantasy kuratiert im März 2008 das Maximum Black Festival in London, Berlin und Wien. Neben dem Auftritt seiner Band werden als geladene, musikalische Gäste auf dieser Club Tour die international arrivierten Bands Deerhoof, Six Organs of Admittance, Dirty Projectors und Frog Eyes auf der Bühne stehen. Unterstützt wird dieses Projekt von den Wiener Stadtwerken. Diese ungewöhnliche Kooperation kam allerdings durch besondere Umstände zu Stande. Hintergrund Die Wiener Stadwerke hatten eine internationale Werbeagentur mit der Realisierung einer neue Imagekampagne für ihr Unternehmen beauftragt. Die Werbeagentur fragte Final Fantasy zwecks Verwendung des Songs „This is the Dream of Win & Regine“ als musikalische Untermalung ihres Werbespots an. Aufgrund gemischter Erfahrungen in der Vergangenheit entschieden sich Team und Band jedoch prinzipiell gegen die Freigabe der Musik in der Werbung. Die Werbeagentur entschloss sich in letzter Konsequenz jedoch dazu, das Lied als Auftragsarbeit nahezu originalgetreu von einem anderen Künstler nachspielen zu lassen und verwendete die „neue Version“ fortan in dem Spot für die Stadtwerke. Natürlich blieb dieser Plagiarismus nicht verborgen. Der erste Kontakt zur Werbeagentur seitens der Bookerin war erfolglos. Der Kontakt zu den Wiener Stadtwerken war es nicht. Der drohende Rechtsstreit war keine erstrebenswerte Lösung seitens Final Fantasys. Man einigte sich auf eine weitere besondere Abmachung: Final Fantasy, d.h. Owen Pallett und sein Team werden ein Festival kuratieren, welches zudem durch die Wiener Stadtwerke finanziell und logistisch unterstützt werde. Dafür dürfen die Stadtwerke die nachgespielte Version des Lieds in ihrem Werbespot mit dem Zusatz „nach einem Song von Final Fantasy“ weiter benutzen.
    [Show full text]
  • Bell Orchestre Copenhagen Phil Dirigent / André De Ridder DJ / Rosa Lux No.15 SAMMEN MED Bell Orchestre
    Copenhagen Phil og 60 minutes of Frost præsenterer BELL NO.15 ORCHESTRE med ArcadE FIRE - medlemmer 5. februar 2015 Konservatoriets Koncertsal (tidl. Radiohuset) Bell Orchestre Copenhagen Phil Dirigent / André de Ridder DJ / Rosa Lux NO.15 SAMMEN MED BELL ORCHESTRE gælder det Bell Orchestre’s “Air Lines/Land Li- i hjembyen Montreal for at komponere musik nes”, “Elephants”, “Stripes” og “Icicles/ sammen. ”I sådan en proces ophører tid og Bicycles”. Dertil præsenterer Richard Reed Support: rum, alle elementære kræfter udenfor sættes 60 MINUTES OF Parry sin egen komposition “Music for Heart ud af spil – den energi, der eksisterer inde i and Breath”, ligesom Sarah Neufeld spiller Quiet River of Dust rummet, bliver fokus i en musikalsk proces, sin “Breathing Black Ground” sammen med – med bl.a. Richard Reed Parry (Arcade Fire) der aldrig vil kunne skabes af andre på noget BELL ORCHESTRE Copenhagen Phils mange musikere. Supporten andet tidspunkt i historien. Det bliver univer- består af bandet Quiet River of Dust, hvor selt og tidsløst”, har gruppen udtalt. bl.a. Richard Reed Parry medvirker – bandet Quiet River of Dust består af Laurel Sprengel- Copenhagen Phil og Frost præsenterer superligaen Bell Orchestre udgiver nyt materiale i 2015. meyer (aka Little Scream), Stefan Schneider At være publikum til Bell Orchestre kan om 60 minutes koncerten: fra den amerikanske indie-scene, når ARCADE (Bell Orchestre) og Richard Reed Parry. ”Quiet føles som et bombardement af sanseind- FIRE-medlemmerne Richard Reed Parry og Sarah Parry i samarbejde med The National- River of Dust er en gruppe af sange, og det tryk. Resultatet er en kollagelignende kon- Neufeld sammen med Bell Orchestre møder Copen- musiker er også navnet på os, der spiller dem – vil ”Bell Orchestre’s struktion af både lyd og visuelle indtryk.
    [Show full text]