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A Cocktailed Way of Life Anne Rosso Iowa State University
Volume 43 Issue 5 Article 6 April 1997 A Cocktailed Way of Life Anne Rosso Iowa State University Follow this and additional works at: http://lib.dr.iastate.edu/ethos Recommended Citation Rosso, Anne (1997) "A Cocktailed Way of Life," Ethos: Vol. 1997 , Article 6. Available at: http://lib.dr.iastate.edu/ethos/vol1997/iss1/6 This Article is brought to you for free and open access by the Student Publications at Iowa State University Digital Repository. It has been accepted for inclusion in Ethos by an authorized editor of Iowa State University Digital Repository. For more information, please contact [email protected]. A ~ocktailad Way oflih! By Anne Rosso College students love keg parties, don't we? Yep, we've all jumped at an opportunity to crowd around kegs of cheap beer, desperately thrusting plastic cups toward the person who just might be holding the nozzle ... hoping, nay, praying to ruthlessly jam ourselves in front of the guy preventing our consumption of those 16 ounces of stale, possibly even warm, Busch Light. These are the parties we came to college for, right? This is what all the cool kids are doing, isn't it? A growing number of Iowa State students say no. Shunning the traditional malt-liquor orgies that have come to typify college life, these renegade students seek the enlightenment and sophistication found only in one beverage-the cocktail. But, to be honest, the allure of a few martinis (shaken, not stirred) isn't the only draw. Cocktails embody a way of life, a culture all their own.With cocktails come ultra smooth, xylophone-punctuated lounge music, long cigarettes, smarmy suits and sleek, retro dresses. -
Hands up Classics Pulsedriver Hands up Magazine Anniversary Edition
HUMAG 12 Hands up Magazine anniversary Edition hANDS Up cLASSICS Pulsedriver Page 1 Welcome, The time has finally come, the 12th edition of the magazine has appeared, it took a long time and a lot has happened, but it is done. There are again specials, including an article about pulsedriver, three pages on which you can read everything that has changed at HUMAG over time and how the de- sign has changed, one page about one of the biggest hands up fans, namely Gabriel Chai from Singapo- re, who also works as a DJ, an exclusive interview with Nick Unique and at the locations an article about Der Gelber Elefant discotheque in Mühlheim an der Ruhr. For the first time, this magazine is also available for download in English from our website for our friends from Poland and Singapore and from many other countries. We keep our fingers crossed Richard Gollnik that the events will continue in 2021 and hopefully [email protected] the Easter Rave and the TechnoBase birthday will take place. Since I was really getting started again professionally and was also ill, there were unfortu- nately long delays in the publication of the magazi- ne. I apologize for this. I wish you happy reading, Have a nice Christmas and a happy new year. Your Richard Gollnik Something Christmas by Marious The new Song Christmas Time by Mariousis now available on all download portals Page 2 content Crossword puzzle What is hands up? A crossword puzzle about the An explanation from Hands hands up scene with the chan- Up. -
Elena Poniatowska Engalanará Festival Celebrate Mexico Now
Publication Date The New York Times 9/13/13 Flavorpill 9/17/13 Informador 8/16/13 Yareah Magazine 8/17/13 La Jornada 9/12/13 El Diario 9/6/13 Americas Society 9/12/13 The New York Times, Event Pick >> 09/13/13 >> A treat since 2004, this annual feast of music, dance, literature and film offers events mixing the traditional with the contemporary around New York City — many of which are free. The musical fare includes a concert of contemporary songs infused with traditional sounds by the New York group Radio Jarocho and others on Saturday at 11 p.m. at Le Poisson Rouge, 158 Bleecker Street, near Thompson Street, Greenwich Village; $20. On Sept. 21, at the Schimmel Center for the Arts, Pace University, 3 Spruce Street, Lower Manhattan, Mr. Ho’s Orchestrotica, from Boston, will play pop music from the ’50s and ’60s by the Mexican composer Juan García Esquivel, who died in 2004 at 83. Tickets are $35. The festival, running through Sept. 21, includes more than music, though. On Saturday at 7:30 p.m. at the Center for Performance Research, 361 Manhattan Avenue, in Bushwick, Brooklyn, the dancer Geraldine Cardiel will perform “Chronicles of Skin”; $15. And on Wednesday at 7 p.m., a free discussion on contemporary Mexican theater at the King Juan Carlos I of Spain Center at New York University, 53 Washington Square South, Greenwich Village, will feature the Mexican playwrights Bárbara Colio and Elena Guiochins, and Lydia Margules, artistic director of Museo Deseo Escena, a theater company in Mexico. -
S O U N D P L a N
SOUND PLANET E C H A N N E L L I S T 2 012 . 10 … INSTRUMENTAL … Corresponds to the Internet Request A E B F C G D H I J K 01 REQUEST J-POP 01 J-POP Hits Now 01 Seasonal Music（ J-Pop Best Selection） 01 Seasonal Music（ Easy Listening） Seasonal Music（ Nursery Instrumental） 01 J-POP & Popular Hits Now 01 Baby Songs 01 Time Notice 02 REQUEST General Japanese Pops 02 J-ROCK 02 GIRLS ROCK 02 Seasonal Music（ Music Box） Seasonal Music（ J-POP Instrumental） 02 GIRLS J-POP 02 Play Songs For Children 02 Temporary 1 03 REQUEST Enka / Kayokyoku 03 Enka 03 SOFT ROCK 03 usen for Café Après-midi 03 J-HOUSE 03 All Time Kids Hits 03 Temporary 2 04 REQUEST Enka / Kayokyoku 04 Idol 04 HOUSE NATION 04 HOUSE MUSIC（ 125bpm） 04 J-TECHNO POP 04 Early Teen Pops Now 04 Weather Forecast 05 REQUEST J-POP/Popular 05 Japanese Folk Songs 05 salon jazz 05 LOUNGE MUSIC 05 Acoustic J-POP 05 Fairlyland Music 05 06 Kayo☆Hits Parade 06 Senior Rice Pops 06 Colorful Pop Styling 06 Afternoon Tea Music 06 Light Classic 06 Nursery Rhymes 06 Seasonal Music / Exhibition 1 07 Popular☆Hits Parade 07 Monthly Artist Selection J-POP 07 Organic Soul 07 Dance Beat Easy Listening Acoustic 07 Light Jazz 07 Melody of Acorn Forest 07 08 Healing Classic 08 Weekly Artist Selection J-POP 08 Organic SSW ～Slow Life Music～ 08 TRANCE（ Instrumental） Easy Listening Casual 08 Bossa Nova BGM 08 MINNANOUTA 08 Nostalgic TV Songs 09 Jazz for Gastronomic Ambience 09 Best of Show-wa era Kayokyoku Group Sounds 09 J-LOUNGE 09 Funky Beat Heartful Strings 09 J-POP Bossa Nova BGM 09 Happy♪Kiddy Songs 09 Seasonal -
About Somafm
About SomaFM SomaFM is a listener-supported, commercial-free internet radio station. Launched in February 2000 from a warehouse in San Francisco, we started with just one channel, playing “ambient” music, and developed a small but dedicated audience. By 2001, we’d increased the number of channels to seven. Our audience was small by broadcast standards – our AQH ratings were under a few hundred. Interest in our station continued to grow and we now have over 16 channels – all focusing on niche genres rarely if ever heard on commercial radio. !anks to the hard work of our dedicated music directors and the generous support of our listen- ers, our high-quality MP3 and aacPlus internet broadcasts are now enjoyed by people all around the world. With over 5 million “listener hours” a month, SomaFM is one of the larger independent in- ternet-only broadcasters. Groove Salad, our most popular ambient/chill channel is the most listened to “chill out” station on the internet, with over 600,000 listener hours a week. At any given time, our station has between 5500 and 13,000 listeners, with an AQH of 7500. We have over 500,000 unique listeners a month. SomaFM plays music for a huge, previously ignored audience. Over-the-air commercial radio, now dominated by just a few corporations, plays formats geared towards mass appeal. With limited play lists, and limited genres, they seek to reach the most people with the least e"ort and risk. !is model assumes an unsophisticated and captive listener. Today’s listeners are neither. !e real listener has internet access, wildly eclectic taste, and is eager to discover new music. -
Music Genre/Form Terms in LCGFT Derivative Works
Music Genre/Form Terms in LCGFT Derivative works … Adaptations Arrangements (Music) Intabulations Piano scores Simplified editions (Music) Vocal scores Excerpts Facsimiles … Illustrated works … Fingering charts … Posters Playbills (Posters) Toy and movable books … Sound books … Informational works … Fingering charts … Posters Playbills (Posters) Press releases Programs (Publications) Concert programs Dance programs Film festival programs Memorial service programs Opera programs Theater programs … Reference works Catalogs … Discographies ... Thematic catalogs (Music) … Reviews Book reviews Dance reviews Motion picture reviews Music reviews Television program reviews Theater reviews Instructional and educational works Teaching pieces (Music) Methods (Music) Studies (Music) Music Accompaniments (Music) Recorded accompaniments Karaoke Arrangements (Music) Intabulations Piano scores Simplified editions (Music) Vocal scores Art music Aʼak Aleatory music Open form music Anthems Ballades (Instrumental music) Barcaroles Cadenzas Canons (Music) Rounds (Music) Cantatas Carnatic music Ālāpa Chamber music Part songs Balletti (Part songs) Cacce (Part songs) Canti carnascialeschi Canzonets (Part songs) Ensaladas Madrigals (Music) Motets Rounds (Music) Villotte Chorale preludes Concert etudes Concertos Concerti grossi Dastgāhs Dialogues (Music) Fanfares Finales (Music) Fugues Gagaku Bugaku (Music) Saibara Hát ả đào Hát bội Heike biwa Hindustani music Dādrās Dhrupad Dhuns Gats (Music) Khayāl Honkyoku Interludes (Music) Entremés (Music) Tonadillas Kacapi-suling -
Krautrock and the West German Counterculture
“Macht das Ohr auf” Krautrock and the West German Counterculture Ryan Iseppi A thesis submitted in partial fulfillment of the requirements for the degree of BACHELOR OF ARTS WITH HONORS DEPARTMENT OF GERMANIC LANGUAGES & LITERATURES UNIVERSITY OF MICHIGAN April 17, 2012 Advised by Professor Vanessa Agnew 2 Contents I. Introduction 5 Electric Junk: Krautrock’s Identity Crisis II. Chapter 1 23 Future Days: Krautrock Roots and Synthesis III. Chapter 2 33 The Collaborative Ethos and the Spirit of ‘68 IV: Chapter 3 47 Macht kaputt, was euch kaputt macht: Krautrock in Opposition V: Chapter 4 61 Ethnological Forgeries and Agit-Rock VI: Chapter 5 73 The Man-Machines: Krautrock and Electronic Music VII: Conclusion 85 Ultima Thule: Krautrock and the Modern World VIII: Bibliography 95 IX: Discography 103 3 4 I. Introduction Electric Junk: Krautrock’s Identity Crisis If there is any musical subculture to which this modern age of online music consumption has been particularly kind, it is certainly the obscure, groundbreaking, and oft misunderstood German pop music phenomenon known as “krautrock”. That krautrock’s appeal to new generations of musicians and fans both in Germany and abroad continues to grow with each passing year is a testament to the implicitly iconoclastic nature of the style; krautrock still sounds odd, eccentric, and even confrontational approximately twenty-five years after the movement is generally considered to have ended.1 In fact, it is difficult nowadays to even page through a recent issue of major periodicals like Rolling Stone or Spin without chancing upon some kind of passing reference to the genre. -
Alt-Rock and College- Pop of the 1980S, Came to an Abrupt, Grinding Halt in the 1990S
The History of Rock Music - The Nineties The History of Rock Music: 1989-1994 Raves, grunge, post-rock History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Alt-pop (These are excerpts from my book "A History of Rock and Dance Music") Pop renaissance in the USA TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. During the first half of the 1990s, pop music vastly outnumbered underground/experimental music. It was the revenge of melody, after a quarter of a century of progressive sounds. A cycle that began with the demise of the Beatles and the rise of alternative/progressive rock, and that continued with the German and Canterbury schools of the 1970s, and then punk-rock and the new wave, and peaked with the alt-rock and college- pop of the 1980s, came to an abrupt, grinding halt in the 1990s. The more fashionable and rewarding route was, however, the one that coasted the baroque pop of latter-day Beach Boys, Van Dyke Parks, Big Star and XTC, the one that coupled catchy refrains and lush arrangements. The single most important school may have been San Francisco's, which had originated in the 1980s with the Sneetches. Jellyfish (2), featuring guitarist Jason Falkner, wrote perhaps the most impeccable melodies of the time. Bellybutton (1990), a milestone of naive, bubblegum melodic music inspired by Merseybeat and later Beach Boys, was both cartoonish and shimmering, while the arrangements on Spilt Milk (1993) were almost baroque. -
Microgenres MOUG 2021 Presentation (6.531Mb)
Microgenres Memory, Community, and Preserving the Present Leonard Martin Resource Description Librarian Metadata and Digitization Services University of Houston Brief Overview • Microgenres as a cultural phenomenon. • Metadata description for musical microgenres in a library environment using controlled vocabularies and resources. • Challenges and resources for identifying and acquiring microgenre musical sound recordings. • This presentation will focus on chopped and screwed music, vaporwave music, and ambient music. Microgenre noun /mi ∙ cro ∙ gen ∙ re/ 1. A hyper-specific subcategory of artistic, musical, or literary composition characterized that is by a particular style, form, or content. 2. A flexible, provisional, and temporary category used to establish micro- connections among cultural artifacts, drawn from a range of historical periods found in literature, film, music, television, and the performing and fine arts. 3. A specialized or niche genre; either machine-classified or retroactively established through analysis. Examples of Musical Microgenres Hyper-specific • Chopped and screwed music Flexible, provisional, and temporary • Vaporwave music Specialized or niche • Ambient music Ambient Music • Ambient music is a broad microgenre encompassing a breath of natural sounds, acoustic and electronic instruments, and utilizes sampling and/or looping material Discreet Music, Discreet Music, by Brian Eno, 1975, EG Records. to generate repetitive soundscapes. • Earlier works from Erik Satie’s musique d’ameublement (furniture music) to the musique concrete works of Éliane Radigue, Steve Reich’s tape pieces, and synthesizer albums of Wendy Carlos are all precursors of ambient music. • The term ambient music was coined by composer Brian Eno upon the release of Michigan Turquoise, Catch a Blessing. 2019. Genre tags: devotional, ambient, his album, “Discreet Music,” in 1975. -
Ambient Music the Complete Guide
Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality. -
Xiami Music Genre 文档
xiami music genre douban 2021 年 02 月 14 日 Contents: 1 目录 3 2 23 3 流行 Pop 25 3.1 1. 国语流行 Mandarin Pop ........................................ 26 3.2 2. 粤语流行 Cantopop .......................................... 26 3.3 3. 欧美流行 Western Pop ........................................ 26 3.4 4. 电音流行 Electropop ......................................... 27 3.5 5. 日本流行 J-Pop ............................................ 27 3.6 6. 韩国流行 K-Pop ............................................ 27 3.7 7. 梦幻流行 Dream Pop ......................................... 28 3.8 8. 流行舞曲 Dance-Pop ......................................... 29 3.9 9. 成人时代 Adult Contemporary .................................... 29 3.10 10. 网络流行 Cyber Hit ......................................... 30 3.11 11. 独立流行 Indie Pop ......................................... 30 3.12 12. 女子团体 Girl Group ......................................... 31 3.13 13. 男孩团体 Boy Band ......................................... 32 3.14 14. 青少年流行 Teen Pop ........................................ 32 3.15 15. 迷幻流行 Psychedelic Pop ...................................... 33 3.16 16. 氛围流行 Ambient Pop ....................................... 33 3.17 17. 阳光流行 Sunshine Pop ....................................... 34 3.18 18. 韩国抒情歌曲 Korean Ballad .................................... 34 3.19 19. 台湾民歌运动 Taiwan Folk Scene .................................. 34 3.20 20. 无伴奏合唱 A cappella ....................................... 36 3.21 21. 噪音流行 Noise Pop ......................................... 37 3.22 22. 都市流行 City Pop ......................................... -
284 Chapter 4 Compilasians: from Asian Underground To
CHAPTER 4 COMPILASIANS: FROM ASIAN UNDERGROUND TO ASIAN FLAVAS Introduction The success of those British Asian popular musicians who were associated with the Asian Underground by the end of the 1990s had two imagined outcomes: 1) their success could establish British Asians as significant contributors to British society and popular culture, or 2) their success could eventually falter and, as a result, return British Asian popular musicians to the margins of British society. As Chapter 2 demonstrates, the second outcome proved to become reality; British Asian musicians associated with the Asian Underground did return to the margins of “British culture” as popularly conceived. Before they returned to the margins, recording companies released a plethora of recordings by British Asian musicians, as well as compilation recordings prominently incorporating their music. As shown in Chapter 2, the “world music” category in the context of the award ceremonies served many simultaneous, if at times contradictory, roles that helped define British Asian musicians’ relation to mainstream culture; the most significant of these roles included serving as a dumping ground for exotic others and as a highly visible platform highlighting British Asian musicians’ specific contributions to the music industry. Yet British Asian musicians’ participation within particular compilation recordings offers yet another significant forum that defines their cultural identity. The first British Asian-oriented compilations had been motivated by attempts to capture the atmosphere of particular club scenes and package them for mass consumption; as a result, these compilations most often featured music by artists associated with respective clubs. Yet as a surfeit of 284 British Asian releases saturated the market, British Asian music lost its novelty.