Introduction a Brief History of Cassettes
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Cosmopolitanism, Remediation and the Ghost World of Bollywood
COSMOPOLITANISM, REMEDIATION, AND THE GHOST WORLD OF BOLLYWOOD DAVID NOVAK CUniversity ofA California, Santa Barbara Over the past two decades, there has been unprecedented interest in Asian popular media in the United States. Regionally identified productions such as Japanese anime, Hong Kong action movies, and Bollywood film have developed substantial nondiasporic fan bases in North America and Europe. This transnational consumption has passed largely under the radar of culturalist interpretations, to be described as an ephemeral by-product of media circulation and its eclectic overproduction of images and signifiers. But culture is produced anew in these “foreign takes” on popular media, in which acts of cultural borrowing channel emergent forms of cosmopolitan subjectivity. Bollywood’s global circulations have been especially complex and surprising in reaching beyond South Asian diasporas to connect with audiences throughout the world. But unlike markets in Africa, Eastern Europe, and Southeast Asia, the growing North American reception of Bollywood is not necessarily based on the films themselves but on excerpts from classic Bollywood films, especially song-and- dance sequences. The music is redistributed on Western-produced compilations andsampledonDJremixCDssuchasBollywood Beats, Bollywood Breaks, and Bollywood Funk; costumes and choreography are parodied on mainstream television programs; “Bollywood dancing” is all over YouTube and classes are offered both in India and the United States.1 In this essay, I trace the circulation of Jaan Pehechaan Ho, a song-and-dance sequence from the 1965 Raja Nawathe film Gumnaam that has been widely recircu- lated in an “alternative” nondiasporic reception in the United States. I begin with CULTURAL ANTHROPOLOGY, Vol. 25, Issue 1, pp. -
MINIDISC MANUAL V3.0E Table of Contents
MINIDISC MANUAL V3.0E Table of Contents Introduction . 1 1. The MiniDisc System 1.1. The Features . 2 1.2. What it is and How it Works . 3 1.3. Serial Copy Management System . 8 1.4. Additional Features of the Premastered MD . 8 2. The production process of the premastered MD 2.1. MD Production . 9 2.2. MD Components . 10 3. Input components specification 3.1. Sound Carrier Specifications . 12 3.2. Additional TOC Data / Character Information . 17 3.3. Label-, Artwork- and Print Films . 19 3.4. MiniDisc Logo . 23 4. Sony DADC Austria AG 4.1. The Company . 25 5. Appendix Form Sheets Introduction T he quick random access of Compact Disc players has become a necessity for music lovers. The high quality of digital sound is now the norm. The future of personal audio must meet the above criteria and more. That’s why Sony has created the MiniDisc, a revolutionary evolution in the field of digital audio based on an advanced miniature optical disc. The MD offers consumers the quick random access, durability and high sound quality of optical media, as well as superb compactness, shock- resistant portability and recordability. In short, the MD format has been created to meet the needs of personal music entertainment in the future. Based on a dazzling array of new technologies, the MiniDisc offers a new lifestyle in personal audio enjoyment. The Features 1. The MiniDisc System 1.1. The Features With the MiniDisc, Sony has created a revolutionary optical disc. It offers all the features that music fans have been waiting for. -
Popular Music, Stars and Stardom
POPULAR MUSIC, STARS AND STARDOM POPULAR MUSIC, STARS AND STARDOM EDITED BY STEPHEN LOY, JULIE RICKWOOD AND SAMANTHA BENNETT Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au A catalogue record for this book is available from the National Library of Australia ISBN (print): 9781760462123 ISBN (online): 9781760462130 WorldCat (print): 1039732304 WorldCat (online): 1039731982 DOI: 10.22459/PMSS.06.2018 This title is published under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cover design by Fiona Edge and layout by ANU Press This edition © 2018 ANU Press All chapters in this collection have been subjected to a double-blind peer-review process, as well as further reviewing at manuscript stage. Contents Acknowledgements . vii Contributors . ix 1 . Popular Music, Stars and Stardom: Definitions, Discourses, Interpretations . 1 Stephen Loy, Julie Rickwood and Samantha Bennett 2 . Interstellar Songwriting: What Propels a Song Beyond Escape Velocity? . 21 Clive Harrison 3 . A Good Black Music Story? Black American Stars in Australian Musical Entertainment Before ‘Jazz’ . 37 John Whiteoak 4 . ‘You’re Messin’ Up My Mind’: Why Judy Jacques Avoided the Path of the Pop Diva . 55 Robin Ryan 5 . Wendy Saddington: Beyond an ‘Underground Icon’ . 73 Julie Rickwood 6 . Unsung Heroes: Recreating the Ensemble Dynamic of Motown’s Funk Brothers . 95 Vincent Perry 7 . When Divas and Rock Stars Collide: Interpreting Freddie Mercury and Montserrat Caballé’s Barcelona . -
7-IN-1 TURNTABLE Important Safety Instructions
MODEL: VTA-204B 7-IN-1 TURNTABLE Important Safety Instructions......................................................................................................................... 3 Product Overview .......................................................................................................................................... 4 Setup / Basic Operation................................................................................................................................. 7 Listening to a Vinyl Record ............................................................................................................................ 7 Listening to a CD ........................................................................................................................................... 8 Listening to the FM Radio.............................................................................................................................. 9 Listening to an External Audio Device (AUX Mode) ...................................................................................... 9 Listening to an External Audio Device (Bluetooth Mode) ............................................................................ 10 Listening to a Cassette Tape ....................................................................................................................... 10 USB Recording Operation........................................................................................................................... 10 Maintenance / Proper -
Tales of the Tape: Cassette Culture, Community Radio, and the Birth Of
Creative Industries Journal, 2015 http://dx.doi.org/10.1080/17510694.2015.1090229 Tales of the tape: cassette culture, community radio, and the birth of rap music in Boston Pacey Fostera* and Wayne Marshallb aManagement and Marketing Department, College of Management, University of Massachusetts-Boston, 100 Morrissey Blvd. Boston, MA 02125, USA; bLiberal Arts Department, Berklee College of Music, 1140 Boylston St. Boston, MA 02215, USA Recent scholarship on peer-oriented production and participatory culture tends to emphasize how the digital turn, especially the Internet and the advent of the so-called ‘social web’, has enabled new forms of bottom-up, networked creative production, much of which takes place outside of the commercial media. While remarkable examples of collaboration and democratized cultural production abound in the online era, a longer view situates such practices in histories of media culture where other convergences of production and distribution technologies enabled peer-level exchanges of various sorts and scales. This essay contributes to this project by examining the emergence of a local rap scene in Boston, Massachusetts in the mid- late 1980s via the most accessible ‘mass’ media of the day: the compact cassette and community radio. Introduction Recent scholarship on peer-oriented production and participatory culture tends to empha- size the special affordances of the digital turn, especially the Internet and the advent of the so-called ‘social web’ (Benkler 2006; Lessig 2008; Shirky 2008). While remarkable examples of collaboration and democratized cultural production abound in the online era, a longer view situates such practices in histories of media culture where other convergen- ces of production and distribution technologies enabled peer-level exchanges of various sorts and scales. -
Creativities, Innovation, and Networks in Garage Punk Rock : a Case Study of the Eruptörs
This is a repository copy of CREATIVITIES, INNOVATION, AND NETWORKS IN GARAGE PUNK ROCK : A CASE STUDY OF THE ERUPTÖRS. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/94929/ Version: Published Version Article: Gillett, Alex Giles orcid.org/0000-0001-7965-2404 and Smith, Gareth (2015) CREATIVITIES, INNOVATION, AND NETWORKS IN GARAGE PUNK ROCK : A CASE STUDY OF THE ERUPTÖRS. Artivate: A Journal of Entrepreneurship in the Arts. pp. 9-24. ISSN 2164-7747 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Artivate: A Journal of Entrepreneurship in the Arts Volume 4, Issue 1 http://artivate.org pp. 9-24 ______________________________________________________________________________________________________________________ CREATIVITIES, INNOVATION, AND NETWORKS IN GARAGE PUNK ROCK: A CASE STUDY OF THE ERUPTÖRS Gareth Dylan Smith, Institute of Contemporary Music Performance Alex Gillett, The York Management School, University of York Abstract The two authors are members of punk rock trio the Eruptörs. -
Historical Development of Magnetic Recording and Tape Recorder 3 Masanori Kimizuka
Historical Development of Magnetic Recording and Tape Recorder 3 Masanori Kimizuka ■ Abstract The history of sound recording started with the "Phonograph," the machine invented by Thomas Edison in the USA in 1877. Following that invention, Oberlin Smith, an American engineer, announced his idea for magnetic recording in 1888. Ten years later, Valdemar Poulsen, a Danish telephone engineer, invented the world's frst magnetic recorder, called the "Telegraphone," in 1898. The Telegraphone used thin metal wire as the recording material. Though wire recorders like the Telegraphone did not become popular, research on magnetic recording continued all over the world, and a new type of recorder that used tape coated with magnetic powder instead of metal wire as the recording material was invented in the 1920's. The real archetype of the modern tape recorder, the "Magnetophone," which was developed in Germany in the mid-1930's, was based on this recorder.After World War II, the USA conducted extensive research on the technology of the requisitioned Magnetophone and subsequently developed a modern professional tape recorder. Since the functionality of this tape recorder was superior to that of the conventional disc recorder, several broadcast stations immediately introduced new machines to their radio broadcasting operations. The tape recorder was soon introduced to the consumer market also, which led to a very rapid increase in the number of machines produced. In Japan, Tokyo Tsushin Kogyo, which eventually changed its name to Sony, started investigating magnetic recording technology after the end of the war and soon developed their original magnetic tape and recorder. In 1950 they released the frst Japanese tape recorder. -
Digital Audio Standards
Digital Audio Standards MINUTES OF THE MEETING OF THE DIGITAL would consider the possibility of using the 45-kHz fre- AUDIO STANDARDS COMMITTEE quency proposed by Heaslett. 1.5 Mr. Willcocks gave the available technical details of Date: 1977 December 1 und 2 some 14 presently-used digital audio systems. He sub- Time: 1830 hours sequently prepared a report containing this information for Place: Snowbird Resort, Salt Lake City, Utah distribution to the committee (see page 56). 1.6 Several members expressed the urgency for sampling Present: Chairman, John G. McKnight (Magnetic Refer- frequency standardization because of the number of digital ence Laboratory); members, Stanley Becker (Scully/ audio recording systems- both studio and consumer Dictaphone); Gregory Boganz (RCA Records); Vic Goh types- now nearing completion and commercial availa- (Victor Company of Japan (JVC)); Thomas Hay (MCI, bility. Inc .); Alastair Heaslett (Ampex Corporation); M. Carlos Kennedy (Ampex Corporation); William Kinghom (Telex 1.7 The committee was unable to find an acceptable single Communications); K. Kimihira (Akai America); Masahiro frequency, given the conflicting requirements of the pres- Kosaka (Wireless Research Lab, Matsushita Elect. Inc. ent TV-compatible proposal, the 3M studio recorder, and Co.); Alfred H. Moris (3M Company); Thomas G. Stoc- the Japanese consumer recorders. The committee asked kham, Jr. (Soundstream, Inc.); Martin Willcocks Messrs. Heaslett, Youngquist and Kosaka each to prepare (Willcocks Research Consultants); James V. White (CBS a report giving details explaining why they chose the Technology Center); Yoshito Yamagudi (Melco Sales Inc. frequency they did, and what penalties the other frequen- Mitsubishi Electric Corp.); Robert J. Youngquist (3M cies discussed would entail. -
DVCPRO Cassette Tape Small, Lightweight Yet Reliable 6.35-Mm Digital Cassette MP Tape for Versatile Applications
DVCPRO Cassette Tape Small, Lightweight yet Reliable 6.35-mm Digital Cassette MP Tape for Versatile Applications The DVCPRO digital cassette tape brings an exceptionally durability. The medium DVCPRO cassette tape offers up compact size and high reliability to wide range of to 66 minutes of recording time (with AJ-P66MP), professional applications like broadcasting or program and L-size cassette tape offers up to 184 minutes pdoduction. (with AJ-5P92LP) in studio applications*. This 6.35-mm-wide metal particle digital tape — the Besides, AJ-HP126EXG can offer more than 2 hours of world's smallest and lightest — incorporates newly recording time in High Definition. In addition this reliable developed high-output metal magnetic particles that have digital tape offers higher operating efficiency. These made downsizing possible while delivering superb picture features make the new DVCPRO cassette tape ideal for and sound quality. The DVCPRO cassette tape also any applications where high reliability and low operating boasts excellent tape transport stability and outstanding costs are a must. * in 25M mode. Outstanding Picture Quality and Durability in a Small Cassette Tape The World's Most Compact Digital Video Smooth Tape Transport, Excellent Line-Up Model No. Recording/Playback Time Length Cassette for Broadcasting Durability and Reliability 25M 50M HD HD-LP The ultracompact DVCPRO cassette is just 1/4 An ultra-flat base film and advanced AJ-HP126EXG — — — 126 min. 513 m the overall size and 1/6 the weight of the calendering techniques give DVCPRO tape an AJ-HP92ELG — — 46 min. 92 min. 377 m standard 1/2-inch cassette tape used in news ultra-smooth magnetic layer surface that AJ-HP64ELG — — 32 min. -
Punk · Film RARE PERIODICALS RARE
We specialize in RARE JOURNALS, PERIODICALS and MAGAZINES Please ask for our Catalogues and come to visit us at: rare PERIODIcAlS http://antiq.benjamins.com music · pop · beat · PUNk · fIlM RARE PERIODICALS Search from our Website for Unusual, Rare, Obscure - complete sets and special issues of journals, in the best possible condition. Avant Garde Art Documentation Concrete Art Fluxus Visual Poetry Small Press Publications Little Magazines Artist Periodicals De-Luxe editions CAT. Beat Periodicals 296 Underground and Counterculture and much more Catalogue No. 296 (2016) JOHN BENJAMINS ANTIQUARIAT Visiting address: Klaprozenweg 75G · 1033 NN Amsterdam · The Netherlands Postal address: P.O. BOX 36224 · 1020 ME Amsterdam · The Netherlands tel +31 20 630 4747 · fax +31 20 673 9773 · [email protected] JOHN BENJAMINS ANTIQUARIAT B.V. AMSTERDAM cat.296.cover.indd 1 05/10/2016 12:39:06 antiquarian PERIODIcAlS MUSIC · POP · BEAT · PUNK · FILM Cover illustrations: DOWN BEAT ROLLING STONE [#19111] page 13 [#18885] page 62 BOSTON ROCK FLIPSIDE [#18939] page 7 [#18941] page 18 MAXIMUM ROCKNROLL HEAVEN [#16254] page 36 [#18606] page 24 Conditions of sale see inside back-cover Catalogue No. 296 (2016) JOHN BENJAMINS ANTIQUARIAT B.V. AMSTERDAM 111111111111111 [#18466] DE L’AME POUR L’AME. The Patti Smith Fan Club Journal Numbers 5 and 6 (out of 8 published). October 1977 [With Related Ephemera]. - July 1978. [Richmond Center, WI]: (The Patti Smith Fan Club), (1978). Both first editions. 4to., 28x21,5 cm. side-stapled wraps. Photo-offset duplicated. Both fine, in original mailing envelopes (both opened a bit rough but otherwise good condition). EUR 1,200.00 Fanzine published in Wisconsin by Nanalee Berry with help from Patti’s mom Beverly. -
CD Boombox with Cassette Player and AM/FM Radio
NS-BCDCAS1_16-0152_MAN_V3_ENG.fm Page 1 Monday, May 9, 2016 9:45 AM USER GUIDE CD Boombox with Cassette Player and AM/FM Radio NS-BCDCAS1 Before using your new product, please read these instructions to prevent any damage. NS-BCDCAS1_16-0152_MAN_V3_ENG.fm Page 2 Monday, May 9, 2016 9:45 AM Contents Welcome . 2 Safety information . 2 Features . 4 Setting up your boombox . 9 Using your boombox . 11 Troubleshooting. 15 Maintaining . 16 Legal notices. 18 ONE-YEAR LIMITED WARRANTY. 20 Welcome Congratulations on your purchase of a high-quality Insignia product. Your NS-BCDCAS1 represents the state of the art in boomboxes and is designed for reliable and trouble-free performance. Safety information To prevent fire or shock hazard, do not plug the power cord into an extension cord, receptacle, or other outlet unless the blades can be fully inserted to prevent blade exposure. To prevent fire or shock hazard, do not expose this boombox to rain or moisture. CAUTION: To reduce the risk of electric shock, do not remove cover (or back). No user-serviceable parts inside. Refer servicing to qualified service personnel. Surge protectors: We recommend that you use a surge protector when you use the AC power cord with this boombox. Lightning and power surges ARE NOT covered under the warranty for this product. The lightning flash with arrowhead symbol within a triangle is intended to alert you to the presence of uninsulated dangerous voltage within your boombox’s enclosure that may be of sufficient magnitude to constitute risk of electric shock to persons. 2 www.insigniaproducts.com NS-BCDCAS1_16-0152_MAN_V3_ENG.fm Page 3 Monday, May 9, 2016 9:45 AM CD Boombox with Cassette Player and AM/FM Radio The exclamation point within a triangle is intended to alert you to the presence of important operating and maintenance (servicing) instructions in the literature accompanying your boombox. -
Notes from the Underground: a Cultural, Political, and Aesthetic Mapping of Underground Music
Notes From The Underground: A Cultural, Political, and Aesthetic Mapping of Underground Music. Stephen Graham Goldsmiths College, University of London PhD 1 I declare that the work presented in this thesis is my own. Signed: …………………………………………………. Date:…………………………………………………….. 2 Abstract The term ‗underground music‘, in my account, connects various forms of music-making that exist largely outside ‗mainstream‘ cultural discourse, such as Drone Metal, Free Improvisation, Power Electronics, and DIY Noise, amongst others. Its connotations of concealment and obscurity indicate what I argue to be the music‘s central tenets of cultural reclusion, political independence, and aesthetic experiment. In response to a lack of scholarly discussion of this music, my thesis provides a cultural, political, and aesthetic mapping of the underground, whose existence as a coherent entity is being both argued for and ‗mapped‘ here. Outlining the historical context, but focusing on the underground in the digital age, I use a wide range of interdisciplinary research methodologies , including primary interviews, musical analysis, and a critical engagement with various pertinent theoretical sources. In my account, the underground emerges as a marginal, ‗antermediated‘ cultural ‗scene‘ based both on the web and in large urban centres, the latter of whose concentration of resources facilitates the growth of various localised underground scenes. I explore the radical anti-capitalist politics of many underground figures, whilst also examining their financial ties to big business and the state(s). This contradiction is critically explored, with three conclusions being drawn. First, the underground is shown in Part II to be so marginal as to escape, in effect, post- Fordist capitalist subsumption.