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BBC Music Booklet Celebrating 80 Years of Music.Pdf
Celebrating Years of Music A Serenade to Music “We are the music-makers And we are the dreamers of dreams…” (Arthur William Edgar O’Shaughnessy, Ode) The story of BBC Northern Ireland’s involvement in nurturing and broadcasting local musical talent is still in the making. This exhibition provides a revealing glimpse of work in progress at the BBC’s Community Archive in documenting the programmes and personalities who have brought music in all its different forms to life, and looks at how today’s broadcasters are responding to the musical styles and opportunities of a new century. It celebrates BBC NI’s role in supporting musical diversity and creative excellence and reflects changes in fashion, technology and society across 80 years of local broadcasting. “ Let us celebrate the way we were and the way we live now. Much has been achieved since 2BE’s first faltering (and scarcely heard) musical broadcast in 1924. Innovation has Let us celebrate the ways we will be... been a defining feature of every decade from early radio concerts in regional towns and country halls to the pioneering work of Sean O’Boyle in recording traditional music and Sam Hanna Bell’s 1950s programmes of Belfast’s Let us count the ways to celebrate. street songs.The broadcasts of the BBC Wireless Orchestra and its successors find their contemporary echo in the world-class performances of the Ulster Orchestra and BBC NI’s radio and television schedules continue to Let us celebrate.” reverberate to the diverse sounds of local jazz, traditional and country music, religious services, brass bands, choirs, (Roger McGough - Poems of Celebration) contemporary rock, pop and dance music. -
Hunger Makes Me a Modern Girl: a Memoir Free
FREE HUNGER MAKES ME A MODERN GIRL: A MEMOIR PDF Carrie Brownstein | 256 pages | 05 Nov 2015 | Little, Brown Book Group | 9780349007922 | English | London, United Kingdom Hunger Makes Me a Modern Girl by Carrie Brownstein: | : Books Look Inside. Oct 27, Minutes Buy. Before Carrie Brownstein became a music icon, she was a young girl growing up in the Pacific Northwest just as it was becoming the setting for one the most important movements in rock history. Seeking a sense of home and identity, she would discover both while moving from spectator to creator in experiencing the power and mystery of a live performance. With Sleater-Kinney, Brownstein and her bandmates rose to prominence in the burgeoning underground feminist punk-rock movement that would define music and pop culture in the s. With deft, lucid prose Brownstein proves herself as formidable on the page as on the stage. That quality has become obvious over the course of eight albums with bandmates Corin Tucker and Janet Weiss… and now in her refreshingly forthright new memoir, Hunger Makes Me a Modern Girl. Instead, she candidly recounts the panic attacks and stress-induced shingles she experienced on tour. More important, it shows how compelling she is when she opens up. She carries a lot of humor and gentle self-deprecation throughout the work. For Carrie Brownstein, who grew up in the Riot Grrrl movement in the Pacific Northwest, they did: She started out playing in countless punk bands until settling on one with her BFF and romantic partner, Corin Tucker, which they eventually turned into the best rock band of all time, Sleater-Kinney. -
Words and Guitar
# 2021/24 dschungel https://jungle.world/artikel/2021/24/words-and-guitar Ein Rückblick auf die Diskographie von Sleater-Kinney Words and Guitar Von Dierk Saathoff Vojin Saša Vukadinović Zehn Alben haben Sleater-Kinney in den 27 Jahren seit ihrer Gründung aufgenommen, von denen das zehnte, »Path of Wellness«, kürzlich erschienen ist. Ein Rückblick auf die Diskographie der wohl besten Band der Welt. »Sleater-Kinney« (LP: Villa Villakula, CD: Chainsaw Records, 1995) 1995 spielten die beiden Gitarristinnen Corin Tucker und Carrie Brownstein erst seit einem Jahr unter dem Namen Sleater-Kinney, waren nach Misty Farrell und Stephen O’Neil (The Cannanes) aber bereits bei der dritten Besetzung am Schlagzeug angelangt, der schottisch-australischen Indie-Musikerin Lora MacFarlane. Nach einer frechen Single und Compilation-Tracks auf Tinuviel Sampsons feministischem Label Villa Villakula erschien dort das Vinyl vom Debütalbum, die CD-Version aber auf Donna Dreschs Queercore-Label Chainsaw. Selten klang Angst durchdringender als auf diesem derben wie dunklen Erstlingswerk, das mit zehn Liedern in weniger als 23 Minuten aufwartet. Corin Tucker kreischt sich die Seele aus dem Leib und Carrie Brownsteins Schreien auf »The Last Song« stellt mit Leichtigkeit ganze Karrieren mediokrer männlicher Hardcore-Bands in den Schatten. Mit Sicherheit nicht nur das unterschätzteste Album der Bandgeschichte, sondern des Punk in den neunziger Jahren überhaupt. »Call the Doctor« (Chainsaw Records, 1996) Album Nummer zwei zeigte eine enorme musikalische Weiterentwicklung. »Call the Doctor« ist das streckenweise intelligenteste Album von Sleater-Kinney, das sich einerseits vor der avancierten Musikszene im Nordwesten der USA verneigte, in der die Band entstanden war (Olympia, Washington), zugleich aber äußerst eigenständig vorwärtspreschte und bei allem Zorn auf die Ausprägungen misogyner Kultur Anflüge von Zärtlichkeit nicht scheute: Selten wurde Unsicherheit so ehrlich vorgetragen wie auf »Heart Attack«. -
Titre Construit 1Er Responsable Série Edith Piaf
Titre construit 1er responsable Série Edith Piaf (1963-2003) (20) : Volume 20 : Carnegie Hall 1956-1957 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] Edith Piaf (1963-2003) (19) : Volume 19 : Carnegie Hall 1956 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] Edith Piaf (1963-2003) (18) : Volume 18 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] Edith Piaf (1963-2003) (17) : Volume 17 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] Léo chante Ferré (16) : Léo chante l'espoir Ferré, Léo (1916 - 1993) Léo chante Ferré / Léo Ferré [Universal Music S.A.] Edith Piaf (1963-2003) (16) : Volume 16 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] Intégrale 1965-1995 (16) : Disque 16 Sardou, Michel Intégrale 1965-1995 / Michel Sardou [Universal Music France S.a] Léo chante Ferré (15) : Léo chante Et ... basta ! Ferré, Léo (1916 - 1993) Léo chante Ferré / Léo Ferré [Universal Music S.A.] Edith Piaf (1963-2003) (15) : Volume 15 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] L'Intégrale (15) : Les Marquises Brel, Jacques L'Intégrale / Jacques Brel [Universal Music France S.a] Intégrale 1965-1995 (15) : Disque 15 Sardou, Michel Intégrale 1965-1995 / Michel Sardou [Universal Music France S.a] L'Intégrale studio de Claude Nougaro (14) : Embarquement immédiat Nougaro, Claude L'Intégrale studio de Claude Nougaro / Claude Nougaro [Mercury France] Intégrale 1965-1995 (14) : Disque 14 Sardou, Michel Intégrale 1965-1995 / Michel Sardou [Universal Music France S.a] Edith Piaf (1963-2003) -
Allison Wolfe Interviewed by John Davis Los Angeles, California June 15, 2017 0:00:00 to 0:38:33
Allison Wolfe Interviewed by John Davis Los Angeles, California June 15, 2017 0:00:00 to 0:38:33 ________________________________________________________________________ 0:00:00 Davis: Today is June 15th, 2017. My name is John Davis. I’m the performing arts metadata archivist at the University of Maryland, speaking to Allison Wolfe. Wolfe: Are you sure it’s the 15th? Davis: Isn’t it? Yes, confirmed. Wolfe: What!? Davis: June 15th… Wolfe: OK. Davis: 2017. Wolfe: Here I am… Davis: Your plans for the rest of the day might have changed. Wolfe: [laugh] Davis: I’m doing research on fanzines, particularly D.C. fanzines. When I think of you and your connection to fanzines, I think of Girl Germs, which as far as I understand, you worked on before you moved to D.C. Is that correct? Wolfe: Yeah. I think the way I started doing fanzines was when I was living in Oregon—in Eugene, Oregon—that’s where I went to undergrad, at least for the first two years. So I went off there like 1989-’90. And I was there also the year ’90-’91. Something like that. For two years. And I met Molly Neuman in the dorms. She was my neighbor. And we later formed the band Bratmobile. But before we really had a band going, we actually started doing a fanzine. And even though I think we named the band Bratmobile as one of our earliest things, it just was a band in theory for a long time first. But we wanted to start being expressive about our opinions and having more of a voice for girls in music, or women in music, for ourselves, but also just for things that we were into. -
ELLIE GOULDING Corin Tucker Band
SEPTEMBER/OCTOBER 2012 ISSUE MMUSICMAG.COM SPOTLIGHT Chris Crisman John Clark CORIN TUCKER BAND The indie rocker chooses musical Seth Lorinczi, Sara Lund, democracy for her new album Corin Tucker, Mike Clark AFTER WRITING ALL THE SONGS Despite the group effort, Kill My working parent, she’s searching for balance on her 2010 solo debut, 1,000 Years, Blues is still defined by Tucker’s voice and between job and family. “That perspective Corin Tucker took a more collaborative her perspective. Backed by volatile riffs comes through on certain songs,” she approach on her latest. Kill My Blues and hooky melodies, she sounds more explains. “‘Constance’ is definitely a song was very much a team effort, as Tucker assured than on her previous release. about being a parent and watching your and her backing musicians jammed out “Making a record after Sleater-Kinney was children grow up and move on. The whole the tunes in their rehearsal space. “We hard,” she says. “It was a real emotional record is really about moving on, and how needed to open more doors for the band challenge.” Having locked in a sense of good that is, and how hard that is.” to evolve,” Tucker says. “That meant writing confidence, Tucker drew inspiration from Not all the tunes are autobiographical. all the songs together and not having it be recent social and political developments with Tucker’s coy about which ones are about just my solo project.” the women’s movement, and from stories her, but whatever their origin the singer Tucker, 39, spent a dozen years writing from her own life and those around her. -
Melophobe Months 2012 Music Reviews
Melophobe Months 2012 Music Reviews Walter Biggins This is issue #6 of Afronaut. Published by Afronaut Press, February 2013. Text and design © 2013 Walter Biggins. The following issues are available at Quiet Bubble (http://quietbubble.wordpress.com/zines/): Demo Tapes: Essays by Walter Biggins, 2005-2010 (issues #4 & 5, May 2011). A Tribute to Whitney Balliett (issue #3, October 2010). The Patter of Raindrops: The Wonderful Worlds of Hayao Miyazaki (issue #2, February 2010). Letters to Mr. Konigsberg (issue #1, October 2009). Muñeco: A 24-Hour Comic (issue #0, November 2000). For more information, please contact me at [email protected] or check out my blog: quietbubble.wordpress.com. Introduction. Something’s happened to me over the last five years. I listen to, and trust, pop music far less than I did in my twenties, and the pop that I still listen to is radically different than what I grew up with. My ears cock, like a cat’s, more toward jazz, avant-garde, and instrumental hip-hop now than to the rock, rap, R&B, and beat-driven fare that sustained me for twenty years. To be fair, jazz was always there, ever since I bought a $20 CD of Miles Davis’s Capitol/Blue Note years in a cold January morning in 1994. I bought it from Sound Warehouse, a chain that’s long gone, because the cover was cool and Davis—with his close-cropped hair and natty suit—looked cooler than I could ever hope for. It was a sophistication to aspire toward, and to try and impress girls with. -
The Appropriation and Packaging of Riot Grrrl Politics by Mainstream Female Musicians
Popular Music and Society, Vol. 26, No. 1, 2003 “A Little Too Ironic”: The Appropriation and Packaging of Riot Grrrl Politics by Mainstream Female Musicians Kristen Schilt “RIOT GIRL IS: BECAUSE I believe with my wholeheartmindbody that girls constitute a revolutionary soul force that can, and will, change the world for real” (“Riot Grrrl Is” 44) “Girl power!” (Spice Girls) Introduction Female rock musicians have had difficulty making it in the predominantly white male rock world. Joanne Gottlieb and Gayle Wald note that women’s participation in rock music usually consists of bolstering male performance, in the roles of groupie, girlfriend, or back-up singer (257). Even in punk rock, women are often treated as a novelty by the music press and cultural critics. Male bands such as the Sex Pistols and the Damned achieve rock notoriety while their female counterparts, like the Slits and the Raincoats, sink into obscurity. However, 1995 saw an explosion in the music press about a new group of female musicians: the angry women. Hailed in popular magazines for blending feminism and rock music, Alanis Morissette topped the charts in 1995. Affectionately named the “screech queen” by Newsweek, Morissette combined angry, sexually graphic lyrics with catchy pop music (Chang 79). She was quickly followed by Tracy Bonham, Meredith Brooks, and Fiona Apple. Though they differed in musical style, this group of musicians embodied what it meant to be a woman expressing anger through rock music, according to the music press. Popular music magazines argued that musicians like Morissette were creating a whole new genre for female performers, one that allowed them to assert their ideas about feminism and sexual- ity. -
Art-Rock Legends Pylon to Release Pylon Box
ART-ROCK LEGENDS PYLON TO RELEASE PYLON BOX NOVEMBER 6, 2020, VIA NEW WEST RECORDS COMPREHENSIVE 4xLP BOX SET REMASTERED FROM THE ORIGINAL TAPES FEATURES EIGHTEEN UNRELEASED RECORDINGS INCLUDES 200-PAGE HARDBOUND BOOK WITH WRITINGS BY MEMBERS OF R.E.M., GANG OF FOUR, THE B-52’s, SONIC YOUTH, SLEATER-KINNEY, MISSION OF BURMA, DEERHUNTER, STEVE ALBINI, ANTHONY DECURTIS, AND MORE STANDALONE REISSUES OF STUDIO LPS GYRATE (1980) AND CHOMP (1983) TO BE RELEASED ON VINYL FOR THE FIRST TIME IN NEARLY 35 YEARS; AVAILABLE ACROSS DIGITAL PLATFORMS TODAY PYLON COLLECTION EXHIBIT TO OPEN SEPTEMBER 18 AT THE HARGRETT LIBRARY, UNIVERSITY OF GEORGIA SPECIAL COLLECTIONS BUILDING JITTERY JOE’S COFFEE ROASTING COMPANY ANNOUNCES PYLON BUZZ BLEND INDUCTED INTO THE ATHENS MUSIC WALK OF FAME NPR MUSIC EXPLORES PYLON’S LASTING INFLUENCE WITH UNRELEASED RECORDINGS “THE HUMAN BODY” & “3X3 (LIVE)” TODAY Seminal art-rock legends Pylon will release Pylon Box on November 6, 2020, via New West Records. The comprehensive 4xLP box set includes their studio albums Gyrate (1980) and Chomp (1983), which have been remastered from their original tapes and will be available on vinyl for the first time in nearly 35 years. Pylon Box includes 47 total tracks, 18 of which are previously unreleased recordings. In addition to the remastered studio albums, the collection also includes Pylon’s first ever recording, Razz Tape. The previously unreleased 13-track session predates the band’s legendary 1979 debut single “Cool” b/w “Dub.” Also included is Extra, an 11-song collection featuring a recording made before frontwoman Vanessa Briscoe Hay joined the band, along with the “Cool” b/w “Dub” single (which Rolling Stone named one of the “100 Greatest Debut Singles of All Time” this year), the rare recording “Recent Title,” the original single mix of “Crazy,” five previously unreleased studio and live recordings, and more. -
February 1999
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Riot Dyke: Music, Identity, and Community in Lesbian Film
i Riot Dyke: Music, Identity, and Community in Lesbian Film by Alana Kornelsen A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, ON © 2016 Alana Kornelsen ii Abstract This thesis examines the use of diegetic pre-composed music in three American lesbian feature films. Numerous trends can be noted in the selection of music in lesbian film broadly— music is often selected to draw on insider knowledge of the target audience of these films, creating cachet. This cachet comes with accompanying “affiliating identifications” (Kassabian 2001) that allow music to be used in the films’ construction of characters’ identities. This is evident in the treatment of music in many lesbian films: characters frequently listen to, discuss, and perform music. This thesis focuses specifically on riot grrrl music and the closely linked genre of queercore (which together Halberstam ([2003] 2008) refers to as “riot dyke”) in three films that focus on the lives of young women: The Incredibly True Adventure of Two Girls in Love (dir. Maria Maggenti, 1995), All Over Me (dir. Alex Sichel, 1997), and Itty Bitty Titty Committee (dir. Jamie Babbit, 2007). By examining how diegetic riot dyke music is used in these three films to build characters’ identities and contribute to the films’ narratives I argue that in these films, riot dyke music is presented as being central to certain queer identities and communities, and that this music (as well as the community that often accompanies it) is portrayed as instigating or providing opportunities for characters’ personal growth and affirming characters’ identities in adverse environments. -
Thirty Years of the Divine Comedy Wed 1 – Sun 5 Sep 2021, Barbican Hall, 7.30Pm Tickets £25 – 40 Plus Booking Fee
JUST ANNOUNCED Rescheduled: Venus, Cupid, Folly and Time – Thirty Years of The Divine Comedy Wed 1 – Sun 5 Sep 2021, Barbican Hall, 7.30pm Tickets £25 – 40 plus booking fee Today the Barbican announces rescheduled dates for Venus, Cupid, Folly and Time – Thirty Years of The Divine Comedy, a celebration of the band’s thirtieth anniversary. The five-night concert-run by The Divine Comedy was originally planned for 2 – 6 September 2020 but can no longer go ahead due to the Covid-19 restrictions. In consultation with the Barbican and Cité de la Musique the band have decided to delay their London and Paris residencies till next year. The Barbican concerts will now take place Wed 1 – Sun 5 September 2021. Performing as an eleven-piece ensemble, they will play two albums in full each night in chronological order as follows: • Liberation / Promenade (Wed 1 Sep 2021) • Casanova / A Short Album About Love (Thu 2 Sep 2021) • Fin de Siecle / Regeneration (Fri 3 Sep 2021) • Absent Friends / Victory For The Comic Muse (Sat 4 Sep 2021) • Bang Goes The Knighthood / Foreverland (Sun 5 Sep 2021) The band will repeat the five nights at the Cité de la Musique in Paris later in September 2021. In 1990 Neil Hannon signed his first deal and started releasing records under the name The Divine Comedy. Thirty years, twelve great albums and hundreds of mesmerising live shows later, Hannon is rightly adjudged one of the finest singer-songwriters of his generation. To mark the anniversary, Divine Comedy Records are remastering and reissuing nine of the band's classic albums on CD, LP and digital.