[Catalog-Ebook PDF] Bill Drummond the Manual
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Phonographic Performance Company of Australia Limited Control of Music on Hold and Public Performance Rights Schedule 2
PHONOGRAPHIC PERFORMANCE COMPANY OF AUSTRALIA LIMITED CONTROL OF MUSIC ON HOLD AND PUBLIC PERFORMANCE RIGHTS SCHEDULE 2 001 (SoundExchange) (SME US Latin) Make Money Records (The 10049735 Canada Inc. (The Orchard) 100% (BMG Rights Management (Australia) Orchard) 10049735 Canada Inc. (The Orchard) (SME US Latin) Music VIP Entertainment Inc. Pty Ltd) 10065544 Canada Inc. (The Orchard) 441 (SoundExchange) 2. (The Orchard) (SME US Latin) NRE Inc. (The Orchard) 100m Records (PPL) 777 (PPL) (SME US Latin) Ozner Entertainment Inc (The 100M Records (PPL) 786 (PPL) Orchard) 100mg Music (PPL) 1991 (Defensive Music Ltd) (SME US Latin) Regio Mex Music LLC (The 101 Production Music (101 Music Pty Ltd) 1991 (Lime Blue Music Limited) Orchard) 101 Records (PPL) !Handzup! Network (The Orchard) (SME US Latin) RVMK Records LLC (The Orchard) 104 Records (PPL) !K7 Records (!K7 Music GmbH) (SME US Latin) Up To Date Entertainment (The 10410Records (PPL) !K7 Records (PPL) Orchard) 106 Records (PPL) "12"" Monkeys" (Rights' Up SPRL) (SME US Latin) Vicktory Music Group (The 107 Records (PPL) $Profit Dolla$ Records,LLC. (PPL) Orchard) (SME US Latin) VP Records - New Masters 107 Records (SoundExchange) $treet Monopoly (SoundExchange) (The Orchard) 108 Pics llc. (SoundExchange) (Angel) 2 Publishing Company LCC (SME US Latin) VP Records Corp. (The 1080 Collective (1080 Collective) (SoundExchange) Orchard) (APC) (Apparel Music Classics) (PPL) (SZR) Music (The Orchard) 10am Records (PPL) (APD) (Apparel Music Digital) (PPL) (SZR) Music (PPL) 10Birds (SoundExchange) (APF) (Apparel Music Flash) (PPL) (The) Vinyl Stone (SoundExchange) 10E Records (PPL) (APL) (Apparel Music Ltd) (PPL) **** artistes (PPL) 10Man Productions (PPL) (ASCI) (SoundExchange) *Cutz (SoundExchange) 10T Records (SoundExchange) (Essential) Blay Vision (The Orchard) .DotBleep (SoundExchange) 10th Legion Records (The Orchard) (EV3) Evolution 3 Ent. -
2 to Be Somebody: Ambition and the Desire to Be Different
2 To Be Somebody: Ambition and the Desire to Be Different The context for difference This chapter aims to identify some of the bands that enjoyed chart success during the late 1970s and ’80s and identify their artistic traits by means of conversations with band members and those close to the bands. This chapter does not claim to be a definitive account or an inclusive list of innovative bands but merely a viewpoint from some of the individuals who were present at the time and involved in music, creativity and youth culture. Some of these individuals were in the eye of the storm while others were more on the periphery. However, common themes emerge and testify to the Scouse resilience identified in the previous chapter. Also, identifying objective truth is a difficult task, as one band member will often have a view of his band’s history that conflicts with that of other members of the same band. As such, it is acknowledged that this chapter presents only selective viewpoints. Trying something new: In what ways were the Liverpool bands creative and different? ‘Liverpool has always made me brave, choice-wise. It was never a city that criticized anyone for taking a chance.’ David Morrissey1 In terms of creativity, the theory underpinning this book which was stated in Chapter 1 is that successful Liverpool bands in the 1980s were different from each other and did not attempt to follow the latest local or national pop music trends. None of the bands interviewed falls into the categories of punk, disco or New Romantic, which were popular trends at the time. -
Die Fabrikzeitung Als
– Das Spiel mit den Massenmedien Fabrikzeitung Nr. 276, November 2011 Anhand Luhmanns Systemtheorie wird ersichtlich, dass sich die Kunst auf tragspartner (Untertan) und andererseits als Teil des Souveräns. Rousseau Ulrich Seidl Unterscheidungen spezialisiert und gesellschaftliche Thematiken bearbeitet baut auf einem positiven Freiheitsverständnis auf, der daraus resultierende Bilder einer Ausstellung und reflektiert. Dies geschieht auch in Seidls Film. Mit den eben genannten Gesellschaftsvertrag festigt allerdings Strukturen einer negativen Freiheit. verschiedenen Stufen der Beobachtung lassen sich immer spezifischere Un- terscheidungen identifizieren. Hält man den Film Anfangs vielleicht für eine Mensch versus Citoyen einfache Darstellung von Kunst, wird bald sichtbar, dass diese Darstellung Offensichtlich kann der Frage nach der Institutionalisierung in Leibovicis Ar- auf ungewohnte Art und Weise, nämlich durch die Brille von nicht professio- beit ein grosser Stellenwert zugeordnet werden. Allerdings sind die Paralle- Von Michael Just nellen Kunstinteressierten entsteht. len wohl kaum in der von Leibovici über Rousseau angedeuteten liberalen In der vorliegenden «Fabrikzeitung» werden acht spezifische künstlerische Dort wo Kunst oft von Konventionen geprägt wird, werden diese hier oder republikanischen Ordnung zu finden, in denen Menschen einen Teil ih- gesprengt und neu geformt. Nicht akzeptierte Kunst rückt in den Vorder- rer Freiheit an den Souverän abgeben. Schon das für Leibovici vorbildliche Im Auftrag des Österreichischen Rundfunk ORF und des Westdeutschen grund. Diese wird aber, da wahrgenommen und auch kommuniziert über Scratch Orchestra von Cardew verstand sich ja als konkrete Alternative zu Arbeiten betrachtet. Diese stammen von Jef Cornelis, Karen Geyer, The Rundfunks in Köln realisierte Ulrich Seidl den Film «Bilder einer Ausstellung», Seidls Film, wieder in das Kunstsystem zurückgeworfen. Seidl entwirft durch eben diesen etablierten Formen von Institutionalisierung. -
The Jams' and the KLF's Invocation of Mu
CHART MYTHOS The JAMs’ and The KLF’s Invocation of Mu [Received August 18th 2016; accepted September 22nd 2016 – DOI: 10.21463/shima.10.2.07] Jon Fitzgerald <[email protected]> Southern Cross UniversitY Philip Hayward <[email protected]> Kagoshima UniversitY Research Center for the Pacific Islands and UniversitY of TechnologY SYdneY ABSTRACT: The JAMs and The KLF, two overlapping popular music ensembles led by British multi-media performers JimmY CautY and Bill Drummond, were notable for both the success theY had with a batch of singles in the late 1980s and early 1990s and the complex mythologY theY constructed and celebrated in song lYrics, music videos, press releases and short films. KeY to their mYthological project was their association with the fictional lost island-continent of Mu (with the band name JAMs being an abbreviation for ‘Justified Ancients of Mu Mu’). The latter identitY was derived from Robert Shea and Robert Anton Wilson’s Illuminatus trilogY of novels in which the aforementioned “ancients” were a secret brotherhood involved in combatting the rival Illuminati, who originated in Atlantis. As the JAMS’ and KLF’s oeuvres progressed, aspects of Mu and Atlantis were synthesised by CautY and Drummond with elements of other actual and fictional islands. The article traces the initial imagination and representation of Mu in esoteric crYpto-historical literature, its rearticulation in Shea and Wilson’s counter-cultural novels and its invocation and function in CautY and Drummond’s work with The JAMs and The KLF. KEY -
The Teardrop Explodes Piano Mp3, Flac, Wma
The Teardrop Explodes Piano mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Piano Country: UK Released: 1990 Style: New Wave, Indie Rock MP3 version RAR size: 1534 mb FLAC version RAR size: 1370 mb WMA version RAR size: 1767 mb Rating: 4.1 Votes: 218 Other Formats: AHX MMF FLAC VOC MPC MIDI AC3 Tracklist A1 –The Teardrop Explodes Sleeping Gas 4:38 A2 –The Teardrop Explodes Camera Camera 2:38 A3 –The Teardrop Explodes Kirkby Workers Dream Fades 1:53 A4 –The Teardrop Explodes Bouncing Babies 2:45 A5 –The Teardrop Explodes All I Am Is Loving You 4:26 B1 –The Teardrop Explodes Treason 3:05 B2 –The Teardrop Explodes Books 2:16 B3 –The Teardrop Explodes Take A Chance 2:00 B4 –The Teardrop Explodes When I Dream 4:15 B5 –Whopper Kwalo Klobinsky's Lullaby 4:20 Credits Compiled By – Martin Patton Drums – Gary Dwyer Guitar – Michael Finkler Keyboards – David Balfe (tracks: B1, B2, B4), Gerrard Quinn (tracks: B3) Mastered By – Porky Organ – Paul Simpson (tracks: A1 to A3) Producer – Clive Langer/Alan Winstanley* (tracks: B1, B2), Mike Burson (tracks: A4, A5), The Chameleons (tracks: A1 to A3, B4) Vocals, Bass – Julian Cope Written-By – Dwyer* (tracks: A4, A5, B1, B3, B4), McCulloch* (tracks: B2), Cope* (tracks: A4, A5, B1 to B4), Stapleton* (tracks: B5), Finkler* (tracks: A4, A5, B1, B3, B4), Milk (tracks: B5), Simpson* (tracks: A4, A5), The Teardrop Explodes (tracks: A1 to A3) Notes Tracks A1 to A3 from 7" EP released Feb. '79 (Cage 003) Tracks A4 to A5 from 7" Single released May '79 (Cage 005) Tracks B1 to B2 from 7" Single released March '80 (Cage 008) Tracks B3 to B5: from the compilation LP "To The Shores Of Lake Placid" released January 1982 (ZOO Four) Tracks on this release have been mastered from disc due to loss of the original master tapes. -
UE Inv210616 Lps (Pdf)
Uncle Ed's LPs Artist Title Catalog# Label Released Release ID Folder ID no. Our Price Media Cond Sleeve Cond Format Notes "Big" Tiny Little Christmas With "Big" Tiny Little CRL 57391 Coral 1961 1899956Uncategorized Good Plus (G+) Good Plus (G+) LP, Album, Mono light scratches needs cleaned "Weird Al" YankovicIn 3-D BFZ 39221 Rock 'N' Roll Records 1984 584107Rock Good Plus (G+) Good (G) LP, Album Used, 2/14, BR Pawn, 10cc Bloody Tourists PD-1-6161, 2480 477 Polydor, Man Ken Records, Polydor1978 11689186 A In stock USED 200163 $8.00 Good (G) Good (G) LP, Album A little beat up in it's previous life, some scars on label. 10cc Bloody Tourists PD-1-6161, 2480 477 Polydor, Polydor 1978 7337716A In stock USED 200166 $10.00Very Good (VG) Very Good (VG) LP, Album, Mon generic inner sleeve 10cc How Dare You! SRM-1-1061 Mercury 1976 9097327B OUT OF STOCK Good Plus (G+) Good Plus (G+) LP, Album, Pit 2Pac Me Against The World B0031433-01 Interscope Records, UMe, Amaru2020 Entertainment 14922780 A In stock NEW 200005 $55.00 Mint (M) Mint (M) 2xLP, Album, RE, 180 new in cello wrap 2 lps never opened 180 gram. 25 ann. 38 Special (2) Special Forces SP-4888 A&M Records 1982 3490725Rock 200003 $6.00Very Good (VG) Very Good (VG) LP, Album, Club this album has original inner sleeves.has scratches on side 1 playes with no skips, still in cello wrap 38 Special (2) Tour De Force SP-4971 A&M Records 1983 9780549 Rock 200004 $10.00 Near Mint (NM or NearM-) Mint (NM or M-)LP, Album this album has original inner sleeve 38 Special (2) Wild-Eyed Southern Boys SP-4835 A&M Records 1980 4801045Rock 200001 $4.00Good Plus (G+) Good Plus (G+) LP, Album, y - this copy has original inner sleeve .has writing on cover nice copy 38 Special (2) Wild-Eyed Southern Boys AMLH 64835, SP 4835 A&M Records, A&M Records 1981 1909296 Rock 200002 $6.00 Very Good (VG) Very Good (VG) LP, Album OG inner sleeve, Sticker on outer Cover, Nice copy, new inner sleeve. -
2007 AAZV Proceedings.Pdf
“MAY I QUOTE YOU ON THAT?” Jill Allread, APR Public Communications Inc., Chicago, IL 60601 USA Abstract “May I quote you on that?” With increasing national interest in animal welfare issues, zoo and aquarium animal health professionals are finding themselves in increasing demand to talk publicly about veterinary care and well being of animals in their facilities. Institutions are calling on their veterinarians to be key spokespersons regarding animal care and treatment. This includes interviews with media that increasingly scrutinize the welfare of zoo and aquarium animals, in part due to targeted national campaigns by organizations that call for removing some species from public display in zoos and aquariums. Today’s zoo veterinarians find themselves talking with the media about topics that were previously not discussed, including animal deaths, medical treatment procedures, and individual animal’s quality of life. This presentation will analyze this new trend and why it is critical to the future of the public display community that zoo and aquarium veterinarians are prepared to fill the important role as the expert voice in animal care. 2007 PROCEEDINGS AAZV, AAWV, AZA/NAG JOINT CONFERENCE 1 VETERINARY CONFIDENTIALITY AND PRIVILEGE Gregory M. Dennis, J.D. Kent T. Perry & Co., L.C., Overland Park, KS 66210 USA Abstract Some states have statutes requiring veterinarians to maintain as privileged and confidential veterinarian-client-patient information and records. Many other states have veterinary board regulations imposing such a duty on veterinarians. Additionally, the A.V.M.A.’s Principles of Veterinary Medical Ethics (P.V.M.E.) recognizes that veterinarians are subject to a duty of confidentiality. -
7"/12"/7" Ltd/12"Ltd/CD Single IRS Records the Alarm Raw (CD, Albu
Unsafe Building Year The Alarm 1990 (7"/12"/7" I.R.S. Records ltd/12"ltd/CD single Raw (CD, Album) The Alarm I.R.S. Records LP/CD/RM Unsafe Building Year The Alarm I.R.S. Records 1990 (Cass, Single) Townton Shell Shocked And Records, Tontrix Slipping Into Life.. (7") Townton Records Echo & The Ocean Rain (LP, Sire, Sire Bunnymen Album, Club/RE) New Atlantic New Atlantic Featuring Linda Featuring Linda Wright - Into The 3 Beat Music Wright Future (7"/12"/ Cass, Single) Zoot And The Native This Heart (7") Roots Records Various Give Love (LP, Comp) Eight Records Echo & The Echo & The Bunnymen (LP, Sire, Sire Bunnymen Album, Club) Brotherhood (CD, New Order Factory Album) Echo & The Porcupine (Album) 2 Bunnymen versions /Cass Echo & The Silver (Tidal Wave) Bunnymen (Single) 2 versions The Passage Wave (12"/7", Single) Cherry Red Cherry Red, The Passage Enflame (LP, Album) Virgin XOYO (Single) 2 The Passage versions Island The Christians (CD, Records, The Christians Album, RE) Island Records Colour (Album) 3 The Christians versions Harvest For The The Christians World (Single) 2 versions Discharge Ignorance (12") Clay Records Grave New World (LP, Discharge Clay Records Album, Gat) Ruthless Rap Less Mellow (12", EMI, EMI Assassins Single) Ruthless Rap Killer Album (LP, Syncopate Assassins Album) (2), EMI Ruthless Rap Think, It Ain't Illegal EMI, Assassins Yet (LP, Album) Murdertone A Bit Of... (Single) 2 Kiss AMC versions A Bit Of U2 (Remixes) Kiss AMC Syncopate (2) (12", Maxi) Syncopate Kiss AMC A Bit Of... (12") (2), EMI Rough Trade, Meat Is Murder (LP, Nuevos The Smiths Album) Medios, Rough Trade Meat Is Murder = ミート・イズ・マー The Smiths ダー (Album) 2 versions Meat Is Murder (CD, Virgin, Rough The Smiths Album, Cass) Trade Meat Is Murder The Smiths (Album) 4 versions Orchestral Crush (LP, Album, CD, ManœuvresIn Virgin Cass) The Dark* Orchestral The Pacific Age (LP, Manoeuvres In Virgin, Virgin Album, Club) The Dark OMD Virgin (Orchestral Sugar Tax (CD, Album) Records Manoeuvres In America, Inc. -
1 Introduction 2 Class and Popular Music Theory
Notes 1 Introduction 1. A problematic assertion as class representation is not specific to music aligned with particular subcultures. However, it often acts, as with the punk subcul- ture, to be a unifying factor that can be used to achieve a level of homology and communion. 2. The differentiation between ‘popular’ and ‘rock’ here is significant. Rock dis- course operates as a subsection of a broader discourse that relates to all popular music in more general ways. Most of the examples used in this work can be understood as rock music, and often the way in which that claim is made is precisely because of specific attempts to authenticate made in opposition to more obviously commercially oriented pop. Where the term ‘popular music’ is used it can be understood as an umbrella term within which ‘rock’ and ‘pop’ reside with their own stylistic concerns. 3. For discussions of gender pertinent to this work, see Solie (1993), Koskoff (1987), Whiteley (1998, 2000), McClary (1991), Padel (2000), Fast (1999) and Gottlieb and Wald (1994). 2 Class and popular music theory 1. Obviously class is never the only determining factor in a listener’s engage- ment with the sphere of music, an infinite number of variables are constantly in play. For the purposes of this chapter, however, class and its role in musical interaction is the focus. 2. Although such claims assume a level of generalization that makes them almost wholly unusable. 3. The starting point here is often considered to be the CCCS publication Resistance Through Rituals (1993) originally published in 1975 as Working Papers in Cultural Studies no.