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Cheap Backstreet Boys Tickets
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'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Glasgow School of Art: RADAR 'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir) David Sweeney During the Britpop era of the 1990s, the name of Mike Leigh was invoked regularly both by musicians and the journalists who wrote about them. To compare a band or a record to Mike Leigh was to use a form of cultural shorthand that established a shared aesthetic between musician and filmmaker. Often this aesthetic similarity went undiscussed beyond a vague acknowledgement that both parties were interested in 'real life' rather than the escapist fantasies usually associated with popular entertainment. This focus on 'real life' involved exposing the ugly truth of British existence concealed behind drawing room curtains and beneath prim good manners, its 'secrets and lies' as Leigh would later title one of his films. I know this because I was there. Here's how I remember it all: Jarvis Cocker and Abigail's Party To achieve this exposure, both Leigh and the Britpop bands he influenced used a form of 'real world' observation that some critics found intrusive to the extent of voyeurism, particularly when their gaze was directed, as it so often was, at the working class. Jarvis Cocker, lead singer and lyricist of the band Pulp -exemplars, along with Suede and Blur, of Leigh-esque Britpop - described the band's biggest hit, and one of the definitive Britpop songs, 'Common People', as dealing with "a certain voyeurism on the part of the middle classes, a certain romanticism of working class culture and a desire to slum it a bit". -
270 Songs, 17.5 Hours, 1.62 GB Page 1 of 8 Name BPM Genre Rating
Page 1 of 8 WCS 270 songs, 17.5 hours, 1.62 GB Name BPM Genre Rating Artist Album Year Freezing 76 Pop Music Mozella Belle Isle (Deluxe… 2010 Thinking Out Loud 79 Pop Ballad Ed Sheeran x 2014 I'm So Miserable 83 Country Billy Ray Cyrus Some Gave All 1992 Too Darn Hot (RAC Mix) 83 R&B Ella Fitzgerald Verve Remixed: T… 2013 Feelin' Love 83 Blues Paula Cole City of Angels OST 1998 I'm Not the Only One 83 Pop Ballad Sam Smith In the Lonely Hou… 2014 Free 84 R&B Haley Reinhart Listen Up! 2012 Stompa 84 Alt Pop Serena Ryder Harmony 2012 Treat You Better 84 Pop Music Shawn Mendes Illuminate 2016 Heartbreak Road 85 Blues Rock Colin James Hearts on Fire 2015 Shape of My Heart 85 Rock Ballad Theory of a Deadman Shape of My Hear… 2017 Gold 86 Pop Music Kiiara low kii savage - EP 2015 I'm the Only One 87 Blues Rock Melissa Etheridge Yes I Am 1993 Rude Boy 87 Pop Music Rihanna Rated R 2009 Then 88 Pop Music Anne-Marie Speak Your Mind 2017 Can't Stay Alone Tonight 88 Pop-Rock Elton John The Diving Board… 2013 Vinyl (Remix) 88 Jazz-Pop Euge Groove feat. x-t.o.p. Sax S Euge Groove 2000 Wake Up Screaming 88 Country Gary Allan Used Heart For Sale 2000 Anything's Possible 88 R&B Jonny Lang Turn Around 2006 Slow Hands 88 Pop Music Niall Horan Slow Hands - Sin… 2017 Touch Of Heaven 88 Pop-Rock Richard Marx Flesh & Bone 1997 Forever Drunk 89 R&B Miss Li Beats & Bruises 2011 Let's Get Back To Bed Boy 89 R&B Sarah Connor Green Eyed Soul 2002 I Can't Stand the Rain 89 Pop-Soul Seal Soul 2008 Happy 90 R&B Ashanti Ashanti 2002 Mood For Luv 90 R&B B.B. -
Stash 90 Features These Outstanding Projects
Stash 90 features these outstanding projects: AUDI "VAMPIRE PARTY" TVC :60 Agency: VENEBLES BELL & PARTNERS Director: MATTHJIS VAN HEIJNINGEN Production: MJZ VFX: THE MILL LA www.themill.com PLAYSTATION VITA "THE WORLD IS IN PLAY" TVC :60 Agency: 180 AMSTERDAM Director: CARY FUKUNAGA Production: INDEPENDENT VFX: MOVING PICTURE COMPANY www.moving-picture.com MERCEDES BENZ "THANKS, AIRBAG" TVC :45 Agency: JUNG VON MATT / ALSTER Director: LYNN FOX Production: BLINK PRODUCTIONS, TONY PETERSON FILM VFX: ELECTRIC THEATRE COLLECTIVE http://electrictheatre.tv RANGE ROVER "ACCELERATOR" TVC :60 Agency: RKCR/Y&R Director: JOHNNY GREEN Production: HUNGRYMAN VFX: THE MILL, GLASSWORKS www.themill.com www.glassworks.co.uk SHOCK TOP "END OF THE WORLD"
 TVC/viral :30 Client: ANHEUSER-BUSCH Agency: 72ANDSUNNY Director: MATT ASELTON Production: ARTS & SCIENCES VFX: A52 www.a52.com LEGGO'S "PASTA LOVES LEGGO'S" TVC :45 Client: LEGGO'S / SIMPLOT AUSTRALIA Agency: BMW MELBOURNE Director: BRUCE HUNT Production: REVOLVER Animation/VFX: FUEL VFX www.fuelvfx.com CLOVER "WAY BETTER" TVC :70 Agency: JOE PUBLIC Director: SHY THE SUN Production: CAB FILMS, TOP&TAIL, SHY THE SUN Animation: SHY THE SUN, BLACKGINGER www.shythesun.tv www.blackginger.tv UFC OPEN "EVOLUTION" Show open :60 Client: ZUFFA LLC Director: NEIL HUXLEY Production: MOTHERSHIP VFX: DIGITAL DOMAIN www.digitaldomain.com 360 Broadcast design :22, :1:11 Client: SPORT3, TV3 Directors: JAVIER GUTIERREZ, HUGO BASISM Animation/VFX: DIESTRO www.diestro.tv G4 GCYCLE "BATTERIES", "CELLPHONE" Viral/TVC -
Kauffman Center for the Performing Arts Announces Rock Show Double-Header to Kick Off Kauffman Center Presents 2017-2018 Season
NEWS RELEASE Contact: FOR IMMEDIATE RELEASE Bess Wallerstein Huff, Director of Marketing Monday, February, 13, 2017 Kauffman Center for the Performing Arts (816) 994-7229 | [email protected] KAUFFMAN CENTER FOR THE PERFORMING ARTS ANNOUNCES ROCK SHOW DOUBLE-HEADER TO KICK OFF KAUFFMAN CENTER PRESENTS 2017-2018 SEASON Blondie & Garbage: The Rage and Rapture Tour to stop at Muriel Kauffman Theatre on July 18 Kansas City, MO – The first announced show of its 2017-18 Kauffman Center Presents season will feature two quintessential rock ‘n’ roll acts. Blondie & Garbage: The Rage and Rapture Tour will perform for one night in Muriel Kauffman Theatre on Tuesday, July 18. Tickets for the show range from $79 to $149, and go on sale to the public at 10 a.m. Friday, February 24. Tickets will be available through the Kauffman Center Box Office at (816) 994-7222, via the Kauffman Center mobile app, or online at www.kauffmancenter.org. ABOUT BLONDIE Singer-songwriter Debbie Harry, guitarist and co-writer Chris Stein, powerhouse drummer Clem Burke and their band- mates in the punk/new wave band Blondie are undeniable pop icons, their sound and sensibility as fresh as when they first topped the charts in the late 1970s. Since their groundbreaking 1978 album Parallel Lines, the members of Blondie have always been a forward-thinking – and forward-moving – group. Their brand of cross-genre rock has spawned hits including “Call Me,” “Rapture,” and “Heart of Glass,” bringing underground sounds into the mainstream. Blondie’s 11th studio album, Po11inator, is out in May. ABOUT GARBAGE Hailing from Madison, WI, Garbage is guitarist Duke Erikson, drummer Butch Vig, guitarist Steve Marker and lead singer Shirley Manson. -
Backstreet Boys Return to Las Vegas for "A Very Backstreet Christmas Party"
Backstreet Boys Return To Las Vegas For "A Very Backstreet Christmas Party" July 12, 2021 A Series of Holiday Shows this November & December at Planet Hollywood Resort & Casino Inside Zappos Theater Tickets for the group's first-ever holiday-themed shows go on sale Friday, July 16 at 10 a.m. PT LAS VEGAS, July 12, 2021 /PRNewswire/ -- It's Christmas in July! The Backstreet Boys, one of the best-selling bands of all time, are returning to the Las Vegas Strip with "A Very Backstreet Christmas Party," a series of 12 holiday shows at Zappos Theater inside Planet Hollywood Resort & Casino this November and December (see below for full list of dates). The festive Las Vegas performances will mark the group's first ever holiday shows, filled with classic holiday favorites, new originals and their biggest hits. The series of holiday shows follows the pop juggernaut's record-breaking "Backstreet Boys: Larger Than Life" residency at Zappos Theater from 2017 to 2018, which was one of the fastest-selling shows in Las Vegas history and hosted the biggest audience in the history of the city's headlining residencies. The sold-out shows received rave reviews from fans and critics and attracted fans from all over the world. A special presale for Fan Club members begins Tuesday, July 13 at 10 a.m. PT through Thursday, July 15 at 10 p.m. PT. Citi cardmembers will have access to purchase presale tickets Wednesday, July 14 at 10 a.m. PT through Thursday, July 15 at 10 p.m. PT through Citi EntertainmentSM. -
New Year's Weekend Continues with Breaking
For Immediate Release NEW YEAR’S WEEKEND CONTINUES WITH BREAKING BENJAMIN AT HARD ROCK HOTEL & CASINO ATLANTIC CITY DECEMBER 30 AT 8 PM Atlantic City, NJ (October 29, 2018) – New Year’s weekend at Hard Rock Hotel & Casino Atlantic City just got even bigger with the addition of hard rockers, Breaking Benjamin at Hard Rock Live at Etess Arena on Sunday, December 30 at 8 p.m. Tickets are on-sale this Friday, November 2 at 10 a.m. Multi-platinum band Breaking Benjamin has amassed a sizeable and diehard fan base, both through their chart-topping music, as well as their electrifying live performances. Their latest release, Dark Before Dawn certified GOLD and debuted #1 on Billboard’s Top 200 chart and spun off two #1 rock tracks, “Failure” and “Angels Fall.” “Failure” was also named the most played song at Active Rock for 2015. 2009’s Dear Agony, certified PLATINUM and debuted #4 on the Billboard Top 200 and #1 on the iTunes Rock Album Chart. Dear Agony also spun off the platinum selling and #1 Active Rock single “I Will Not Bow” where it stayed #1 for five weeks straight. Their discography also includes 2002’s Saturate, 2004’s We Are Not Alone, 2006’s Phobia. We Are Not Alone spawned a pair of #1 radio hits, “So Cold” and “Sooner or Later.” Phobia debuted at # 2 on Billboard’s Top 200, hit #1 on the Rock Album Chart and was one of the top 50 selling rock albums of 2006. It featured one #1 and two Top 5 rock radio hits “Breath,” “Diary of Jane” and “Until The End.” Tickets to see Breaking Benjamin, ranging from $39.00 to $59.00, go on sale this Friday, November 2 at 10 AM. -
To Deliver Backstreet Boys' First Concert Webcast to Fans Around
Yahoo! To Deliver Backstreet Boys' First Concert Webcast To Fans Around The World ahoo! Music, Presented by ChapStick® LipSations™ and Level (3) Communications on Friday, August 31st, at 7:30 pm (CDT) ahoo! Music, Presented by ChapStick® LipSations™ and Level (3) Communications on Friday, August 31st, at 7:30 pm (CDT) Sunnyvale, CA (ENTERTAINMENT WIRE) -- August 28, 2001 -- On Friday, August 31st, Yahoo! will bring music fans worldwide the thrill of Backstreet Boys' sold-out "Black & Blue World Tour" through the group's first-ever live Internet Webcast, presented by ChapStick® LipSations(TM) and Level (3) Communications. Fans can access the broadcast on a special Yahoo!® Music page (http://backstreetboys.yahoo.com). "Yahoo! is thrilled to be hosting and producing the Backstreet Boys' first-ever full-length concert Webcast," said David Mandelbrot, vice president and general manager, Yahoo! Entertainment. "Through the Webcast and associated features, Yahoo! is providing Backstreet Boys' fans a free online entertainment destination that brings them closer to the band." "Our first live concert Webcast is a real tribute to our great fans, and thanks to Yahoo!, we can bring the show to them," said Backstreet Boys' Brian Littrell. "We are always looking for new ways to connect with fans, and this Webcast provides a tremendous connection to all of them around the world." The Webcast will begin at 7:30 p.m. (CDT) from the American Airlines Arena in Dallas, Texas, and will be available to fans in 24 countries around the world. The concert will be produced on the Web by Yahoo! Broadcast, an industry leader in providing live audio and video streaming media services for a wide range of customers, including media and entertainment companies, sports leagues, television and radio stations, corporations, advertisers and merchants. -
Anglophone Music As Poetry
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Croatian Digital Thesis Repository University of Rijeka Faculty of Humanities and Social Sciences in Rijeka Department of English Matea Lacmanović: Anglophone Music as Poetry Mentor: Lovorka Gruić Grmuša, PhD Rijeka, July 2015 1 Abstract Literature as a whole is usually divided into poetry, prose and drama (Solar 2006: 154) with fairly clear boundaries between them. When it comes to their subdivision and definition of specific literature and art type, the boundaries become unclear and many questions arise. One of the most difficult questions to answer is what poetry is and which criteria must be met in order for some work to be classified as poetry. It is known that authors such as Shakespeare, Byron, Cummings or Angelou are poets and their work is interpreted as poetry. However, can the circle of poetry and art be expanded to similar forms such as contemporary music? That is the topic of this thesis – analysis, explanation and specific examples of modern song lyrics which can be viewed as poetry and something more valuable in the art context than it actually is due to the commercialization of music. With songs performed by Tupac, Garbage, Leonard Cohen, Bill Withers and various artists who belong to different music genres and eras, poetry is broadened and upgraded to the 21st century level. Key words: Anglophone music, music, poetry, lyrics, analysis, literature, art, contemporary, modern, intermediation, authorship 2 Table of Contents Abstract -
Software Sequencers and Cyborg Singers
Edinburgh Research Explorer Software Sequencers and Cyborg Singers Citation for published version: Prior, N 2009, 'Software Sequencers and Cyborg Singers: Popular Music in the Digital Hypermodern', New Formations: A Journal of Culture, Theory, Politics, vol. 66, no. Spring, pp. 81-99. https://doi.org/10.3898/newf.66.06.2009 Digital Object Identifier (DOI): 10.3898/newf.66.06.2009 Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: New Formations: A Journal of Culture, Theory, Politics Publisher Rights Statement: © Prior, N. (2009). Software Sequencers and Cyborg Singers: Popular Music in the Digital Hypermodern. New Formations, 66(Spring), 81-99 doi: 10.3898/newf.66.06.2009. General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 26. Sep. 2021 SOFTWARE SEQUENCERS AND CYBORG SINGERS: POPULAR MUSIC IN THE DIGITAL HYPERMODERN Nick Prior It has been almost twenty years since Andrew Goodwin’s classic essay, ‘Sample and Hold’, claimed that pop music had entered a new phase of digital reproduction.1 If the digital sampler was postmodernism’s musical engine, then hip hop was its recombinant form, and the erosion of divisions between original and copy the celebrated consequence. -
THE 1F ALBU CHART COMMENTARY Fronted By
THE 1F ALBU ALBUM FACTFILE Fronted by Scotswoman Shirley ThusStupid far, Cirl, the and only peahed single atlifted number from su CHART sceneManson, in Garbage1995, and exploded bave sold onto nearly the debuted/peakedVersion 2.0 is Push at It,number which mne a 500,000 copies1 theof their UK self-titled COMMENTARY début album in the UK ^oJoniyte date. Thei a Garbàgesfortnight ago. all-American Aside from line-up Manson, is secona aioum,, Versionwciaiv/.. 2.0, sold only a GarbagSteve Marker, Doug 'Duke'iDuke, EriksonEr.((son little(31,500 over to 5%be ofprécisé) that total but thatlast was and Butch Vig, of whom the latter is énôûih'for it to début at number one. the best-known., ■..a;na snnic Vigjiroduced Youth, the several hitGarbage singles, houses including a fôrnîîaable Queer and array of Smashing Pumfik and N recent Cendedatatonia's its own International 14 week wattVelvet and album its ATMARKET A GLANCE WEEKLY REPORT MARKET SHARES -strong The Best97 place Of Frank rise Sith label's 14 year wait for a number one TOP 10 COMPANIES TOP CORPORATE GROUPS 133-36 after selling over 3,500 copies o thislast week,week bybut Garbage, is instantly though overwbelmed the margin announcementFriday and Saturday, of Frank following Sinatra the s death. of2.0 Garbage's selling 31,500 victory copies is slim, while with Version Whileamount. that don't may forget not sound this islike stock a huge that toInternational carry the latterVelvet album's sold 29,000 overail - tallyenough wasalbum already peaked sitting at number in the shops.13 when The overGarbage 200,000. -
Gender, Ethnicity, and Identity in Virtual
Virtual Pop: Gender, Ethnicity, and Identity in Virtual Bands and Vocaloid Alicia Stark Cardiff University School of Music 2018 Presented in partial fulfilment of the requirements for the degree Doctor of Philosophy in Musicology TABLE OF CONTENTS ABSTRACT i DEDICATION iii ACKNOWLEDGEMENTS iv INTRODUCTION 7 EXISTING STUDIES OF VIRTUAL BANDS 9 RESEARCH QUESTIONS 13 METHODOLOGY 19 THESIS STRUCTURE 30 CHAPTER 1: ‘YOU’VE COME A LONG WAY, BABY:’ THE HISTORY AND TECHNOLOGIES OF VIRTUAL BANDS 36 CATEGORIES OF VIRTUAL BANDS 37 AN ANIMATED ANTHOLOGY – THE RISE IN POPULARITY OF ANIMATION 42 ALVIN AND THE CHIPMUNKS… 44 …AND THEIR SUCCESSORS 49 VIRTUAL BANDS FOR ALL AGES, AVAILABLE ON YOUR TV 54 VIRTUAL BANDS IN OTHER TYPES OF MEDIA 61 CREATING THE VOICE 69 REPRODUCING THE BODY 79 CONCLUSION 86 CHAPTER 2: ‘ALMOST UNREAL:’ TOWARDS A THEORETICAL FRAMEWORK FOR VIRTUAL BANDS 88 DEFINING REALITY AND VIRTUAL REALITY 89 APPLYING THEORIES OF ‘REALNESS’ TO VIRTUAL BANDS 98 UNDERSTANDING MULTIMEDIA 102 APPLYING THEORIES OF MULTIMEDIA TO VIRTUAL BANDS 110 THE VOICE IN VIRTUAL BANDS 114 AGENCY: TRANSFORMATION THROUGH TECHNOLOGY 120 CONCLUSION 133 CHAPTER 3: ‘INSIDE, OUTSIDE, UPSIDE DOWN:’ GENDER AND ETHNICITY IN VIRTUAL BANDS 135 GENDER 136 ETHNICITY 152 CASE STUDIES: DETHKLOK, JOSIE AND THE PUSSYCATS, STUDIO KILLERS 159 CONCLUSION 179 CHAPTER 4: ‘SPITTING OUT THE DEMONS:’ GORILLAZ’ CREATION STORY AND THE CONSTRUCTION OF AUTHENTICITY 181 ACADEMIC DISCOURSE ON GORILLAZ 187 MASCULINITY IN GORILLAZ 191 ETHNICITY IN GORILLAZ 200 GORILLAZ FANDOM 215 CONCLUSION 225