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Glastonburyminiguide.Pdf
GLASTONBURY 2003 MAP Produced by Guardian Development Cover illustrations: John & Wendy Map data: Simmons Aerofilms MAP MARKET AREA INTRODUCTION GETA LOAD OF THIS... Welcome to Glastonbury 2003 and to the official Glastonbury Festival Mini-Guide. This special edition of the Guardian’s weekly TV and entertainments listings magazine contains all the information you need for a successful and stress-free festival. The Mini-Guide contains comprehensive listings for all the main stages, plus the pick of the acts at Green Fields, Lost and Cabaret Stages, and advice on where to find the best of the weird and wonderful happenings throughout the festival. There are also tips on the bands you shouldn’t miss, a rundown of the many bars dotted around the site, fold-out maps to help you get to grips with the 600 acres of space, and practical advice on everything from lost property to keeping healthy. Additional free copies of this Mini-Guide can be picked up from the Guardian newsstand in the market, the festival information points or the Workers Beer Co bars. To help you keep in touch with all the news from Glastonbury and beyond, the Guardian and Observer are being sold by vendors and from the newsstands at a specially discounted price during the festival . Whatever you want from Glastonbury, we hope this Mini-Guide will help you make the most of it. Have a great festival. Watt Andy Illustration: ESSENTIAL INFORMATION INFORMATION POINTS hygiene. Make sure you wash MONEY give a description. If you lose There are five information your hands after going to the loo The NatWest bank is near the your children, ask for advice points where you can get local, and before eating. -
Prince Batdance Mp3, Flac, Wma
Prince Batdance mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Funk / Soul Album: Batdance Country: Philippines Released: 1989 Style: Synth-pop MP3 version RAR size: 1885 mb FLAC version RAR size: 1971 mb WMA version RAR size: 1871 mb Rating: 4.6 Votes: 887 Other Formats: FLAC MMF XM VOC FLAC AHX ASF Tracklist Hide Credits Batdance (The Batmix) 1 7:15 Producer [Additional Production], Remix – Mark Moore, William Orbit Batdance (Vicki Vale™ Mix) 2 5:55 Producer [Additional Production], Remix – Mark Moore, William Orbit 3 200 Balloons 5:05 Companies, etc. Copyright (c) – DC Comics Inc. Phonographic Copyright (p) – Warner Bros. Records Inc. Phonographic Copyright (p) – WEA International Inc. Manufactured By – WEA Manufacturing Pressed By – Specialty Records Corporation Credits Producer, Arranged By, Composed By, Performer – Prince Notes Standard jewel case with full artwork. Front insert: From the Warner Bros. Motion Picture Soundtrack album BATMAN™, a Warner Bros. Film. Back tray insert: Original version of "BATDANCE" available on the Warner Bros. Motion Picture Soundtrack Album BATMAN™, a Warner Bros. Film. Available on LP, Cassette and Compact Disc (1/4/2-25936). Warner Bros. Records Inc., a Warner Communications Company [Warner Music logo] TM & © 1989 DC Comics Inc. ℗ 1989 Warner Bros. Records Inc. for the U.S. & WEA International Inc. for the world outside of the U.S. Printed in U.S.A. Disc: Warner Bros. Records Inc., a Warner Communications Company [Warner Music logo]® ℗ 1989 Warner Bros. Records Inc. for the U.S., TM & © 1989 DC Comics Inc. Mfg. by WEA Manufacturing. (ASCAP) Original version of "BATDANCE" available on the Warner Bros. -
Connected by Music Dear Friends of the School of Music
sonorities 2021 The News Magazine of the University of Illinois School of Music Connected by Music Dear Friends of the School of Music, Published for the alumni and friends of the ast year was my first as director of the school and as a member School of Music at the University of Illinois at of the faculty. It was a year full of surprises. Most of these Urbana-Champaign. surprises were wonderful, as I was introduced to tremendously The School of Music is a unit of the College of Lcreative students and faculty, attended world-class performances Fine + Applied Arts and has been an accredited on campus, and got to meet many of you for the first time. institutional member of the National Association Nothing, however, could have prepared any of us for the of Schools of Music since 1933. changes we had to make beginning in March 2020 with the onset of COVID-19. Kevin Hamilton, Dean of the College of Fine + These involved switching our spring and summer programs to an online format Applied Arts with very little notice and preparing for a fall semester in which some of our activi- Jeffrey Sposato, Director of the School of Music ties took place on campus and some stayed online. While I certainly would never Michael Siletti (PhD ’18), Editor have wished for a year with so many challenges, I have been deeply impressed by Design and layout by Studio 2D the determination, dedication, and generosity of our students, faculty, alumni, and On the cover: Members of the Varsity Men’s Glee friends. -
Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity
Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity 2 Copyright © Sarah Thornton 1995 The right of Sarah Thornton to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. First published in 1995 by Polity Press in association with Blackwell Publishers Ltd. Reprinted 1996, 1997, 2001 Transferred to digital print 2003 Editorial office: Polity Press 65 Bridge Street Cambridge CB2 1UR, UK Marketing and production: Blackwell Publishers Ltd 108 Cowley Road Oxford OX4 1JF, UK All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher’s prior consent in any 3 form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. ISBN: 978-0-7456-6880-2 (Multi-user ebook) A CIP catalogue record for this book is available from the British Library. Typeset in 10.5 on 12.5 pt Palatino by Best-set Typesetter Ltd, Hong Kong Printed and bound in Great Britain by Marston Lindsay Ross International -
Communiqué De Presse
COMMUNIQUE DE PRESSE SOUS L ’IMPULSION DE S.A.S. LE PRINCE ALBERT II, SERA ORGANISE A MONACO LE 1ER FESTIVAL DE MUSIQUE POP ROCK . MONACO LIVE PRODUCTIONS ET RADIO MONACO PRESENTENT « MONACO LIVE 2008 » QUI SE TIENDRA SUR LE PORT HERCULE DE MONACO DU 5 AU 7 JUILLET 2008 . « MONACO LIVE 2008 » proposera 3 concerts d’exception : - le 5 juillet à 20 h30 : TOKIO HOTEL date unique après le Parc des Princes le 21 juin - le 6 juillet à 21h : DAVID GUETTA ET JOACHIM GARRAUD date unique après le Stade de France le 05 juillet - le 7 juillet à 21 h : JAMIROQUAI – en exclusivité à Monaco Ces concerts se dérouleront sur la darse sud du Port Hercule de Monaco et chaque concert pourra accueillir 10 000 personnes. Les prix des places vont de 25 euros à 50 euros en catégorie 2 debout et de 40euros à 65 euros en catégorie 1 debout (seulement 3 000 places par concert). Les places seront mises en vente à partir du 21 mars auprès de la FNAC, Carrefour et tous les points de vente habituels. Une conférence de presse sera organisée courant Avril afin de donner tous les détails de l’organisation de ce « MONACO LIVE 2008 ». CONTACTS : Monaco Live Productions : le Roc Fleuri . 1 rue du Ténao . MC 98000 Monaco Tél. +377 97 97 23 80 . Fax. +377 97 97 39 09 . www.mlp.mc Salim Zeghdar [email protected] . Karine Morel [email protected] Radio Monaco : 95.4 FM. www.radio-monaco.com 7 rue du Gabian MC 98000 Monaco . Tél. -
Idioms-And-Expressions.Pdf
Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context. -
LETTER from the EDITOR HELPING LIGHT the Dear Readers, GAS MONKEY BAR N' GRILL This Month I Want to Talk About GC Pro’S Ongoing Efforts to Support Pro-Audio Education
PRESEN TS AUDIOv SolutionS LETTER FROM THE EDITOR HELPING LIGHT THE Dear readers, GAS MONKEY BAR N' GRILL This month I want to talk about GC Pro’s ongoing efforts to support pro-audio education. Aspiring audio professionals in secondary education programs— MARTIN PROFESSIONAL’S NEW RUSH SERIES OF specializing in recording, post-production, live sound, film scoring and more— COST-EFFECTIVE LED FIXTURES MAKES THIS receive the benefit of standardized curricula and instruction from expert faculty with BARBECUE-AND-MUSIC DESTINATION A REAL DISCOVERY certification in current industry technologies. Although the allure of self-taught, self- nurtured basement genius is powerful, the importance of these formalized programs cannot be understated. Standard nomenclature, best practices, and contemporary and vintage analog gear (and its intersection with ever-changing digital equipment and techniques) are invaluable tools on the road to success in professional audio, and this is what accredited schools offer. GC Pro supports these programs by consulting on trends in gear, offering educational discounts to students and faculty, and participating in enrichment opportunities whenever possible. One of the advantages of working with GC Pro is the knowledge base of our Account Managers. We’re experts on the science of audio and the art of creating world-class sound. Experience with real-world, practical applications of gear and techniques puts us in a unique position to offer our expertise. We currently have special programs set up with recording arts schools across the country—more than 40 of them. When students enroll in a program, they are often expected to obtain certain gear to complete their assignments, based on the requirements of the individual You wanted cast-off hot cars brought back to life before place has come to be known, is rider-ready equipment such program. -
Microsoft Office Outlook
Eliot I. Bernstein Full Name: Above and Beyond First Name: Above and Beyond Job Title: James Grant - Manager Business: 44 20 8742 4950 E-mail: enquiries Categories: call ultrafest 09 20090319 cmb sent email to 20090319 cmb per recept not manager James Grant Media Ltd 94 Strand On The Green Chiswick London W4 3NN tel: 020 8742 4950 fax: 020 8742 4951 email: enquiries James Grant Music Management was formed in the early part of 2005 by Nick Worsley and Simon Hargreaves and is a joint venture with long established TV Management Company James Grant Media. Heading up the company are two former Sony Music Entertainment Executives - Nick Worsley who was Head of Radio Promotions and Simon Hargreaves who was Head Of Press and Publicity. Bringing together over 20 years of music industry experience across both Major labels and the Independent sector - James Grant Music delivers a fresh and extremely potent force in the Music Business and is already breaking new ground in the Music Management arena. 1 Eliot I. Bernstein Full Name: Alina First Name: Alina E-mail: [email protected] E-mail Display As: Alina ([email protected]) Categories: call ultrafest 09 20090319 cmb sent email to the email above AFFILIATION: Sequence Production BOOKING CONTACT: [email protected] BIOGRAPHY Alina Sequence career has begun in 1994 when it has started to work as the assistant to the arranger in a sound studio. Greater support was rendered by Andrey Ivanov (Triplex), having given many useful knowledge in the field of electronic tools, becoming first producer Alina. In 1997 Alina Sequence bases under the beginning a promo-label " Sequence Records " which is engaged in producing of young electronic musicians, and also release of releases of Russian electronic music. -
C.O 03 P', I~ COCO F~F~ R~3~
If you have issues viewing or accessing this file, please contact us at NCJRS.gov. i ~a37t, National Institute of Justice and U.S. State Department Policing in Emerging Democracies Workshop k Prepared Papers and Participant Biographies l i C.O 03 P', I~ COCO f~f~ 1 r~3~ December 14-15, 1995 W.=- W-= Washington, DC DATABASE DOCUMENT SCREENING Document Checking (DUPE Checkiag) ............. TMP#_ Screening Decision:(in~ OUT (Circle) BRS Rec'd Date: Publication Date: ~"~CO.~.C~ Page Numbers: [ "'" l~ '/ BJS ~ AIDS (AID) FUNDING/GRANTS (FND) _.~'NIJ ~ COMPUTERS/I"ECHNOLQGY (TEC) __ GANGS (GNG) OJJDP ~ CORRECTIONS (cOt) JUVENILES (JUV) ONOcP ~ cRIME PrEvEntIon (coP) OVC ~ CRIMINOLOGY(C JR) __ STATISTICS (STA) BJA (grants only) ~ COURTS (CTS) VICTIMS (VRC) ~. DRUGS (DAC) GRANT# I .N~r.RNATIONAL International SPONSORINGAGENCY: IDE Foreign Document "['itlc/'rranslation ( 10 page minimum/publication date no later than 3 yearsI INTl.,.ATIVES BJS INTER'L STATISTICS DRUGS & CRIME STATISTICS YOUTII. GUNS & VIOLENCE SPF-C!AL SERVICES MEMO: NIJ Catalog Recommendations: YES REFERENCE SCREENING: Screener's Initials -- Dale Screened 9/93 David H. Bayley Dean and Professor School of Criminal Justice 1 University at Albany State University of New York 4 October 1995 Conference: Policing in Emerging Democracies WHO ARE WE KIDDING? or DEVELOPING DEMOCRACY THROUGH POLICE REFORM My thoughts are the topic are organized into three parts: Principles, by which I mean unavoidable impediments in achieving democracy through police reform. Possibilities, referring to opportunities through police reform that may be exploited. Policies, which will be specific recommendations for getting the job done. PRINCIPLES If the objective of American policy is to encourage and facilitate the reform of police forces abroad so as to smooth transitions to democracy, policy-makers must recognize three unavoidable constraints on their efforts. -
KEEFUS CIANCIA (Discography)
KEEFUS CIANCIA 1/1/19 (Discography) Recording Album / Project Artist Credit Beyond the Palace Walls Paragon Taxi Piano, Keyboards (1993) Jazz in the Present Tense The Solsonics Keyboards (1993) Bop Gun Ice Cube Keyboards (1993) Fo Life Mack 10 Keyboards (1993) Cool Struttin The Pacific Jazz Alliance Keyboards (1994) Keyboards, Moog Synthesizer, N Gatz We Truss South Central Cartel (1994) Claves Nut-Meg Sez "Bozo the Town" Weapon of Choice Keyboards, Vocals (1994) Clavinet, Fender Rhodes, Moog Back to Reality Jeune (1995) Lead Highperspice Weapon of Choice Keyboards, Vocals (1996) I Am L.V. L.V. Keyboards (1996) Radio Odyssey Various Artists Keyboards (1996) The Jade Vincent Moy Producer, Composer, Musician (1996) Experiment Concepto Sol d'Menta Keyboards (1998) Nutmeg Phantasy Weapon of Choice Keyboards (1998) Whitey Ford Sings the Blues [Clean] Everlast Keyboards, Performer (1998) Another True Fiction Jerry Toback Moog Synthesizer (1999) Eat at Whitey's Everlast Bass, Keyboards, Band (2000) Loud Rocks Various Artists Keyboards (2000) Moog Synthesizer, Claves, You Know, for Kids Hate Fuck Trio (2000) Wurlitzer Synthesizer, Farfisa Organ, The ID Macy Gray (2001) Composer Motherland Natalie Merchant Piano, Keyboards (2001) Stimulated, Vol. 1 Various Artists Keyboards (2001) Diana Priscilla Ahn (2001) Organ, Keyboards, Clavinet, C'mon, C'mon Sheryl Crow (2002) String Samples Keyboards, Producer, Engineer, Soul of John Black The Soul of John Black (2003) Associate Producer Piano, Keyboards, Moog Thousand Kisses Deep Chris Botti (2003) Synthesizer, -
House, Techno & the Origins of Electronic Dance Music
HOUSE, TECHNO & THE ORIGINS OF ELECTRONIC DANCE MUSIC 1 EARLY HOUSE AND TECHNO ARTISTS THE STUDIO AS AN INSTRUMENT TECHNOLOGY AND ‘MISTAKES’ OR ‘MISUSE’ 2 How did we get here? disco electro-pop soul / funk Garage - NYC House - Chicago Techno - Detroit Paradise Garage - NYC Larry Levan (and Frankie Knuckles) Chicago House Music House music borrowed disco’s percussion, with the bass drum on every beat, with hi-hat 8th note offbeats on every bar and a snare marking beats 2 and 4. House musicians added synthesizer bass lines, electronic drums, electronic effects, samples from funk and pop, and vocals using reverb and delay. They balanced live instruments and singing with electronics. Like Disco, House music was “inclusive” (both socially and musically), infuenced by synthpop, rock, reggae, new wave, punk and industrial. Music made for dancing. It was not initially aimed at commercial success. The Warehouse Discotheque that opened in 1977 The Warehouse was the place to be in Chicago’s late-’70s nightlife scene. An old three-story warehouse in Chicago’s west-loop industrial area meant for only 500 patrons, the Warehouse often had over 2000 people crammed into its dark dance foor trying to hear DJ Frankie Knuckles’ magic. In 1982, management at the Warehouse doubled the admission, driving away the original crowd, as well as Knuckles. Frankie Knuckles and The Warehouse "The Godfather of House Music" Grew up in the South Bronx and worked together with his friend Larry Levan in NYC before moving to Chicago. Main DJ at “The Warehouse” until 1982 In the early 80’s, as disco was fading, he started mixing disco records with a drum machines and spacey, drawn out lines. -
Joachim Garraud Invader Spécial
Une interview co-produite par www.lesoreilles.co m et www.livlezart.fr Joachim Garraud Invader Spécial © Clément Arcamone Joachim Garraud, qui a remixé, composé ou produit des artistes comme David Guetta, Jean-Michel Jarre, David Bowie, OMD, Kylie Minogue, Mylène Farmer, Ceronne ou Moby... est devenu l'un des DJ's Français les plus cotés dans l'hexagone comme à l'international. C'est dans son studio d'enregistrement qu'il nous a reçu en mars 2012 pour cet entretien exclusif. Embarquons pour ce voyage qui nous permettra de découvrir ou de mieux connaître ce terrestre extra. 1 plan musical, comme Laurie Anderson, différentes activités professionnelles ou et d'autres enregistrements plus personnelles : Live, production, etc ? rythmés, plus Jazz. Ils avaient aussi du Avec un agenda classique (rire). Je Jean-Michel Jarre, ce qui était un point jongle beaucoup effectivement, j'essaie commun entre nous. Le premier disque d'avoir une façon intelligente de le que j'ai acheté c'était celui de Herbie gérer pour avoir une vie bien remplie et Hancock où il y avait Rockit (l'album bien équilibrée. Mon rêve absolu serait Future Shock, 1983, Ndj) un mélange d'avoir plus de temps. Dans mon de jazz, de musique électronique, de planning j'ai "Aller à la piscine avec musique expérimentale, avec un côté mes enfants" ou "Aller au cinéma avec © joachimgarraud.com dance. J'adorais faire danser les gens. ma femme". Les gens me disent : "Mais Du coup, je me suis retrouvé avec trois tu les traites comme de vulgaires Comment as tu découvert la musique ? casquettes, celle de musicien, celle de rendez-vous ! " Mais non, c'est juste Grâce à mes parents.