DOCSLIB.ORG

1.0, 1/2020 Ofform Bold (Selected Glyphs) Displaay: Ofform

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

OfformDisplaay: Ofform Ofform Bold (Selected Glyphs) AaBb CcDdEe RrSs 321 1.0, 1/2020 Ofform Thin 890 pt aDisplaay Type Foundry Ofform Regular 890 pt arDisplaay Type Foundry Ofform Heavy 890 pt r sDisplaay Type Foundry Ofform Regular 32 pt AäBbCcDdEeFfGgHh IiJjKkLlMmNnØoPpQq RrŞsTtUuVvWwXxYyZz 1234567890{[(@→&?!)]} {[(desTy@→:!?)]} Ofform Regular 14 pt English House is a genre of electronic dance music. It was created by disc jockeys and music producers from Chicago's underground club culture in the early and mid 1980s, as DJs from the subculture began altering disco dance tracks to give them a more mechanical beat and deeper basslines. As well, these DJs began to mix synth pop, rap, Latin music, and even jazz into their tracks. The genre was pioneered by DJs and producers Ofform Regular 14 pt Spanish El house es un estilo de música electrónica de baile (es un estilo de ésta pero también es uno de sus primeros géneros y precursores) que se originó en la ciudad de Chicago, Estados Unidos, al comienzo de los años 1980. Inicialmente, se hizo popular en la primera mitad de los ochenta en las discotecas orientadas hacia el público afroamericano, y latino en Chicago, más adelante en Nueva York y Detroit. Posteriormente llegó a Europa, donde se convirtió en un fenómeno masivo con una influencia dominante en otros estilos Displaay Type Foundry Ofform Regular 30 pt NPG Records, Inc. Under Exlusive License to Warner Records Inc. Ofform Regular 14 pt Italian L'house è un genere creatore. Questo genere musicale appartenente è caratterizzato da una alla electronic dance metrica in 4/4 con cassa music (EDM), nato nelle in battuta su ogni quarto, discoteche di Chicago arricchita talvolta da nella prima metà degli anni temi ritmici più elaborati. ottanta e fortemente Una presenza fissa è lo influenzata dalla disco "snare" (rullante) sui battiti music e da elementi pari e il charleston (hi- del funk dei tardi anni hat) in controtempo, per settanta. Il nome house formare il groove con deriva dal Warehouse, giri di basso in una o due storico locale di Chicago battute. Il basso può il cui dj resident Frankie essere acustico, elettrico Knuckles, soprannominato o anche sintetico. Questa The Godfather of House, sezione ritmica fa da base è riconosciuto come il per la parte melodica che Ofform Regular 12 pt Portuguese Um sintetizador é um Unidos, chamado de RCA Music instrumento musical Synthesizer, utilizado apenas eletrónico projetado para em laboratório ocupando produzir sons gerados grande espaço e exigindo através da manipulação horas de trabalho para criação direta de correntes de sons. O sintetizador como elétricas (sintetizadores o conhecemos começou analógicos), leitura de dados a tomar forma em 1964 com contidos numa memória a invenção dos sistemas (sintetizadores digitais), ou modulares Moog por Robert manipulação matemática Moog Herbert Deutsch. de valores discretos com A fabricação em módulos o uso de tecnologia digital permitiu a comercialização incluindo computadores do sintetizador, porém (modulação física) ou uma seu preço era bastante combinação de diversos elevado. A popularidade do métodos. O primeiro sistema sintetizador se consolidou de sintetizador construído, em 1968 com o disco Switched- data de 1957, desenvolvido On Bach de Walter Carlos, pela RCA Company nos Estados que foi sucesso de vendas. Displaay Type Foundry Ofform Regular 30 pt Kelela – Cut 4 Me (Deluxe) Floor Show (Prod. Girl Unit) Ofform Regular 10 pt Czech Styl je založený na monotónním 4/4 bicí automaty. Mezi zakladateli byli taktu v rychlosti mezi 115 až 145 mj. Marshall Jefferson, Frankie BPM. Základ skladby typicky vytváří Knuckles, DJ Pierre, Larry Levan aj. bicí automat (nejčastěji Roland TR- Vlna House Music od svého vzniku 808, Roland TR-909) se zvýrazněným během následujících dvaceti let basovým bubnem (slangově „kopák“, zasáhla hudební průmysl po celé velký buben) na každé době (celá zeměkouli a dala tím vzniknout nota) v taktu. Toto zvukové schéma různým mutacím. Nejprve američtí vytvořili DJs (zejména afrického DJs začali svou hudbu (resp. Garage a hispánského původu) začátkem a Acid House) hrát na Britských 80. let 20. st. ve městech New York, ostrovech, odkud se styl rychle Detroit a Chicago upravováním rozšířil přes Nizozemí a Belgii i na disco, soulových a funkových evropský kontinent. Ve Velké Británii skladeb podkreslováním dynamickým tak vznikly žánry jako Rave a Speed a úderným zvukem typickým pro Garage, v Itálii Italo House, v Belgii New Ofform Regular 8 pt French La house music, ou simplement It's House), Adonis avec No et Funk U Up sont considérés house, est un courant Way Back, Steve « Silk » Hurley comme les deux premières musical lancé au début (Music Is The Key, Jack Your créations de house. Si tous ces des années 1980 à Chicago. Body), Marshall Jefferson et artistes viennent de Chicago, Originellement liée à l'histoire le fameux The House Music la house n'a cependant jamais des disc-jockeys, son nom Anthem (Move Your Body), Keith été uniforme et dès 1988 provient du Warehouse, Farley et son Love Can't Turn apparaît par exemple la hip- club de Chicago où officiait Around (1986), Lil' Louis avec le house avec Fast Eddie et le le DJ Frankie Knuckles. La tube international French Kiss titre Yoyo Get Funky, mêlant house est constituée d'un et Larry Heard, qui composera à la house les racines electro rythme minimal, d'une ligne de sous le pseudonyme de M.. du hip-hop. Même si la house basse proche du funk, à ceci Fingers l'hymne deep house est originaire de Chicago, la s'ajoutent souvent des voix, Can U Feel It dont l'une des ville de New York développe samplées ou non. Si Frankie versions est agrémentée d'un rapidement une scène très Knuckles, en tant que DJ, discours de Martin Luther King. active, particulièrement est le précurseur du genre, Réalisés en 1983 par Jesse portée vers le garage, house les premiers producteurs de Saunders et publiés sur le label vocale héritière du disco, house sont Chip E. (Like This, Mitchbal, les morceaux On & On inspirée par le club où jouait Ofform Regular 6 pt German House ist eine populäre Stilrichtung wobei mit Techno jedoch generell zu vermischen und den Rest der Platte der elektronischen Tanzmusik, die in schnellere und „maschineller“ klingende wegzulassen. Neben Knuckles zählen vor den 1980er Jahren in den USA entstand. Musik bezeichnet wird als mit House. allem Marshall Jefferson, Jesse Saunders Typisch ist der meist durch einen Der Name „House“ rührt vom ersten und Chip E. als Pioniere des Chicago Drumcomputer erzeugte Rhythmus im Club her, in dem diese Musikrichtung House. Später griffen die Detroiter 4/4 Takt im Tempo von etwa 110 bis 130 aufgelegt wurde, dem Warehouse in Produzenten Juan Atkins, Derrick May Beats per minute: Die Bassdrum auf Chicago. Die musikalischen Ursprünge und Kevin Saunderson diese neue Liebe jeder Viertelnote („Four to the Floor“), des House liegen in der Disco-Musik zur Monotonie auf und entwickelten Snareschläge bzw. Handclaps auf jeder der späten 1970er, deren Einfluss vor daraus den Detroit Techno.Gleichzeitig zweiten Viertelnote, sowie offene allem in Harmonik und Melodieführung entstand in New Yorker Clubs wie der Hi-Hats auf der Zwischen-Achtelnote. bis heute spürbar ist. Frankie Knuckles Paradise Garage und The Loft, geprägt House gilt als einer der ersten legte im Warehouse in Chicago auf. durch DJs wie Larry Levan, François erfolgreichen Stile der elektronischen Schon damals war es üblich, dass die Kevorkian und Eric Kupper, ebenfalls eine Tanzmusik und ist heute nach wie vor Disco-Maxis Club-Mixes enthielten – bis heute bedeutsame House-Szene. Die sehr beliebt; es entstehen ständig das bedeutete im Normalfall, dass Paradise Garage war Namenspate für neue Varianten. Die Musikrichtung ausgedehnte, auf den Rhythmus die disco-orientierte House-Variante beeinflusste insbesondere die konzentrierte Instrumentalpassagen des Garage House. House ist eine Entstehung des sehr erfolgreichen vorhanden waren. Knuckles stellte populäre Stilrichtung der elektronischen Techno mitsamt seiner Szene. Beide fest, dass gerade diese Rhythmusteile Tanzmusik, die in den 1980er Jahren in Stile ähneln sich sehr und sind zum die Gäste in Ekstase versetzten, und den USA entstand. Typisch ist der meist Teil schwer voneinander abzugrenzen, begann damit, nur noch sie ineinander durch einen Drumcomputer erzeugte Displaay Type Foundry Ofform Regular 32 pt AäBbCcDdEeFfGgHh IiJjKkLlMmNnØoPpQq RrŞsTtUuVvWwXxYyZz 1234567890{[(@→&?!)]} {[(desTy@→:!?)]} Ofform Regular 14 pt English House is a genre of electronic dance music. It was created by disc jockeys and music producers from Chicago's underground club culture in the early and mid 1980s, as DJs from the subculture began altering disco dance tracks to give them a more mechanical beat and deeper basslines. As well, these DJs began to mix synth pop, rap, Latin music, and even jazz into their tracks. The genre was pioneered by DJs and producers mainly Ofform Regular 14 pt Spanish El house es un estilo de música electrónica de baile (es un estilo de ésta pero también es uno de sus primeros géneros y precursores) que se originó en la ciudad de Chicago, Estados Unidos, al comienzo de los años 1980. Inicialmente, se hizo popular en la primera mitad de los ochenta en las discotecas orientadas hacia el público afroamericano, y latino en Chicago, más adelante en Nueva York y Detroit. Posteriormente llegó a Europa, donde se convirtió en un fenómeno masivo con una influencia dominante en otros estilos Displaay Type Foundry Ofform Regular 30 pt NPG Records, Inc. Under Exlusive License to Warner Records Inc. Ofform Regular 14 pt Italian L'house è un genere creatore. Questo genere musicale appartenente è caratterizzato da una alla electronic dance metrica in 4/4 con cassa music (EDM), nato nelle in battuta su ogni quarto, discoteche di Chicago arricchita talvolta da nella prima metà degli anni temi ritmici più elaborati. ottanta e fortemente Una presenza fissa è lo influenzata dalla disco "snare" (rullante) sui battiti music e da elementi pari e il charleston (hi- del funk dei tardi anni hat) in controtempo, per settanta.
Recommended publications
  • Music-Week-1993-05-0

    Music-Week-1993-05-0

    4 Morechoice 8 Town crier 10 Wisdom Kenyon'smaintain vowR3's to Take This Town Vintage comic is musical range visitsCroydon the streets active Marketsurprise Preview star of ■ ^ • H itmsKweek For Everyone in the Business of Music 1 MAY 1993 £2.65 iiistargetCO mftl17 Adestroy forced the eut foundationsin CD prices ofcould the half-hourtives were grillinggiven a lastone-and-a- week. wholeliamentary music selectindustry, committee the par- MalcolmManaging Field, director repeating hisSir toldexaraining this week. CD pricing will be reducecall for dealer manufacturers prices by £2,to twoSenior largest executives and two from of the "cosy"denied relationshipthat his group with had sup- a thesmallest UK will record argue companies that pricing in pliera and defended its support investingchanges willin theprevent new talentthem RichardOur Price Handover managing conceded director thatleader has in mademusic. the UK a world Kaufman adjudicates (centre) as Perry (left) and Ames (right) head EMI and PolyGram délégations atelythat his passed chain hadon thenot immedi-reduced claimsTheir alreadyarguments made will at echolast businesspeople rather without see athose classical fine Tradingmoned. has also been sum- industryPrivately profitability. witnesses who Warnerdealer Musicprice inintroduced 1988. by Goulden,week's hearing. managing Retailer director Alan of recordingsdards for years that ?" set the stan- RobinTemple Morton, managing whose director label othershave alreadyyet to appearedappear admit and managingIn the nextdirector session BrianHMV Discountclassical Centre,specialist warned Music the tionThe was record strengthened companies' posi-last says,spécialisés "We're intrying Scottish to put folk, out teedeep members concem thatalready the commit-believe lowerMcLaughlin prices saidbut addedhe favoured HMV thecommittee music against industry singling for outa independentsweek with the late inclusionHyperion of erwise.music that l'm won't putting be heard oth-out CDsLast to beweek overpriced, committee chair- hadly high" experienced CD sales.
  • Master Thesis the Changes in the Dutch Dance Music Industry Value

    Master Thesis the Changes in the Dutch Dance Music Industry Value

    Master thesis The changes in the Dutch dance music industry value chain due to the digitalization of the music industry University of Groningen, faculty of Management & Organization Msc in Business Administration: Strategy & Innovation Author: Meike Biesma Student number: 1677756 Supervisor: Iván Orosa Paleo Date: 11 May 2009 Abstract During this research, the Dutch dance music industry was investigated. Because of the changes in the music industry, that are caused by the internet, the Dutch dance music industry has changed accordingly. By means of a qualitative research design, a literature study was done as well as personal interviews were performed in order to investigate what changes occurred in the Dutch dance music industry value chain. Where the Dutch dance music industry used to be a physical oriented industry, the digital music format has replaced the physical product. This has had major implications for actors in the industry, because the digital sales have not compensated the losses that were caused by the decrease in physical sales. The main trigger is music piracy. Digital music is difficult to protect, and it was found that almost 99% of all music available on the internet was illegal. Because of the decline in music sales revenues, actors in the industry have had to change their strategies to remain profitable. New actors have emerged, like digital music retailers and digital music distributors. Also, record companies have changed their business model by vertically integrating other tasks within the dance music industry value chain to be able to stay profitable. It was concluded that the value chain of the Dutch dance music industry has changed drastically because of the digitalization of the industry.
  • New Promo Pack 2021 4 1 1.Pdf

    New Promo Pack 2021 4 1 1.Pdf

    Promo Pack 2021 Danceparty247 was set up in April 2020 and is run by DJ Envy, DJ Wongy and DJ Te. It is a brand where DJ's and DJ/producers from around the world come together to stream weekly shows across the internet. As well as UK based DJ's we have DJs and producers from, Spain, Puerto Rico, Portugal, Egypt, Belgium, Czech Republic and South Africa. Danceparty247 streams across several platforms and across our own website danceparty247.club. We are PPL and PRS compliant on our website by using the Beathubz planform media player. We reach up to 10,000 unique listens a week. This is comprised of live listeners and views on recorded replays. Many of our shows attain 250-300+ concurrent listeners. In association with Type 2 Promotions we are looking to put on regular good quality events in several parts of the UK. Giving the opportunity for Danceparty247 DJ's to DJ Live. At the same time making sure that both the venue and ourselves mutually benefit from this arrangement. We are open to discussing any ideas you may have. We are looking in the first instance to put on a regular event once a month with yourselves. Given the opportunity we would like to arrange a Zoom meeting or WhatsApp video call with yourselves to discuss our proposal further. Benny Bereal, DJ Envy, DJ Wongy, DJ Te Email: [email protected] WhatsApp: Benny Bereal 07765083211 Simon Wright 07903557538 Martin Young 07851465067 Type2 Productions Benny Bereal I am an Actor, Writer, Director and Promoter. I have been working in the film and tv industry for 5 years and have worked on programmes on channels for the like of the BBC, ITV, CH5 and I have worked alongside names such as Pierce Brosnan, Dave Bautista, David Tennant and Margot Robbie.
  • Garage House Music Whats up with That

    Garage House Music Whats up with That

    Garage House Music whats up with that Future funk is a sample-based advancement of Nu-disco which formed out of the Vaporwave scene and genre in the early 2010s. It tends to be more energetic than vaporwave, including elements of French Home, Synth Funk, and making use of Vaporwave modifying techniques. A style coming from the mid- 2010s, often explained as a blend of UK garage and deep home with other elements and strategies from EDM, popularized in late 2014 into 2015, typically mixes deep/metallic/sax hooks with heavy drops somewhat like the ones discovered in future garage. One of the very first house categories with origins embeded in New York and New Jersey. It was named after the Paradise Garage bar in New york city that operated from 1977 to 1987 under the prominent resident DJ Larry Levan. Garage house established along with Chicago home and the outcome was home music sharing its resemblances, affecting each other. One contrast from Chicago house was that the vocals in garage house drew stronger impacts from gospel. Noteworthy examples consist of Adeva and Tony Humphries. Kristine W is an example of a musician involved with garage house outside the genre's origin of birth. Also understood as G-house, it includes very little 808 and 909 drum machine-driven tracks and often sexually explicit lyrics. See likewise: ghettotech, juke house, footwork. It integrates components of Chicago's ghetto house with electro, Detroit techno, Miami bass and UK garage. It includes four-on-the-floor rhythms and is normally faster than a lot of other dance music categories, at approximately 145 to 160 BPM.
  • Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity

    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
  • Musikstile Quelle: Alphabetisch Geordnet Von Mukerbude

    Musikstile Quelle: Alphabetisch Geordnet Von Mukerbude

    MusikStile Quelle: www.recordsale.de Alphabetisch geordnet von MukerBude - 2-Step/BritishGarage - AcidHouse - AcidJazz - AcidRock - AcidTechno - Acappella - AcousticBlues - AcousticChicagoBlues - AdultAlternative - AdultAlternativePop/Rock - AdultContemporary -Africa - AfricanJazz - Afro - Afro-Pop -AlbumRock - Alternative - AlternativeCountry - AlternativeDance - AlternativeFolk - AlternativeMetal - AlternativePop/Rock - AlternativeRap - Ambient - AmbientBreakbeat - AmbientDub - AmbientHouse - AmbientPop - AmbientTechno - Americana - AmericanPopularSong - AmericanPunk - AmericanTradRock - AmericanUnderground - AMPop Orchestral - ArenaRock - Argentina - Asia -AussieRock - Australia - Avant -Avant-Garde - Avntg - Ballads - Baroque - BaroquePop - BassMusic - Beach - BeatPoetry - BigBand - BigBeat - BlackGospel - Blaxploitation - Blue-EyedSoul -Blues - Blues-Rock - BluesRevival - Blues - Spain - Boogie Woogie - Bop - Bolero -Boogaloo - BoogieRock - BossaNova - Brazil - BrazilianJazz - BrazilianPop - BrillBuildingPop - Britain - BritishBlues - BritishDanceBands - BritishFolk - BritishFolk Rock - BritishInvasion - BritishMetal - BritishPsychedelia - BritishPunk - BritishRap - BritishTradRock - Britpop - BrokenBeat - Bubblegum - C -86 - Cabaret -Cajun - Calypso - Canada - CanterburyScene - Caribbean - CaribbeanFolk - CastRecordings -CCM -CCM - Celebrity - Celtic - Celtic - CelticFolk - CelticFusion - CelticPop - CelticRock - ChamberJazz - ChamberMusic - ChamberPop - Chile - Choral - ChicagoBlues - ChicagoSoul - Child - Children'sFolk - Christmas
  • Sooloos Collections: Advanced Guide

    Sooloos Collections: Advanced Guide

    Sooloos Collections: Advanced Guide Sooloos Collectiions: Advanced Guide Contents Introduction ...........................................................................................................................................................3 Organising and Using a Sooloos Collection ...........................................................................................................4 Working with Sets ..................................................................................................................................................5 Organising through Naming ..................................................................................................................................7 Album Detail ....................................................................................................................................................... 11 Finding Content .................................................................................................................................................. 12 Explore ............................................................................................................................................................ 12 Search ............................................................................................................................................................. 14 Focus ..............................................................................................................................................................
  • New Promo Pack.Pdf

    New Promo Pack.Pdf

    Promo Pack 2021 Danceparty247 was set up in April 2020 and is run by DJ Envy, DJ Wongy and DJ Te. It is a brand where DJ's and DJ/producers from around the world come together to stream weekly shows across the internet. As well as UK based DJ's we have DJs and producers from, Spain, Puerto Rico, Portugal, Egypt, Belgium, Czech Republic and South Africa. Danceparty247 streams across several platforms and across our own website danceparty247.club. We are PPL and PRS compliant on our website by using the Beathubz planform media player. We reach up to 10,000 unique listens a week. This is comprised of live listeners and views on recorded replays. Many of our shows attain 250-300+ concurrent listeners. In association with Type 2 Promotions we are looking to put on regular good quality events in several parts of the UK. Giving the opportunity for Danceparty247 DJ's to DJ Live. At the same time making sure that both the venue and ourselves mutually benefit from this arrangement. We are open to discussing any ideas you may have. We are looking in the first instance to put on a regular event once a month with yourselves. Given the opportunity we would like to arrange a Zoom meeting or WhatsApp video call with yourselves to discuss our proposal further. Benny Bereal, DJ Envy, DJ Wongy, DJ Te Email: [email protected] WhatsApp: Benny Bereal 07765083211 Simon Wright 07903557538 Martin Young 07851465067 Type2 Productions Benny Bereal I am an Actor, Writer, Director and Promoter. I have been working in the film and tv industry for 5 years and have worked on programmes on channels for the like of the BBC, ITV, CH5 and I have worked alongside names such as Pierce Brosnan, Dave Bautista, David Tennant and Margot Robbie.
  • EPHRAT ASHERIE DANCE Odeon

    EPHRAT ASHERIE DANCE Odeon

    EPHRAT ASHERIE DANCE Odeon STUDY GUIDE ©Matthew Murphy ©Matthew Murphy ©Matthew Murphy Wednesday, March 31, 2021, 10 AM EDT PROGRAM Odeon Choreographer: Ephrat Asherie, in collaboration with Ephrat Asherie Dance Music: Ernesto Nazareth Musical Direction: Ehud Asherie Lighting Design: Kathy Kaufmann Costume Design: Mark Eric We gratefully acknowledge and thank the Joyce Theater’s School & Family Programs for generously allowing the Moss Arts Center’s use and adaptation of its Ephrat Asherie Dance Odeon Resource and Reference Guide. Heather McCartney, director | Rachel Thorne Germond, associate EPHRAT ASHERIE DANCE “Ms. Asherie’s movement phrases—compact bursts of choreography with rapid-fire changes in rhythm and gestural articulation—bubble up and dissipate, quickly paving the way for something new.” –The New York Times THE COMPANY Ephrat Asherie Dance (EAD) is a dance company rooted in Black and Latinx vernacular dance. Dedicated to exploring the inherent complexities of various street and club dances, including breaking, hip-hop, house, and vogue, EAD investigates the expansive narrative qualities of these forms as a means to tell stories, develop innovative imagery, and find new modes of expression. EAD’s first evening-length work,A Single Ride, earned two Bessie nominations in 2013 for Outstanding Emerging Choreographer and Outstanding Sound Design by Marty Beller. The company has presented work at Apollo Theater, Columbia College, Dixon Place, FiraTarrega, Works & Process at the Guggenheim, Jacob’s Pillow Dance Festival, the Joyce Theater, La MaMa, River to River Festival, New York Live Arts, Summerstage, and The Yard, among others. ARTISTIC DIRECTOR Ephrat “Bounce” Asherie is a New York City-based b-girl, performer, choreographer, and director and a 2016 Bessie Award Winner for Innovative Achievement in Dance.
  • Generator Magazine, 4-8 One) to : Sven Vath Competition, Generator, Project for R&S, Due for Release in the Early Peartree Street, London, Ecl V 3SB

    Generator Magazine, 4-8 One) to : Sven Vath Competition, Generator, Project for R&S, Due for Release in the Early Peartree Street, London, Ecl V 3SB

    and culture of Plus Going Global - British Dance Labels Take On The World! ISSN 0969-5206 11 111 " 9 770969 ,,,o,, I! I OW HMV • KNOW Contents April 1995 Vol 2 Issue 3 Features 10 Moby 14 Move D 19 Riccardo Rocchi 20 Danny Tenaglia 24 Crew 2000 2 6 Carl Craig 32 DJ Pierre 37 Dimitri 38 A Bad Night Out? 40 Havana 44 On-U-Sound 52 Caroline Lavelle 54 Going Global! 70 DJ Rap 81 Millennium Records Live 65 Secret Knowledge 68 A Positive Life Regulars 5 Letters 8 From The Floor 50 Fashion 57 Album Reviews 61 Single Reviews 71 Listings 82 The World According To ... Generator 3 YOU IOlC good music, ri&11t? Sl\\\.tle, 12 KILLER MASTERCUTS FLOOR-FILLERS ~JIIA1fJ}J11JWJ}{@]1J11~&tjjiiliJ&kiMJj P u6-:M44kiL~ffi:t.t&8/W ~-i~11J#JaJJA/JliliID1il1- ~~11JID11ELJ.JfiZW-J!U11-»R dftlhiMillb~JfJJlkmt@U¾l E-.fiW!JJlJMiijifJ~)JJt).ilw,i1!J!in 11Y$#~1kl!I . ' . rJOJ,t'tJi;M)J4&,j~ letters.·• • Editor Dear Generator, Dear Generator, and wasting hours-worth of Tim Barr Que Pasa? Something seems to My friends and I are wondering conversationa l aimlessness in Assistant Editor (Advertising) have happened at Generator about a frequent visitor to your an attempt to discover exactly Barney York HQ. One minute, there I was letters page. It seems that the where it was you left those last thinking your magazine was military have moved up north three papers, or, indeed, your Art Direction & Design Paul Haggis & Derek Neeps well and t ruly firmed up with and installed someone with head.
  • Ministry of Sound the House That Garage Built Cd

    Ministry of Sound the House That Garage Built Cd

    Ministry of sound the house that garage built cd The House That Garage Built Minimix. Ministry of Sound. Loading. As an original 93 kiss fm listener this. Find a Various - The House That Garage Built first pressing or reissue. Ministry Of Sound – MOSCD Format: 3 × CD, Compilation, Mixed. This item:The House That Garage Built by Various Artists Audio CD £ Label: Ministry of Sound; ASIN: B00L5QKAKI; Other Editions: Audio CD | MP3. Find album reviews, stream songs, credits and award information for The House That Garage Built - Various Artists on AllMusic - This epic 3 CD album encapsulates the sounds of original UK Garage, New York inspired House through to the evolution of today's new skool House hits plus all. Buy The House That Garage Built from our CDs range at Tesco direct. We stock a great range of products at everyday prices. Clubcard points on every order. Ministry of Sound: The House That Garage Built. by Various Artists. Publication date Language English. See also MusicBrainz (release). Stream The House That Garage Built Minimix by Ministry of Sound from desktop or your mobile device. Various Artists-The House That Garage Built CD Box set Very Good. £ item 1 - Ministry Of Sound UK Presents - House That Garage Built. £ Buy it now. Purchase The House That Garage Built by Ministry of Sound on CD online and enjoy having your favourite Dance & Electronic music delivered. Ministry Of Sound - The Annual Box set Various Artists [3 X CD] MINISTRY OF SOUND ONE - 3 X CDS HOUSE GARAGE TRANCE 90S OLDSKOOL. Ministry of Sound presents The House That Garage Built.
  • Baby Raves: Youth, Adulthood and Ageing in Contemporary British EDM Culture

    Baby Raves: Youth, Adulthood and Ageing in Contemporary British EDM Culture

    Baby Raves: Youth, Adulthood and Ageing in Contemporary British EDM Culture Feature Article Zoe Armour De Montfort University (UK) Abstract This article begins with a reconsideration of the parameters ofage in translocal EDM sound system and (super)club culture through the conceptualisation of a fluid multigenerationality in which attendees at EDM-events encompass a spectrum of ages from 0–75 years. Since the 1980s, it remains the case that the culture is fuelled through a constant influx of newcomers who are predominantly emerging youth, yet there are post-youth members in middle adulthood and later life that are also a growing body that continues to attend EDM-events. In this context, the baby rave initiative (2004–present) has capitalised on a gap in the family entertainment market and created a new chapter in (super)club and festival culture. I argue that the event is a catalyst for live heritage in which the accompanying children (aged from 0–12 years) temporarily become the beneficiaries of their parent’s attendee heritage and performance of an unauthored heritage. Keywords: fluid multigenerationality, EDM-family, baby rave, live heritage, unauthored heritage Zoe Armour is completing a PhD in electronic dance music culture. Her work is interdisciplinary and draws from the fields of cultural sociology, popular music, memory studies, media and communication and film. She is the author of two book chapters on Ageing Clubbers and the Internet and the British Free Party Counterculture in the late 1990s. She is a member of the Media Discourse Centre, IASPM and follows the group for Subcultures, Popular Music and Social Change.