Download Press Release

Total Page:16

File Type:pdf, Size:1020Kb

Download Press Release WENDY JAMES THE PRICE OF THE TICKET PRESS RELEASE RANDY BOYD (Cobraside Distribution) [email protected] BARNEY PAUL BARNES (Pledge Campaign Manager) [email protected] IAN J TAYLOR (Website Director thewendyjames.com) [email protected] Release Date 19/2/16 WENDY JAMES PRESS RELEASE NEW LP ‘THE PRICE OF THE TICKET’ VINYL CD DIGITAL “Wendy James new album ‘The Price Of The Ticket’ is brave and tender, artful and wild, where courage and the dream of love give promise. A wild, moving, shocking, hilarious, raging, exhilarating, giant of an album. A dazzling performance that listeners will delight in, it is intelligent, witty, irresistibly relentless and forthright”. -Village Voice Wendy James new solo LP ’The Price Of The Ticket’ recorded in NYC, mixed in Berkeley CA. The players on this album are a bona-fde line-up from all-time Punk and New Wave bands… Lenny Kaye (The Patti Smith Group) on guitar, Glen Matlock (Sex Pistols) on bass, James Sclavunos (Nick Cave & The Bad Seeds) on drums with tracks 12 and 13 recorded by Wendy James and James Williamson (Iggy and The Stooges), Steve Mackay (Iggy and The Stooges), James Sclavunos (Nick Cave and The Bad Seeds). All songs are written and produced by Wendy James, tracks 12 and 13 are cover versions of songs written Fred ‘Sonic’ Smith (MC5/Sonic’s Rendezvous Band) and Bob Dylan respectively. THE PRICE OF THE TICKET TRACK LISTING 1 PALOMA’S DOWNS 2 INDIGENT BLUES 3 KING RAT 4 LOVE FROM THE 9TH 5 BAD INTENTIONS AND A BIT OF CRUELTY 6 YOU’RE A DIRTBOMB, LESTER 7 SCREAMIN’ BACK WASHINGTON 8 WHY OH WHY DO YOU HURT ME STILL? 9 FAREWELL TO LOVE 10 COWBOY RHYTHM 11 SITUATION NORMAL AT SURFRIDER 12 YOU’RE SO GREAT 13 IT’S ALRIGHT MA PLAYERS: WENDY JAMES VOCALS/RHYTHM GUITAR/KEYS & PIANO LENNY KAYE - RHYTHM/LEAD GUITAR (Patti Smith/Nuggets) GLEN MATLOCK - BASS (Sex Pistols) JAMES SCLAVUNOS - DRUMS (Nick Cave and The Bad Seeds) JAMES WILLIAMSON - GUITAR & BASS. Track 12 & 13 (Iggy and The Stooges) STEVE MACKAY - BARITONE SAX. Track 13 (Iggy and The Stooges) Wendy James has evolved in music legacy to where her frst band Transvision Vamp is an iconic and collectable favorite and her new music is constantly a push for ever more current attitude and talent, followed and bought by proceeding generations of Alt-Rock n Roll fans the world over. Cited by Miley Cyrus as her original pin-up and at the same time being on par with Patti Smith as an uncompromising artist, songwriter and musician. Originally from London, now resident of NYC, she has achieved what few can or have: longevity and a forward motion trajectory in New Wave Garage Rock. The release of ’The Price Of The Ticket’ will include all formats: LP Vinyl, CD and Digital Download. Wendy James will be touring and her setlist will include some songs from this album, some choice cuts from previous solo work and some favorites from Transvision Vamp. The package is presented with arresting and beautiful artwork by Kym Ellery and Roze Hooij. SOUNDCLOUD PREVIEW LINKS: BAD INTENTIONS AND A BIT OF CRUELTY http://soundcloud.com/the-wendy-james/bad-intentions-and-a-bit-of-cruelty YOU’RE A DIRTBOMB, LESTER http://soundcloud.com/the-wendy-james/youre-a-dirtbomb-lester KING RAT http://soundcloud.com/the-wendy-james/king-rat INDIGENT BLUES http://soundcloud.com/the-wendy-james/indigent-blues SCREAMIN’ BACK WASHINGTON http://soundcloud.com/the-wendy-james/screamin-back-washington FAREWELL TO LOVE http://soundcloud.com/the-wendy-james/farewell-to-love Wendy James previously: TRANSVISION VAMP 3 Albums: ‘Pop Art’, ‘Velveteen’, ‘Little Magnets Versus Te Bubble Of Babble’ w/ ELVIS COSTELLO 1 Album: ‘Now Ain’t Te Time For Your Tears’ 3 SOLO ALBUMS: ‘Racine No.1’, ‘Racine 2’, ‘I Came Here To Blow Minds’ w/ JAMES WILLIAMSON (THE STOOGES) 1 Single: ‘You’re So Great’ / ‘It’s Alright Ma’ SOCIAL MEDIA LINKS: ALBUM PLEDGE SITE: http://wendyjames.pmstores.co FACEBOOK: http://www.facebook.com/thewendyjames TWITTER: http://twitter.com/thewendyjames INSTAGRAM: http://instagram.com/thewendyjames TUMBLR: http://wendyjames.tumblr.com SOUNDCLOUD: http://soundcloud.com/the-wendy-james YOUTUBE: http://www.youtube.com/user/thewendyjamesvideo WEBSITE: http://www.thewendyjames.com.
Recommended publications
  • Nightshiftmag.Co.Uk @Nightshiftmag Nightshiftmag Nightshiftmag.Co.Uk Free Every Month NIGHTSHIFT Issue 299 September Oxford’S Music Magazine 2021
    [email protected] @NightshiftMag NightshiftMag nightshiftmag.co.uk Free every month NIGHTSHIFT Issue 299 September Oxford’s Music Magazine 2021 Gig, Interrupted Meet the the artists born in lockdown finally coming to a venue near you! Also in this comeback issue: Gigs are back - what now for Oxford music? THE AUGUST LIST return Introducing JODY & THE JERMS What’s my line? - jobs in local music NEWS HELLO EVERYONE, Festival, The O2 Academy, The and welcome to back to the world Bullingdon, Truck Store and Fyrefly of Nightshift. photography. The amount raised You all know what’s been from thousands of people means the happening in the world, so there’s magazine is back and secure for at not much point going over it all least the next couple of years. again but fair to say live music, and So we can get to what we love grassroots live music in particular, most: championing new Oxford has been hit particularly hard by the artists, challenging them to be the Covid pandemic. Gigs were among best they can be, encouraging more the first things to be shut down people to support live music in the back in March 2020 and they’ve city and beyond and making sure been among the very last things to you know exactly what’s going be allowed back, while the festival on where and when with the most WHILE THE COVID PANDEMIC had a widespread impact on circuit has been decimated over the comprehensive local gig guide Oxford’s live music scene, it’s biggest casualty is The Wheatsheaf, last two summers.
    [Show full text]
  • Cultural Representations of the Moors Murderers and Yorkshire Ripper Cases
    CULTURAL REPRESENTATIONS OF THE MOORS MURDERERS AND YORKSHIRE RIPPER CASES by HENRIETTA PHILLIPA ANNE MALION PHILLIPS A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History, and Music College of Arts and Law The University of Birmingham October 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This thesis examines written, audio-visual and musical representations of real-life British serial killers Myra Hindley and Ian Brady (the ‘Moors Murderers’) and Peter Sutcliffe (the ‘Yorkshire Ripper’), from the time of their crimes to the present day, and their proliferation beyond the cases’ immediate historical-legal context. Through the theoretical construct ‘Northientalism’ I interrogate such representations’ replication and engagement of stereotypes and anxieties accruing to the figure of the white working- class ‘Northern’ subject in these cases, within a broader context of pre-existing historical trajectories and generic conventions of Northern and true crime representation. Interrogating changing perceptions of the cultural functions and meanings of murderers in late-capitalist socio-cultural history, I argue that the underlying structure of true crime is the counterbalance between the exceptional and the everyday, in service of which its second crucial structuring technique – the depiction of physical detail – operates.
    [Show full text]
  • Price-Of-The-Ticket-Press-Release-2016
    WENDY JAMES THE PRICE OF THE TICKET PRESS RELEASE RANDY BOYD (Cobraside Distribution) [email protected] SEAN COONEY (TV/Radio Promo) [email protected] BARNEY PAUL BARNES (Pledge Campaign Manager) [email protected] IAN J TAYLOR (Website Director thewendyjames.com) [email protected] ALBUM ARRIVES 19/2/16 WENDY JAMES PRESS RELEASE NEW LP ‘THE PRICE OF THE TICKET’ VINYL CD DIGITAL “Wendy James new album ‘The Price Of The Ticket’ is brave and tender, artful and wild, where courage and the dream of love give promise. A wild, moving, shocking, hilarious, raging, exhilarating, giant of an album. A dazzling performance that listeners will delight in, it is intelligent, witty, irresistibly relentless and forthright”. -Village Voice Wendy James new solo LP ’The Price Of The Ticket’ recorded in NYC, mixed in Berkeley CA. The players on this album are a bona-fde line-up from all-time Punk and New Wave bands… Lenny Kaye (The Patti Smith Group) on guitar, Glen Matlock (Sex Pistols) on bass, James Sclavunos (Nick Cave & The Bad Seeds) on drums with tracks 12 and 13 recorded by Wendy James and James Williamson (Iggy and The Stooges), Steve Mackay (Iggy and The Stooges), James Sclavunos (Nick Cave and The Bad Seeds). All songs are written and produced by Wendy James, tracks 12 and 13 are cover versions of songs written Fred ‘Sonic’ Smith (MC5/Sonic’s Rendezvous Band) and Bob Dylan respectively. THE PRICE OF THE TICKET TRACK LISTING 1 PALOMA’S DOWNS 2 INDIGENT BLUES 3 KING RAT 4 LOVE FROM THE 9TH 5 BAD INTENTIONS AND A BIT OF CRUELTY 6 YOU’RE A DIRTBOMB, LESTER 7 SCREAMIN’ BACK WASHINGTON 8 WHY OH WHY DO YOU HURT ME STILL? 9 FAREWELL TO LOVE 10 COWBOY RHYTHM 11 SITUATION NORMAL AT SURFRIDER 12 YOU’RE SO GREAT 13 IT’S ALRIGHT MA PLAYERS: WENDY JAMES VOCALS/RHYTHM GUITAR/KEYS & PIANO LENNY KAYE - RHYTHM/LEAD GUITAR (Patti Smith/Nuggets) GLEN MATLOCK - BASS (Sex Pistols) JAMES SCLAVUNOS - DRUMS (Nick Cave and The Bad Seeds) JAMES WILLIAMSON - GUITAR & BASS.
    [Show full text]
  • Mark Summers Sunblock Sunburst Sundance
    Key - $ = US Number One (1959-date), ✮ UK Million Seller, ➜ Still in Top 75 at this time. A line in red Total Hits : 1 Total Weeks : 11 indicates a Number 1, a line in blue indicate a Top 10 hit. SUNFREAKZ Belgian male producer (Tim Janssens) MARK SUMMERS 28 Jul 07 Counting Down The Days (Sunfreakz featuring Andrea Britton) 37 3 British male producer and record label executive. Formerly half of JT Playaz, he also had a hit a Souvlaki and recorded under numerous other pseudonyms Total Hits : 1 Total Weeks : 3 26 Jan 91 Summers Magic 27 6 SUNKIDS FEATURING CHANCE 15 Feb 97 Inferno (Souvlaki) 24 3 13 Nov 99 Rescue Me 50 2 08 Aug 98 My Time (Souvlaki) 63 1 Total Hits : 1 Total Weeks : 2 Total Hits : 3 Total Weeks : 10 SUNNY SUNBLOCK 30 Mar 74 Doctor's Orders 7 10 21 Jan 06 I'll Be Ready 4 11 Total Hits : 1 Total Weeks : 10 20 May 06 The First Time (Sunblock featuring Robin Beck) 9 9 28 Apr 07 Baby Baby (Sunblock featuring Sandy) 16 6 SUNSCREEM Total Hits : 3 Total Weeks : 26 29 Feb 92 Pressure 60 2 18 Jul 92 Love U More 23 6 SUNBURST See Matt Darey 17 Oct 92 Perfect Motion 18 5 09 Jan 93 Broken English 13 5 SUNDANCE 27 Mar 93 Pressure US 19 5 08 Nov 97 Sundance 33 2 A remake of "Pressure" 10 Jan 98 Welcome To The Future (Shimmon & Woolfson) 69 1 02 Sep 95 When 47 2 03 Oct 98 Sundance '98 37 2 18 Nov 95 Exodus 40 2 27 Feb 99 The Living Dream 56 1 20 Jan 96 White Skies 25 3 05 Feb 00 Won't Let This Feeling Go 40 2 23 Mar 96 Secrets 36 2 Total Hits : 5 Total Weeks : 8 06 Sep 97 Catch Me (I'm Falling) 55 1 20 Oct 01 Pleaase Save Me (Sunscreem
    [Show full text]
  • Universal Music Tribe - Iggy & the Sto… Site Map Contact
    3/29/2011 Universal Music Tribe - Iggy & The Sto… site map contact Home Buffalo Zone News Features Video Downloads Radio About Us Contact Advertise Share | Iggy & The Stooges - Raw Power Live Iggy & The Stooges Raw Power Live In The Hands of The Fans (MVD) The original punk Iggy Pop is alive and well and at the age of 63 he is still a force to be reckoned with. Recreating the classic album Raw Power live onstage some 38 years after it was released, the reformed Stooges' (Iggy Pop, Scott Asheton, James Williamson, Steve Mackay, Mike Watt) performance at the All Tomorrow's Parties Festival on Friday, September 3, 2010 is high energy, balls to the wall, mayhem- just like it was back in in ‘73. From “Raw Power” to “Search and Destroy” and “Your Pretty Face is Going to Hell,” The Stooges recreate the original songs flawlessly. It’s enough to make Lester Bands rise from the grave and dance a jig. Released on 180 Gram Vinyl, the album is a real collector’s item and makes a good companion piece to your original Raw Power LP. The LP will be officially release on Record Store Day, April 26, 2011, so get your yah yahs out and get ready to rock, bitches. - Michael Buffalo Smith universalmusictribe.com/iggy___the_st… 1/2 3/29/2011 Universal Music Tribe - Iggy & The Sto… Home Buffalo Zone News Features Video Downloads Radio About Us Contact Advertise Site Mailing List UNIVERSAL MUSIC TRIBE 1813 North Main Street Greenville, SC 29609 Email: [email protected] This website designed using the iBui.lt website builder universalmusictribe.com/iggy___the_st… 2/2.
    [Show full text]
  • Steve Mackay Awards Results: Part One (1576) the 2012 Reader Restaurant He Fell from Punk Stardom to Trade Labor
    Classifieds Blog Forum Events 7 Days in Beijing Directory Gallery Contact Us Refine search Sun Mar 25 2012 Login to the Beijinger Live Users (last hour): 1,155 Welcome Guest! No account? Register Here Registered Users: 163,132 2 0 1 2 MAR 14 From Hard Rocker to Blue-Collar Worker Submitted on Mar 14, 2012 12:00pm by Kyle Mullin Permalink Interview Events Hot Cat Club JUE Music + Art Festival 2012 the Recent Blog Posts beijinger Live Music Jacob Wickham: There's No Brewery Like Home by Iain Shaw on Mar 25 6:00pm Wukan: Not Your Average Hair Salon by Tiffany Wang on Mar 25 2:00pm Not Lovin' It: McDonald's Serves the Latest Food Scandal by Lauren McCarthy on Mar 25 10:00am Blood and Booze: A Drink With Our Magazines Italian Horror Comedy Director... by Kyle Mullin on Mar 24 6:00pm the Beijinger - March Is Beijing Lagging Behind? by 2012: Break Into Joana Melo on Mar 24 4:00pm Publishing Win Tickets To Eatliz & DME's JUE Finale! by Paul Ryding on Mar 24 12:00pm Living La Vida Local: Trashy Art, Organic Tofu and Girl Band... by Tiffany Wang on Mar 24 10:00am the Beijinger's Six-Word Writing Competition: All the Entrie... by Jonathan White on Mar 23 8:00pm Talking Balls: Ducks Hunted, Guoan Stunted & Rio To China? by Jonathan White on Mar 23 6:00pm Spring Into Action: New Seasonal Menus Around Town by Issue archive Josh Ong on Mar 23 4:00pm more Find the Mag Subscription Most Viewed Last 7 Days The 2012 Reader Restaurant Steve Mackay Awards Results: Part One (1576) The 2012 Reader Restaurant He fell from punk stardom to trade labor.
    [Show full text]
  • Detroit Rock & Roll by Ben Edmonds for Our Purposes, The
    "KICK OUT THE JAMS!" Detroit Rock & Roll by Ben Edmonds For our purposes, the story of Detroit rock & roll begins on September 3, 1948, when a little-known local performer named John Lee Hooker entered United Sound Studios for his first recording session. Rock & roll was still an obscure rhythm & blues catchphrase, certainly not yet a musical genre, and Hooker's career trajectory had been that of the standard-issue bluesman. A native of the Mississippi Delta, he had drifted north for the same reason that eastern Europeans and Kentucky hillbillies, Greeks and Poles and Arabs and Asians and Mexicans had all been migrating toward Michigan in waves for the first half of the 20th Century. "The Motor City it was then, with the factories and everything, and the money was flowing," Hooker told biographer Charles Shaar Murray." All the cars were being built there. Detroit was the city then. Work, work, work, work. Plenty work, good wages, good money at that time."1 He worked many of those factories, Ford and General Motors among them, and at night he plied the craft of the bluesman in bars, social clubs and at house parties. But John Lee Hooker was no ordinary bluesman, and the song he cut at the tail of his first session, "Boogie Chillen," was no ordinary blues. Accompanied only by the stomp of his right foot, his acoustic guitar hammered an insistent pattern, partially based on boogie-woogie piano, that Hooker said he learned from his stepfather back in Mississippi as "country boogie." Informed by the urgency and relentless drive of his Detroit assembly line experiences, John Lee's urban guitar boogie would become a signature color on the rock & roll palette, as readily identifiable as Bo Diddley's beat or Chuck Berry's ringing chords.
    [Show full text]
  • “RON WAS the Riffmeister and All That Was Good in This World
    “RON WAS THE Riffmeister and all that was good in this world,” declares Andrew Innes of Primal Scream, just one of countless bands who owe an inestimable debt to Ron Asheton’s (pictured, in glasses) monolithic stun guitar onslaughts on the first two Stooges albums. Asheton, found dead yesterday at his Ann Arbor home from a suspected heart attack, was the most influential punk guitarist of all time, his monosyllabic, piledriver riffs providing blueprints for later applecart- upsetters like the New York Dolls and Sex Pistols. Even former Captain Beefheart and Jeff Buckley guitarist Gary Lucas has paid tribute to “some of the best and most iconic riffs in punk history”. In his own private world Asheton, whose unusual pantheon of heroes included Adolf Hitler and the Three Stooges, was the most dangerous embodiment of the Stooges’ dum dum boys aesthetic, infamous for his extensive collection of Nazi memorabilia and the unsavoury swastika armbands later adopted by UK punk- shockers. Ironically, he was the only Stooge who eschewed hard drugs. Ron was born in Washington DC in 1948, brought to Ann Arbor by his mother after his Marine Corp pilot father Ronald’s death in 1963. Besotted by the Beatles and the Stones, he became obsessed with Pete Townshend after a Who gig during a mid-’60s pilgrimage to London with high school buddy Dave Alexander. He played bass in local bands including the Prime Movers, Chosen Few and Dirty Shames before forming the Psychedelic Stooges with Alexander, Scott and a local kid he’d met called James Osterberg – rechristened Iggy after a stint in a band called The Iguanas.
    [Show full text]
  • CLINE-DISSERTATION.Pdf (2.391Mb)
    Copyright by John F. Cline 2012 The Dissertation Committee for John F. Cline Certifies that this is the approved version of the following dissertation: Permanent Underground: Radical Sounds and Social Formations in 20th Century American Musicking Committee: Mark C. Smith, Supervisor Steven Hoelscher Randolph Lewis Karl Hagstrom Miller Shirley Thompson Permanent Underground: Radical Sounds and Social Formations in 20th Century American Musicking by John F. Cline, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication This dissertation is dedicated to my mother and father, Gary and Linda Cline. Without their generous hearts, tolerant ears, and (occasionally) open pocketbooks, I would have never made it this far, in any endeavor. A second, related dedication goes out to my siblings, Nicholas and Elizabeth. We all get the help we need when we need it most, don’t we? Acknowledgements First and foremost, I would like to thank my dissertation supervisor, Mark Smith. Even though we don’t necessarily work on the same kinds of topics, I’ve always appreciated his patient advice. I’m sure he’d be loath to use the word “wisdom,” but his open mind combined with ample, sometimes non-academic experience provided reassurances when they were needed most. Following closely on Mark’s heels is Karl Miller. Although not technically my supervisor, his generosity with his time and his always valuable (if sometimes painful) feedback during the dissertation writing process was absolutely essential to the development of the project, especially while Mark was abroad on a Fulbright.
    [Show full text]
  • Wendy James Bio 2019
    WENDY JAMES BIO 2019 WENDY JAMES, born in London, is an English singer- songwriter notable for her work with band Transvision Vamp, collaboration with Elvis Costello, Solo work and further collaboration with James Williamson from Iggy & the Stooges, Lenny Kaye from The Patti Smith Group and James Sclavunos from Nick Cave & The Bad Seeds. TRANSVISION VAMP LP ALBUM: ‘POP ART’ ‘VELVETEEN’ ‘LITTLE MAGNETS VERSUS THE BUBBLE OF BABBLE’ MCA/Universal Records Transvision Vamp was formed by Wendy James and co-writer and guitarist Nick Christian Sayer. In West London they teamed up with Dave Parsons and Tex Axile. The band was signed to MCA records by Dave Ambrose, the notorious A&R man from EMI records who had also signed the Sex Pistols. They recorded their first LP album ‘Pop Art’ and released a first single ‘Revolution Baby’ and then charted with their second single, a cover version of Holly & The Italians ‘Tell That Girl To Shut Up’, followed by a third single ‘I Want Your Love’ which went to No.5 on the UK singles chart. The album ‘Pop Art’ was released later in 1987 and went to No.3 in the UK album chart. Extensive touring of the UK and Europe continued throughout this year as their success grew, starting on the University circuit and ending with playing two sold out gigs at the London Town And Country Club, taking in the Marquee Club along the way with queues two-fold around the block of Wardour Street, London. The album art was done by Jamie Reid, famous for his Sex Pistols artwork.
    [Show full text]
  • Gimme Danger
    GIMME DANGER SYNOPSIS: Emerging from Ann Arbor Michigan amidst a countercultural revolution, The Stooges’ powerful and aggressive style of rock-n-roll blew a crater in the musical landscape of the late 1960s. Assaulting audiences with a blend of rock, blues, R&B, and free jazz, the band planted the seeds for what would be called punk and alternative rock in the decades that followed. Jim Jarmusch’s new film GIMME DANGER chronicles the story of The Stooges, one of the greatest rock-n-roll bands of all time. GIMME DANGER presents the context of the Stooges emergence musically, culturally, politically, historically, and relates their adventures and misadventures while charting their inspirations and the reasons behind their initial commercial challenges, as well as their long-lasting legacy. DIRECTOR’S STATEMENT: No other band in rock’n’roll history has rivaled The Stooges’ combination of heavy primal throb, spiked psychedelia, blues-a-billy grind, complete with succinct angst-ridden lyrics, and a snarling, preening leopard of a front man who somehow embodies Nijinsky, Bruce Lee, Harpo Marx, and Arthur Rimbaud. There is no precedent for The Stooges, while those inspired by them are now legion. GIMME DANGER is more an 'essay' than a document. It's our love letter to possibly the greatest band in rock'n'roll history, and presents their story, their influences and their impact, complete with some never- before-seen footage and photographs. Like the Stooges and their music, GIMME DANGER is a little wild, messy, emotional, funny, primitive, and sophisticated in the most unrefined way. Long live The Stooges!" - Jim Jarmusch CREW: Director: Jim Jarmusch Producers: Carter Logan, Fernando Sulichin, Rob Wilson Executive Producers: Serge Lobo, José Ibáñez, Jon Kilik Director of Photography: Tom Krueger Editors: Affonso Gonçalves, Adam Kurnitz Sound Designer: Robert Hein CAST: Iggy Pop Ron Asheton Scott Asheton James Williamson Steve Mackay Mike Watt Kathy Asheton Danny Fields Low Mind Films Inc.
    [Show full text]
  • Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
    COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright The Electric Guitar in Contemporary Art Music Zane Mackie Banks A thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy Sydney Conservatorium of Music Sydney University 2013 Statement of Originality I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Signed: …………………………………………………………………………… Date: ………………………………………………………………………………. Abstract Since 1950 the electric guitar has occupied an ever-increasing presence in contemporary art music both as a solo and chamber instrument.
    [Show full text]