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Alex Harvey and “The Tomahawk Kid”: Mode and Interpretation
Alex Harvey and “The Tomahawk Kid”: Mode and Interpretation David Montgomery Abstract: Alex Harvey and the Sensational Alex Harvey Band achieved only marginal popularity during Harvey’s lifetime. Yet an examination of Harvey’s “The Tomahawk Kid,” based on Robert Louis Stevenson’s Treasure Island, shows an idiosyncratic musical style that combines rock and Scottish Celtic influences, subtle textual interpretation, unique compositional choices, and modal tonalities. Introduction The academic study of popular music oscillates between two preoccupations. On one hand, the dogmas of sub-cultural theory still influence popular music discourse and general cultural theory to a great degree. On the other hand, this discourse cannot escape the parameters of its label— popular. In essence, the two poles may be staked as cultural theory versus popular appreciation; but in a way difficult to describe, the application of critical theory has begun to seem more like an attempt to avoid an aesthetic conundrum— a kind of elevation of the demotic artefact to a height it cannot bear. Ever resourceful, the practitioners of popular music studies have wriggled out of this quandary and into the at least temporarily secure embrace of post feminist studies, world pop, and the ethnography of locale; in other words, into areas where inquiry is either of self-evident importance, exotic, or comfortably esoteric. Even if the locale is no more exotic than Glasgow, Scotland or Montgomery, Alabama, or the object mundane, the conceit of the critical stance has proven sufficient. Things change, canons crumble, time has done its work. The difficult “aesthetics” of popular music studies, the indeterminate nature of its aims, is a nagging problem. -
The Witness Is a Monthly Publication of the First Church of Christ, Congregational, U.C.C
The First Church of Christ, Congregational Non-Profit Org. United Church of Christ U.S. POSTAGE 81 High St. PAID HE ITNESS Suffield, CT 06078 Permit No. 328 T W Over 300 years in the heart of the community Enfield, CT for the heart of the community. Address Correction Requested Worship at First Church All worship services are at 10:00 a.m. unless otherwise noted. In This Issue September/October 2014 Pastor’s Message pg. 2 (Please join us for Coffee Hour immediately Call to Special Congregational Vote pg. 3 following the morning service in the Associate Pastor Search Comm.Update pg. 4 Ebenezer Gay Room for Women’s Fellowship News pg. 5 fellowship and conversation.) Christmas in Suffield pg. 6 Wednesday Morning Bible Study pg. 7 Mark These Dates On Your Calendar!! Way of Life & Confirmation News pg. 8 2014 Graduates pg. 9 Sept. 7 - Recovenanting Sunday Painting the Stars pg. 11 (Don’t forget to bring your school Faith Development News pg. 12 & work backpacks to church.) UCC 2014 Annual Meeting pg. 14 Sept. 14 - Church School Begins Celebrating Rick Huleatt’s Ministry pg. 15 Our Fall Kick Off (Traveling Deacons’ Corner pg. 16 with God) will be held after Church School Times pg. 17 morning worship in Vision Statement: Teachers Needed pg. 18 Fellowship Hall With God’s guidance, challenged by the lessons of Jesus’ life, we strive to be a welcoming 2014 Family Kick-Off pg. 19 Sept. 21 - Dedication of the Parsonage faith community, seeking inspiration through the Word of God. From the Music Disk pg. -
EMI Case Study
AS media studies THE MUSIC INDUSTRY - Example Case Study EMI is a major British, independent, leading, global music company. It produces and distributes music throughout the world with artists such as Coldplay and The Verve on its books. It is considered one of the big four record companies. It employs around 5,500 people and operates in 50 countries. Financially it is a world player with revenue in 2007 of over £1,751 million and profits of over £62 million. The EMI group comprises over 100 recording labels. It is the second-largest global music publisher (i.e. music scores). There are two main sides to the music business recorded music and music publishing. The recorded music division signs bands, manages bands and makes records – CDs and downloads. The music publishing division (based in New York) collects royalties every time their songs are played on radio, television, video games, films, ring tones and advertisements. The royalties are small but they all mount up to be a profitable business. EMI has the rights to the published songs by Amy Whitehouse, Arctic Monkeys, Duffy, and Jay-Z as well as perennial favourites like Over the Rainbow. This arm of the business is so successful that it is said to be worth 80% of the value of the company. EMI publishing owns or manages 1.3 million copyrights. EMI is a vertically integrated company because it creates music to sell on CD and as downloads on the internet, and it publishes the songs, lyrics and music of many of its own artists and many more artists. -
The Journal of the Carousel Organ Association of America Carousel Organ, Issue No
Issue #9 October, 2001 The Journal of the Carousel Organ Association of America Carousel Organ, Issue No. 9 — October, 2001 CAROUSEL ORGAN The Official Journal of the Carousel Organ Association of America (COAA) Devoted to enjoying, preserving and sharing knowledge of all outdoor mechanical musical instruments, including band, fair and street organs, calliopes, and hand-cranked organs of all sizes. Carousel Organ Association of America President: Terry Haughawout (419-454-3671) Assistant Editor: Angelo Rulli Vice-President: Larry Kern (915-581-2406) Directory Editor: Gary Stevenson Secretary: Marge Waters (330-334-1344) Reporter: Hope Rider Editor/Publisher: Ron Bopp (918-786-4988) IFMMO Rep.: Tom McAuley Inside this issue: The President Speaks . • Building a 43-note Calliope As I sit on the banks of the Ohio river in Gallipolis playing my Bruder Part II I can’t believe that the rally season is coming to an end. What a rally year Dave Kerr — 4 we had. We played four different states with great response from our members. Thanks to all of you for your support. I wouldn’t trade these rallies for a thousand yesterdays. • Wurlitzer “End Numbers” & Looking ahead to next year we have planned yet another rally. Yes, Roll Identification FIVE rallies in 2002! So, mark your calenders and I will hope to see you Matthew Caulfield — 8 at a rally next year. Thanks to all of you for your support in 2001. Terry • Hurdy-gurdy Society From the Editor’s Loft . Robert Cortes Holliday — 9 Changes, changes, changes! As you leaf through this issue of the (Leslie’s Weekly) Carousel Organ you will note many changes, most as the result of our Contributed by Cynthia Craig hard-working board members and their meetings at the first two COAA ral- lies. -
Music Sampling and Copyright Law
CACPS UNDERGRADUATE THESIS #1, SPRING 1999 MUSIC SAMPLING AND COPYRIGHT LAW by John Lindenbaum April 8, 1999 A Senior Thesis presented to the Faculty of the Woodrow Wilson School of Public and International Affairs in partial fulfillment of the requirements for the degree of Bachelor of Arts. ACKNOWLEDGMENTS My parents and grandparents for their support. My advisor Stan Katz for all the help. My research team: Tyler Doggett, Andy Goldman, Tom Pilla, Arthur Purvis, Abe Crystal, Max Abrams, Saran Chari, Will Jeffrion, Mike Wendschuh, Will DeVries, Mike Akins, Carole Lee, Chuck Monroe, Tommy Carr. Clockwork Orange and my carrelmates for not missing me too much. Don Joyce and Bob Boster for their suggestions. The Woodrow Wilson School Undergraduate Office for everything. All the people I’ve made music with: Yamato Spear, Kesu, CNU, Scott, Russian Smack, Marcus, the Setbacks, Scavacados, Web, Duchamp’s Fountain, and of course, Muffcake. David Lefkowitz and Figurehead Management in San Francisco. Edmund White, Tom Keenan, Bill Little, and Glenn Gass for getting me started. My friends, for being my friends. TABLE OF CONTENTS Introduction.....................................................................................……………………...1 History of Musical Appropriation........................................................…………………6 History of Music Copyright in the United States..................................………………17 Case Studies....................................................................................……………………..32 New Media......................................................................................……………………..50 -
500 Drugstore Feat. Thom Yorke El President 499 Blink
500 DRUGSTORE FEAT. EL PRESIDENT THOM YORKE 499 BLINK 182 ADAMS SONG 498 SCREAMING TREES NEARLY LOST YOU 497 LEFTFIELD OPEN UP 496 SHIHAD BEAUTIFUL MACHINE 495 TEGAN AND SARAH WALKING WITH A GHOST 494 BOMB THE BASS BUG POWDER DUST 493 BAND OF HORSES IS THERE A GHOST 492 BLUR BEETLEBUM 491 DISPOSABLE HEROES TELEVISION THE DRUG OF THE OF... NATION 490 FOO FIGHTERS WALK 489 AIR SEXY BOY 488 IGGY POP CANDY 487 NINE INCH NAILS THE HAND THAT FEEDS 486 PEARL JAM NOT FOR YOU 485 RADIOHEAD EVERYTHING IN ITS RIGHT PLACE 484 RANCID TIME BOMB 483 RED HOT CHILI MY FRIENDS PEPPERS 482 SANTIGOLD LES ARTISTES 481 SMASHING PUMPKINS AVA ADORE 480 THE BIG PINK DOMINOS 479 THE STROKES REPTILIA 478 THE PIXIES VELOURIA 477 BON IVER SKINNY LOVE 476 ANIMAL COLLECTIVE MY GIRLS 475 FILTER HEY MAN NICE SHOT 474 BRAD 20TH CENTURY 473 INTERPOL SLOW HANDS 472 MAD SEASON SLIP AWAY 471 OASIS SOME MIGHT SAY 470 SLEIGH BELLS RILL RILL 469 THE AFGHAN WHIGS 66 468 THE FLAMING LIPS FIGHT TEST 467 ALICE IN CHAINS MAN IN THE BOX 466 FAITH NO MORE A SMALL VICTORY 465 THE THE DOGS OF LUST 464 ARCTIC MONKEYS R U MINE 463 BECK DEADWEIGHT 462 GARBAGE MILK 461 BEN FOLDS FIVE BRICK 460 NIRVANA PENNYROYAL TEA 459 SHIHAD YR HEAD IS A ROCK 458 SNEAKER PIMPS 6 UNDERGROUND 457 SOUNDGARDEN BURDEN IN MY HAND 456 EMINEM LOSE YOURSELF 455 SUPERGRASS RICHARD III 454 UNDERWORLD PUSH UPSTAIRS 453 ARCADE FIRE REBELLION (Lies) 452 RADIOHEAD BLACK STAR 451 BIG DATA DANGEROUS 450 BRAN VAN 3000 DRINKING IN LA 449 FIONA APPLE CRIMINAL 448 KINGS OF LEON USE SOMEBODY 447 PEARL JAM GETAWAY 446 BEASTIE -
Download Zwan
Download zwan LINK TO DOWNLOAD Downloads - Zwan. HOME; Zwan is a prototype made for the Bosch Art Game competition, held by the Jheronimus Bosch Foundation. The mission: develop a game about the art of the great Dutch painter. First of all, we wrote a pitch describing what we were planning to create. Zwan was an American alternative rock supergroup that was formed by Billy Corgan and Jimmy Chamberlin, lead singer/guitarist and drummer of The Smashing Pumpkins respectively, after they disbanded in December Other members included bassist Paz Lenchantin, of A Perfect Circle, and guitarists David Pajo and Matt Sweeney of various prior bands and projects. Download Midi Melodies – Zwan. Here you can download the midi melodies of artist Zwan. Below is a list of midi melodies available for downloading. If your browser is able to play midi files you can listen to the chosen melody from the list without downloading. You are very welcome to leave your comments in the guestbook and send emails. Browse Zwan files to download full releases, installer, sdk, patches, mods, demos, and media. Download Zwan songs, singles and albums on MP3. Over one million legal MP3 tracks available at Juno Download. Zwan. In Zwan you control the swan and explore an environment which decays to a world of pain and madness. As in Bosch's tryptics, you will travel from Eden, through Earth to Hell. How to play: when downloaded, simply unzip the file, launch the renuzap.podarokideal.ru and select the desired resolution. Also because it's a great intro to one of Zwan's incarnations, Djali Zwan which has all to do with acoustics. -
10,000 Maniacs Beth Orton Cowboy Junkies Dar Williams Indigo Girls
Madness +he (,ecials +he (katalites Desmond Dekker 5B?0 +oots and Bob Marley 2+he Maytals (haggy Inner Circle Jimmy Cli// Beenie Man #eter +osh Bob Marley Die 6antastischen BuBu Banton 8nthony B+he Wailers Clueso #eter 6oA (ean #aul *ier 6ettes Brot Culcha Candela MaA %omeo Jan Delay (eeed Deichkind 'ek181Mouse #atrice Ciggy Marley entleman Ca,leton Barrington !e)y Burning (,ear Dennis Brown Black 5huru regory Isaacs (i""la Dane Cook Damian Marley 4orace 8ndy +he 5,setters Israel *ibration Culture (teel #ulse 8dam (andler !ee =(cratch= #erry +he 83uabats 8ugustus #ablo Monty #ython %ichard Cheese 8l,ha Blondy +rans,lants 4ot Water 0ing +ubby Music Big D and the+he Mighty (outh #ark Mighty Bosstones O,eration I)y %eel Big Mad Caddies 0ids +able6ish (lint Catch .. =Weird Al= mewithout-ou +he *andals %ed (,arowes +he (uicide +he Blood !ess +han Machines Brothers Jake +he Bouncing od Is +he ood -anko)icDescendents (ouls ')ery +ime !i/e #ro,agandhi < and #elican JGdayso/static $ot 5 Isis Comeback 0id Me 6irst and the ood %iddance (il)ersun #icku,s %ancid imme immes Blindside Oceansi"ean Astronaut Meshuggah Con)erge I Die 8 (il)er 6ear Be/ore the March dredg !ow $eurosis +he Bled Mt& Cion 8t the #sa,, o/ 6lames John Barry Between the Buried $O6H $orma Jean +he 4orrors and Me 8nti16lag (trike 8nywhere +he (ea Broadcast ods,eed -ou9 (,arta old/inger +he 6all Mono Black 'm,eror and Cake +unng &&&And -ou Will 0now Us +he Dillinger o/ +roy Bernard 4errmann 'sca,e #lan !agwagon -ou (ay #arty9 We (tereolab Drive-In Bi//y Clyro Jonny reenwood (ay Die9 -
Does NME Even Know What a Music Blog Is?
Does NME even know what a music blog is?: The Rhetoric and Social Meaning of MP3 Blogs by Larissa Wodtke A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Master of Arts in English - Rhetoric and Communication Design Waterloo, Ontario, Canada, 2008 © Larissa Wodtke 2008 Author‘s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract MP3 blogs and their aggregators, which have risen to prominence over the past four years, are presenting an alternative way of promoting and discovering new music. I will argue that MP3 files greatly affect MP3 blogs in terms of shaping them as: a genre separate from general weblogs and music blogs without MP3s, especially due to the impact of MP3 blog aggregators such as The Hype Machine and Elbows; a particular form of rhetoric illuminated by Kenneth Burke's dramatistic ratios of agency-purpose, purpose-act and scene-act; and as a potentially subversive subculture, which like other subcultures, exists in a symbiotic relationship with the traditional media it defines itself against. Using excerpts from multiple MP3 blogs and their forums, interviews with MP3 bloggers and Anthony Volodkin (creator of The Hype Machine), references to MP3 blogs in traditional press, and Burke's theory of dramatism and Hodge and Kress's theories of social semiotics, I will demonstrate that the MP3 file is not only changing the way music is consumed and circulated, but also the way music is promoted and discussed. -
The “Pop Pacific” Japanese-American Sojourners and the Development of Japanese Popular Music
The “Pop Pacific” Japanese-American Sojourners and the Development of Japanese Popular Music By Jayson Makoto Chun The year 2013 proved a record-setting year in Japanese popular music. The male idol group Arashi occupied the spot for the top-selling album for the fourth year in a row, matching the record set by female singer Utada Hikaru. Arashi, managed by Johnny & Associates, a talent management agency specializing in male idol groups, also occupied the top spot for artist total sales while seven of the top twenty-five singles (and twenty of the top fifty) that year also came from Johnny & Associates groups (Oricon 2013b).1 With Japan as the world’s second largest music market at US$3.01 billion in sales in 2013, trailing only the United States (RIAJ 2014), this talent management agency has been one of the most profitable in the world. Across several decades, Johnny Hiromu Kitagawa (born 1931), the brains behind this agency, produced more than 232 chart-topping singles from forty acts and 8,419 concerts (between 2010 and 2012), the most by any individual in history, according to Guinness World Records, which presented two awards to Kitagawa in 2010 (Schwartz 2013), and a third award for the most number-one acts (thirty-five) produced by an individual (Guinness World Record News 2012). Beginning with the debut album of his first group, Johnnys in 1964, Kitagawa has presided over a hit-making factory. One should also look at R&B (Rhythm and Blues) singer Utada Hikaru (born 1983), whose record of four number one albums of the year Arashi matched. -
Legitimacy and Peace Processes from Coercion to Consent ISSUE 25 Accord 25 ISSUE an International Review of Peace Initiatives
Accord Logo using multiply on 25 layers 2014 Accord ISSUE Logo drawn as Editors seperate elements with overlaps an international review of peace initiatives coloured seperately Alexander Ramsbotham and Achim Wennmann 2014 Legitimacy and peace processes From coercion to consent Legitimacy and peace processes From coercion to consent ISSUE 25 25 Accord ISSUE an international review of peace initiatives Legitimacy and peace processes From coercion to consent April 2014 // Editors Alexander Ramsbotham and Achim Wennmann Accord // ISSUE 25 // www.c-r.org Published by Conciliation Resources, to inform and strengthen peace processes worldwide by documenting and analysing the lessons of peacebuilding Published by Acknowledgements Conciliation Resources Accord’s strength and value relies on the Burghley Yard, 106 Burghley Road expertise, experience and perspectives of the London, NW5 1AL range people who contribute to Accord projects www.c-r.org in a variety of ways. We would like to give special thanks to: Aden Telephone +44 (0)207 359 7728 Abdi, Ali Chahine, Catherine Barnes, Ciaran Fax +44 (0)207 359 4081 O’Toole, Ed Garcia, Elizabeth Picard, Judith Email [email protected] Large, Lisa Schirch, Nerea Bilbatua and Teresa Whitfield. UK charity registration number 1055436 In addition to all our authors, we also extend grateful thanks to the many other expert Editors contributors to this Accord publication: Alexander Ramsbotham and Achim Wennmann Abdulrazag Elaradi, Andrew Tomlinson, Antonia Executive Director Does, Asanga Welikala, Babu Rahman, Catherine -
Speaking in Rhyme and Riddle: Hybridity in Billy Corgan's
SPEAKING IN RHYME AND RIDDLE: HYBRIDITY IN BILLY CORGAN’S MACHINA by ADAM MICHAEL WARE (Under the Direction of Carolyn Jones Medine) ABSTRACT The present study examines MACHINA , a hybrid multimedia narrative composed and performed by Billy Corgan and the Smashing Pumpkins. Through a disjunctive use of media to tell the story of a fractured, hybrid hero named GLASS, Corgan reveals himself to be an inheritor of William Blake’s attitudes toward creative media as evidenced in his experiments in illuminated engraving. GLASS, the focus of the chards of narrative and performance, represents one variant of Joseph Campbell’s hero as suited to the needs of Corgan’s disaffected audience. In the act of co-creating the narrative with Corgan, his audience helps to enter themselves into a liminal state and a sense of communitas as developed by anthropologist Victor Turner, again with variations made to suit the fractured, conflicted nature of Billy Corgan’s audience. More than a concept album, MACHINA reworks a number of existing notions about religious responses to narrative and performance. INDEX WORDS: Hybridity, Billy Corgan, William Blake, Hero Journey, Joseph Campbell, Victor Turner, communitas SPEAKING IN RHYME AND RIDDLE: HYBRIDITY IN BILLY CORGAN’S MACHINA by ADAM MICHAEL WARE Master of Arts, University of Georgia, 2007 Bachelor of Science, University of Georgia, 2004 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2007 © 2007 Adam Michael Ware All Rights Reserved SPEAKING IN RHYME AND RIDDLE: HYBRIDITY IN BILLY CORGAN’S MACHINA by ADAM MICHAEL WARE Major Professor: Carolyn Jones Medine Committee: William Power Nelson Hilton Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2007 DEDICATION I would like to dedicate this thesis to my grandfather, Andy Joe Ware, who inspired in me a love of ideas which can never be satisfied.