Conclusion: Popular Music, Aesthetic Value, and Materiality
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Nick Cage Direction
craft production just because of what it does with sampling technology and that alone. It’s got quite a conservative form and quite a pop form as well just at the moment, in terms of the clarity of the sonics. When those elements are added to hip-hop tracks it must be difficult to make the vocal stand out. The biggest challenge is always getting the vocal heard on top of the track — the curse of the underground is an ill-defined vocal. When I went to bigger studios and used 1176s and LA2s it was a revelation, chucking one of them on gets the vocal up a bit. That’s how we were able to blag our way through Dizzee’s first album. What do you use in Dizzee’s vocal chain? With the budget we were on when I did Boy In Da Corner I used a Neumann TLM103B. When I bought it, £500 seemed a hell of a lot of money for a microphone. Then it goes to my Drawmer 1960 — I exchanged a couple of my keyboards for that. Certainly with Showtime, the new desk improved the vocal sound. It would be interesting to just step the gear up a notch, now we have the deal with XL, and see what happens. Do you have a label deal for Dirty Stank records with XL? I Love You came out first on Dirty Stank on the underground, plus other tunes like Ho and some beats. XL has licensed the albums from Dirty Stank so it’s not a true label deal in that sense, although with our first signings, it’s starting to move in that Nick Cage direction. -
Articles Until the End of the 21St Century Was Found
Atmos. Meas. Tech., 13, 287–308, 2020 https://doi.org/10.5194/amt-13-287-2020 © Author(s) 2020. This work is distributed under the Creative Commons Attribution 4.0 License. A reassessment of the discrepancies in the annual variation of δD-H2O in the tropical lower stratosphere between the MIPAS and ACE-FTS satellite data sets Stefan Lossow1, Charlotta Högberg2, Farahnaz Khosrawi1, Gabriele P. Stiller1, Ralf Bauer3, Kaley A. Walker3, Sylvia Kellmann1, Andrea Linden1, Michael Kiefer1, Norbert Glatthor1, Thomas von Clarmann1, Donal P. Murtagh4, Jörg Steinwagner5, Thomas Röckmann6, and Roland Eichinger7,8 1Karlsruhe Institute of Technology, Institute for Meteorology and Climate Research, Hermann-von-Helmholtz-Platz 1, 76344 Leopoldshafen, Germany 2Stockholm University, Department of Physical Geography, Svante-Arrhenius-väg 8, 10691 Stockholm, Sweden 3University of Toronto, Department of Physics, 60 St. George Street, Toronto, Ontario M5S 1A7, Canada 4Chalmers University of Technology, Department of Earth and Space Sciences, Hörsalsvägen 11, 41296 Göteborg, Sweden 5Max Planck Institute for Extraterrestrial Physics, Giessenbachstraße 1, 85741 Garching, Germany 6Utrecht University, Institute for Marine and Atmospheric Research, Utrecht, Princetonplein 5, 3584 CC Utrecht, the Netherlands 7Deutsches Zentrum für Luft- und Raumfahrt (DLR), Institut für Physik der Atmosphäre, 82234 Weßling, Germany 8Ludwig Maximilian University of Munich, Meteorological Institute, Theresienstraße 37, 80333 Munich, Germany Correspondence: Stefan Lossow ([email protected]) -
Admissions Report Shows Black Student Applications Only 1/3 Of
Dizzee New Heights The Rascal returns: an interview with the man who fixed up, and looks sharp - Page 8 No. 616 The Independent Cambridge Student Newspaper since 1947 Friday February 25, 2005 ll we Bar Admissions report y shows black student Luc applications only 1/3 of national average Sam Richardson there is an increasing emphasis on year. Whilst this week’s admis- the outreach work done by sions figures have shown some TWO YEARS after Varsity first Colleges and Departments in improvement, it is clear that highlighted the scarcity of black educational enrichment, through there is much more to be done to students in Cambridge, there are the provision of masterclasses, encourage black students to still fewer black undergraduates study days and a myriad of excel- apply to Cambridge.” at the University than there are lent online resources.” Pav Akhtar, the NUS’s Black students or academics with the Nikhil Gomes, co-ordinator Students’ Officer, said that surname White. of GEEMA (Group to “When I went to Cambridge Last year’s admissions statistics, Encourage Ethnic Minority from a working class background which were revealed this week, Applications) said that the prob- it was a complete culture shock. show that only 1.4% of students lem with attracting black stu- Black students can often feel iso- who applied to Cambridge were dents to Cambridge lies in the lated”. The BBC documentary black. This is less than a third of perceptions of the University Black Ambition, which followed a the national average, and margin- both nationally and internation- number of black Cambridge stu- ally lower than Oxford. -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
A DESIGN for LIFE As Recorded by Manic Street Preachers (From the 1996 Album "Everything Must Go")
A DESIGN FOR LIFE As recorded by Manic Street Preachers (from the 1996 Album "Everything Must Go") Transcribed by Matthew Ford Words by Nicky Wire Music by James Dean Bradfield & Sean Moore A Intro/Interlude P = 88 Cmaj7 1 12 V V V V V V V V V V V V V V V V V V V V I 8 V V V V Gtr I let ring T 0 0 0 0 5 5 5 5 5 5 5 5 A 5 5 5 5 5 5 5 5 B 3 3 3 3 V V V V 12 j u j j u j j u j j u j I 8 Gtr II 20 20 20 20 T 20 20 20 20 A B B Verse Cmaj7 3 V V V V V V V V V V V V V V V V V V V I V V V V V let ring T 0 0 0 0 5 5 5 5 5 5 5 5 A 5 5 5 5 5 5 5 B 3 3 3 3 3 V V V V j u j j u j j u j j u j I 20 20 20 20 T 20 20 20 20 A B 1996 Sony Music Entertainment Ltd. Printed using TabView by Simone Tellini - http://www.tellini.org/mac/tabview/ A DESIGN FOR LIFE - Manic Street Preachers Page 2 of 11 Dm13 5 V V V V V V V V V V V V I V V V V V V V V V V V V let ring T 0 0 0 0 5 5 5 5 5 5 5 5 A 3 3 3 3 3 3 3 B 5 5 5 5 0 V V V V j u j j u j j u j j u j I 20 20 20 20 T 20 20 20 20 A B G7 7 V V V V I V V V V V V V V V V V V V V V V V V V V let ring T 4 4 4 4 A 3 3 3 3 3 3 3 3 B 5 5 5 5 5 5 5 5 3 3 3 3 V V V V j u j j u j j u j j u j I 19 19 19 19 T 20 20 20 20 A B 1996 Sony Music Entertainment Ltd. -
Songs by Title
Songs by Title Title Artist Title Artist #1 Goldfrapp (Medley) Can't Help Falling Elvis Presley John Legend In Love Nelly (Medley) It's Now Or Never Elvis Presley Pharrell Ft Kanye West (Medley) One Night Elvis Presley Skye Sweetnam (Medley) Rock & Roll Mike Denver Skye Sweetnam Christmas Tinchy Stryder Ft N Dubz (Medley) Such A Night Elvis Presley #1 Crush Garbage (Medley) Surrender Elvis Presley #1 Enemy Chipmunks Ft Daisy Dares (Medley) Suspicion Elvis Presley You (Medley) Teddy Bear Elvis Presley Daisy Dares You & (Olivia) Lost And Turned Whispers Chipmunk Out #1 Spot (TH) Ludacris (You Gotta) Fight For Your Richard Cheese #9 Dream John Lennon Right (To Party) & All That Jazz Catherine Zeta Jones +1 (Workout Mix) Martin Solveig & Sam White & Get Away Esquires 007 (Shanty Town) Desmond Dekker & I Ciara 03 Bonnie & Clyde Jay Z Ft Beyonce & I Am Telling You Im Not Jennifer Hudson Going 1 3 Dog Night & I Love Her Beatles Backstreet Boys & I Love You So Elvis Presley Chorus Line Hirley Bassey Creed Perry Como Faith Hill & If I Had Teddy Pendergrass HearSay & It Stoned Me Van Morrison Mary J Blige Ft U2 & Our Feelings Babyface Metallica & She Said Lucas Prata Tammy Wynette Ft George Jones & She Was Talking Heads Tyrese & So It Goes Billy Joel U2 & Still Reba McEntire U2 Ft Mary J Blige & The Angels Sing Barry Manilow 1 & 1 Robert Miles & The Beat Goes On Whispers 1 000 Times A Day Patty Loveless & The Cradle Will Rock Van Halen 1 2 I Love You Clay Walker & The Crowd Goes Wild Mark Wills 1 2 Step Ciara Ft Missy Elliott & The Grass Wont Pay -
Reed First Pages
4. Northern England 1. Progress in Hell Northern England was both the center of the European industrial revolution and the birthplace of industrial music. From the early nineteenth century, coal and steel works fueled the economies of cities like Manchester and She!eld and shaped their culture and urban aesthetics. By 1970, the region’s continuous mandate of progress had paved roads and erected buildings that told 150 years of industrial history in their ugly, collisive urban planning—ever new growth amidst the expanding junkyard of old progress. In the BBC documentary Synth Britannia, the narrator declares that “Victorian slums had been torn down and replaced by ultramodern concrete highrises,” but the images on the screen show more brick ruins than clean futurescapes, ceaselessly "ashing dystopian sky- lines of colorless smoke.1 Chris Watson of the She!eld band Cabaret Voltaire recalls in the late 1960s “being taken on school trips round the steelworks . just seeing it as a vision of hell, you know, never ever wanting to do that.”2 #is outdated hell smoldered in spite of the city’s supposed growth and improve- ment; a$er all, She!eld had signi%cantly enlarged its administrative territory in 1967, and a year later the M1 motorway opened easy passage to London 170 miles south, and wasn’t that progress? Institutional modernization neither erased northern England’s nineteenth- century combination of working-class pride and disenfranchisement nor of- fered many genuinely new possibilities within culture and labor, the Open Uni- versity notwithstanding. In literature and the arts, it was a long-acknowledged truism that any municipal attempt at utopia would result in totalitarianism. -
Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
New Entry of Record Labels in the Music Industry
Start Me Up: New Entry of Record Labels in the Music Industry Master Thesis MSc Business Administration Management and Entrepreneurship in the Creative Industries Faculty of Economics and Business, Amsterdam Business School Myra Alice Wilhelmina Ruers - 11903929 Supervisor: Dr. M. Piazzai 21st of June 2018 Statement of Originality This document is written by Student Myra Ruers, who declares to take full responsibility for the contents of this document. I declare that the text and the work presented in this document is original and that no sources other than those mentioned in the text and its references have been used in creating it. The Faculty of Economics and Business is responsible solely for the supervision of completion of the work, not for the contents. 2 Abstract The music industry is extremely vibrant, diverse, and inherently uncertain. Record labels are the main intermediaries in this industry, facilitating the connection between the creative input from musicians and the demand from the consumers. Due to many technological advancements, the barriers to entry have decreased significantly, hence making it easier to enter this industry as a new record label. Additionally, strategic integration options allow existing firms to start new ventures by acquiring or initiating subsidiaries. This research focuses on the multiple modes through which new entry can be commenced. These entry modes all have their own characteristics and consequences for the configurations of the industry. The likelihood of entry, the subsequent performance of new record labels, and the effects on the diversity of the output are the main topics that are explored. In this study, databases storing longitudinal information on musical releases are used to compile a dataset with the necessary information on new record labels. -
Wavelength (October 1981)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 10-1981 Wavelength (October 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (October 1981) 12 https://scholarworks.uno.edu/wavelength/12 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Pipes of Pan Presents ... A best seller. versus the best. icro-Acoustics Bose 301 FRM-3dx *33QOOper patr. *34900per pair Compare these two speakers, and you'd probably expect the one on the left - with the lower price - to be the better seller. You'd be right ... but is it the better value? Before you aecide, it pays to consider how much more a little more money will bu~: Comfare bass. The new FRM-3dx uses a twin-ducted enclosure with thicker cabine panels and larger cubic volume for rich, full bass. Compare highs. The new FRM-3dx1s unique Vari-AxiSTM control system, damped isolated tweeter suspension and rim-damped cone give lifelike h1ghs. Compare warranties. The new FRM-3dx is warrantied twice as long. The Micro-Acoustics new FRM-3dx. When you compare, there's really no com parison. Quality worth a 10-year warranty Micro-Acoustics Reg. $349.00 Bose 301" FRM·3dx Tweeter One, fixed. One, rotatable, rim·damped. Tweeter Attached Isolated from SALE NOW directly to baffle. -
7-8Kulturmagazin Cottbus-Lausitz-Kostenlos
Blick licht 7-8 KULTURMAGAZIN COTTBUS-LAUSITZ-KOSTENLOS culture coltura kultur kultur-cottbus.de Inhalt 3 Editorial 4 Lausitz Editorial 5 Studium Weder ultrahighspeed deathmetal noch smothsurfpunk oder trippelfunkygoathrock locken die die Menschen in einen abgeschlossenen Raum. Grillwurst, Bierfässer unter 6-7 Kultur sonnendurchfluteten Schirmen umspielt von seichter Sommertimehappynessmusik kongruieren mit Theater, Kino, Konzert Veranstaltungen. Der Veranstaltungsplan von 2 8-9 Erzählung Monaten braucht nicht den Platz von einem. Studentische und andere Politik wird an den Nagel gehangen. In den Zeitungsredaktionen macht sich Panik breit: worüber berichten? 10-11 Lies mich! Eine Abhandlung über korrektes Bräunen an der örtlichen Badelache. Gute Tipps für die Sonnenbrandvermeidung in exotischen Ländern, deren Namen man das erste mal im TUI- 12-36 Kult-Uhr Prospekt gelesen hat? Die stehen da ja auch drin. Was kann ein guter Artikel im Sommer leisten? Kann er die Wartezeit bis zum Abflug in den langherbeigebeteten Sommerurlaub 37 Wohnungsbörse verkürzen? Oder kann er die trösten, die wieder zurück gekommen sind. Eingetrudelt im so viel graueren Deutschland. Das so genannte Sommerlochphänomen treib zuweilen 38 Adressen merkwürdige Blüten in der deutschen Zeitungslandschaft. Daheimgebliebene Zeitungsredakteure sehen die vielen leeren Blätter ihrer Zeitung als Chance noch einmal nachdringlich ihre eigenen verloren geglaubten Themen als neu aufzutischen. Wir machen das nicht! Deshalb ist unsere Zeitung etwas dünner, und das Editorial jetzt zu Ende. Die Redaktion und im Netz? www.kultur-cottbus.de Impressum Herausgeber: Redaktion: Robert Amat-Kreft; Diemo Kemmesies; Blattwerk e.V.. Thomas Scheer; Kathleen Priefer; mit Unterstützung: Muggefug e.V. Layout und Edition: Diemo Kemmesies StuRa der BTU Cottbus Fotos Diemo Kemmesies StuPa der FH-Lausitz Anzeigen: Robert Amat-Kreft Glad House Druck: Druck & Satz Großräschen, Auflage: 4000 Studentenwerk Kontakt: Tel: 0355/4948199; StuPit e.V. -
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