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B2 Woodstock – the Greatest Music Event in History LIU030
B2 Woodstock – The Greatest Music Event in History LIU030 Choose the best option for each blank. The Woodstock Festival was a three-day pop and rock concert that turned out to be the most popular music (1) _________________ in history. It became a symbol of the hippie (2) _________________ of the 1960s. Four young men organized the festival. The (3) _________________ idea was to stage a concert that would (4) _________________ enough money to build a recording studio for young musicians at Woodstock, New York. Young visitors on their way to Woodstock At first many things went wrong. People didn't want Image: Ric Manning / CC BY (https://creativecommons.org/licenses/by/3.0) any hippies and drug (5) _________________ coming to the original location. About 2 months before the concert a new (6) _________________ had to be found. Luckily, the organizers found a 600-acre large dairy farm in Bethel, New York, where the concert could (7) _________________ place. Because the venue had to be changed not everything was finished in time. The organizers (8) _________________ about 50,000 people, but as the (9) _________________ came nearer it became clear that far more people wanted to be at the event. A few days before the festival began hundreds of thousands of pop and rock fans were on their (10) _________________ to Woodstock. There were not enough gates where tickets were checked and fans made (11) _________________ in the fences, so lots of people just walked in. About 300,000 to 500,000 people were at the concert. The event caused a giant (12) _________________ jam. -
Live Music Matters Scottish Music Review
Live Music Matters Simon Frith Tovey Professor of Music, University of Edinburgh Scottish Music Review Abstract Economists and sociologists of music have long argued that the live music sector must lose out in the competition for leisure expenditure with the ever increasing variety of mediated musical goods and experiences. In the last decade, though, there is evidence that live music in the UK is one of the most buoyant parts of the music economy. In examining why this should be so this paper is divided into two parts. In the first I describe why and how live music remains an essential part of the music industry’s money making strategies. In the second I speculate about the social functions of performance by examining three examples of performance as entertainment: karaoke, tribute bands and the Pop Idol phenomenon. These are, I suggest, examples of secondary performance, which illuminate the social role of the musical performer in contemporary society. 1. The Economics of Performance Introduction It has long been an academic commonplace that the rise of mediated music (on record, radio and the film soundtrack) meant the decline of live music (in concert hall, music hall and the domestic parlour). For much of the last 50 years the UK’s live music sector, for example, has been analysed as a sector in decline. Two kinds of reason are adduced for this. On the one hand, economists, following the lead of Baumol and Bowen (1966), have assumed that live music can achieve neither the economies of scale nor the reduction of labour costs to compete with mass entertainment media. -
Neotrance and the Psychedelic Festival DC
Neotrance and the Psychedelic Festival GRAHAM ST JOHN UNIVERSITY OF REGINA, UNIVERSITY OF QUEENSLAND Abstract !is article explores the religio-spiritual characteristics of psytrance (psychedelic trance), attending speci"cally to the characteristics of what I call neotrance apparent within the contemporary trance event, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ultimate concerns” within the festival framework. An exploration of the psychedelic festival offers insights on ecstatic (self- transcendent), performative (self-expressive) and re!exive (conscious alternative) trajectories within psytrance music culture. I address this dynamic with reference to Portugal’s Boom Festival. Keywords psytrance, neotrance, psychedelic festival, trance states, religion, new spirituality, liminality, neotribe Figure 1: Main Floor, Boom Festival 2008, Portugal – Photo by jakob kolar www.jacomedia.net As electronic dance music cultures (EDMCs) flourish in the global present, their relig- ious and/or spiritual character have become common subjects of exploration for scholars of religion, music and culture.1 This article addresses the religio-spiritual Dancecult: Journal of Electronic Dance Music Culture 1(1) 2009, 35-64 + Dancecult ISSN 1947-5403 ©2009 Dancecult http://www.dancecult.net/ DC Journal of Electronic Dance Music Culture – DOI 10.12801/1947-5403.2009.01.01.03 + D DC –C 36 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 1 characteristics of psytrance (psychedelic trance), attending specifically to the charac- teristics of the contemporary trance event which I call neotrance, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ul- timate concerns” within the framework of the “visionary” music festival. -
Steve Waksman [email protected]
Journal of the International Association for the Study of Popular Music doi:10.5429/2079-3871(2010)v1i1.9en Live Recollections: Uses of the Past in U.S. Concert Life Steve Waksman [email protected] Smith College Abstract As an institution, the concert has long been one of the central mechanisms through which a sense of musical history is constructed and conveyed to a contemporary listening audience. Examining concert programs and critical reviews, this paper will briefly survey U.S. concert life at three distinct moments: in the 1840s, when a conflict arose between virtuoso performance and an emerging classical canon; in the 1910s through 1930s, when early jazz concerts referenced the past to highlight the music’s progress over time; and in the late twentieth century, when rock festivals sought to reclaim a sense of liveness in an increasingly mediatized cultural landscape. keywords: concerts, canons, jazz, rock, virtuosity, history. 1 During the nineteenth century, a conflict arose regarding whether concert repertories should dwell more on the presentation of works from the past, or should concentrate on works of a more contemporary character. The notion that works of the past rather than the present should be the focus of concert life gained hold only gradually over the course of the nineteenth century; as it did, concerts in Europe and the U.S. assumed a more curatorial function, acting almost as a living museum of musical artifacts. While this emphasis on the musical past took hold most sharply in the sphere of “high” or classical music, it has become increasingly common in the popular sphere as well, although whether it fulfills the same function in each realm of musical life remains an open question. -
Gospel with a Groove
Southeastern University FireScholars Selected Honors Theses Spring 4-28-2017 Gospel with a Groove: A Historical Perspective on the Marketing Strategies of Contemporary Christian Music in Relation to its Evangelistic Purpose with Recommendations for Future Outreach Autumn E. Gillen Southeastern University - Lakeland Follow this and additional works at: http://firescholars.seu.edu/honors Part of the Christianity Commons, Liturgy and Worship Commons, Marketing Commons, Music Commons, and the Practical Theology Commons Recommended Citation Gillen, Autumn E., "Gospel with a Groove: A Historical Perspective on the Marketing Strategies of Contemporary Christian Music in Relation to its Evangelistic Purpose with Recommendations for Future Outreach" (2017). Selected Honors Theses. 76. http://firescholars.seu.edu/honors/76 This Thesis is brought to you for free and open access by FireScholars. It has been accepted for inclusion in Selected Honors Theses by an authorized administrator of FireScholars. For more information, please contact [email protected]. GOSPEL WITH A GROOVE: A HISTORICAL PERSPECTIVE ON THE MARKETING STRATEGIES OF CONTEMPORARY CHRISTIAN MUSIC IN RELATION TO ITS EVANGELISTIC PURPOSE WITH RECOMMENDATIONS FOR FUTURE OUTREACH by Autumn Elizabeth Gillen Submitted to the Honors Program Committee in partial fulfillment of the requirements for University Honors Scholars Southeastern University 2017 GOSPEL WITH A GROOVE 2 Copyright by Autumn Elizabeth Gillen 2017 GOSPEL WITH A GROOVE 3 Abstract Contemporary Christian Music (CCM) is an effective tool for the evangelism of Christianity. With its origins dating back to the late 1960s, CCM resembles musical styles of popular-secular culture while retaining fundamental Christian values in lyrical content. This historical perspective of CCM marketing strategies, CCM music television, CCM and secular music, arts worlds within CCM, and the science of storytelling in CCM aims to provide readers with the context and understanding of the significant role that CCM plays in modern-day evangelism. -
Wavelength (June 1983)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 6-1983 Wavelength (June 1983) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (June 1983) 32 https://scholarworks.uno.edu/wavelength/32 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]. DEVELOPING THE NEW LEADERSHIP IN NEW ORLEANS MUSIC A Symposium on New Orlea Music Business Sponsored by the University of New Orleans Music Department and the Division of Continuing Education and wavelength Magazine. Moderator John Berthelot, UNO Continuing Education Coordinator/Instructor in the non-credit music business program. PROGRAM SCHEDULE How To Get A Job In A New Orleans Music Club 2 p.m.-panel discussion on the New Orleans club scene. Panelists include: Sonny Schneidau, Talent Manager. Tipitina's, John Parsons, owner and booking manager, Maple Leaf Bar. personal manager of • James Booker. one of the prcx:lucers of the new recording by James Booker. Classified. Jason Patterson. music manager of the Snug Harbor. associate prcx:lucer/consultant for the Faubourg Jazz Club, prcx:lucer for the first public showing of One Mo· Time, active with ABBA. foundation and concerts in the Park. Toulouse Theatre and legal proceedings to allow street music in the French Quarter. Steve Monistere, independent booking and co-owner of First Take Studio. -
Thoughts Toward Analyzing Christian Media Marketing
Selling Entertainment and Salvation: Thoughts Toward Analyzing Christian Media Marketing Presented at the Northeast Popular Culture Association Conference St. John Fisher College Rochester, NY October 26, 2012 Jim Y. Trammell, PhD. Assistant Professor The Nido R. Qubein School of Communication High Point University High Point, NC 27262 This presentation represents the first steps toward a longer-form project that explores Christian media marketing, and its implications for how we understand and approach the Christian faith. This presentation is not composed of fully-fleshed out ideas or a mature framework of analysis—rather it is best understood as a series of notes, an early draft of an introductory chapter that will establish the conceptualizations for an as- of-yet developed argument in a larger project. That project, which will address what Christian mass media do, must first acknowledge what Christian mass media are. This presentation represents a packing (and unpacking) of ideas toward defining Christian media. Simply put, this talk addresses “Christian media” as an oversimplified concept. Despite being ubiquitous, “Christian mass media” is not defined simply. What makes media “Christian?” We will explore the term “Christian media” through a review of how it is defined and used by observers, creators, distributors and other participants in the Christian media industry. In particular, we’ll explore the Christian media industry through a variety of texts—books, articles, press releases, blogs, etc.—to identify five dominant approaches to “Christian media”: by genre, content, artist, distributor, and purpose. The presentation concludes with an argument that each of these approaches affirms the role of the marketplace in understanding and defining “Christian media.” Genre Genres are distinguished by aesthetics. -
Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 James M. Maynard Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the American Film Studies Commons, American Literature Commons, and the American Popular Culture Commons Recommended Citation Maynard, James M., "Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/170 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 Jamie Maynard American Studies Program Senior Thesis Advisor: Louis P. Masur Spring 2012 1 Table of Contents Introduction..…………………………………………………………………………………4 Chapter One: Developing the niche for rock culture & Monterey as a “savior” of Avant- Garde ideals…………………………………………………………………………………...7 Chapter Two: Building the rock “umbrella” & the “Hippie Aesthetic”……………………24 Chapter Three: The Yin & Yang of early hippie rock & culture—developing the San Francisco rock scene…………………………………………………………………………53 Chapter Four: The British sound, acid rock “unpacked” & the countercultural Mecca of Haight-Ashbury………………………………………………………………………………71 Chapter Five: From whisperings of a revolution to a revolution of 100,000 strong— Monterey Pop………………………………………………………………………………...97 Conclusion: The legacy of rock-culture in 1967 and onward……………………………...123 Bibliography……………………………………………………………………………….128 Acknowledgements………………………………………………………………………..131 2 For Louis P. Masur and Scott Gac- The best music is essentially there to provide you something to face the world with -The Boss 3 Introduction: “Music is prophetic. It has always been in its essence a herald of times to come. Music is more than an object of study: it is a way of perceiving the world. -
The Collapse of Separatism Among Fundamental Baptists
e Collapse of Separatism among Fundamental Baptists Copyright 2011 by David W. Cloud is edition January 30, 2013 ISBN: 978-1-58318-116-4 Published by Way of Life Literature PO Box 610368, Port Huron, MI 48061 866-295-4143 (toll free) - ns@wayo#ife.org www.wayo#ife.org Canada: Bethel Baptist Church 4212 Campbell St. N., London Ont. N6P 1A6 519-652-2619 (voice) - 519-652-0056 (fax) [email protected] Printed in Canada by Bethel Baptist Print Ministry ii TABLE OF CONTENTS Introduction .................................................................1 I Believe in Biblical Separation ..................................3 e Collapse of Separatism ......................................11 Evangelical Bridge Builders ......................................41 e Danger of So Separatism ................................53 Heresies and High Places in Evangelicalism ..........68 e Path of Protection: Full-orbed Biblical Separation ............................................................134 Frightful Examples of Shipwrecks in the Treacherous Waters of Evangelicalism .............147 iii e river of apostasy is "owing powerfully, and all a church needs to do to capitulate is to stop paddling upstream. Giving up separation is easy; maintaining it is not. I pray that many preachers will join me in the determination not to allow the collapse of biblical separation on our watches. - David Cloud iv Introduction is book is about the collapse of biblical separation among fundamental Baptist churches, the causes of this collapse, and how to avoid it at the local church level. By way of introduction, I want to say that I am not personally concerned with Independent Baptist as a MOVEMENT. ough I talk about the movement in this report, what I am concerned about are individual New Testament churches. As we state in the Way of Life Encyclopedia of the Bible & Christianity, to use the term “church” for a movement or a denomination or association or for a group of churches in a region or nation is unscriptural. -
Woodstock Festival ´69
Woodstock Festival ´69 The Woodstock Music and Art Festival was a rock music festival at Max Yasgur´s 600 acre (2.4km2) dairy farm in town of Bethel, New York between 15 August and 18 August 1969. It might be the most famous rock concert and festival ever held. For many, it showed the counterculture of the 1960´s and the “Hippie movement”. Many of the most famous musicians at the time showed up during the weekend, as can be seen in a 1970 movie called Woodstock. Joni Mitchell´s song “Woodstock”, about the event, also became a major hit song for Crosby, Stills, and Nash & Young. In recent years, a number of attempts were made to recreate it, but the original Woodstock´69 has proven to be legendary. The Festival was Called “Woodstock”, because “Woodstock Ventures” an investment company had put money into the concert, it was supposed to be in the town of Wallkill, in Ulster County; but the town would not give a place for such a large event, because they thought that over a million people would come. A place was found in the town of Bethel, Max Yasgur let the concert happen on the family´s dairy farm. Although the show was planned for as many as 200.000 fans, over 400.000 came; most of these did not pay to get in. The roads to the concert were jammed with traffic. People left their cars and walked for miles to get the concert area. The weekend was rainy and overcrowded, and fans shared food, alcoholic drinks, and drugs. -
Boom Festival | Rehearsing the Future
Boom festival | Rehearsing the Future Music and the Prefiguration of Change by Saul Roosendaal 5930057 Master’s thesis Musicology August 2016 supervised by dr. Barbara Titus University of Amsterdam Boom festival | Rehearsing the future Contents Foreword .................................................................................................................................... 3 Introduction ................................................................................................................................ 4 1. A Transformational Festival ................................................................................................. 9 1.1 Psytrance and Celebration ........................................................................................... 9 1.2 Music and Culture ..................................................................................................... 12 1.3 Dance and Musical Embodiment .............................................................................. 15 1.4 Art, Aesthetics and Spirituality ................................................................................. 18 1.5 Summary ................................................................................................................... 21 2. Music and Power: Prefigurating Change ........................................................................... 23 2.1 Education: The Liminal Village as Forum ................................................................ 25 2.1.1 Drugs and Policies ......................................................................................... -
Protest As Event
PROTEST AS EVENT OVERVIEW ESSENTIAL QUESTION Since the 1960s, how have artists used musical events to promote change? OVERVIEW “Artists write, and sing, and think, and this is how we get to put our two cents in, and we do it right in front of people, not in secret meetings behind closed doors. We let people know what we think … I don’t know if people go to musicians for their politics. I doubt that they do, you know, but you can rally people to think on serious issues together, and that’s what we’re trying to do.” - Bruce Springsteen, August 4, 2004, Nightline, ABC Network In August 1971, former member of the Beatles George Harrison gathered a group of musical colleagues that included Bob Dylan, Ringo Starr, Eric Clapton, and many others to perform two benefit concerts at New York’s Madison Square Garden. The so-called Concert for Bangladesh was intended to raise money for and awareness of the refugees fleeing a bloody civil war in Pakistan, a situation made even worse by a devastating cyclone earlier that year. The concert, which was also recorded as a film and a live album, became a model for how Rock and Roll stars could marshal their celebrity in support of a particular cause. The efforts of Harrison and his friends ultimately raised millions of dollars for UNICEF and established a new precedent for how Rock and Roll could engage the public in order to promote meaningful change in the world. The mass gatherings of the 1960s – including the March on Washington, antiwar demonstrations on college campuses, and the Woodstock festival – had clearly demonstrated the power of events to command media attention and to make voices heard.