70'S Rock and Other 70'S Disco Funk 80'S Reggae Latin 80'S Hits Young Hearts Waterloo Reggae Night Walking on Sunshine Crocodile

Total Page：16

File Type：pdf, Size：1020Kb

70's Rock and other 70's Disco Funk 80's Reggae Latin 80's Hits Young hearts Waterloo Reggae night Walking on sunshine Crocodile Rock Celebration Is this love Love Shack Let's stick together We are family Here I am baby I feel the earth move Long Train Running Get down tonight Could you be loved Into the groove Rocking all over the world Le Freak Conga Holiday Eagle Rock Lady Marmalade La Bamba Hip to be square You're the one that I want Disco inferno Hot Hot Hot Hit me with your best shot Love is in the air Shake your Bootie Turn the beat around Footloose April Sun in Cuba September Dr Beat Don't get me wrong Bad Moon rising Play that funky music Montego Bay Pleasure and Pain Hot Stuff Funky town Food for thought I'm so excited Shake your Tailfeather You sexy thing Don't look back When tomorrow comes Tush Let's groove tonight Dreadlock Holiday Call me You may be right Knock on Wood Be my baby Dancing on the ceiling Werewolves of London Give it up I got you babe Come on Eileen I love Rock n Roll Born to be alive Electric Avenue Don't you want me Brown Sugar Brickhouse Close to you Would I lie to you Get it on, Bang a gong Blame it on the boogie Baby come back Relax Living in the 70's You to me are everything Tainted love Do you wanna touch Dancing Queen Simply the best That's the way uh huh I like Superstition Eye of the tiger it Everyone's a winner Don't stop til you get enough Let's dance Video killed the radio star I will survive I ran .

Copy Link

Recommended publications

Chris Billam-Smith
MEET THE TEAM George McMillan Editor-in-Chief [email protected] Remembrance day this year marks 100 years since the end of World War One, it is a time when we remember those who have given their lives fighting in the armed forces. Our features section in this edition has a great piece on everything you need to know about the day and how to pay your respects. Elsewhere in the magazine you can find interviews with The Undateables star Daniel Wakeford, noughties legend Basshunter and local boxer Chris Billam Smith who is now prepping for his Commonwealth title fight. Have a spooky Halloween and we’ll see you at Christmas for the next edition of Nerve Magazine! Ryan Evans Aakash Bhatia Zlatna Nedev Design & Deputy Editor Features Editor Fashion & Lifestyle Editor [email protected] [email protected] [email protected] Silva Chege Claire Boad Jonathan Nagioff Debates Editor Entertainment Editor Sports Editor [email protected] [email protected] [email protected] 3 ISSUE 2 | OCTOBER 2018 | HALLOWEEN EDITION FEATURES 6 @nervemagazinebu Remembrance Day: 100 years 7 A whitewashed Hollywood 10 CONTENTS /Nerve Now My personal experience as an art model 13 CONTRIBUTORS FEATURES FASHION & LIFESTYLE 18 Danielle Werner Top tips for stress-free skin 19 Aakash Bhatia Paris Fashion Week 20 World’s most boring Halloween costumes 22 FASHION & LIFESTYLE Best fake tanning products 24 Clare Stephenson Gracie Leader DEBATES 26 Stephanie Lambert Zlatna Nedev Black culture in UK music 27 DESIGN Do we need a second Brexit vote? 30 DEBATES Ryan Evans Latin America refugee crisis 34 Ella Smith George McMillan Hannah Craven Jake Carter TWEETS FROM THE STREETS 36 Silva Chege James Harris ENTERTAINMENT 40 ENTERTAINMENT 7 Emma Reynolds The Daniel Wakeford Experience 41 George McMillan REMEMBERING 100 YEARS Basshunter: No.
[Show full text]
Young Americans to Emotional Rescue: Selected Meetings
YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music.
[Show full text]
Starr-Waterman American Popular Music Chapter 11: the 1970S: Rock Music, Disco, and the Popular Mainstream Key People Allman
Starr-Waterman American Popular Music Chapter 11: The 1970s: Rock Music, Disco, and the Popular Mainstream Key People Allman Brothers Band: Most important southern rock band of the late 1960s and early 1970s who reconnected the generative power of the blues to the mainstream of rock music. Barry White (1944‒2004): Multitalented African American singer, songwriter, arranger, conductor, and producer who achieved success as an artist in the 1970s with his Love Unlimited Orchestra; perhaps best known for his full, deep voice. Carlos Santana (b. 1947): Mexican-born rock guitarist who combined rock, jazz, and Afro-Latin elements on influential albums like Abraxas. Carole King (b. 1942): Singer-songwriter who recorded influential songs in New York’s Brill Building and later recorded the influential album Tapestry in 1971. Charlie Rich (b. 1932): Country performer known as the “Silver Fox” who won the Country Music Association’s Entertainer of the Year award in 1974 for his song “The Most Beautiful Girl.” Chic: Disco group who recorded the hit “Good Times.” Chicago: Most long-lived and popular jazz rock band of the 1970s, known today for anthemic love songs such as “If You Leave Me Now” (1976), “Hard to Say I’m Sorry” (1982), and “Look Away” (1988). David Bowie (1947‒2016): Glam rock pioneer who recorded the influential album The Rise and Fall of Ziggy Stardust and the Spiders from Mars in 1972. Dolly Parton (b. 1946): Country music star whose flexible soprano voice, songwriting ability, and carefully crafted image as a cheerful sex symbol combined to gain her a loyal following among country fans.
[Show full text]
Traditional Funk: an Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio
University of Dayton eCommons Honors Theses University Honors Program 4-26-2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Caleb G. Vanden Eynden University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses eCommons Citation Vanden Eynden, Caleb G., "Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio" (2020). Honors Theses. 289. https://ecommons.udayton.edu/uhp_theses/289 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Abstract Recognized nationally as the funk capital of the world, Dayton, Ohio takes credit for birthing important funk groups (i.e. Ohio Players, Zapp, Heatwave, and Lakeside) during the 1970s and 80s. Through a combination of ethnographic and archival research, this paper offers a pedagogical approach to Dayton funk, rooted in the styles and works of the city’s funk legacy. Drawing from fieldwork with Dayton funk musicians completed over the summer of 2019 and pedagogical theories of including black music in the school curriculum, this paper presents a pedagogical model for funk instruction that introduces the ingredients of funk (instrumentation, form, groove, and vocals) in order to enable secondary school music programs to create their own funk rooted in local history.
[Show full text]
The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians.
[Show full text]
“Rapper's Delight”
1 “Rapper’s Delight” From Genre-less to New Genre I was approached in ’77. A gentleman walked up to me and said, “We can put what you’re doing on a record.” I would have to admit that I was blind. I didn’t think that somebody else would want to hear a record re-recorded onto another record with talking on it. I didn’t think it would reach the masses like that. I didn’t see it. I knew of all the crews that had any sort of juice and power, or that was drawing crowds. So here it is two years later and I hear, “To the hip-hop, to the bang to the boogie,” and it’s not Bam, Herc, Breakout, AJ. Who is this?1 DJ Grandmaster Flash I did not think it was conceivable that there would be such thing as a hip-hop record. I could not see it. I’m like, record? Fuck, how you gon’ put hip-hop onto a record? ’Cause it was a whole gig, you know? How you gon’ put three hours on a record? Bam! They made “Rapper’s Delight.” And the ironic twist is not how long that record was, but how short it was. I’m thinking, “Man, they cut that shit down to fifteen minutes?” It was a miracle.2 MC Chuck D [“Rapper’s Delight”] is a disco record with rapping on it. So we could do that. We were trying to make a buck.3 Richard Taninbaum (percussion) As early as May of 1979, Billboard magazine noted the growing popularity of “rapping DJs” performing live for clubgoers at New York City’s black discos.4 But it was not until September of the same year that the trend gar- nered widespread attention, with the release of the Sugarhill Gang’s “Rapper’s Delight,” a fifteen-minute track powered by humorous party rhymes and a relentlessly funky bass line that took the country by storm and introduced a national audience to rap.
[Show full text]
1 "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music S
"Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music Studies, 20, 3, 2008, 276-329 This story begins with a skinny white DJ mixing between the breaks of obscure Motown records with the ambidextrous intensity of an octopus on speed. It closes with the same man, debilitated and virtually blind, fumbling for gospel records as he spins up eternal hope in a fading dusk. In between Walter Gibbons worked as a cutting-edge discotheque DJ and remixer who, thanks to his pioneering reel-to-reel edits and contribution to the development of the twelve-inch single, revealed the immanent synergy that ran between the dance floor, the DJ booth and the recording studio. Gibbons started to mix between the breaks of disco and funk records around the same time DJ Kool Herc began to test the technique in the Bronx, and the disco spinner was as technically precise as Grandmaster Flash, even if the spinners directed their deft handiwork to differing ends. It would make sense, then, for Gibbons to be considered alongside these and other towering figures in the pantheon of turntablism, but he died in virtual anonymity in 1994, and his groundbreaking contribution to the intersecting arts of DJing and remixology has yet to register beyond disco aficionados.1 There is nothing mysterious about Gibbons's low profile. First, he operated in a culture that has been ridiculed and reviled since the "disco sucks" backlash peaked with the symbolic detonation of 40,000 disco records in the summer of 1979.
[Show full text]
Bob Marley Background Informations
Bob Marley Background informations: Birth name: Robert Nesta Marley Also known as: Tuff Gong Born: February 6, 1945 Nine Miles, Saint Ann, Jamaica Died: May 11, 1981 Genre: Reggae, ska, rocksteady Occupation: Singer, songwriter, guitarist Instrument: Guitar, vocals Years active: 1962 – 1981 Label: Studio One, Beverley’s Upseeter/ Trojan Island/Tuff Gong Associated acts: The wailers Band, The Wailers HITS: . I shot the sheriff, . No woman, No cry, . Three little birds, . Exodus, . Could you be loved, . Jamming, . Redemption song . One love[one of his most famous love songs] Bob Marley once reflected: I don’t have prejudice against myself. My father was white and my mother was black. Them call me half-caste or whatewer. Me don’t dip on nobady’s side. Me don’t dip on the black man’s side or the white man’s side. Me dip on God’s side, the one who create me and cause me to come from black and white. Musical career: Bob Marley, Bunny Livingston, Peter McIntosh, Junior Braitheaite, Beverley Kelso and Cherry Smith – rocksteady group first named “The Teenagers”. Later “The Wailing Rudeboys”, then to “The Wailing Wailers”, and finally to “The Wailers”. Albums: * The Wailing Wailers 1966 * The Best of the Wailers 1970 * Soul Rebels 1970 * Soul Revolution 1971 * Soul Revolution Part II 1971 * African Herbsman 1973 * Catch a Fire 1973 [Wailers first album] * Burnin' 1973 * Rasta Revolution 1974 * Natty Dread 1974 * Rastaman Vibration 1976 * Exodus 1977 * Kaya 1978 * Survival 1979 * Uprising 1980 * Confrontation (izdano po Marleyjevi smrti) 1983 Bob Marley’s 13 childrens: . Imani Carole, born May 22, 1963, to Cheryl Murray; .
[Show full text]
Here I Am Baby Al Green Let's Stay Together Al Green Don
HERE I AM BABY AL GREEN LET’S STAY TOGETHER AL GREEN DON’T STOP BELIEVING JOURNEY ANY WAY YOU WANT IT JOURNEY GIVE IT TO ME BABY RICK JAMES SUPERFREAK RICK JAMES HOME MICHAEL BUBLE EVERYTHING MICHAEL BUBLE WORKING FOR THE WEEKEND LOVERBOY SHAKE YOUR BODY DOWN MICHAEL JACKSON BILLIE JEAN MICHAEL JACKSON BEAT IT MICHAEL JACKSON IT’S YOUR THING ISLEY BROTHERS SHOUT ISLEY BROTHERS BEAUTIFUL GIRL SEAN KINGSTON ALL NIGHT LONG LIONEL RICHIE LISTEN TO THE MUSIC DOOBIE BROTHERS LONG TRAIN RUNNING DOOBIE BROTHERS ISN’T SHE LOVELY STEVIE WONDER I WISH STEVIE WONDER FOR ONCE IN MY LIFE STEVIE WONDER SUPERSTITIOUS STEVIE WONDER SIR DUKE STEVIE WONDER REGGAE WOMAN STEVIE WONDER SIGNED SEALED DELIVERED STEVIE WONDER ANOTHER STAR STEVIE WONDER WHAT’S GOING ON MARVIN GAYE LET'S GET IT ON MARVIN GAYE FISHING IN THE DARK NITTY GRITTY DIRT BAND SATISFACTION ROLLING STONES HONKY TONK WOMAN ROLLING STONES AMERICAN BAND GRAND FUNK RAILROAD SOME KIND OF WONDERFUL GRAND FUNK RAILROAD DAYS LIKE THIS VAN MORRISON INTO THE MYSTIC VAN MORRISON CRAZY LOVE VAN MORRISON MOONDANCE VAN MORRISON TUPELO HONEY VAN MORRISON BROWN EYED GIRL VAN MORRISON THE WAY YOU LOOK TONIGHT FRANK SINATRA LOVELY DAY BILL WITHERS USE ME BILL WITHERS JUST THE TWO OF US BILL WITHERS SWEET CAROLINE NEIL DIAMOND BE YOUNG BE FOOLISH BE HAPPY THE TAMS YOU AND ME ROBERT BRADLEY AIN’T TOO PROUD TO BEG THE TEMPTATIONS MY GIRL THE TEMPTATIONS JUST MY IMAGINATION THE TEMPTATIONS HOW SWEET IT IS JAMES TAYLOR HEAVEN LOS LONELY BOYS YOU ARE SO BEAUTIFUL JOE COCKER AT LAST ETTA JAMES COULD YOU BE LOVED
[Show full text]
Where to Next? a Dynamic Model of User Preferences
Where To Next? A Dynamic Model of User Preferences Francesco Sanna Passino∗ Lucas Maystre Dmitrii Moor Imperial College London Spotify Spotify [email protected] [email protected] [email protected] Ashton Anderson† Mounia Lalmas University of Toronto Spotify [email protected] [email protected] ABSTRACT 1 INTRODUCTION We consider the problem of predicting users’ preferences on on- Online platforms have transformed the way users access informa- line platforms. We build on recent findings suggesting that users’ tion, audio and video content, knowledge repositories, and much preferences change over time, and that helping users expand their more. Over three decades of research and practice have demon- horizons is important in ensuring that they stay engaged. Most strated that a) learning users’ preferences, and b) personalizing existing models of user preferences attempt to capture simulta- users’ experience to match these preferences is immensely valuable neous preferences: “Users who like 퐴 tend to like 퐵 as well”. In to increase engagement and satisfaction. To this end, recommender this paper, we argue that these models fail to anticipate changing systems have emerged as essential building blocks [3]. They help preferences. To overcome this issue, we seek to understand the users find their way through large collections of items and assist structure that underlies the evolution of user preferences. To this them in discovering new content. They typically build on user pref- end, we propose the Preference Transition Model (PTM), a dynamic erence models that exploit correlations across users’ preferences. model for user preferences towards classes of items. The model As an example within the music domain, if a user likes The Beatles, enables the estimation of transition probabilities between classes of that user might also like Simon & Garfunkel, because other users items over time, which can be used to estimate how users’ tastes are who listen to the former also listen to the latter.
[Show full text]
Turntablist Transcription Methodology Copyright © 2000 John Carluccio
turntablist transcription methodology john carluccio copyright © 2000 ethan imboden raymond pirtle versione italiana traduzione: t-turn.com introduzione contents Mentre filmavo gli X-ecutioners durante le prime sessioni in studio (Asphodel Records 6/97), mi sono imbattuto nel dovere descrivere un'idea per una turntablist team routine. Istintivamente ho iniziato a scribacchiare alcune differenti linee di pattern per trasmettere l'idea. A posteriori, è evidente che differenti influenze, come la familirità con le introduzione copertina timelines del video editing e un'educazione da architetto, mi hanno spinto a cercare dei mezzi visivi per comuicare un concetto. notazione base 1 Durante le mie conversazioni con Apollo, Rob Swift, Babu e Q-bert, ho trovato ispirazione proprio nel condividere le visioni di un futuro prossimo dove uno strumento o un movimento del disco 1 metodo avrebbe potuto offrire ai dj la capacità di orchestrare la loro musica. Dallo scorso anno ho iniziato a collaborare con Ethan "catfish"Imboden, un designer industriale, notazione degli scratch basilari 2 per sviluppare e perfezzionare il sistema, ricercando delle soluzioni per renderlo più facile all'uso. Recentemente io ed Ethan abbiamo unito le nostre forze a Ray "DJ scratchare su un beat 3 Raydawn" Pirtle, un valido studente di turntablism che indipendentemente aveva sviluppato un metodo simile al nostro ma focalizzato sugli scratch più complessi. Questa backspinning 4 brochure rappresenta il primo prodotto di questo gruppo di lavoro. pattern continui 5 Per riconoscere e imparare le tecniche più complesse, i turntablist di oggi utilizzano risorse audio e video, provenienti da un sempre maggiore numero di produzioni video e di notazione di scratch avanzati 6 live performance.
[Show full text]
Arts Oct 28 2009.Indd
arts october 28, 2009 the paper page 15 by Sean Bandfi eld Would you identify place? One of the common com- kids feel good about themselves. STAFF HARDCOREBEQUE [Crunkcore] as a movement It could be jealousy. Seeing plaints about Crunkcore is the When you’re writing a or a scene? a band that’s getting that suc- superfi ciality of its lyrics. Dah- song and when you release Dahvie Vanity is a shad- It’s a movement, because cessful so fast… vie explains that his message something, are you making ow character and an all right there’s a bunch to listeners is, an effort to give the fans what guy. Dressed in black lace and of people, it’s “Live it up, they want? spiked platform boots, with not just a trend. love it up…just Yeah. I really try to push my red-fl are hair, he could only People really party on.” I ask music to where I don’t com- front the techno-scream proj- live their lives him if such a pletely change, but I’m giving ect known as Blood On The like this. message is vir- what the fans want. Dance Floor. His band scorches What’s the tuous. What the fans want – is earth with brokenCYDE on the lifestyle? Just be safe. that what’s best for them? Crunk Kids Tour, which cuts The Crunk You’ve got to When you were a kid and and burns across our nation as movement is be smart. you wanted to eat cookies these words are put to paper.
[Show full text]