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MUSIC MADNESS th th Courtney Barnett MARCH 5 – 9 , 2018 Chuck Berry Courtney Barnett Chuck Berry Kurt Vile Elvis Presley St. Vincent Velvet Underground St. Vincent Velvet Underground St. Vincent Velvet Underground Portugal. The Man New York Dolls War On Drugs Velvet Underground War On Drugs Frank Zappa War On Drugs Frank Zappa Good Old War Captain Beefheart War On Drugs Frank Zappa Andy Bopp Thin Lizzy Andy Bopp T Rex Bash & Pop T Rex Broken Social Scene AAA CLASSIC Van Morrison Decemberists Van Morrison Decemberists Rod Stewart Decemberists Paul Simon Snail Mail Paul Simon Snail Mail Paul Simon Postal Service Elton John Beck Tom Petty Michael Nau KISS Valerie June Queen Valerie June Queen Beck Tom Petty Bjork George Harrison Beck Tom Petty Beck Tom Petty Sharon Jones New Order Sharon Jones New Order Charles Bradley Joy Division Sharon Jones Tears For Fears Bill Withers Tears For Fears Al Green Tears For Fears Al Green Sharon Jones Talking Heads The Church Bettye LaVette The Cure Bettye LaVette The Cure Betty Davis Echo & The Bunnymen War Talking Heads Chicano Batman Talking Heads War Talking Heads War XTC Dr. John SOUL/R&B NEW WAVE The Ravyns Dr. John The Cars Lee Dorsey The Cars Gary Clark Jr. Elvis Costello Robert Randolph Elvis Costello Gary Clark Jr. Gary Clark Jr. Squeeze Marvin Gaye & Tammi Terrell Elvis Costello Anderson East Devo Anderson East Blondie Robert Cray Blondie Marvin Gaye & Tammi Terrell The Smiths Ike & Tina Turner The Smiths Marvin Gaye & Tammi Terrell Marvin Gaye & Tammi Terrell PLEDGE NOW 410-704-8970 OR WTMD.ORG Depeche Mode.

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Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking.
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Hall of Fame Andy Partridge
Hall of Fame Andy Partridge Andrew John Partridge (born 11 November 1953) is an English singer, songwriter, guitarist, and record producer from Swindon. He is best known for co-founding the rock band XTC, in which he served as the group's primary songwriter and vocalist. While the band was formed as an early punk rock group, Partridge's music drew heavily from British Invasion songwriters, and his style gradually shifted to more traditional pop, often with pastoral themes. The band's only British top 10 hit, "Senses Working Overtime" (1982), was written by Partridge. In addition to his work with XTC, Partridge has released one solo album on Virgin Records in 1980 called Take Away / The Lure of Salvage. He has also collaborated (as performer, writer or record producer) with recording artists, including Martin Newell, with whom he recorded and produced an album in 1993 entitled The Greatest Living Englishman released in Japan as a duo album. Partridge was producer for the English band Blur during the recording of Modern Life Is Rubbish (1993). He was replaced by Stephen Street at the insistence of their record label, Food. According to Partridge he was unpaid for the sessions and received his expenses only. Partridge also wrote four songs for Disney's version of James and the Giant Peach (1996) but was replaced by Randy Newman when he could not get Disney to offer him "an acceptable deal". In the 2000s, Partridge began releasing demos of his songs under his own name in The Official Fuzzy Warbles Collector's Album and the Fuzzy Warbles album series on his APE House record label.
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Compositions-By-Frank-Zappa.Pdf
Compositions by Frank Zappa Heikki Poroila Honkakirja 2017 Publisher Honkakirja, Helsinki 2017 Layout Heikki Poroila Front cover painting © Eevariitta Poroila 2017 Other original drawings © Marko Nakari 2017 Text © Heikki Poroila 2017 Version number 1.0 (October 28, 2017) Non-commercial use, copying and linking of this publication for free is fine, if the author and source are mentioned. I do not own the facts, I just made the studying and organizing. Thanks to all the other Zappa enthusiasts around the globe, especially ROMÁN GARCÍA ALBERTOS and his Information Is Not Knowledge at globalia.net/donlope/fz Corrections are warmly welcomed ([email protected]). The Finnish Library Foundation has kindly supported economically the compiling of this free version. 01.4 Poroila, Heikki Compositions by Frank Zappa / Heikki Poroila ; Front cover painting Eevariitta Poroila ; Other original drawings Marko Nakari. – Helsinki : Honkakirja, 2017. – 315 p. : ill. – ISBN 978-952-68711-2-7 (PDF) ISBN 978-952-68711-2-7 Compositions by Frank Zappa 2 To Olli Virtaperko the best living interpreter of Frank Zappa’s music Compositions by Frank Zappa 3 contents Arf! Arf! Arf! 5 Frank Zappa and a composer’s work catalog 7 Instructions 13 Printed sources 14 Used audiovisual publications 17 Zappa’s manuscripts and music publishing companies 21 Fonts 23 Dates and places 23 Compositions by Frank Zappa A 25 B 37 C 54 D 68 E 83 F 89 G 100 H 107 I 116 J 129 K 134 L 137 M 151 N 167 O 174 P 182 Q 196 R 197 S 207 T 229 U 246 V 250 W 254 X 270 Y 270 Z 275 1-600 278 Covers & other involvements 282 No index! 313 One night at Alte Oper 314 Compositions by Frank Zappa 4 Arf! Arf! Arf! You are reading an enhanced (corrected, enlarged and more detailed) PDF edition in English of my printed book Frank Zappan sävellykset (Suomen musiikkikirjastoyhdistys 2015, in Finnish).
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The 101Ers 241 a Roy Acuff 224 Tony Adams 132, 235, 236 Cannonball
INDEX The 101ers 241 Byron Berline 34 Chuck Berry 77, 88, 119, 139, 156, 171, 190, 238 A Bhundu Boys 243 Tony Blair 90, 137, 138, 243 Roy Acuff 224 John Blake 29 Tony Adams 132, 235, 236 Art Blakey 190 Cannonball Adderley 190 Bobby Bland 200 Karin Aderhold 16 John Bonham 123 Marc Almond 12 Bono 49, 57 Any Trouble 221, 222 Booker T & The MGs 175 Louis Armstrong 75, 170 David Bowie 95, 195-203, 214 Virginia Astley 168 Paul Brady 223 Mick Avory 133 Brinsley Schwarz 225 Gary Brooker 116 Big Bill Broonzy 132, 140 B Mick Brown 172 Buddy Guy 17 Burt Bacharach 231, 232 Buffalo Springfield 192 Chet Baker 73, 83 Eric Burdon 96, 171 Ginger Baker 79 Johnny Burnette 103 Kenny Ball 170 James Burton 139, 231 Bangles 12 George Bush 243 Alan Bangs 24 The Byrds 192, 225 BAP 96 Wild Willy Barrett 166 Count Basie 169 C The Beach Boys 184 The Beatles 8, 43, 80, 98-102, Captain Beefheart 240, 242 105, 106, 110-112, 117-119, James Carr 231 123, 128, 149-153, 156, 161- Martin Carthy 17, 222, 223 163, 174, 177, 183, 188, 189, Neko Case 8 207, 213-216, 238, 241, 242 Johnny Cash 16, 244 Jeff Beck 32, 34, 143 Sid Catlett 73 Walter Becker 14 Marc Chagall 92 David Beckham 235 Ray Charles 101 Peter Bellamy 222 Marshall Chess 17 Fred Below 73 Chic 200 Tony Bennett 230 Charlie Christian 139 250 INDEX Guy Clark 227 Lonnie Donegan 102, 139 Allan Clarke 182, 185, 187, Val Doonican 211 190, 193, 211 Double Trouble 200 Kenny Clarke 77 Pete Drake 109, 228 The Clash 178, 216, 217, 219, The Drifters 170 220, 233, 234, 236, 241, 242 Sly Dunbar 33 Matt Clifford 46 Duran Duran
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Frank Zappa, Captain Beefheart and the Secret History of Maximalism
Frank Zappa, Captain Beefheart and the Secret History of Maximalism Michel Delville is a writer and musician living in Liège, Belgium. He is the author of several books including J.G. Ballard and The American Prose Poem, which won the 1998 SAMLA Studies Book Award. He teaches English and American literatures, as well as comparative literatures, at the University of Liège, where he directs the Interdisciplinary Center for Applied Poetics. He has been playing and composing music since the mid-eighties. His most recently formed rock-jazz band, the Wrong Object, plays the music of Frank Zappa and a few tunes of their own (http://www.wrongobject.be.tf). Andrew Norris is a writer and musician resident in Brussels. He has worked with a number of groups as vocalist and guitarist and has a special weakness for the interface between avant garde poetry and the blues. He teaches English and translation studies in Brussels and is currently writing a book on post-epiphanic style in James Joyce. Frank Zappa, Captain Beefheart and the Secret History of Maximalism Michel Delville and Andrew Norris Cambridge published by salt publishing PO Box 937, Great Wilbraham PDO, Cambridge cb1 5jx United Kingdom All rights reserved © Michel Delville and Andrew Norris, 2005 The right of Michel Delville and Andrew Norris to be identiﬁed as the authors of this work has been asserted by them in accordance with Section 77 of the Copyright, Designs and Patents Act 1988. This book is in copyright. Subject to statutory exception and to provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Salt Publishing.
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The History of Rock Music: 1976-1989
The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Punk-rock (These are excerpts from my book "A History of Rock and Dance Music") London's burning TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The effervescence of New York's underground scene was contagious and spread to England with a 1976 tour of the Ramones that was artfully manipulated to start a fad (after the "100 Club Festival" of september 1976 that turned British punk-rock into a national phenomenon). In the USA the punk subculture was a combination of subterranean record industry and of teenage angst. In Britain it became a combination of fashion and of unemployment. Music in London had been a component of fashion since the times of the Swinging London (read: Rolling Stones). Punk-rock was first and foremost a fad that took over the Kingdom by storm. However, the social component was even stronger than in the USA: it was not only a generic malaise, it was a specific catastrophe. The iron rule of prime minister Margaret Thatcher had salvaged Britain from sliding into the Third World, but had caused devastation in the social fabric of the industrial cities, where unemployment and poverty reached unprecedented levels and racial tensions were brooding.
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'N' Bulbous: Waxed Oop (An Impetuous Stream Bubbled Up) So
Weblog News Radio show Discussion list Guest book FAQs Contact Music info Rare downloads Poetry and lyrics Paintings Ar t info Biog / misc Search Zine Your stories Shop Site guide Links Captain Beefheart Discography Captain Beefheart Related Releases Fast 'n' Bulbous: Waxed Oop (An Impetuous Stream Bubbled Up) Label: Cuneiform Records RUNE 277 Release Date: 2009 Song list: 1. Sure Nuff 'n' Yes I Do - (2:22) 2. Trust Us - (7:04) 3. Smithsonian Institute Blues - (3:03) 4. Dropout Boogie - (3:44) 5. You Know You're A Man - (4:32) 6. Well - (4:43) 7. Ice Rose - (4:11) 8. Click Clack/Ice Cream for Crow - (4:14) 9. Woe-Is-Uh-Me-Bop - (4:11) 10. The Blimp - (1:41) 11. The Past Sure Is Tense - (4:44) 12. Blabber 'n' Smoke - (4:00) 13. China Pig - (3:53) Tracks 2, 3, 4, 6, 9, 10, 11 arranged by Philip Johnston Tracks 1, 8, 13 arranged by Gary Lucas Tracks 5, 7, 12 arranged by Joe Fiedler All guitar arrangements by Gary Lucas Line Up Gary Lucas: electric guitar, National steel guitar, FX Jesse Krakow: bass Richard Dworkin: drums Rob Henke: trumpet Phillip Johnston: alto saxophone Joe Fiedler: trombone Dave Sewelson: baritone saxophone Guest vocalist: Robyn Hitchcock on China Pig Album Overview by Steve Froy As with their first album Fast 'n' Bulbous take on a fascinating selection of songs from the Beefheart songbook covering albums from Safe As Milk through to Ice Cream For Crow. The familiar tunes are redefined for a brass section and Don's voice is echoed by horns as the band grapple with the mysteries of the Beefheart rhythm and add their own compelling improvised embellishments taking the songs to a new place.
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Frank Zappa's Legacy: Just Another Hoover? L’Héritage De Frank Zappa : Juste Un Autre « Hoover »? Ben Watson
Document généré le 26 sept. 2021 16:13 Circuit Musiques contemporaines Frank Zappa's Legacy: Just Another Hoover? L’héritage de Frank Zappa : juste un autre « Hoover »? Ben Watson Frank Zappa : 10 ans après Résumé de l'article Volume 14, numéro 3, 2004 Dans ce texte, Ben Watson révèle un fait en apparence anodin : lorsque Zappa référait à son « oeuvre », vers la fin de sa vie, en utilisant le mot français, il le URI : https://id.erudit.org/iderudit/902325ar prononçait comme le mot anglais Hoover, qui est le nom de l’une des marques DOI : https://doi.org/10.7202/902325ar d’aspirateurs les plus connues dans le monde. Watson choisit, en utilisant un procédé parfaitement en phase avec le dédain dadaïste que Zappa affichait Aller au sommaire du numéro pour les valeurs culturelles, de transformer cette homophonie en prémisse à son essai : l’oeuvre de Zappa est, en effet, un « Hoover ». La critique académique s’entend aujourd’hui pour faire l’éloge de Zappa en tant que compositeur, mais en laissant de côté l’angle critique de son travail. En fait, ce Éditeur(s) qui rendait Zappa particulier, c’était précisément le fait qu’il reconnaissait que Les Presses de l'Université de Montréal la mise en marché et l’industrie du legs, appliquées au concept de génie, répriment le désire et annihilent la musique. En utilisant des concepts littéraires et psychoanalytiques, l’algèbre zappologique de Watson arrive à ISSN l’équation suivante : Stéphane Mallarmé + Wilhelm Reich = Frank Zappa. Après 1183-1693 (imprimé) une étude approfondie de la récurrence du motif « Hoover » dans l’oeuvre de 1488-9692 (numérique) Zappa, l’auteur examine l’héritage du compositeur, qu’il remarque particulièrement dans le travail de Project/Object, des Muffin Men, de Matt Découvrir la revue Groening avec la série télévisée The Simpsons et du trio formé des improvisateurs Eugene Chadbourne, Jimmy Carl Black et Pat Thomas.
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Visual Artists Making Music 23 June to 18 October 2020
Visual artists making music 23 June to 18 October 2020 Media Conference: Tuesday, 23 June 2020, 11 a.m. Content 1. General Information Page 2 2. Media Information Page 4 4. Background Information – A history of music made by visual artists in the 20th and 21st century Page 5 5 Arists, musicians and bands presented in the exhibition Page 9 6. Online Publication Page 11 6. Current and upcoming exhibitions Page 12 Press Officer Sven Bergmann T +49 228 9171–205 F +49 228 9171–211 [email protected] General Information Exhibition 23 June to 18 October 2020 Managing Director Patrick Schmeing Curators Eva Badura-Triska Edek Bartz Exhibiton Manager Susanne Annen Press Officer Sven Bergmann Catalogue / Press Copy Available on www.doppelleben- katalog.de/en for free Opening Hours Tuesday and Wednesday: 10 a.m. to 9 p.m. Thursday to Sunday: 10 a.m. to 7 p.m. Public Holidays: 10 a.m. to 7 p.m. Closed on Mondays Admission standard / reduced € 10 / € 6.50 Free admission for all under 19s and for refugees Happy Hour-Ticket € 7 Tuesday and Wednesday: 7 to 9 p.m. Thursday to Sunday: 5 to 7 p.m. (For individuals only) Guided Group Tours information T +49 228 9171–243 and registration F +49 228 9171–244 [email protected] Public Transport Underground lines 16, 63, 66 and bus lines 610, 611 and 630 to Heussallee / Museumsmeile Deutsche Bahn / UN-Campus: Lines RE 5, RB 26, RB 30 and RB 48 Parking There is a car and coach park on Emil- Nolde-Straße behind the Bundeskunsthalle.
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The Rondo Hatton Report Vol Xii
THE RONDO HATTON REPORT VOL XII SEPTEMBER 21, 2012 IN THIS ISSUE This our twelfth issue now makes up a round dozen, marking a cycle of three years since our organ first exposed itself to the world. Not bad, not bad , though we do say so ourselves. Whether lurker, shirker or smirker , we hope y'all have enjoyed the show. This edition continues to bring you poetry and polemic from the usual suspects and more, ranging from a heartfelt plea for digital insertionism to another fine opportunity to ruin your life , dispensing essential insights into the counting of tuplets along the way. And lest ye forget: this is an open trans-continental platform for the riding of hobby horses , mechanical or otherwise. Bring yours to the races, why don'chya ? CONTENTS 1. LINGUA FRANKA PART VIII / Arjun von CAEMMERER 2. THE POVERTY OF COMPLETISM / Mimi GABIN-KHAN 3. WATERMELON IN EASTER HEY / Madge IMMANEY 4. ZAPPA SURVIVOR / Scott SCHROEN 5. WHEN COMPOSERS DECOMPOSE / Larry TESHMOW 6. ZAPPA: HEGEL, OR, NOT AGAIN (AGAIN) / Ben WATSON 1 1. LINGUA FRANKA PART VIII: An Office With A Foyer Arjun von Caemmerer Elvis may have left the building but it is Frank Zappa who has infiltrated the establishment. From each sidewall of my consulting room, off-centre and central, Zappa looks in, witness to the vagaries of each doctor-patient interaction. What’s a man like him doing in a place like this? Nothing. And everything: It is far more important to know what person the disease has than what disease the person has.
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Weirdo Eccentrics of the Margins & the Curse of Bel Canto
Nick Hobbs / Weirdo eccentrics of the margins & the curse of bel canto -- 1 Weirdo eccentrics of the margins & the curse of bel canto © Nick Hobbs [email protected] (given at the Centre For Performance Research, Aberystwyth on 8.4.06) by Nick Hobbs This lecture is mostly taken from two lectures I wrote for the Pantheatre Voice Performance School: “Weirdo eccentrics of the margins & the curse of bel canto”, focused on the voice of the star of Popular music hell-canto, Captain Beefheart (nom-de-plume of Don Van Vliet), and "Singing whispers, croaks, growls and roars: An exploration of fractured voices from the Blues to Flamenco", which spoke, amongst many others, about Beefheart’s main mentor, the Chicago Blues singer, Howlin’ Wolf (nom-de-plume of Chester Burnett). During this week we’ve heard both hell and bel canto – Phil Minton and Natalka Polovynka to name two extremes. Enrique Pardo spoke about the image of Wolf as satyr and the myth of Marsyas’s challenge to Apollo - the aulos versus the lyre, and we’ve heard MaryAnn Roberts in Bragod, whose singing engages with the crwth, itself a descendent of lyre, but one whose buzzing timbre led her to use guttural sounds and overtone nasality in Bragod’s vocal palette. Both Wolf and Beefheart are firmly in the camp of hell canto, and I suppose were not capable of singing bel canto if they’d wanted to. Their voices correspond to their subject-matter and to their personae. Starting from their stage names, there’s a buffoon quality to both performers, giving them a kind of license to make barbed commentaries, to be nasty, wolfish, foxy and knowing.
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New Work: Don Van Vliet
DON VAN VLIET Peel, John. "Yellow Brick Road Revisited'.' The Observer. Born in Glendale. California, 1941 6 April 1986, p. 29. DON VAN VLIET Lives and works in northern California Penck, A. R. "Don Van Vliet:' Tem.:i Celeste, no. 2 (April 1987). p. SS. SELECTED INDIVIDUAL EXHIBITIONS Penck, AR. Don Van Vliet (exhibition catalogue), Galerie 1985 Michael Werner, Cologne, 1985. Galerie Michael Werner, Cologne Penck, AR. "Na, Na. Na-forDon Van Vliet'.'Don Van Vliet Mary Boone Gallery, New York (exhibition catalogue), Galerie Mi:hael Werner, Cologne, 1986 1987. Waddington Galleries, London 1987 Rense. Rip. "Captain Beefheart: A Portrait of the Artist o Angeles 15 1982, Galerie Michael Werner. Cologne as Loner." L s Herald Examiner. October - -28. Galerie Brinkman, Amsterdam pp. D 5. D 1988 CHECKLIST Galerie Michael Werner. Cologne The Moon a Pail ofMilk Spilled Dow.1 Black in the Night. 1986 oil on linen SELECTED GROUP EXHIBITIONS 80 x 70" (203.2 x 177.8 cm) 1982 Collection of the artist Performance Video.The Museum of Modern Art, New York 1985 Bat and Cat Panda, 1987 FromOrganism toAr chitecture, New York Studio School oil on linen The Chi-Chi Show, Massimo Audiello Gallery. New York 64 x 511/:i'(162.6 x 130.8 cm) Factura, Gallery Schlesinger-Boisante. New York Collection of Jan Van Vliet, California 1987 Feather Times a Feather, 1987 Byars. Chamberlain. Salle, Fischl, Lasker. 'Ion Vliet, oil on linen Galerie Michael Werner, Cologne 64 x 511/2' (162.6 x 130.8 cm) SELECTED SOURCES Parapliers the Willow Dipped, 1987 BY DON VAN VLIET oil on linen 78 x 58" (198.1 x 147.3 cm) Skeleton Breath, Scorpion Blush.
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