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Everybody Hates Rainbows D
Old Dominion University ODU Digital Commons Philosophy Faculty Publications Philosophy & Religious Studies 2009 Everybody Hates Rainbows D. E. Wittkower Old Dominion University, [email protected] Follow this and additional works at: https://digitalcommons.odu.edu/philosophy_fac_pubs Part of the Philosophy Commons Repository Citation Wittkower, D. E., "Everybody Hates Rainbows" (2009). Philosophy Faculty Publications. 21. https://digitalcommons.odu.edu/philosophy_fac_pubs/21 Original Publication Citation Wittkower, D. E. (2009). Everybody Hates Rainbows. In B. W. Forbes & G. A. Reisch (Eds.), Radiohead and Philosophy (pp. 123-134). Chicago: Open Court. This Book Chapter is brought to you for free and open access by the Philosophy & Religious Studies at ODU Digital Commons. It has been accepted for inclusion in Philosophy Faculty Publications by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. RHP_ch10_wittkower 12/16/08 11:30 AM Page 123 10. Everybody Hates Rainbows D.E. WITTKOWER “The Culture Industry.” Does that phrase make you as uncom- fortable as it makes me? Culture shouldn’t be an industry; it should be something natural and organic. Culture is our commu- nal history and legacy; the context in which we learn and grow, and to which we may contribute. In the past, our culture might have consisted of the stories we learned as children, the songs we all sang together, perhaps traditional clothing or dances. In some sense, it’s hard to imagine today. Our culture, to whatever extent we have a culture, might still consist of stories (Disney), songs (the Jeopardy! theme), clothing (Prada), and dances (The Electric Slide). -
Hyperreality in Radiohead's the Bends, Ok Computer
HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A Thesis Presented as Partial Fulfillment of the Requirements for the Attainment of the Sarjana Sastra Degree in English Language and Literature By: Azzan Wafiq Agnurhasta 08211141012 STUDY PROGRAM OF ENGLISH LANGUAGE AND LITERATURE DEPARTMENT OF ENGLISH LANGUAGE EDUCATION FACULTY OF LANGUAGES AND ARTS YOGYAKARTA STATE UNIVERSITY 2014 APPROVAL SHEET HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A THESIS By Azzan Wafiq Agnurhasta 08211141012 Approved on 11 June 2014 By: First Consultant Second Consultant Sugi Iswalono, M. A. Eko Rujito Dwi Atmojo, M. Hum. NIP 19600405 198901 1 001 NIP 19760622 200801 1 003 ii RATIFICATION SHEET HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A THESIS By: AzzanWafiqAgnurhasta 08211141012 Accepted by the Board of Examiners of Faculty of Languages and Arts of Yogyakarta State University on 14July 2014 and declared to have fulfilled the requirements for the attainment of the Sarjana Sastra degree in English Language and Literature. Board of Examiners Chairperson : Nandy Intan Kurnia, M. Hum. _________________ Secretary : Eko Rujito D. A., M. Hum. _________________ First Examiner : Ari Nurhayati, M. Hum. _________________ Second Examiner : Sugi Iswalono, M. A. _________________ -
Radiohead and the Philosophy of Music
1 Radiohead and the Philosophy of Music Edward Slowik There’s an old joke about a stranger who, upon failing to get any useful directions from a local resident, complains that the local “doesn’t know much.” The local replies, “yeah, but I ain’t lost”. Philosophers of music are kind of like that stranger. Music is an important part of most people’s lives, but they often don’t know much about it—even less about the philosophy that underlies music. Most people do know what music they like, however. They have no trouble picking and choosing their favorite bands or DJs (they aren’t lost). But they couldn’t begin to explain the musical forms and theory involved in that music, or, more importantly, why it is that music is so important to them (they can’t give directions). Exploring the evolution of Radiohead’s musical style and its unique character is a good place to start. Radiohead and Rock Music In trying to understand the nature of music, it might seem that focusing on rock music, as a category of popular music, is not a good choice. Specifically, rock music complicates matters because it brings into play lyrics, that is, a non-musical written text. This aspect of rock may draw people’s attention away from the music itself. (In fact, I bet you know many people who like a particular band or song based mainly on the lyrics—maybe these people should take up poetry instead!) That’s why most introductions to the philosophy of music deal exclusively with classical music, since classical music is often both more complex structurally and contains no lyrics, allowing the student to focus upon the purely musical structural components. -
The Most Depressive Songs of Radiohead
The most depressive songs of Radiohead 150 000 1 500 000 listeners at listeners at Last.fm Last.fm 15 Step Jigsaw Falling Into Place Feral Fitter Happier There, There Bodysnatchers Cheerful Backdrifts Separator Go To Sleep My Iron Lung Airbag Packt Like Sardines In a Crushed Tin Box Burn the Witch Sulk House Of Cards Lotus Flower Little By Little Optimistic Myxomatosis A Punch Up At a Wedding Anyone Can Play Guitar Idioteque Sit Down. Stand Up I Might Be Wrong In Limbo Where I End and You Begin Bones Thinking About You Morning Mr Magpie Vegetable Morning Bell Lurgee (Nice Dream) The National Anthem Just 2 + 2 = 5 High And Dry Identikit Subterranean A Wolf At the Door Present Tense Homesick Alien Electioneering Bloom The Bends Karma Police You Blow Out Stop Whispering Black Star Prove Yourself Planet Telex I Can't How Do You? Decks Dark Ripcord Scatterbrain Climbing Up the Walls Morning Bell/Amnesiac Faust Arp Reckoner How To Disappear Paranoid Android Like Spinning Plates Lucky Completely Weird Fishes/ Arpeggi Knives Out Ful Stop Exit Music (For a Film) I Will Kid A Nude Give Up The Ghost Pulk/Pull Revolving Desert Island Disk Street Spirit (Fade Out) Let Down Doors Fake Plastic Trees No Surprises You And Whose Army? The Gloaming Daydreaming Depressing Creep Dollars & Cents All I Need Tinker Tailor Soldier Bullet Proof ... I Wish I Sailor Rich Man Poor Hunting Bears Was Treefingers Man Beggar Man Thief Pyramid Song Codex Everything In Its Right Glass Eyes Life In a Glasshouse Sail To The Moon Videotape The Tourist Place The Numbers Motion Picture We Suck Young Blood True Love Waits Soundtrack Hail To the The King Of A Moon Pablo Honey The Bends OK Computer Kid A Amnesiac In Rainbows Thief Limbs Shaped Pool Data source: https://data.world/rcharlie/gloom-index-of-radiohead-songs. -
Rock Harmony Reconsidered: Tonal, Modal and Contrapuntal Voice&
DOI: 10.1111/musa.12085 BRAD OSBORN ROCK HARMONY RECONSIDERED:TONAL,MODAL AND CONTRAPUNTAL VOICE-LEADING SYSTEMS IN RADIOHEAD A great deal of the harmony and voice leading in the British rock group Radiohead’s recorded output between 1997 and 2011 can be heard as elaborating either traditional tonal structures or establishing pitch centricity through purely contrapuntal means.1 A theory that highlights these tonal and contrapuntal elements departs from a number of developed approaches in rock scholarship: first, theories that focus on fretboard-ergonomic melodic gestures such as axe- fall and box patterns;2 second, a proclivity towards analysing chord roots rather than melody and voice leading;3 and third, a methodology that at least tacitly conflates the ideas of hypermetric emphasis and pitch centre. Despite being initially yoked to the musical conventions of punk and grunge (and their attendant guitar-centric compositional practice), Radiohead’s 1997– 2011 corpus features few of the characteristic fretboard gestures associated with rock harmony (partly because so much of this music is composed at the keyboard) and thus demands reconsideration on its own terms. This mature period represents the fullest expression of Radiohead’s unique harmonic, formal, timbral and rhythmic idiolect,4 as well as its evolved instrumentation, centring on keyboard and electronics. The point here is not to isolate Radiohead’s harmonic practice as something fundamentally different from all rock which came before it. Rather, by depending less on rock-paradigmatic gestures such as pentatonic box patterns on the fretboard, their music invites us to consider how such practices align with existing theories of rock harmony while diverging from others. -
DECLARATION of Rita D. Mitchell in Support Re: 632 MOTION for Summary Judgment Defendants' Notice of Motion for Partial Summ
Arista Records LLC et al v. Lime Wire LLC et al Doc. 635 Att. 35 EXHIBIT 35 Dockets.Justia.com Arista et al. v. Lime Wire et al. SDNY Case No. 06 CV 5936 (KMW) Schedule A No Copyright Plaintiff Artist Song Title Album Title SR Source FileName Fractured 1 Capitol Records, LLC Air Traffic Come On Life 638-226 Dtecnet A1.AirTraffic.ComeOn.65.35.30.58_35830.zip Empty Fractured A2.AirTraffic.EmptySpace.71.204.38.209_39900.zi 2 Capitol Records, LLC Air Traffic Space Life 638-226 Dtecnet p Fractured 3 Capitol Records, LLC Air Traffic Get in Line Life 638-226 Dtecnet A3.AirTraffic.GetInLine.24.32.238.151_30874.zip Just Abuse Fractured A4.AirTraffic.JustAbuseMe.74.178.254.175_19816 4 Capitol Records, LLC Air Traffic Me Life 638-226 Dtecnet .zip Never Even Told Me Her Fractured 5 Capitol Records, LLC Air Traffic Name Life 638-226 Dtecnet A5.AirTraffic.NeverEven.71.251.72.33_27928.zip No More Running Fractured A6.AirTraffic.Nomorerunningaway.71.222.81.235_ 6 Capitol Records, LLC Air Traffic Away Life 638-226 Dtecnet 21475.zip Peewee Fractured A7AirTraffic.PeeweeMartini.75.101.203.136_6346. 7 Capitol Records, LLC Air Traffic Martini Life 638-226 Dtecnet 2.zip Shooting Fractured 8 Capitol Records, LLC Air Traffic Star Life 638-226 Dtecnet A8.AirTraffic.ShootingStar.67.180.6.207_24517.zip Time Goes Fractured A9.AirTraffic.TimeGoesBy.69.180.241.136_23038. 9 Capitol Records, LLC Air Traffic By Life 638-226 Dtecnet zip 10 Capitol Records, LLC Al Green Just For Me Lay it Down 638-220 Dtecnet A10.AlGreen.JustForMe.75.143.71.176_28547.zip 11 Capitol Records, LLC Al Green Lay it Down Lay it Down 638-220 Dtecnet A11.AlGreen.LayitDown.75.182.102.75_28209.zip No One Like A12.AlGreen.NoOneLikeYou.68.51.221.28_22088. -
Radiohead: the Guitar Weilding, Dancing, Singing Commodity
Georgia State University ScholarWorks @ Georgia State University Communication Theses Department of Communication 2-23-2009 Radiohead: The Guitar Weilding, Dancing, Singing Commodity Selena Michelle Lawson Follow this and additional works at: https://scholarworks.gsu.edu/communication_theses Part of the Communication Commons Recommended Citation Lawson, Selena Michelle, "Radiohead: The Guitar Weilding, Dancing, Singing Commodity." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/communication_theses/47 This Thesis is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. RADIOHEAD: THE GUITAR WEILDING, DANCING, SINGING COMMODITY by SELENA LAWSON Under the Direction of Jeffery Bennett ABSTRACT In 2007, Radiohead released a downloadable album, In Rainbows, allowing consumers to pay what they thought the album was worth. The band responded to a moment of change in the music industry. Since then, other bands, like Nine Inch Nails and Coldplay, have made similar moves. Radiohead's capability to release an album and let the fans decide its worth relied on the image they built, which foregrounded their commodification. The historic move redefined the boundaries between art and commodity, a well know tension in popular music studies. The thesis focuses on popular music as communication in the changing industry. Using Radiohead’s album as a case study, it looks at the changing boundaries in the tension between art and commodity. The thesis examines Radiohead's performance, its mediation by the press, and what the album’s distribution method meant to the fans. -
The Pleasure of the Intertext: Towards a Cognitive Poetics of Adaptation
!1 THE PLEASURE OF THE INTERTEXT: TOWARDS A COGNITIVE POETICS OF ADAPTATION A dissertation presented by Meg Tarquinio to The Department of English In partial fulfillment of the requirements for the degree of Doctor of Philosophy in the field of English Northeastern University Boston, Massachusetts April, 2017 !2 THE PLEASURE OF THE INTERTEXT: TOWARDS A COGNITIVE POETICS OF ADAPTATION by Meg Tarquinio ABSTRACT OF DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English Literature in the College of Social Sciences and Humanities of Northeastern University April, 2017 !3 ABSTRACT The field of adaptation studies has been diagnosed as lacking consensus around its main tenets, especially those that would build a strong ontological foundation. This study participates in the burgeoning critical approach that places cognitive science in conversation with literary theory, looking towards the start of a cognitive turn in adaptation studies. Specifically, I offer the axiom that adaptations are analogies. In other words, I advance the original argument that adaptations are the textual expression of the cognitive function of analogy. Here, I’m using a cognitive theory of analogy as the partial mapping of knowledge (objects and relations) from a source domain to a target domain. From this vantage point, I reassess the theoretical tensions and analytical practices of adaptation studies. For instance, the idea of essence is an anathema within academic studies of adaptation, yet it continues to hold sway within popular discourse. My approach allows for a productive return to essence, not as some mystical quality inherent in an original text and then indescribably transmitted to its adaptation, but as the expression of a key sub-process of analogical reasoning – what Douglas Hofstadter refers to, conveniently, as “essence” or “gist extraction.” This line of argument demonstrates the degree to which André Bazin’s 1948 theorization of adaptation is in line with this cognitive version of essence. -
O Download De Música Na Internet Nos Discursos Do Portal G1 (2006 - 2013)
JULIANA DE ALENCAR VIANA ASCENSÃO E QUEDA: o download de música na internet nos discursos do portal G1 (2006 - 2013) BELO HORIZONTE UNIVERSIDADE FEDERAL DE MINAS GERAIS 2016 Juliana de Alencar Viana ASCENSÃO E QUEDA: o download de música na internet nos discursos do portal G1 (2006 - 2013) Tese apresentada ao Programa de Pós-Graduação Interdisciplinar em Estudos do Lazer da Universidade Federal de Minas Gerais, como requisito parcial para obtenção do grau de Doutora em Estudos do Lazer. Área de concentração: Cultura e Educação Linha de pesquisa: Lazer e Sociedade Orientador: Prof. Dr. Rafael Fortes Belo Horizonte Escola de Educação Física, Fisioterapia e Terapia Ocupacional da UFMG 2016 V614a Viana, Juliana de Alencar 2016 Ascensão e queda: o download de música na internet nos discursos do Portal G1 (2006-2013) [manuscrito] / Juliana de Alencar Viana. – 2016. 265 f., enc. il. Orientador: Rafael Fortes Tese (doutorado) – Universidade Federal de Minas Gerais, Escola de Educação Física, Fisioterapia e Terapia Ocupacional. Bibliografia: f. 192-225 1. Lazer - Teses. 2. Música e Internet – Teses. 3. Mídia digital - Teses. I. Fortes, Rafael. II. Universidade Federal de Minas Gerais. Escola de Educação Física, Fisioterapia e Terapia Ocupacional. III. Título. CDU: 379.8 Ficha catalográfica elaborada pela equipe de bibliotecários da Biblioteca da Escola de Educação Física, Fisioterapia e Terapia Ocupacional da Universidade Federal de Minas Gerais. Aos ciberativistas, com respeito e admiração. AGRADECIMENTOS Agradeço: ao meu orientador, Prof. Dr. Rafael Fortes, pela leitura atenta e criteriosa deste trabalho, pelo rigor, apoio, paciência e compreensão nas horas difíceis; ao ORICOLÉ, pela acolhida e formação junto aos pares e companheiros de vida; ao Prof. -
OK Computer Ou L'émergence D'un Rock Syncrétique Chez Radiohead
OK Computer ou l’émergence d’un rock syncrétique chez Radiohead Benjamin Lassauzet To cite this version: Benjamin Lassauzet. OK Computer ou l’émergence d’un rock syncrétique chez Radiohead. Lisa, 2019, XVI (1). hal-03244408 HAL Id: hal-03244408 https://hal.uca.fr/hal-03244408 Submitted on 1 Jun 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Benjamin Lassauzet OK Computer ou l’émergence d’un rock syncrétique chez Radiohead « Dans deux décennies, [OK Computer] sera envisagé comme un album clé, un chef-d’œuvre expérimental et iconoclaste qui osa entraîner le rock bien loin des images et constructions d’antan » Nick Kent, Libération, 17 juin 19971. Après plus de vingt ans d’existence, l’album OK Computer n’a pas fini de fasciner. Et si l’étonnement initial tend à s’émousser, la portée de son message apparaît plus clairement qu’à sa sortie. Il n’est qu’à consulter les critiques rédigées suite à la parution de l’album, qui font apparaître deux remarques récurrentes. D’une part, les commentateurs reconnaissent avoir sous-estimé le groupe sur la base de leurs deux premiers albums (Pablo Honey, 1993 ; The Bends, 1995) : trop vite considéré comme un énième avatar post-Nirvana suite au succès planétaire de « Creep » (avec ses paroles auto-dépréciatrices et ses oppositions dynamiques très marquées), Radiohead peinait, en effet, à s’extraire d’une image encombrante le poursuivant depuis ses débuts. -
Corpus Antville
Corpus Epistemológico da Investigação Vídeos musicais referenciados pela comunidade Antville entre Junho de 2006 e Junho de 2011 no blogue homónimo www.videos.antville.org Data Título do post 01‐06‐2006 videos at multiple speeds? 01‐06‐2006 music videos based on cars? 01‐06‐2006 can anyone tell me videos with machine guns? 01‐06‐2006 Muse "Supermassive Black Hole" (Dir: Floria Sigismondi) 01‐06‐2006 Skye ‐ "What's Wrong With Me" 01‐06‐2006 Madison "Radiate". Directed by Erin Levendorf 01‐06‐2006 PANASONIC “SHARE THE AIR†VIDEO CONTEST 01‐06‐2006 Number of times 'panasonic' mentioned in last post 01‐06‐2006 Please Panasonic 01‐06‐2006 Paul Oakenfold "FASTER KILL FASTER PUSSYCAT" : Dir. Jake Nava 01‐06‐2006 Presets "Down Down Down" : Dir. Presets + Kim Greenway 01‐06‐2006 Lansing‐Dreiden "A Line You Can Cross" : Dir. 01‐06‐2006 SnowPatrol "You're All I Have" : Dir. 01‐06‐2006 Wolfmother "White Unicorn" : Dir. Kris Moyes? 01‐06‐2006 Fiona Apple ‐ Across The Universe ‐ Director ‐ Paul Thomas Anderson. 02‐06‐2006 Ayumi Hamasaki ‐ Real Me ‐ Director: Ukon Kamimura 02‐06‐2006 They Might Be Giants ‐ "Dallas" d. Asterisk 02‐06‐2006 Bersuit Vergarabat "Sencillamente" 02‐06‐2006 Lily Allen ‐ LDN (epk promo) directed by Ben & Greg 02‐06‐2006 Jamie T 'Sheila' directed by Nima Nourizadeh 02‐06‐2006 Farben Lehre ''Terrorystan'', Director: Marek Gluziñski 02‐06‐2006 Chris And The Other Girls ‐ Lullaby (director: Christian Pitschl, camera: Federico Salvalaio) 02‐06‐2006 Megan Mullins ''Ain't What It Used To Be'' 02‐06‐2006 Mr. -
Britain╎s Radiohead Gets a Musical Makeover by Lawrence Jazz
Lawrence University Lux Press Releases Communications 3-1-2011 Britain’s Radiohead Gets a Musical Makeover by Lawrence Jazz Department Lawrence University Follow this and additional works at: http://lux.lawrence.edu/pressreleases © Copyright is owned by the author of this document. Recommended Citation Lawrence University, "Britain’s Radiohead Gets a Musical Makeover by Lawrence Jazz Department" (2011). Press Releases. Paper 444. http://lux.lawrence.edu/pressreleases/444 This Press Release is brought to you for free and open access by the Communications at Lux. It has been accepted for inclusion in Press Releases by an authorized administrator of Lux. For more information, please contact [email protected]. Britain’s Radiohead Gets a Musical Makeover by Lawrence Jazz Department Posted on: March 1st, 2011 by Rick Peterson The music of the inventive and popular English alternative rock band Radiohead gets a major makeover in Lawrence University’s ambitious Radiohead Jazz Project. A dozen Radiohead songs, rearranged for large jazz ensemble format by an international array of composers, make their world premiere March 8-9 in a pair of performances by the Lawrence University Jazz Ensemble and the Lawrence University Jazz Band. The project was hatched last summer, when Fred Sturm, Lawrence’s director of jazz studies and improvisational music and colleague Patty Darling, director of the jazz band, discussed the feasibility of a Radiohead large jazz ensemble arranging initiative to bring added relevancy to the music their students play. “I’ve heard too many collegiate jazz concerts that don’t include a single selection composed within the lifetime of the students,” said Sturm.