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“THE MOVEMENT of COERCION” Justice David J. Brewer
“THE MOVEMENT OF COERCION” BY Justice David J. Brewer _______ FOREWORD BY DOUGLAS A. HEDIN Editor, MLHP David Josiah Brewer served on the Supreme Court from December 18, 1889 to March 27, 1910. Off the court, he continued to express his views on a wide range of subjects, legal and otherwise, through articles in journals, books and numerous public addresses, including the following to the New York State Bar Association in January 1893. 1 His topic was “The Movement of Coercion” which, he explained, referred to the demands of the “multitudes” to share the wealth earned and accumulated by a few: I wish rather to notice that movement which may be denominated the movement of "coercion," and which by the mere force of numbers seeks to diminish protection to private property. It is a movement which in spirit, if not in letter, violates both the Eighth and Tenth Command- ments; a moment, which, seeing that which a man has, attempts to wrest it from him and transfer it to those who have not. It is the unvarying law, that the wealth of a community will not be in the hands of a few, and the greater the general wealth, the greater the individual accumulations. 1 In his biography of the justice, Michael J. Brodhead devotes an entire chapter to his “off-the- bench activities.” David J. Brewer: The Life of a Supreme Court Justice, 1837-1919 116-138 (Southern Illinois Univ. Press, 1994)(“In fact, he was the most visible and widely known member of the Fuller Court.”). 1 He argued that the “coercion movement” against private property expressed itself through, first, unions and, second, excessive regulation, though neither was evil per se : First, in the improper use of labor organizations to destroy the freedom of the laborer, and control the uses of capital. -
MUSIC 262: Art/Prog Rock [Brian Ward Demonstrates a Tune on Piano
MUSIC 262: Art/Prog Rock [Brian Ward demonstrates a tune on piano] [Brian Ward]: So around this time in rock and roll we really start to see a lot of fragmentation going on, and that’s reflected in this course. The way we have this designed is so that we can go in different directions with the music, and that’s what the music did all sort of at the same time. One of the directions is what we now call art rock and also progressive rock. Now art rock and progressive rock are terms that are used loosely. A good way to describe it is art rock is rock and roll that is influenced by classical music while progressive rock is more influenced by jazz, so- but you have different elements in varying degrees of influence and in different ways. A good illustration of that is one of the first bands that I want to talk about is The Who. Now The Who were definitely a straight down the line rock and roll band, and they started like a lot of these other British bands: imitating the blues and rhythm and blues music from the United States, but The Who were very unique. They had probably the most four individualized members of any band of all time. All four members of the band, Pete Townshend, Roger Daltrey, John Entwistle, and Keith Moon, were all very, very different people coming from different backgrounds, and that reflected in their music, and they used that to their advantage quite a bit. But with The Who I think rock star first becoming an art form in the sense that they had longer forms and they used many structures that eventually became mini-operas and they eventually made a rock opera called “Tommy.” Now when they started out they were more on the cutting edge of hard rock. -
My Bloody Valentine's Loveless David R
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 My Bloody Valentine's Loveless David R. Fisher Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MY BLOODY VALENTINE’S LOVELESS By David R. Fisher A thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the thesis of David Fisher on March 29, 2006. ______________________________ Charles E. Brewer Professor Directing Thesis ______________________________ Frank Gunderson Committee Member ______________________________ Evan Jones Outside Committee M ember The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables......................................................................................................................iv Abstract................................................................................................................................v 1. THE ORIGINS OF THE SHOEGAZER.........................................................................1 2. A BIOGRAPHICAL ACCOUNT OF MY BLOODY VALENTINE.………..………17 3. AN ANALYSIS OF MY BLOODY VALENTINE’S LOVELESS...............................28 4. LOVELESS AND ITS LEGACY...................................................................................50 BIBLIOGRAPHY..............................................................................................................63 -
Aaron Spectre «Lost Tracks» (Ad Noiseam, 2007) | Reviews На Arrhythmia Sound
2/22/2018 Aaron Spectre «Lost Tracks» (Ad Noiseam, 2007) | Reviews на Arrhythmia Sound Home Content Contacts About Subscribe Gallery Donate Search Interviews Reviews News Podcasts Reports Home » Reviews Aaron Spectre «Lost Tracks» (Ad Noiseam, 2007) Submitted by: Quarck | 19.04.2008 no comment | 198 views Aaron Spectre , also known for the project Drumcorps , reveals before us completely new side of his work. In protovoves frenzy breakgrindcore Specter produces a chic downtempo, idm album. Lost Tracks the result of six years of work, but despite this, the rumor is very fresh and original. The sound is minimalistic without excesses, but at the same time the melodies are very beautiful, the bit powerful and clear, pronounced. Just want to highlight the composition of Break Ya Neck (Remix) , a bit mystical and mysterious, a feeling, like wandering somewhere in the http://www.arrhythmiasound.com/en/review/aaron-spectre-lost-tracks-ad-noiseam-2007.html 1/3 2/22/2018 Aaron Spectre «Lost Tracks» (Ad Noiseam, 2007) | Reviews на Arrhythmia Sound dusk. There was a place and a vocal, in a track Degrees the gentle voice Kazumi (Pink Lilies) sounds. As a result, Lost Tracks can be safely put on a par with the works of such mastadonts as Lusine, Murcof, Hecq. Tags: downtempo, idm Subscribe Email TOP-2013 Submit TOP-2014 TOP-2015 Tags abstract acid ambient ambient-techno artcore best2012 best2013 best2014 best2015 best2016 best2017 breakcore breaks cyberpunk dark ambient downtempo dreampop drone drum&bass dub dubstep dubtechno electro electronic experimental female vocal future garage glitch hip hop idm indie indietronica industrial jazzy krautrock live modern classical noir oldschool post-rock shoegaze space techno tribal trip hop Latest The best in 2017 - albums, places 1-33 12/30/2017 The best in 2017 - albums, places 66-34 12/28/2017 The best in 2017. -
MTO 17.3: Osborn, Understanding Through-Composition
KU ScholarWorks | http://kuscholarworks.ku.edu Please share your stories about how Open Access to this article benefits you. Understanding Through-Composition in Post- Rock, Math-Metal, and other Post-Millennial Rock Genres by Brad Osborn 2011 This is the published version of the article, made available with the permission of the publisher. The original published version can be found at the link below. Osborn, Brad. 2011. “Understanding Through-Composition in Post- Rock, Math-Metal, and other Post-Millennial Rock Genres.” Music Theory Online 17, no. 3 Published version: http://www.mtosmt.org/issues/mto.11.17.3/ mto.11.17.3.osborn.pdf Terms of Use: http://www2.ku.edu/~scholar/docs/license.shtml This work has been made available by the University of Kansas Libraries’ Office of Scholarly Communication and Copyright. Volume 17, Number 3, October 2011 Copyright © 2011 Society for Music Theory Understanding Through-Composition in Post-Rock, Math-Metal, and other Post-Millennial Rock Genres (1) Brad Osborn NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.11.17.3/mto.11.17.3.osborn.php KEYWORDS: form, through-composition, rock, experimental rock, post-millennial rock, art rock, post-rock, math-metal, progressive rock, Radiohead, Animal Collective, The Beatles ABSTRACT: Since the dawn of experimental rock’s second coming in the new millennium, experimental artists have begun distancing themselves from Top-40 artists through formal structures that eschew recapitulatory verse/chorus conventions altogether. In order to understand the correlation between genre and form more thoroughly, this paper provides a taxonomic approach to through-composition in several post-millennial experimental rock genres including post-rock, math-metal, art rock, and neo-prog. -
Live to the Metal Music Živi Uz Metal Muziku
LIVE TO THE METAL MUSIC ŽIVI UZ METAL MUZIKU Autori: JOVANA KAZIMIROVIĆ IVA NICULOVIĆ VIII razred, OŠ “Branko Radičević” Negotin Regionalni Centar za talente Bor Mentor: VESNA PRVULOVIĆ prof. Engleskog jezika i književnosti, OŠ “Branko Radičević” Negotin Negotin, aprila 2013. godine 1 Contents Abstract……………………………………………………………………………………3 Summary…………………………………………………………………………………..4 Introduction………………………………………………………………………………..5 Metal music………………………………………………………………………………..6 Sub-genres of Heavy Metal……………………………………………………………….10 Conclusion………………………………………………………………………………...15 2 Abstract Metal is a movement of music that started essentially with the heavy rock movements. While there was not actual metal during that time, bands were experimenting with heaviness, and it was no surprise that the first metal band (Black Sabbath) was soon to be born. Metal music is a worldwide form of music that has held the attention of younger generations for over 50 years. Metal music has branched off into different sub genres, but one thing is the main motivator for the survival of metal music through all the generations. That is a need for younger generations to rebel against the status quo, to express themselves and their frustration of an outdated way of life. This paper presents the development of metal music from the 1960s to the present day, with special emphasis on some of the metal sub-genre of music. Originally, metal was one genre. But as time passed more genres were born. Today metal is a global movement and has hundreds of sub-genres such as Heavy, Death, Black, Doom, Power, Thrash, Speed, Folk, Industrial, Symphonic, Gothic & Nu-Metal, to name just a few. They range from sheer brutality to smooth and melodic rhythms. -
Song Title Artist Disc
Song Title Artist Disc # # 1 CRUSH GARBAGE 6639 # 9 DREAM LENNON, JOHN 6013 #1 NELLY 9406 (LOVE IS LIKE A) HEATWAVE MARTHA & THE VANDELLAS 7235 (YOU WANT TO) MAKE A MEMORY BON JOVI 14106 (YOU'VE GOT) THE MAGIC TOUCH PLATTERS, THE 1255 '03 BONNIE & CLYDE JAY-Z & BEYONCE 10971 1 THING AMERIE 13133 1, 2, 3 RED LIGHT 1910 FRUITGUM CO. 10237 1,2 STEP CIARA & MISSY ELLIOTT 12989 10 OUT OF 10 LOUCHIE LOU 7399 10 SECONDS DOWN SUGAR RAY 6418 10,000 PROMISES BACKSTREET BOYS 3350 100 YEARS FIVE FOR FIGHTING 12772 100% PURE LOVE WATERS, CRYSTAL 9306 1000 OCEANS AMOS, TORRIE 6711 10TH AVE. FREEZEOUT SPRINGSTEEN, BRUCE 11813 10TH AVENUE FREEZE OUT SPRINGSTEEN, BRUCE 2632 12:51 STROKES, THE 12520 1-2-3 BARRY, LEN 8210 ESTEFAN, GLORIA 13 18 & LIFE SKID ROW 2633 1969 STEGALL, KEITH 6712 1979 SMASHING PUMPKINS 6713 1982 TRAVIS, RANDY 3386 1985 BOWLING FOR SOUP 12880 1999 PRINCE 6714 19TH NERVOUS BREAKDOWN ROLLING STONES, THE 1032 2 BECOME 1 SPICE GIRLS 1427 2 STEP DJ UNK 14155 20 GOOD REASONS THIRSTY MERC 14107 2001 INTRO ELVIS 1604 20TH CENTURY FOX DOORS, THE 6715 21 QUESTIONS 50 CENT & NATE DOGG 11730 24 JEM 13169 24 HOURS AT A TIME TUCKER, MARSHALL, B 2634 24/7 EDMONDS, KEVON 6820 25 MILES STARR, EDWIN 9488 25 OR 6 TO 4 CHICAGO 4735 26 MILES FOUR PREPS, THE 10102 26 CENTS WILKINSONS, THE 6821 29 NIGHTS LEIGH, DANNI 6822 3 LIBRAS PERFECT CIRCLE, A 6824 3 LITTLE PIGS GREEN JELLY 2429 3:00 A.M. -
The Music Column That Wouldn't Die: New Album Reviews
The Music Column That Wouldn’t Die: New Album Reviews. I told myself I was over this, that I had retired from the world of music reviews. I had moved onto bigger and better things (mostly staring at the wall and wondering why nobody calls me anymore). Yet here I am, a mere few months after burning my bridges, giving up on new music and making a world of enemies, back in the game. Did I miss the constant abuse, the being paid in soiled pennies and the lack of recognition which writing this unremembered column entailed? Funnily enough, I did! It was listening to the post punk genius of the new Dry Cleaning record that did it. I thought to myself ‘someone has to take it upon themselves to tell the world just how good this album is’. After a moment of quiet reflection where I drank a glass of lukewarm Ribena to calm the nerves, I decided that that person may as well be me. By JOHN BITTLES So, here we are. Bittles’ Magazine, like some particularly bothersome zombie with a bad haircut and worse breath, has been reborn. And what a re-introduction we have! In this month’s reviews there is the art heavy punk funk strut of Squid, the melancholy dream pop of White Flowers, Thomas Fehlmann’s rich ambiance, the return of living legends The Coral, the skewed pop of Dntel, and Dry Cleaning of course. So, tell all your friends, phone the tabloids, and let us begin… New Long Leg by Dry Cleaning. -
Willie Nelson
LESSON GUIDE • GRADES 3-6 TABLE OF CONTENTS 3 Introduction 4 About the Guide 5 Pre and Post-Lesson: Anticipation Guide 6 Lesson 1: Introduction to Outlaws 7 Lesson 1: Worksheet 8 Lyric Sheet: Me and Paul 9 Lesson 2: Who Were The Outlaws? 10 Lesson 3: Worksheet 12 Activities: Jigsaw Texts 14 Lyric Sheet: Are You Sure Hank Done It This Way 15 Lesson 4: T for Texas, T for Tennessee 16 Lesson 5: Literary Lyrics 17 Lyric Sheet: Daddy What If? 18 Lyric Sheet: Act Naturally 19 Complete Tennessee Standards 21 Complete Texas Standards 23 Biographies 3-6 Table of Contents 2 Outlaws and Armadillos: Country’s Roaring ‘70s examines how the Outlaw movement greatly enlarged country music’s audience during the 1970s. Led by pacesetters such as Willie Nelson, Waylon Jennings, Kris Kristofferson, and Bobby Bare, artists in Nashville and Austin demanded the creative freedom to make their own country music, different from the pop-oriented sound that prevailed at the time. This exhibition also examines the cultures of Nashville and fiercely independent Austin, and the complicated, surprising relationships between the two. Artwork by Sam Yeates, Rising from the Ashes, Willie Takes Flight for Austin (2017) 3-6 Introduction 3 This interdisciplinary lesson guide allows classrooms to explore the exhibition Outlaws and Armadillos: Country’s Roaring ‘70s on view at the Country Music Hall of Fame and Museum® from May 25, 2018 – February 14, 2021. Students will examine the causes and effects of the Outlaw movement through analysis of art, music, video, and nonfiction texts. In doing so, students will gain an understanding of the culture of this movement; who and what influenced it; and how these changes diversified country music’s audience during this time. -
The DIY Careers of Techno and Drum 'N' Bass Djs in Vienna
Cross-Dressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music Feature Article David Madden Concordia University (Canada) Abstract Addressing the international emergence of electroclash at the turn of the millenium, this article investigates the distinct character of the genre and its related production practices, both in and out of the studio. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony. Electroclash also emphasizes, rather than hides, the European, trashy elements of electronic dance music. The coming together of rock and electro is examined vis-à-vis the ongoing changing sociality of music production/ distribution and the changing role of the producer. Numerous women, whether as solo producers, or in the context of collaborative groups, significantly contributed to shaping the aesthetics and production practices of electroclash, an anomaly in the history of popular music and electronic music, where the role of the producer has typically been associated with men. These changes are discussed in relation to the way electroclash producers Peaches, Le Tigre, Chicks on Speed, and Miss Kittin and the Hacker often used a hybrid approach to production that involves the integration of new(er) technologies, such as laptops containing various audio production softwares with older, inexpensive keyboards, microphones, samplers and drum machines to achieve the ironic backbeat laden hybrid electro-rock sound. Keywords: electroclash; music producers; studio production; gender; electro; electronic dance music Dancecult: Journal of Electronic Dance Music Culture 4(2): 27–47 ISSN 1947-5403 ©2011 Dancecult http://dj.dancecult.net DOI: 10.12801/1947-5403.2012.04.02.02 28 Dancecult 4(2) David Madden is a PhD Candidate (A.B.D.) in Communications at Concordia University (Montreal, QC). -
Metaldata: Heavy Metal Scholarship in the Music Department and The
Dr. Sonia Archer-Capuzzo Dr. Guy Capuzzo . Growing respect in scholarly and music communities . Interdisciplinary . Music theory . Sociology . Music History . Ethnomusicology . Cultural studies . Religious studies . Psychology . “A term used since the early 1970s to designate a subgenre of hard rock music…. During the 1960s, British hard rock bands and the American guitarist Jimi Hendrix developed a more distorted guitar sound and heavier drums and bass that led to a separation of heavy metal from other blues-based rock. Albums by Led Zeppelin, Black Sabbath and Deep Purple in 1970 codified the new genre, which was marked by distorted guitar ‘power chords’, heavy riffs, wailing vocals and virtuosic solos by guitarists and drummers. During the 1970s performers such as AC/DC, Judas Priest, Kiss and Alice Cooper toured incessantly with elaborate stage shows, building a fan base for an internationally-successful style.” (Grove Music Online, “Heavy metal”) . “Heavy metal fans became known as ‘headbangers’ on account of the vigorous nodding motions that sometimes mark their appreciation of the music.” (Grove Music Online, “Heavy metal”) . Multiple sub-genres . What’s the difference between speed metal and death metal, and does anyone really care? (The answer is YES!) . Collection development . Are there standard things every library should have?? . Cataloging . The standard difficulties with cataloging popular music . Reference . Do people even know you have this stuff? . And what did this person just ask me? . Library of Congress added first heavy metal recording for preservation March 2016: Master of Puppets . Library of Congress: search for “heavy metal music” April 2017 . 176 print resources - 25 published 1980s, 25 published 1990s, 125+ published 2000s . -
ADAM and the ANTS Adam and the Ants Were Formed in 1977 in London, England
ADAM AND THE ANTS Adam and the Ants were formed in 1977 in London, England. They existed in two incarnations. One of which lasted from 1977 until 1982 known as The Ants. This was considered their Punk era. The second incarnation known as Adam and the Ants also featured Adam Ant on vocals, but the rest of the band changed quite frequently. This would mark their shift to new wave/post-punk. They would release ten studio albums and twenty-five singles. Their hits include Stand and Deliver, Antmusic, Antrap, Prince Charming, and Kings of the Wild Frontier. A large part of their identity was the uniform Adam Ant wore on stage that consisted of blue and gold material as well as his sophisticated and dramatic stage presence. Click the band name above. ECHO AND THE BUNNYMEN Formed in Liverpool, England in 1978 post-punk/new wave band Echo and the Bunnymen consisted of Ian McCulloch (vocals, guitar), Will Sergeant (guitar), Les Pattinson (bass), and Pete de Freitas (drums). They produced thirteen studio albums and thirty singles. Their debut album Crocodiles would make it to the top twenty list in the UK. Some of their hits include Killing Moon, Bring on the Dancing Horses, The Cutter, Rescue, Back of Love, and Lips Like Sugar. A very large part of their identity was silohuettes. Their music videos and album covers often included silohuettes of the band. They also have somewhat dark undertones to their music that are conveyed through the design. Click the band name above. THE CLASH Formed in London, England in 1976, The Clash were a punk rock group consisting of Joe Strummer (vocals, guitar), Mick Jones (vocals, guitar), Paul Simonon (bass), and Topper Headon (drums).