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Live Among the White Trash: a History of Nono----Manman on Stage
Live Among the White Trash: A history of nono----manman on stage “There are no No-Man concerts scheduled for the foreseeable future.” (from the official no-man website) Anyone who has followed no-man’s career over the previous ten years or so will be acutely aware that the band does not play live. If no-man “exist” as a band at all – and their infrequent releases mean they are more an ongoing understanding between two men rather than an active unit – it is only in the studio. Over a series of uncompromising albums no-man’s music has become ever more complex, yet ironically, “live sounding” than the release which proceeded it. But this organic “liveness” is mainly an illusion; the feeling of spontaneity often the result of numerous edits and takes which only the precision of studio work can produce. Others have tried to perform equally difficult music live: Radiohead ambitiously thrusting their clicks-and- cuts post-rock upon the world’s stadiums, for example. But for a variety of reasons, no-man simply haven’t tried – at least, not since 1994 and not until a one-off performance in 2006. The only comparable case is Talk Talk’s retreat into the studio in the late 1980s. Both bands have undoubtedly crafted their best work without going near an audience. 1 But it wasn’t always so. no-man were once very much a live act, promoting singles and albums with dates and undertaking two full-blown tours – though they rarely played outside London, never went further north than Newcastle, and never played outside Great Britain. -
Japanese Hermeneutics
JAPANESE HERMENEUTICS CURRENT DEBATES ON AESTHETICS AND INTERPRETATION EDITED BY MICHAEL F. MARRA JAPANESE HERMENEUTICS JAPANESE HERMENEUTICS CURRENT DEBATES ON AESTHETICS AND INTERPRETATION EDITED BY MICHAEL F. MARRA University of Hawai‘i Press Honolulu © 2002 University of Hawai‘i Press All rights reserved Printed in the United States of America 07 06 05 04 03 02 654321 Library of Congress Cataloging-in-Publication Data Japanese hermeneutics : current debates on aesthetics and interpretation / edited by Michael F. Marra. p. cm. Includes index. ISBN 0-8248-2457-1 (cloth : alk. paper) 1. Aesthetics, Japanese. 2. Hermeneutics. 3. Japanese literature— History and criticism. I. Marra, Michele. BH221.J3 J374 2000 111Ј.85Ј0952—dc21 2001040663 University of Hawai‘i Press books are printed on acid-free paper and meet the guidelines for permanence and durability of the Council on Library Resources. Designed by Carol Colbath Printed by The Maple-Vail Book Manufacturing Group Volano gli angeli in Paradiso Che adornano con il sorriso Nel ricordo di Gemmina (1960 –2000) CONTENTS Acknowledgments ix Abbreviations xi Introduction Michael F. Marra 1 HERMENEUTICS AND JAPAN 1. Method, Hermeneutics, Truth Gianni Vattimo 9 2. Poetics of Intransitivity Sasaki Ken’ichi 17 3. The Hermeneutic Approach to Japanese Modernity: “Art-Way,” “Iki,” and “Cut-Continuance” O¯ hashi Ryo¯suke 25 4. Frame and Link: A Philosophy of Japanese Composition Amagasaki Akira 36 5. The Eloquent Stillness of Stone: Rock in the Dry Landscape Garden Graham Parkes 44 6. Motoori Norinaga’s Hermeneutic of Mono no Aware: The Link between Ideal and Tradition Mark Meli 60 7. Between Individual and Communal, Subject and Object, Self and Other: Mediating Watsuji Tetsuro¯’s Hermeneutics John C. -
June 26, 1995
Volume$3.00Mail Registration ($2.8061 No. plusNo. 1351 .20 GST)21-June 26, 1995 rn HO I. Y temptation Z2/Z4-8I026 BUM "temptation" IN ate, JUNE 27th FIRST SIN' "jersey girl" r"NAD1AN TOUR DATES June 24 (2 shows) - Discovery Theatre, Vancouver June 27 a 28 - St. Denis Theatre, Montreal June 30 - NAC Theatre, Ottawa July 4 - Massey Hall, Toronto PRODUCED BY CRAIG STREET RPM - Monday June 26, 1995 - 3 theUSArts ireartstrade of and andrepresentativean artsbroadcasting, andculture culture Mickey film, coalition coalition Kantorcable, representing magazine,has drawn getstobook listdander publishing companiesKantor up and hadthat soundindicated wouldover recording suffer thatKantor heunder wasindustries. USprepared trade spokespersonCanadiansanctions. KeithThe Conference for announcement theKelly, coalition, nationalof the was revealed Arts, expecteddirector actingthat ashortly. of recent as the a FrederickPublishersThe Society of Canadaof Composers, Harris (SOCAN) Authors and and The SOCANand Frederick Music project.the preview joint participation Canadian of SOCAN and works Harris in this contenthason"areGallup the theconcerned information Pollresponsibilityto choose indicated about from.highway preserving that to He ensure a and alsomajority that our pointedthere culturalthe of isgovernment Canadiansout Canadian identity that in MusiccompositionsofHarris three MusicConcert newCanadian Company at Hallcollections Toronto's on pianist presentedJune Royal 1.of Monica Canadian a Conservatory musical Gaylord preview piano of Chatman,introducedpresidentcomposers of StevenGuest by the and their SOCAN GellmanGaylord.speaker respective Foundation, and LouisThe composers,Alexina selections Applebaum, introduced Louie. Stephen were the originatethatisspite "an 64% of American the ofKelly abroad,cultural television alsodomination policies mostuncovered programs from in of place ourstatisticsscreened the media."in US; Canada indicatingin 93% Canada there of composersdesignedSeriesperformed (Explorations toThe the introduceinto previewpieces. -
The History of Rock Music: 1970-1975
The History of Rock Music: 1970-1975 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 Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) Sound 1973-78 (These are excerpts from my book "A History of Rock and Dance Music") Borderline 1974-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. In the second half of the 1970s, Brian Eno, Larry Fast, Mickey Hart, Stomu Yamashta and many other musicians blurred the lines between rock and avantgarde. Brian Eno (34), ex-keyboardist for Roxy Music, changed the course of rock music at least three times. The experiment of fusing pop and electronics on Taking Tiger Mountain By Strategy (sep 1974 - nov 1974) changed the very notion of what a "pop song" is. Eno took cheap melodies (the kind that are used at the music-hall, on television commercials, by nursery rhymes) and added a strong rhythmic base and counterpoint of synthesizer. The result was similar to the novelty numbers and the "bubblegum" music of the early 1960s, but it had the charisma of sheer post-modernist genius. Eno had invented meta-pop music: avantgarde music that employs elements of pop music. He continued the experiment on Another Green World (aug 1975 - sep 1975), but then changed its perspective on Before And After Science (? 1977 - dec 1977). Here Eno's catchy ditties acquired a sinister quality. -
Strange Vocality in ‘World Music’ and Beyond1
Volume 5 (2011) ISSN 1751-7788 Planet Voice: Strange Vocality in ‘World Music’ and Beyond1 Amy Frishkey University of California, Los Angeles Unfettered by lyrics – at least any you can understand – you luxuriate in sound. Perhaps your thoughts drift with the bright, timeless voices. Maybe, for a moment, you experience the mystery. – Pam Lambert on the choir Le Mystère des Voix Bulgares2 Modern Arab artists are taking traditional melodies, rhythms, instrumentation and singing styles and superimposing them over Western pop styles. The results are irresistible blends that do not require the listener to understand the lyrics or comprehend the subtleties of the singing. This is clearly music for celebration and, of course, dancing. – Zein Al-Jundi and Jacob Edgar on the compilation Arabic Groove3 History bypassed these women long ago; theirs is the life of eternal duties, ancient rhythms and primal emotions. […] And so, when they sing, you feel they are singing truth. They don’t really have another reason to sing – they’ve had no show-biz careers and won’t get them now. So these songs are like field recordings, which are then layered and processed and yet somehow still sound authentic. – Jesse Kornbluth on the CD Umalali: The Garifuna Women’s Project4 Suyá learned other people’s songs, sang them, and in a sense became them. The Suyá might be Upper Xingu Indians at one time, their own ancestors at another, and an American anthropologist or a Brazilian peasant through their song and movements at yet other times. – Anthony Seeger, in Why Suyá Sing5 Introduction The first three quotations presented here describe an attitude toward vocality 1 within the world music marketing category, from its inception in 1987 to the present day, which nearly exhibits the proportions of genre. -
Marygold Manor DJ List
Page 1 of 143 Marygold Manor 4974 songs, 12.9 days, 31.82 GB Name Artist Time Genre Take On Me A-ah 3:52 Pop (fast) Take On Me a-Ha 3:51 Rock Twenty Years Later Aaron Lines 4:46 Country Dancing Queen Abba 3:52 Disco Dancing Queen Abba 3:51 Disco Fernando ABBA 4:15 Rock/Pop Mamma Mia ABBA 3:29 Rock/Pop You Shook Me All Night Long AC/DC 3:30 Rock You Shook Me All Night Long AC/DC 3:30 Rock You Shook Me All Night Long AC/DC 3:31 Rock AC/DC Mix AC/DC 5:35 Dirty Deeds Done Dirt Cheap ACDC 3:51 Rock/Pop Thunderstruck ACDC 4:52 Rock Jailbreak ACDC 4:42 Rock/Pop New York Groove Ace Frehley 3:04 Rock/Pop All That She Wants (start @ :08) Ace Of Base 3:27 Dance (fast) Beautiful Life Ace Of Base 3:41 Dance (fast) The Sign Ace Of Base 3:09 Pop (fast) Wonderful Adam Ant 4:23 Rock Theme from Mission Impossible Adam Clayton/Larry Mull… 3:27 Soundtrack Ghost Town Adam Lambert 3:28 Pop (slow) Mad World Adam Lambert 3:04 Pop For Your Entertainment Adam Lambert 3:35 Dance (fast) Nirvana Adam Lambert 4:23 I Wanna Grow Old With You (edit) Adam Sandler 2:05 Pop (slow) I Wanna Grow Old With You (start @ 0:28) Adam Sandler 2:44 Pop (slow) Hello Adele 4:56 Pop Make You Feel My Love Adele 3:32 Pop (slow) Chasing Pavements Adele 3:34 Make You Feel My Love Adele 3:32 Pop Make You Feel My Love Adele 3:32 Pop Rolling in the Deep Adele 3:48 Blue-eyed soul Marygold Manor Page 2 of 143 Name Artist Time Genre Someone Like You Adele 4:45 Blue-eyed soul Rumour Has It Adele 3:44 Pop (fast) Sweet Emotion Aerosmith 5:09 Rock (slow) I Don't Want To Miss A Thing (Cold Start) -
Omega Auctions Ltd Catalogue 28 Apr 2020
Omega Auctions Ltd Catalogue 28 Apr 2020 1 REGA PLANAR 3 TURNTABLE. A Rega Planar 3 8 ASSORTED INDIE/PUNK MEMORABILIA. turntable with Pro-Ject Phono box. £200.00 - Approximately 140 items to include: a Morrissey £300.00 Suedehead cassette tape (TCPOP 1618), a ticket 2 TECHNICS. Five items to include a Technics for Joe Strummer & Mescaleros at M.E.N. in Graphic Equalizer SH-8038, a Technics Stereo 2000, The Beta Band The Three E.P.'s set of 3 Cassette Deck RS-BX707, a Technics CD Player symbol window stickers, Lou Reed Fan Club SL-PG500A CD Player, a Columbia phonograph promotional sticker, Rock 'N' Roll Comics: R.E.M., player and a Sharp CP-304 speaker. £50.00 - Freak Brothers comic, a Mercenary Skank 1982 £80.00 A4 poster, a set of Kevin Cummins Archive 1: Liverpool postcards, some promo photographs to 3 ROKSAN XERXES TURNTABLE. A Roksan include: The Wedding Present, Teenage Fanclub, Xerxes turntable with Artemis tonearm. Includes The Grids, Flaming Lips, Lemonheads, all composite parts as issued, in original Therapy?The Wildhearts, The Playn Jayn, Ween, packaging and box. £500.00 - £800.00 72 repro Stone Roses/Inspiral Carpets 4 TECHNICS SU-8099K. A Technics Stereo photographs, a Global Underground promo pack Integrated Amplifier with cables. From the (luggage tag, sweets, soap, keyring bottle opener collection of former 10CC manager and music etc.), a Michael Jackson standee, a Universal industry veteran Ric Dixon - this is possibly a Studios Bates Motel promo shower cap, a prototype or one off model, with no information on Radiohead 'Meeting People Is Easy 10 Min Clip this specific serial number available. -
TIME LIFE Presents UBERMORGEN.COM Feat. JAMES
TIME LIFE presents UBERMORGEN.COM feat. JAMES POWDERLY http://www.TORTURECLASSICS.COM VIMEO: http://www.vimeo.com/14084957 TWITTER: http://twitter.com/TORTURECLASSICS YOUTUBE: http://www.youtube.com/user/tortureclassics FACEBOOK: http://www.facebook.com/pages/Time-Life/59290172844 TORTURE CLASSICS ALBUM RELEASE, INFOMERCIAL & PERFORMANCE Sit back and relax, as we make this incredible music come alive! Seoul / Daebudo / Vienna, August 13, 2010 TIME LIFE announces the release of the TORTURE CLASSICS COLLECTION. Torture Music is the kind of music that’s perfect for sitting in the Afghan or Iraqi Desert, sharing a prisoner for a night, or relaxing in a military barack or a CIA black site in some godforsaken country on a lazy afternoon. It's music thats just makes you feel free and drives others crazy. But, the artists included in the TORTURE CLASSICS COLLECTION have taken the Torture Music sound and given it a psychotic and everlasting quality. This Torture Music compilation includes 60 songs, tons of images, uncensored videos, pdfs and extra bonus material. The Ultiimate Collection DOWNLOAD-DVD inlcudes both The White Site Album and The Black Site Album. To kick-off of the release of the TORTURE CLASSICS ULTIMATE COLLECTION DOWNLOAD-DVD, a 24h TORTURE-GALA-PERFORMANCE will take place. The headling act of the evening will be James Powderly, who will be subjected to Musical Torture, in the experienced hands of Hans Bernhard, who will blast the new hit track “Two Different Tears” by the original K-pop Idols the Wondergirls. He will be tightened into stress- positions to prevent him from muting the sound. -
Harold Budd / Simon Raymonde / Robin Guthrie / Elizabeth Fraser
Harold Budd The Moon And The Melodies mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Rock Album: The Moon And The Melodies Country: Canada Released: 1986 Style: Ethereal, Ambient MP3 version RAR size: 1516 mb FLAC version RAR size: 1643 mb WMA version RAR size: 1825 mb Rating: 4.3 Votes: 941 Other Formats: VQF WMA MMF AC3 WAV AC3 WMA Tracklist A1 Sea, Swallow Me A2 Memory Gongs A3 Why Do You Love Me? A4 Eyes Are Mosaics B1 She Will Destroy You B2 The Ghost Has No Home B3 Bloody And Blunt B4 Ooze Out And Away, One How Other versions Category Artist Title (Format) Label Category Country Year Harold Budd / Harold Budd / Elizabeth Fraser / Elizabeth Fraser Robin Guthrie / CAD 611 / Robin Guthrie / 4AD CAD 611 UK 1986 Simon Raymonde - Simon The Moon And The Raymonde Melodies (LP, Album) Harold Budd / Simon Harold Budd / Raymonde / Robin Simon Guthrie / Elizabeth CAD 611 CD Raymonde / 4AD CAD 611 CD UK Unknown Fraser - The Moon Robin Guthrie / And The Melodies Elizabeth Fraser (CD, Album, May) Rough Harold Budd / Simon Trade RTD Harold Budd / RTD Raymonde / Robin Records 120.0038.2, Simon 120.0038.2, Guthrie / Elizabeth GmbH, RTD Raymonde / RTD Germany 1992 Fraser - The Moon Rough 120.0038.2 Robin Guthrie / 120.0038.2 And The Melodies Trade 40 Elizabeth Fraser 40 (CD, Album, RE) Records GmbH Harold Budd / Harold Budd / Elizabeth Fraser / Elizabeth Fraser Robin Guthrie / 4AD, DG ECD 65039 / Robin Guthrie / Simon Raymonde - ECD 65039 Argentina Unknown Discos Simon The Moon And The Raymonde Melodies (CD, Album, RE) Harold Budd / Simon Harold Budd / Raymonde / Robin Simon Guthrie / Elizabeth 33CY-1571 Raymonde / 4AD 33CY-1571 Japan 1987 Fraser - The Moon Robin Guthrie / And The Melodies Elizabeth Fraser (CD, Album) Related Music albums to The Moon And The Melodies by Harold Budd 1. -
Icebreaker: Apollo
Icebreaker: Apollo Start time: 7.30pm Running time: 2 hours 20 minutes with interval Please note all timings are approximate and subject to change Martin Aston looks into the history behind Apollo alongside other works being performed by eclectic ground -breaking composers. When man first stepped on the moon, on July 20th, 1969, ‘ambient music’ had not been invented. The genre got its name from Brian Eno after he’d released the album Discreet Music in 1975, alluding to a sound ‘actively listened to with attention or as easily ignored, depending on the choice of the listener,’ and which existed on the, ‘cusp between melody and texture.’ One small step, then, for the categorisation of music, and one giant leap for Eno’s profile, which he expanded over a series of albums (and production work) both song-based and ambient. In 1989, assisted by his younger brother Roger (on piano) and Canadian producer Daniel Lanois, Eno provided the soundtrack for Al Reinert’s documentary Apollo: the trio’s exquisitely drifting, beatific sound profoundly captured the mood of deep space, the suspension of gravity and the depth of tranquillity and awe that NASA’s astronauts experienced in the missions that led to Apollo 11’s Neil Armstrong taking that first step on the lunar surface. ‘One memorable image in the film was a bright white-blue moon, and as the rocket approached, it got much darker, and you realised the moon was above you,’ recalls Roger Eno. ‘That feeling of immensity was a gift: you just had to accentuate the majesty.’ In 2009, to celebrate the 40th anniversary of that epochal trip, Tim Boon, head of research at the Science Museum in London, conceived the idea of a live soundtrack of Apollo to accompany Reinert’s film (which had been re-released in 1989 in a re-edited form, and retitled For All Mankind. -
Jon Dylewski to Him (Tuesda Y, November 22)
XSS VOL^ NCvl2 MERCYHURSTCOLLEGE'S WEEKLY STUDENT NEWSPAPER December 8,^994 Mercyhurst loses talented musician By Craig Rybczynski Grant "He saw things the way Harrisburg, Pennsylvania and Editor in Chief they ought to be and was con- captured second place in the Penn- cerned aboutwha t was wrong and sylvania Yamaha high school pi- "He was very upset over some how things get done," she said. ano state competition. personal things that happened and uH e wasn't impressed with the His love for the instrument didn't what to play the game," system." brought him to Mercyhurst. said Cathy Grant, mo t h e r e o f Roommate Dan Hilfiker ech- "He was an excellent piano Mercyhurst student Jonathan oed the statements. player and was very talented, " Dylewski who took his own life u'He!wante d toi change the said Jennifer Hancock, a music Friday, November 25, near his world," he said. education major. "He wrote a lot home in Erie. 'q Jon was involved with several of compositions. He wrote one Shock w a s the word most asso- projects before his death and (Hymn for the City) for the con- ciated with the incident leaves behind his music as a last- cert choir and I was*very im- "When Ahmed said that Jon ing testimony to his life and mul pressed. died I couldn't believe it," said sical ability. "But I really didn't know him Jason Giffen. uH e was the organist at the bas- too well. I think very few people Accord ing to Ahmed Kossongo, ketball! games and was talking really knew who he was." one of h i s roommates, <fHe seemed about doing the hockey games," One person who "really" knew in good spirits the last time I spoke his mother said. -
The Korean Diaspora
HAUNTING the Korean Diaspora HAUNTING the Korean Diaspora Shame, Secrecy, and the Forgotten War Grace M. Cho UNIVERSITY OF MINNESOTA PRESS Minneapolis • London The University of Minnesota Press gratefully acknowledges the financial assistance provided for the publication of this book from the Office of the Dean of Humanities and Social Sciences at College of Staten Island–City University of New York. A portion of chapter 4 was published as “Prostituted and Vulnerable Bodies,” in Gendered Bodies: Feminist Perspectives, ed. Judith Lorber and Lisa Jean Moore (Cary, N.C.: Roxbury Publishing, 2007), 210–14; reprinted by permission of Oxford University Press, Inc. Portions of chapters 4 and 5 have been previously published as “Diaspora of Camp - town: The Forgotten War’s Monstrous Family,” Women’s Studies Quarterly 34, nos. 1–2 (2006): 309–31. A shorter version of chapter 6 was published as “Voices from the Teum: Synesthetic Trauma and the Ghosts of Korean Diaspora,” in The Affective Turn: Theorizing the Social, ed. Patricia Clough with Jean Halley (Durham, N.C.: Duke University Press, 2007), 151–69. Portions of chapter 6 were published by Sage Publications as Grace M. Cho and Hosu Kim, “Dreaming in Tongues,” Qualitative Inquiry 11, no. 3 (2005): 445–57, and as Grace M. Cho, “Murmurs in the Storytelling Machine,” Cultural Studies—Critical Methodologies 4, no. 4 (2004): 426–32. Portions of chapter 6 have been performed in “6.25 History beneath the Skin,” a performance art piece in Still Present Pasts: Korean Americans and the “Forgotten War.” In chapter 2, the poem “Cheju Do” by Yong Yuk appears courtesy of the author.