DOCSLIB.ORG

Universal Music Posts $1.8B in Quarterly Revenue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Bulletin YOUR DAILY ENTERTAINMENT NEWS UPDATE JULY 28, 2021 Page 1 of 22 INSIDE Universal Music Posts • Spotify Reports $1.8B in Quarterly Revenue 165 Million Paid Users as Q2 Revenue Ahead of Public Listing Climbs 23% BY ED CHRISTMAN • YouTube Hits $7B in Ad Revenue, Tops Wall Street Ahead of its upcoming public listing this fall, Uni- quarter to 210 million euros ($253.3 million) from 180 Expectations versal Music Group’s revenue skyrocketed to 2.022 million euros ($195.3 million) in 2020’s Q2. billion euros ($2.438 billion) during the second Music publishing revenue didn’t match the year- • Apple Services quarter, up 19.6% from 1.69 billion euros ($1.833 bil- earlier period with the company garnering 293 million Revenue Hits $17.5B lion) in Q2 of 2020. euros versus 353.4 million euros in the second quarter • Why Music UMG’s recorded music division enjoyed even larger of 2020 — but that quarter’s revenue was buttressed Marketplace increases, growing 23.5% to 1.654 billion euros ($1.994 by a one-time item, according to the company. Mean- BeatStars Is Getting billion) with streaming rising 23.8% to 1.122 billion while, merchandising and other income streams grew Into Publishing euros ($1.35 billion) in the second quarter this year 54.9% to 79 million euros as compared with 51 million • Alphabet, Apple versus 906 million euros ($983 million) in the second euros in the year-earlier corresponding period. and Microsoft Post quarter of 2020. The company cited releases from Jus- In advance of its Sept. 21 listing on Euronext Am- Combined Profits of tin Bieber and Olivia Rodrigo, and a best-of compila- sterdam, the company said that it will hold a Capital More Than $50B tion from BTS as well as continued sales of music Markets Day by video conference on Aug. 25. • ZZ Top’s Dusty from The Weeknd, Pop Smoke and Ariana Grande. For the half year period ending June 30, 2021, Hill Dead: Longtime Moreover, at mid-year UMG claimed eight of the UMG’s overall revenue was up 10.8% to 3.8 billion Bassist Dies at 72 top 10 titles in MRC Data’s year-to-date album con- euros ($4.6 billion) in the first six months of 2021, • Cindy Agi Joins sumption chart, the company pointed out. from 3.5 billion euros ($3.8 billion) earned in the same Live Nation From Physical sales also enjoyed a big gain in the second period last year. On a constant currency and perimeter WME quarter of this year, growing to 250 million euros basis, the company said revenues increased 17.3%. ($301.5 million) from 152 million euros in the second Net income, meanwhile, fell 38.5% to 453 million • BILLBOARD 200 quarter of 2020, a 64.5% increase, while licensing euros ($548.6 million), despite improved performance CLICK and other income streams grew 16.7% in the second (continued) TOTAL IMMERSION ESSENTIAL ANALYSIS of the latest business topics and trends formulated to give industry players the competitive advantage in a rapidly changing market. EXCLUSIVE QUARTERLY REPORTS that deliver in-depth, holistic reporting; case studies; and custom data designed to serve the industry. A DEEP DIVE LIBRARY stocked with intelligence on fan data, SUBSCRIBE TO BILLBOARD PRO FOR song catalog sales, TV synchs, Africa’s burgeoning music ACCESS TO NEW REPORTS business and the gaming industry’s embrace of artists. AND THE ARCHIVE 2021 R&B/HIP HOP POWER ISSUE R&B/Hip-Hop dominates every other genre claiming a quarter of all music consumption. On August 7th, Billboard will publish its 5th annual R&B/Hip-Hop Power Players list showcasing the producers, creatives, executives and publishers who have made R&B/Hip-Hop the hottest genre on earth. Advertise and congratulate the people who are driving this industry and reach an influential audience of decision-makers in music and pop culture. ON SALE : 8/7 | AD CLOSE: 7/28 | MATER IAL S DUE: 7/29 CONTACT Sp ue Joe Maimone 201.301.5933 | [email protected] LE Lee Ann Photoglo 615.376.7931 | [email protected] 21 Cynthia Mellow 615.352,0265 | [email protected] Marcia Olival 786.586.4901 | [email protected] Ryan O’Donnell +447843437176 | [email protected] Editorial content subject to change Page 3 of 22 IN BRIEF in key financial metrics. That’s down from euros ($3.8 billion) from 2.77 billion euros prise 12.5% of revenue, down from 13.4% in 736 million euros ($803.7 million) in the ($3.0 billion) in H1 2020. H1 2020. same half year period last year. Music publishing fell 1.6% to 564 million Recorded music revenue by geography: If UMG stock were trading, that would euros ($683 million) from 573 million euros North America: 49.5% of total, up 11.3% be the equivalent of 0.25 euros per share, ($626 million) in H1 2020. to 1.55 billion euros ($1.88 billion), from $1.4 down from 0.41 euros per share in the first Merch and other income streams grew billion ($1.5 billion) in H1 2020. half of 2020. 14% to 138 million euros ($167 million) from Europe: 29.3%, up 9.8% to 920 million That dip comes with asterisks, how- 121 million euros ($132 million) in H1 2020. euros ($1.1 billion), from 838 million euros ever: The company absorbed a charge of Recorded music revenue for the first half ($915 million) in H1 2020. 170 million euros ($201 million) due to a of 2021: Asia: 13.6%, up 12% to $428 million euros revaluation of UMG’s holdings in Spotify Streaming grew 17.4% to 2.13 billion euros ($518.3 million), from 382 million euros and Tencent — which itself was partially ($2.6 billion) from $1.8 billion euros ($1.98 ($417 million) in H1 2020. offset by a 100 million euros ($118 million) billion) in H1 2020. Latin America: 3.4%, up 12.6% to 107 mil- gain from selling the company’s interest Downloads fell 35.7% to 153 million euros lion euros ($129.6 million), from 95 million in Alamo Records. Also, in the first half of ($185.3 million) from 238 million euros euros ($103.7 million) in H1 2020. 2020, UMG’s earnings was buttressed by a ($259.9 million) in H1 2020. Rest of the world: 4.1%, up 113.3% to 128 449 million euros ($531 million) capital gain Physical grew 33% to 463 million euros million euros ($155 million), from 60 million on financial investments, versus only a 102 ($560.7 million) from 348 million euros euros ($65.5 million) in H1 2020. million ($121 million) euros capital gain in ($380 million) in H1 2020. (This story uses an exchange rate of 1 euro the first half of 2021. Licensing and other income streams grew to $1.206 for the second quarter of 2021 and But if earnings before interest, taxes, 5.45% to 391 million euros ($473.5 million) 1 euro to $1.211 for the first half of 2021. For depreciation and amortization are consid- from €371 million ($405.1 million) in H1 2020, the exchanges rates respectively were ered, UMG produced 822 million euros 2020. 1 euro to 1.085 and 1 euro to $1.092, respec- ($995.4 million) in the first half of 2021 — a Recorded music revenue by percentage of tively) 26.7% increase over the 649 million euros revenue: This story is developing. ($708.7 million) in EBITDA garnered in Overall digital comprises 72.8% of label the first half of 2020. That means EBITDA revenue, down from 74.1% in H1 2020. margin improved dramatically to 21.5% of Streaming comprises 67.8% of recorded revenue, versus the 18.8% of revenue the music revenue, up from 65.5% in H1 2020. company had in the year earlier correspond- Downloads comprise 4.9% of recorded ing period. music revenue, down from 8.6% in H1 2020. UMG operations revenue for the first half Physical comprises 14.8% of recorded of 2021: music revenue, up from 12.6% in H1 2020. Recorded music grew 13.2% to 3.14 billion Licensing and other income streams com- AUTHORITATIVE INTELLIGENCE. DELIVERED DIGITALLY. CLICK HERE FOR FREE DELIVERY DIGITAL NEWSLETTERS 2021 ERIKA RECORDS INC. 40TH ANNIVERSARY This year marks the 40th anniversary of Erika Records Inc. CONTACTS founded in 1981 by Erzsebet Liz Dunster, making the company the first ever woman owned vinyl record Joe Maimone 201.301.5933 | [email protected] pressing plant. Originally started as a heavy metal label Dunster scouted bands at legendary venues such as the Lee Ann Photoglo Troubadour and sold records out of the trunk of her Pinto. 615.376.7931 | [email protected] She had one goal in mind: save enough to open her own pressing plant for the sake of creative freedom. She Cynthia Mellow wanted to elevate vinyl records beyond the standard 615.352,0265 | [email protected] round record. Marcia Olival 786.586.4901 | [email protected] The company’s DIY approach and commitment to the evolution of vinyl has been key to the success of Erika Ryan O’Donnell Records over the past four decades. The company is a +447843437176 | [email protected] leader in both standard and custom vinyl manufacturing having made puzzle piece records, flower petal records, etch-picture disc combination records, and more. Today Erika Records operates out of a 36,000 square foot facility with over 40 running presses in Buena Park, California and is the only 100% lead free pressing plant.
Recommended publications

  • Daft Punk Collectible Sales Skyrocket After Breakup: 'I Could've Made

    BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; BrettENTERTAINMENT Young ‘Catc NEWSh UPDATE’-es Fifth AirplayFEBRUARY 25, 2021 Page 1 of 37 Leader; Travis Denning Makes History INSIDE Daft Punk Collectible Sales Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music Group Nashville), debutsSkyrocket at No. 1 on Billboard’s lion audience After impressions, Breakup: up 16%). Top Country• Spotify Albums Takes onchart dated April 18. In its first week (ending April 9), it earned$1.3B 46,000 in equivalentDebt album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cording• Taylor to Nielsen Swift Music/MRCFiles Data. ‘I Could’veand total Made Country Airplay No.$100,000’ 1 as “Catch” (Big Machine Label Group) ascends SouthsideHer Own marks Lawsuit Hunt’s in second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chartEscalating and fourth Theme top 10. It follows freshman LP BY STEVE KNOPPER Young’s first of six chart entries, “Sleep With- MontevalloPark, which Battle arrived at the summit in No - out You,” reached No. 2 in December 2016. He vember 2014 and reigned for nine weeks. To date, followed with the multiweek No. 1s “In Case You In the 24 hours following Daft Punk’s breakup Thomas, who figured out how to build the helmets Montevallo• Mumford has andearned Sons’ 3.9 million units, with 1.4 Didn’t Know” (two weeks, June 2017), “Like I Loved millionBen in Lovettalbum sales.
  • NMS15 Marketing Opportunities

    NMS15 Marketing Opportunities

    SPONSOR AND PARTNER OPPORTUNITIES Transforming the Music Business JUNE 21-23, 2015 | NEW YORK CITY THE NEW ERA OF MUSIC BUSINESS "The New Music Seminar is the single best gathering of cung edge music industry visionaries on the scene today. It's a must-do for anyone aspiring to be part of this business of music." - Steve Greenberg – Founder/CEO, S-Curve > NMS is the legendary NYC industry event focused on new opportunities and growth of the overall music business > Unparalleled speakers and discussions - The next generation of music business executives and stars > Elevated networking platform to take your business and career to the next level NMS connects the creave professional with the people wHo determine the future of the music business 2 THE 1,500 • Limited to 1,500 attendees to ensure the highest quality personal experience > More decision-makers devoted to the cause of building the next generation of the music business - Less time bandits. • Influential audience filled with creatives, decision-makers, and engaged trendsetters > Artists, producers, and songwriters > Tastemakers that break new music > Explorers searching for the “next big thing” > Experienced industry leaders discussing the real issues behind the music business, the backroom deals, the untold stories > Investors of the music business > Industry Insiders revealing the secrets behind success in the industry Cross-pollinaon : Every part of the music business...together! Adversing/ Brands; 2% ArJst Services; 2% Students; 6% A&R; 5% Radio; 5% ArJsts/ PublisHers; 8% Performers;
  • Ironic Feminism: Rhetorical Critique in Satirical News Kathy Elrick Clemson University, Kelrick@G.Clemson.Edu

    Ironic Feminism: Rhetorical Critique in Satirical News Kathy Elrick Clemson University, [email protected]

    Clemson University TigerPrints All Dissertations Dissertations 12-2016 Ironic Feminism: Rhetorical Critique in Satirical News Kathy Elrick Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_dissertations Recommended Citation Elrick, Kathy, "Ironic Feminism: Rhetorical Critique in Satirical News" (2016). All Dissertations. 1847. https://tigerprints.clemson.edu/all_dissertations/1847 This Dissertation is brought to you for free and open access by the Dissertations at TigerPrints. It has been accepted for inclusion in All Dissertations by an authorized administrator of TigerPrints. For more information, please contact [email protected]. IRONIC FEMINISM: RHETORICAL CRITIQUE IN SATIRICAL NEWS A Dissertation Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Rhetorics, Communication, and Information Design by Kathy Elrick December 2016 Accepted by Dr. David Blakesley, Committee Chair Dr. Jeff Love Dr. Brandon Turner Dr. Victor J. Vitanza ABSTRACT Ironic Feminism: Rhetorical Critique in Satirical News aims to offer another perspective and style toward feminist theories of public discourse through satire. This study develops a model of ironist feminism to approach limitations of hegemonic language for women and minorities in U.S. public discourse. The model is built upon irony as a mode of perspective, and as a function in language, to ferret out and address political norms in dominant language. In comedy and satire, irony subverts dominant language for a laugh; concepts of irony and its relation to comedy situate the study’s focus on rhetorical contributions in joke telling. How are jokes crafted? Who crafts them? What is the motivation behind crafting them? To expand upon these questions, the study analyzes examples of a select group of popular U.S.
  • Slipknot Apresenta a Turnê "Prepare for Hell" Em São Paulo, Em Setembro

    Slipknot Apresenta a Turnê "Prepare for Hell" Em São Paulo, Em Setembro

    Slipknot apresenta a turnê "Prepare for Hell" em São Paulo, em setembro Famosos por seu som pesado e por seu figurino característico que inclui macacões e máscaras, banda anuncia show no dia 27 de setembro, na Arena Anhembi. Ingressos à venda no site da Livepass. Um dos maiores fenômenos internacionais do heavy metal, o Slipknot traz para o país a turnê “Prepare for Hell", que tem base em seu quinto e mais recente álbum de estúdio, .5: The Gray Chapter, lançado em 2014. A apresentação única em São Paulo acontece no dia 27 de setembro, na Arena Anhembi, dentro da plataforma Samsung Galaxy S6 Live Music Rocks. A banda promete um ambicioso show de rock pesado acompanhado por músicas que mostram o futuro doSlipknot, sem esquecer das raízes da banda, tudo isso em um novo palco, especialmente criado para a turnê de 2015. O grupo se apresenta ainda no Rock in Rio, no dia 25 de setembro. A apresentação de São Paulo contará com a participação especial da banda Mastodon. Apresentados por Samsung Galaxy S6 e com patrocínio da Sky e Budweiser, os shows são uma realização da Move Concerts e fazem parte da nova plataforma de música Samsung Galaxy S6 Live Music Rocks. Mais informações sobre venda de ingressos, abaixo, em “Serviço”. Famosos pelo figurino de seus shows, que inclui macacões e máscaras criados especialmente para a banda, o Slipknot promete apresentar no show de São Paulo um set list que reúne não só seus maioreshits, como “Wait and Bleed”, “Duality” e “Psychosocial”, mas também músicas do novo álbum: “The Devil in I”, “Custer” e “The Negative One”.
  • November 2016

    November 2016

    The Bijou Film Board is a student-run UI org dedicated FilmScene Staff The to American independent, foreign and classic cinema. The Joe Tiefenthaler, Executive Director Bijou assists FilmScene with programming and operations. Andy Brodie, Program Director Andrew Sherburne, Associate Director PictureShow Free Mondays! UI students FREE at the late showing of new release films. Emily Salmonson, Dir. of Operations Family and Children’s Series Ross Meyer, Head Projectionist and Facilities Manager presented by AFTER HOURS A late-night OPEN SCREEN Aaron Holmgren, Shift Supervisor series of cult classics and fan Kate Markham, Operations Assistant favorites. Saturdays at 11pm. The winter return of our ongoing series of big-screen Dec. 4, 7pm // Free admission Dominick Schults, Projection and classics old and new—for movie lovers of all ages! Facilities Assistant FilmScene and the Bijou invite student Abby Thomas, Marketing Assistant Tickets FREE for kids, $5 for adults! Winter films play and community filmmakers to share Saturday at 10am and Thursday at 3:30pm. Wendy DeCora, Britt Fowler, Emma SAT, 11/5 SAT, their work on the big screen. Enter your submission now and get the details: Husar, Ben Johnson, Sara Lettieri, KUBO & THE TWO STRINGS www.icfilmscene.org/open-screen Carol McCarthy, Brad Pollpeter (2016) Dir. Travis Knight. A young THE NEON DEMON (2016) Spencer Williams, Theater Staff boy channels his parents powers. Dir. Nicolas Winding Refn. An HORIZONS STAMP YOUR PASSPORT Nov. 26 & Dec. 1 aspiring LA model has her Cara Anthony, Felipe Disarz, for a five film cinematic world tour. One UI Tyler Hudson, Jack Tieszen, (1990) Dir.
  • NJEA Launches Priority Schools Initiative

    NJEA Launches Priority Schools Initiative

    VOL.VOL. 56, 52, NO. NO.4 3 SEPTEMBER NOVEM- 2012 What’s inside NJEA launches Priority Schools Initiative he Class of 2025 entered Left Behind as “in need of improve- Training, planning, collaborating Election 2 kindergarten this year brim- ment.” Schools are labeled in need of ming with enthusiasm. Tens of improvement if they fail to meet state Developed over the course of ? T more than a year, the NJEA Prior- Corfi eld makes second bid for Assembly. thousands of them charged into New profi ciency targets in two consecutive Jersey classrooms. years. ity Schools Initiative was formally Taking a stand 5 “They’ll have smiles on their faces,” Schools that opted to apply for launched at a three-day training and said NEA President Dennis Van Roekel the NJEA Priority Schools Initiative planning program for the teams held Where the candidates stand on public at the Heldrich Hotel in New Bruns- education. at the launch of the NJEA Priority had to demonstrate a commitment Schools Initiative on Aug. 8. “They love to include all stakeholders in the wick that began on Aug 8. going to school. They love learning.” school improvement process: teach- The sessions were led by Steve Professional Development 7 But then his tone took a grave turn. ers, parents, ESP, Barkley, executive Summer Institute targets achievement gaps “Although I don’t know their administrators, the vice-president True reform comes from the of Performance names and I couldn’t possibly predict local association, grass roots. It comes from Learning Systems what’ll to happen to them next month, the school board, the teachers, support staff, and Health and Safety 8 and the author or next week, or even tomorrow, I and the broader administrators in the schools and Be kind to your eyes.
  • Marvin Hamlisch

    Marvin Hamlisch

    tHE iRA AND lEONORE gERSHWIN fUND IN THE lIBRARY OF cONGRESS AN EVENING WITH THE MUSIC OF MARVIN HAMLISCH Monday, October 19, 2015 ~ 8 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building The Ira and Leonore Gershwin Fund in the Library of Congress was established in 1992 by a bequest from Mrs. Gershwin to perpetuate the name and works of her husband, Ira, and his brother, George, and to provide support for worthy related music and literary projects. "LIKE" us at facebook.com/libraryofcongressperformingarts loc.gov/concerts Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. • Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the performance. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. The Library of Congress Coolidge Auditorium Monday, October 19, 2015 — 8 pm tHE iRA AND lEONORE gERSHWIN fUND IN THE lIBRARY OF cONGRESS AN EVENING WITH THE mUSIC OF MARVIN hAMLISCH WHITNEY BASHOR, VOCALIST | CAPATHIA JENKINS, VOCALIST LINDSAY MENDEZ, VOCALIST | BRYCE PINKHAM, VOCALIST
  • Stallings Book 4 Print.Pdf (3.603Mb)

    Stallings Book 4 Print.Pdf (3.603Mb)

    Black Performance and Cultural Criticism Valerie Lee and E. Patrick Johnson, Series Editors Stallings_final.indb 1 5/17/2007 5:14:41 PM Stallings_final.indb 2 5/17/2007 5:14:41 PM Mutha ’ is half a word Intersections of Folklore, Vernacular, Myth, and Queerness in Black Female Culture L. H. Stallings The Ohio State University Press Columbus Stallings_final.indb 3 5/17/2007 5:14:42 PM Copyright © 2007 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Horton-Stallings, LaMonda. Mutha’ is half a word : intersections of folklore, vernacular, myth, and queerness in black female culture / L.H. Stallings. p. cm.—(Black performance and cultural criticism) Includes bibliographical references and index. ISBN-13: 978-0-8142-1056-7 (cloth : alk. paper) ISBN-10: 0-8142-1056-2 (cloth : alk. paper) ISBN-13: 978-0-8142-9135-1 (cd-rom) ISBN-10: 0-8142-9135-X (cd-rom) 1. American literature—African American authors—History and criticism. 2. American literature—women authors—History and criticism. 3. African American women in literature. 4. Lesbianism in literature. 5. Gender identity in literature. 6. African American women— Race identity. 7. African American women—Intellectual life. 8. African American women— Folklore. I. Title. II. Series PS153.N5H68 2007 810.9'353—dc22 2006037239 Cover design by Jennifer Shoffey Forsythe. Cover illustration by Michel Isola from shutterstock.com. Text design and typesetting by Jennifer Shoffey Forsythe in Adobe Garamond. Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials.
  • Justin Bieber Featuring Slipknot

    Justin Bieber Featuring Slipknot

    JUSTIN BIEBER FEATURING SLIPKNOT: Consumption as Mode of Production Ragnhild Brøvig-Hanssen A musical mash-up typically consists of two recognizable recordings that are synchronized such that the vocal(s) of one track are combined with an instrumental version of the other without significant edits.1 The ontological presence of a mash-up band is thus only to be found in the virtual domain––that is, the artists in question have never actually performed together. The virtual music collaborations enabled by mash-up producers invite us to encounter the musical result in ways that are very different from those we apply to non- virtual music collaborations, and, as scholars, we are therefore compelled to analyze the music in a different way as well. Moreover, mash-up music encourages us to rethink what musical authorship, creativity, and musicality means to us today. Because mash-ups often consist of nothing but macro-samples, and often simply of two full-length samples that have hardly been edited at all, mash-up producers have been criticized for lacking talent and creativity; for example, McLeod writes: “Despite my appreciation of them, I do not mean to idealise mash-ups because, as a form of creativity, they are quite limited and limiting.”2 This perspective might also help to explain why scholars usually approach the musical mash-up from a sociological or juridical orientation with a focus on its extramusical features, and, in 1 I am very grateful to Anne Danielsen, Hedda Høgåsen-Hallesby, Nils Nadeau, and Sheila Whiteley for their insightful comments on this chapter.
  • PIVAŘI a FRAJEŘI Průvodce Světem ZZ Top Neil Daniels Beer Drinkers & Hell Raisers: a ZZ Top Guide

    PIVAŘI a FRAJEŘI Průvodce Světem ZZ Top Neil Daniels Beer Drinkers & Hell Raisers: a ZZ Top Guide

    Neil Daniels PIVAŘI A FRAJEŘI Průvodce světem ZZ Top Neil Daniels Beer Drinkers & Hell Raisers: A ZZ Top Guide Přeložil Milan Stejskal Translation © Milan Stejskal, 2015 Copyright © Neil Daniels, 2014 ISBN 978-80-7511-121-0 ISBN 978-80-7511-122-7 (epub) ISBN 978-80-7511-123-4 (pdf) Neil Daniels PIVAŘI A FRAJEŘI Průvodce světem ZZ Top PŘEDMLU VA od Stevena Rosena S Billym Gibbonsem a jeho kapelou ZZ Top jsem se poprvé se- známil v roce 1973. Právě vydali album Tres Hombres a já s nimi dělal rozhovor – se všemi třemi – pro nezávislý plátek jménem Los Angeles Free Press. Jakmile jsem vešel do jejich pokoje v ho- telu Continental Hyatt House – nechvalně to proslulém příbyt- ku mnoha rockových hvězd sedmdesátých let, který byl bohužel před mnoha lety zbourán – byl jsem přijat s pravou jižanskou po- hostinností, takže jsem se hned cítil v pohodě a klidu. Billy patřil mezi nejmilejší, nejzábavnější a nejbystřejší lidi, na něž jsem kdy narazil, a také díky tomu jsem si ho od první chvíle zamiloval. Během následujících let jsme se ještě mnohokrát sešli a v této před- mluvě uvedu rozhovor, který se odehrál zhruba šest let po našem prvním setkání. Podle mě právě toto vyprávění nejlépe ilustru- je, jaká kapela byla a je a jací jsou její členové po lidské stránce. Asi vám nemusím říkat, jak důležitou roli ZZ Top sehráli v šíření blues mezi širší vrstvy posluchačů. Billy Gibbons patřil a stále pa- tří mezi nejunikátnější a nejtvořivější kytaristy, kteří kdy drželi šestistrunku v ruce. O tom již napsali mnozí jiní. Ne, já vám nechci vyprávět o Billy Gibbonsovi, Franku Beardovi a Dusty Hillovi z hlediska historie, zvolím spíše osobní pohled.
  • ZZTOP Treshombres a Heinous Decision in The'80s to Remix Zztop's Cjassigar:Fy EXCI Tracks Didn't Totally Diminish Frank Beard's Funky Groorles;.Bv!,,:,., LI..JDW

    ZZTOP Treshombres a Heinous Decision in The'80s to Remix Zztop's Cjassigar:Fy EXCI Tracks Didn't Totally Diminish Frank Beard's Funky Groorles;.Bv!,,:,., LI..JDW

    ZZTOP TresHombres A heinous decision in the'80s to remix ZZTop's cJassigar:fy EXCI tracks didn't totally diminish Frank Beard's funky groorleS;.bV!,,:,., LI..JDW it sure was a buzzkill. Fortunately, that call was reversible, and HARD Beard's beauteous beats were presented in all their grltty coL0l glory on a comprehensive 2013 box set. lt's never a bad time {I.sS0: to behold the band's not-so-simple wonders. ' '': a rlrruirr::r l' r:;'.i:r " , ,.!;;r;t .i ,:l:l:ll;r:1ii::ttl $9r by Patrick Berkery ,l $l( I t was one thing for Zzfop b experiment Nothing was worse than I with drum machines, synthesizers, and hearing Frank Beard's once sequencers in the early'80s, in an attempt dry and punchy drums BEK)' tt00 to modernize its swampy boogie-and- dripping wet with unneces NA'L) REBAI blues sound. But it was complete sacrilege sary reverb, noise gates, and the like. when the Little Ol'Band From Texas took Thankfu lly, ZZ Top began righting this "&" of 2, and the "&" of 4. (They fall the sheen of its Eliminator (1983) and sonic wrong on 2003's Chrome, Smoke & between ghost strokes, which sound Afterburner (1985) albums and grafted BBQ box set, where the early tracks so lovely minus the wetness of the Slx those tones onto classic early-Top appeared in their original form, and then Pack remix.) As Gibbons soins his Texas long-players for 1987's remixed Six Pack with the 2006 CD reissue of 1973'sTres roadhouse tale in the verses with a woozy collection, which compiled the trio's first Hombres.
  • El Ritual Del Mundo Jarocho a Través De Los Siglos

    El Ritual Del Mundo Jarocho a Través De Los Siglos

    A la memoria de mi abuela, MARÍA LUISA AGUIRRE SANTIESTEBAN, frágil bailadora de fandango, transportada zapateando sobre la tarima por las calles de Jáltipan en las procesiones de la Candelaria, en la primera década del siglo XX. Johann Moritz rugendas, Vista de Veracruz desde el mar, 1831, colección Arte Gráfico de Munich. P. 1: anóniMo, Plano de la costa de Veracruz, 1754, colección particular. ANDANG O feL rituAL deL mundo jArocho A trAvés de Los siGLos A n t o n i o G A r c í A d e L e ó n · L i z A r u m A z o ConseJo naCional para la Cultura y las artes (ConaCulta) Dirección General De Vinculación cultural Dirección General De Publicaciones instituto VeraCruzano de Cultura prograMa de desarrollo Cultural del sotaVento secretaría De cultura, recreación y DePorte De tabasco instituto Veracruzano De cultura secretaría De cultura De oaxaca Dirección De Vinculación reGional De la DGVc Del conaculta coorDinación General Armando Herrera y Amparo Sevilla coorDinación oPeratiVa Eduardo Hernández, Rubí Oseguera y Rodolfo Candelas caPtura De textos Sofía López y Elizabeth González reVisión y corrección tiPoGráfica Sofía López, Alejandro Cruz y Marcelo Gauchat Diseño y cuiDaDo De la eDición Jorge Lépez Vela imáGenes tomaDas Del libro Bernardo García Díaz y Ricardo Perez Montfort, Veracruz y sus viajeros, banobras/Gobierno del Estado de Veracruz/Grupo Sansco, México, 2001. D. R. © 2006 Primera edición, 2006. Antonio García de León Griego Programa de Desarrollo Cultural del Sotavento ISBN 970-35-1115-5 Impreso y hecho en México Índice Aproximaciones 11 Introducción 13 eL mundo jArocho y Los veneros de LA fiestA 18 eL cAmpo Armónico 36 LA poéticA deL cAncionero reGionAL 46 despArrAmAndo mudAnzAs: eL LenGuAje de Los pies 53 LA reinvención de LAs trAdiciones 55 Un cancionero posible 61 La fiesta y los fandangos jarochos a través de los siglos: unA compiLAción de textos de épocA AcusAdores, cronistAs, estudiosos y testiGos de pAso 97 entierro y resurrección deL difunto MedeLLín, 1781 105 memoriAs íntimAs.