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1995 Spring Program Guide
c;; 5([1 ~ -H~J JJ _0~ ·. o:'6-:5i--S ,· I ~~ - - - ---------------------- -·· ,.----··--·---- i ' /') l ' ,/ ·' !! ' , r: _;( - ./' ' . ·'1i .1 'I ' '-----·•--- ------- . ;: ._;. : .. ~ .. :' · .. ~ .. ' MONDAY: the wack. 12-2 am: "The Glory Box" Kara Fiegenschuh 8-lOam: "The Circus Freakshow" Nina Aronson Shoegazers and slackers from the 50 states and A mix of everything: New sounds, groovy Europe. rhythms, and upbeat melodies. Music that 2-4 am: "Fishin' the Northwest" Michael Wolfe makes you feel good, whether you feel good The Edge tries to tell you what Seattle music is. about life, pain, whatever. None of that here, we'll show you what real 10-12 pm: "Punker Than You" Stephanie Boehmer Sea ttli tes listen to. Spinnin' the punk and oi! anthems from the late '70's and early '80's. There's no show more WEDNESDAY: desperate and more bored. 12-2pm: "Classical Lunchbox" Chris Schiffer 8-10 am: "Swingcheese" Robin Moore Chris will play classical music and will try not to Two hours of swing and jazz with snappy vocals, DJ in a monotone NPR voice. There is the swingin' instrumentals and an ever lovin open possibility of guest composers/musicians. request line. In all things be fabulous baby. 2-4pm: "Variety Show" Thien-Bao Thuc Phi 10-12 am: "Kara and Joanna's Office Hours" One show I may devote to hip hop, one to show We'll play you music while we clean the office tunes, or maybe on the same day I'll bust Craig and organize things. Mack and Sophie B. Hawkins back to back. 12-2 pm: "A Night at the Village Vanguard" Chris 4-6pm: "Music for the Fall Guy" Nate Sparks Stromquist Country and Western music from the past and The best jazz you'll hear before midnight. -
State of Bass
First published by Velocity Press 2020 velocitypress.uk Copyright © Martin James 2020 Cover design: Designment designment.studio Typesetting: Paul Baillie-Lane pblpublishing.co.uk Photography: Cleveland Aaron, Andy Cotterill, Courtney Hamilton, Tristan O’Neill Martin James has asserted his right under the Copyright, Designs and Patents Act 1988 to be identied as the author of this work All rights reserved. No part of this publication may be reproduced, in any form or by any means, without permission from the publisher While the publishers have made every reasonable eort to trace the copyright owners for some of the photographs in this book, there may be omissions of credits, for which we apologise. ISBN: 9781913231026 1: Ag’A THE JUNGLISTS NAMING THE SOUND, LOCATING THE SCENE ‘It always has been such a terrible name. I’ve never known any other type of music to get so misconstrued by its name.’ (Rob Playford, 1996) Of all of the dance music genres, none has been surrounded with quite so much controversy over its name than jungle. No sooner had it been coined than exponents of the scene were up in arms about the racist implications. Arguments raged over who rst used the term and many others simply refused to acknowledge the existence of the moniker. It wasn’t the rst time that jungle had been used as a way to describe a sound. Kool and the Gang had called their 1973 funk standard Jungle Boogie, while an instrumental version with an overdubbed ute part and additional percussion instruments was titled Jungle Jazz. The song ends with a Tarzan yell and features grunting, panting and scatting throughout. -
Funk Soul Brother – Repertoire 2018
FUNK SOUL BROTHER – REPERTOIRE 2018 PARTY MUSIC & DANCE FLOOR FILLERS! A Little Less Conversation - Elvis Another One Bites The Dust - Queen Beat It - Michael Jackson Billie Jean - Michael Jackson Blame It On The Boogie - Jackson 5 Blurred Lines - Robin Thicke Cake By The Ocean - DNCE Canned Heat - Jamiroquai Car Wash - Rose Royce Cold Sweat - James Brown Cosmic Girl - Jamiroquai Dance To The Music - Sly & The Family Stone Don't Stop Til You Get Enough - Michael Jackson Get Down On It - Kool and the Gang Get Down Saturday Night - Oliver Cheatham Get Lucky - Daft Punk Get Up Offa That Thing - James Brown Good Times - Chic Groove Is In The Heart - Dee-Lite Happy - Pharrell Williams Higher And Higher - Jackie Wilson I Believe in Mircales - Jackson Sisters I Wish - Stevie Wonder It's Your Thing - The Isley Brothers Kiss - Prince Ladies Night - Kool and the Gang Lady Marmalade - Labelle Le Freak - Chic Let's Stay Together - Al Green (continued) +44 (0)1572 335108 • [email protected] • www.pureartists.co.uk Long Train Running - Doobie Brothers Locked Out of Heaven - Bruno Mars Love Shack - B52s Mercy - The Third Degree/Duffy Move On Up - Curtis Mayfield Move Your Feet - Junior Senior Mr Big Stuff - Jean Knight Mustang Sally - Wilson Pickett Papa’s Got A Brand New Bag - James Brown Pick Up The Pieces - Average White Band Play That Funky Music - Wild Cherry Rather Be - Clean Bandit ft. Jess Glynne Rehab - Amy Winehouse Respect - Aretha Franklin Signed Sealed Delivered - Stevie Wonder Sir Duke - Stevie Wonder Superstition - Stevie Wonder -
Capturing Hip Hop Histories
capturing hip hop histories SOUTH-WEST HEADZ Master Blast Roadshow poster by Raz (Kilo), 1986. Photograph: Kilo. First published 2021 2021 Adam de Paor-Evans Cover graff by Remser Remser started writing in 1997 after seeing dubs and pieces by Sceo, Fixer, Teach, and G-Sane at the M5 pillar spot in Exeter. His school bus used to loop around Sannerville Way and the pieces could be seen from the road as well as the train. A couple of years prior to this, Remser’s mum randomly bought him a copy of Spraycan Art, and he knew straight away that it was something he wanted to be part of. In early 2000 he moved to London and hooked up with the DNK/CWR boys, they were way better than him and super-active but this experience pushed him to develop his style and learn about all aspects of graffiti writing. Respect and love to all of the South-West writers and hip hop headz, too many to mention but you know who you are! DNK CWR Waxnerds forever... Approved for free Cultural Works Creative Commons Licence Attribution 4.0 International Published by Squagle House, United Kingdom Printed in Great Britain Although every precaution has been taken in the preparation of this publication, the publisher and author assume no responsibility for errors or omissions. Neither is any liability assumed for damages resulting from the use of information contained herein. RHYTHM•obscura: revealing hidden histories through ethnomusicology and cultural theory is a long-term research venture that explores the relationships of the non-obvious and regional-rural phenomena within music cultures. -
Free 70S Disco Samples
Free 70s disco samples The royalty free 70s disco loops, samples and sounds listed here have been kindly uploaded by other users and are free to use in your project. If you use any of. Disco music loops, stock samples, royalty free downloads. Acid, FL Studio Download bpm Disco Drum by rasputin - 70s Disco Beat-- Highly Swung. KVR Forum Topic: 'Funk/70's Disco Samples ' - Hi all, I want to "disco-fy" my sound. Does anyone know where I can get any kind of disco sas disco drum kit? (Topic in the 'Samplers, Sampling. The glory years of disco may have been in the late '70s and early '80s, but its dancefloor friendly sound has never really gone away. Here some of the classic disco drums we've used over the years. Perfect for filling up your drums and giving them that live drum feel. All samples were sampled. True Disco by Loopmasters is on Splice Sounds. collection of royalty free disco samples since Jon Travolta hung up his flares. True Disco is an electrifying collection of Live instrument loops recorded through Worry no more about Licencing issues with those dodgy samples of old Disco records, get the full 70s Vibe here. Inject your music with authentic disco flavours with the hottest royalty-free sample packs, loops, MIDI, patches and presets - all available to audition instantly and. Download FREE Disco sounds - royalty-free! Find the Disco sound you are looking for in seconds. Free Soul sample pack downloads from Samplephonics. Check the website for a huge range of free Soul drum loops, instrument samples, sounds & sample libraries. -
This Is the Sound of Bass Triumphing Above All Others, Of
Reviews Last to Leave E.P. Reviews DJ returns Andrew Weatherall (Various – World-wide) "Happy Days" blew my head off on a wet Monday morning, proper music, total reality.” Rob Da Bank (Fabric/Sunday Best/Cargo – London) “Darkly gorgeous – fat bass, groovy beats – inspiring and one of the best bets this year!” Richard Dorfmeister (Various – Vienna/World-wide) “Nice beats on the dub.” Matthew Prall (Carbon/Muzik/FBI – London/Dublin) “Quite simply amazing!” DJ Wool (Influx/DLR 106FM – Ireland) “Excellent!” i-D NME.com “This is the sound of bass triumphing above all others, of dark corners in dangerous places, of smoke and dust and madness: the kind of record that Massive Attack would no doubt love to return with.” http://www.nme.com/NME/External/Reviews/Reviews_Story/0,1069,7160,00.html When It Hits You Feel No Pain – Album Reviews Q magazine – June 2001 NME The Face Independent Hot Press Mixmag Touch The Irish Times Muzik Online reviews Muse http://www.muse.ie/060401/reviews/revu_first.html Etronik http://www.etronik.com/section.asp?sectionId=10&IssueId=100 Arts Culture & Entertainment http://www.rte.ie/arts/2001/0412/firstborn.html Oceanfree http://home.oceanfree.net/channels/entertainment/music/albumreviews.html I Close My Eyes – Organic Audio Remix review Dj Magazine Features & Interviews Irish times, hot tickets The Guardian Muzik Hot Press interview Hot Press – Dance News Mojo Dance News Online Features & Interviews Arts Culture & Entertainment http://www.rte.ie/arts/2001/0412/lunnyo.html Etronik http://www.etronik.com/section.asp?sectionId=8&IssueId=100&Random=6 Oh Yeah clubbing.com Musix Dotmusic DJ / Live “Filled with hip hop, techno, northern soul and spoken word, Firstborn has provided the lot. -
Pressure Radio Soulful House Music Radio Presentation
Pressure Radio Deep Soulful House Music • Pressure Radio is one of longest running internet radio stations from our humble beginnings as a small UK only line up of DJs to a mass network of global DJ’s. • We are an independent, not-for-profit organisation, we only do this because we love the music we play, however because of the running costs we will gracefully accept any offers of support or donations. • We play HOUSE MUSIC mainly DEEP HOUSE, SOULFUL HOUSE plus BROKEN BEAT, NU JAZZ and the occasional specialist shows (soul, funk, disco, rare-groove). Keep it soulful, keep it Pressure, keep it forever Community • We rely on word of mouth and in recent years spreading via social networking our website has Facebook, Twitter & Myspace share and like links for the whole site and for individual content posts. • We have rss feeds for news and our weekly Soulful house chart. Our internet radio stream is running 24/7 every day of the year with much of that being live shows from real DJ presenters and its this live content that sets us apart from other stations. • We are a global family and we regard our listeners as extended family and welcome everyone to our global community. Keep it soulful, keep it Pressure, keep it forever Website Keep it soulful, keep it Pressure, keep it forever Website Keep it soulful, keep it Pressure, keep it forever Schedule Multi time-zone Schedule page Keep it soulful, keep it Pressure, keep it forever Playlists As well as links to Individual DJ’s podcasts we also have a unique combined podcast rss link which show the latest podcast from each DJ. -
0 Musical Borrowing in Hip-Hop
MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. Williams, BA, MMus Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2009 0 Musical Borrowing in Hip-hop Music: Theoretical Frameworks and Case Studies Justin A. Williams ABSTRACT ‗Musical Borrowing in Hip-hop‘ begins with a crucial premise: the hip-hop world, as an imagined community, regards unconcealed intertextuality as integral to the production and reception of its artistic culture. In other words, borrowing, in its multidimensional forms and manifestations, is central to the aesthetics of hip-hop. This study of borrowing in hip-hop music, which transcends narrow discourses on ‗sampling‘ (digital sampling), illustrates the variety of ways that one can borrow from a source text or trope, and ways that audiences identify and respond to these practices. Another function of this thesis is to initiate a more nuanced discourse in hip-hop studies, to allow for the number of intertextual avenues travelled within hip-hop recordings, and to present academic frameworks with which to study them. The following five chapters provide case studies that prove that musical borrowing, part and parcel of hip-hop aesthetics, occurs on multiple planes and within myriad dimensions. These case studies include borrowing from the internal past of the genre (Ch. 1), the use of jazz and its reception as an ‗art music‘ within hip-hop (Ch. 2), borrowing and mixing intended for listening spaces such as the automobile (Ch. 3), sampling the voice of rap artists posthumously (Ch. 4), and sampling and borrowing as lineage within the gangsta rap subgenre (Ch. -
Lucas Stephen M 2014 Masters
TRIPLE SYNTHESIS by Stephen Lucas A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO APRIL 2014 © STEPHEN LUCAS 2014 ii Acknowledgements I would like to thank my thesis supervisors and committee members Professor Michael Coghlan and Professor Alan Henderson, for their guidance and support in the development of this thesis. I must also thank committee member Professor Holly Small for her generous input and support. In addition, I wish to thank my graduate studies Professors Dorothy de Val, Pat Bradley and David Mott for their advice and expert instruction in my coursework at York University. iii Abstract This thesis investigates the result of merging three musical approaches (jazz fusion, breakbeat/IDM and Electronic Dance Music) and their respective methodologies as applied to music composition. It is presented in a progressive manner. Chapters two to four identify and discuss each of the three styles separately in terms of the research undertaken in the preparation of this thesis. Chapter 2 discusses, through a close examination of selected compositions and recordings, both Weather Report and Herbie Hancock as representing source material for research and compositional study in terms of melody, harmony and orchestration from the 1970s jazz-fusion genre. Chapter 3 examines breakbeat and Intelligent Dance Music (IDM) drum rhythm programming through both technique and musical application. Chapter 4 presents an examination of selected contemporary Electronic Dance Music (EDM) techniques and discusses their importance in current electronic music styles. Chapters 5, 6 and 7 each present an original composition based on the application and synthesis of the styles and techniques explored in the previous three chapters, with each composition defined by proportions of influence from each of the three styles as in the Venn diagram shown in the introduction. -
Shopping > Entertainment > Recordings > Music > Specialty
Google Directory - Shopping > Entertainment > Recordings > Music > Specialty Directory Help Search only in Specialty Search the Web Specialty Shopping > Entertainment > Recordings > Music > Specialty Go to Directory Home Categories Alternative (19) Flamenco (5) Reggae (21) Audiophile (15) Folk (29) Regional and Ethnic (237) Backing Tracks (15) Gymnastics (7) Rhythm and Blues, Funk, and Ballet (12) Hip-Hop (24) Soul (16) Barbershop Harmony (3) Holiday (12) Rock (100) Blues (13) Imports (31) Ska (4) Celtic (24) Independent Artists (68) Soundtracks (10) Cheerleading (9) Jazz (48) TV Compilations (6) Children (88) Karaoke (107) Urban, Dance, and Christian (84) Military (6) Electronica (195) Classical and Early (95) Native American (29) Videos (16) Country (18) New Age (74) Vintage (10) Experimental, Noise, and Progressive Rock (16) Vocal (1) Ambient (41) Punk and Hardcore (48) Weddings (18) Fitness (11) White Power (9) Related Categories: Arts > Music > Collecting (244) Arts > Music > Record Labels (1111) Arts > Music > Styles (37378) Web Pages Viewing in Google PageRank order View in alphabetical order Cadence Music Sales - http://www.cadencebuilding.com/ Large selection of mostly obscure jazz, especially avant-garde, and blues titles from hundreds of labels. Order by phone, fax, email, or mail. Forced Exposure - http://www.forcedexposure.com/ Large selection of underground music CDs and records, including reissues, from around the world. Browse by artist or label or download the catalog. http://directory.google.com/Top/Shopping/Entertainment/Recordings/Music/Specialty/ (1 of 8)9/24/2004 6:45:49 AM Google Directory - Shopping > Entertainment > Recordings > Music > Specialty Arhoolie Records/Down Home Music - http://www.arhoolie.com Hard-to-find country, bluegrass, and old time recordings along with other American genres and world music CDs, videos, magazines, and books. -
Supplementary File
Appendix A1.1. Study 1: Participants and Sampling Based on population statistics from Eurostat (2016), a German commercial online provider and its subsidiaries in UK and Spain realised 'crossed' target quotas for generation (gen Y: 18-34, gen X: 35-51, gen B: 52-68), education level (ISCED 0- 2, ISCED 3-4, ISCED 5-8) and gender (female/male), arriving at an overall gross sample of 10,180 subjects with approximate equal participants from each of the three countries. Due to internal logics of the project producing the data, survey experiments were conducted in two waves, December 2016 (n = 3,485) and May 2017 (n = 6,659). A1.2. Study 1: Stimulus Material Employed musical excerpts stem from a pool of 549 popular music tracks that had been selected from the digital music library of the collaborating audio branding agency HearDis (see Acknowledgements). Frequencies of selected tracks across genres were deliberately unbalanced, in order to represent typical frequencies of genres in a music library of the audio branding industry (see Figure 4). The 30s excerpts were cut from the original recordings (if possible) to always contain the end of first verse and the beginning of first chorus. Subsequently, resulting audio files were technically and perceptually normalised in terms of loudness. Randomised excerpt selection and playback for individual participants was programmed so that each track had the same selection probability within each combinatory cell of sociodemographic variables and country of residence. A1.3. Study 1: Data Pre-processing The obtained gross sample of both online survey experiment waves underwent extensive data cleansing. -
CALIFORNIA SOUL 2 Features Music Recorded Between 1966 and 1982
Super Cool is the second volume in our California Soul series and features music recorded between 1966 and 1982. Spanning eclectic genres from soul jazz, blues, Super Cool is the second volume in our California Soul series and V/A SUPER COOL: CALIFORNIA SOUL 2 features music recorded between 1966 and 1982. Spanning STREET DATE: 5/22/2007 heavy funk, modern soul, Northern soul, and disco, there’s even a ballad (previously eclectic genres from Soul Jazz, Blues, Heavy Funk, Modern Soul, unavailable on CD) from Luv N'Haight favorite Darondo. Northern Soul, and Disco, there’s even a ballad (previously unavailable on CD) from Luv N'Haight favorite Darondo. Despite a number of tracks being incredibly rare and highly sought-after, Super Cool was not compiled because of the rare-factor or value of the original releases alone. Super Cool was not compiled because of the rare-factor or value of More importantly this is a treasure trove of music that connects the dots between the original releases alone. More importantly this is a treasure artists and scenes, eras and genres, and none of the acts or tracks should not be trove of music that connects the dots between artists and scenes, lost to obscurity. eras and genres, and none of the acts or tracks should not be lost to obscurity. This is music by artists who may not be household This is music by artists who may not be household names, but were session musi- names, but were session musicians, players, and characters who cians, players, and characters who kept the scenes from San Francisco to Los Ange- kept the scenes from San Francisco to Los Angeles and beyond alive.