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Melancholy and Loss
This work has been submitted to NECTAR, the Northampton Electronic Collection of Theses and Research. Book Section Title: ‘You should try lying more’: the nomadic impermanence of sound and text in the work of Bill Drummond Creator: WisemanTrowse, N. J. B. Example citation: WisemanTrowse, N. J. B. (2014) ‘You should try lying more’: the nomadic impermanence of sound and text in the work of Bill Drummond. In: Hansen, A. and Carroll, R. (eds.) Litpop: Writing and Popular Music. Aldershot: Ashgate. pp. 157 168. It is advisable to refer to the publisher's version if you intend to cite from this work. Version: Submitted version Official URL: http://www.ashgate.com/isbn/9781472410979 NECTARhttp://nectar.northampton.ac.uk/4373/ 1 ‘You Should Try Lying More’: The Nomadic Impermanence of Sound and Text in the Work of Bill Drummond Nathan Wiseman-Trowse Imagine waking up tomorrow, all music has disappeared. All musical instruments, all forms of recorded music, gone. A world without music. What is more, you cannot even remember what music sounded like or how it was made. You can only remember that it had existed, that it had been important to you and your civilisation. And you long to hear it once more. Then imagine people coming together to make music with nothing but their voices, and with no knowledge of what music should sound like.1 Bill Drummond’s work straddles the worlds of popular music, literature and art. Drummond is perhaps best known as one half of the massively successful dance act The KLF, who scored a number of single and album chart hits across Europe in the late eighties and early nineties. -
Elliot Levey
Elliot Levey Agents Ruth Young Associate Agent Phoebe Trousdell [email protected] +44 (0)20 3214 0800 Assistant Lauren Morgan [email protected] +44 (0)20 3214 0800 Assistant Alex Campbell [email protected] +44 (0)20 3214 0800 Roles Film Production Character Director Company MURDER ON THE Rabbi Kenneth Branagh Twentieth Century Fox ORIENT EXPRESS DENIAL Roger Levey Mick Jackson Krasnoff / Foster Entertainment FALLEN Dr. Watkins Scott Hicks Lotus Entertainment/ Mayhem Pictures THE MASTER OF YORK Menachem Kieron Quirke Eagle Lion Monster Films FLORENCE FOSTER Edgar Booth Stephen Frears Florence Film Ltd JENKINS Cunningham Jr United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Character Director Company THE LADY IN THE VAN Director Nicholas Hytner Van Production Ltd. SPOOKS Philip Emmerson Bharat Nalluri Shine Pictures & Kudos PHILOMENA Alex Stephen Frears Lost Child Limited THE WALL Stephen Cam Christiansen National film Board of Canada THE QUEEN Stephen Frears Granada FILTH AND WISDOM Madonna HSI London SONG OF SONGS Isaac Josh Appignanesi AN HOUR IN PARADISE Benjamin Jan Schutte BOOK OF JOHN Nathanael Philip Saville DOMINOES Ben Mirko Seculic JUDAS AND JESUS Eliakim Charles Carner Paramount QUEUES AND PEE Ben Despina Catselli Pinhead Films JASON AND THE Canthus Nick Willing Hallmark ARGONAUTS JESUS Tax Collector Roger Young Andromeda Prods DENIAL Roger Levey Denial LTD Television Production Character Director Company -
MAR), a Twice-Monthly Publication, Has Three Sections
MONTANA ADMINISTRATIVE REGISTER ISSUE NO. 12 The Montana Administrative Register (MAR), a twice-monthly publication, has three sections. The notice section contains state agencies' proposed new, amended or repealed rules; the rationale for the change; date and address of public hearing; and where written comments may be submitted. The rule section indicates that the proposed rule action is adopted and lists any changes made since the proposed stage. The interpretation section contains the attorney general's opinions and state declaratory rulings. Special notices and tables are found at the back of each register. Inquiries regarding the rulemaking process, including material found in the Montana Administrative Register and the Administrative Rules of Montana, may be made by calling the Administrative Rules Bureau at (406) 444-2055. Page Number TABLE OF CONTENTS NOTICE SECTION ENVIRONMENTAL QUALITY, Department of, Title 17 17-212 (Subdivisions) Notice of Public Hearing on Proposed Amendment - Adoption by Reference of Department Circular DEQ-4. 1345-1346 (Board of Environmental Review) 17-213 (Water Quality) Notice of Public Hearing on Proposed Amendment - Incorporation by Reference of DEQ-4 as It Pertains to Water Quality. 1347-1354 17-214 (Air Quality) Notice of Public Hearing on Proposed Amendment - Air Quality Operation Fees and Open Burning Fees. 1355-1358 17-215 (Air Quality) Notice of Public Hearing on Proposed Amendment and Adoption - Registration of Certain Air Contaminant Sources Including Non- metallic Mineral Processing Plants. 1359-1371 LABOR AND INDUSTRY, Department of, Title 24 24-150-34 (Board of Hearing Aid Dispensers) Notice of Public Hearing on Proposed Amendment - Allowable Dispensing Fees. -
2 to Be Somebody: Ambition and the Desire to Be Different
2 To Be Somebody: Ambition and the Desire to Be Different The context for difference This chapter aims to identify some of the bands that enjoyed chart success during the late 1970s and ’80s and identify their artistic traits by means of conversations with band members and those close to the bands. This chapter does not claim to be a definitive account or an inclusive list of innovative bands but merely a viewpoint from some of the individuals who were present at the time and involved in music, creativity and youth culture. Some of these individuals were in the eye of the storm while others were more on the periphery. However, common themes emerge and testify to the Scouse resilience identified in the previous chapter. Also, identifying objective truth is a difficult task, as one band member will often have a view of his band’s history that conflicts with that of other members of the same band. As such, it is acknowledged that this chapter presents only selective viewpoints. Trying something new: In what ways were the Liverpool bands creative and different? ‘Liverpool has always made me brave, choice-wise. It was never a city that criticized anyone for taking a chance.’ David Morrissey1 In terms of creativity, the theory underpinning this book which was stated in Chapter 1 is that successful Liverpool bands in the 1980s were different from each other and did not attempt to follow the latest local or national pop music trends. None of the bands interviewed falls into the categories of punk, disco or New Romantic, which were popular trends at the time. -
44/Exzentriker (Page 152)
Gesellschaft Ihren Ruf als Spaßguerrilleros festigten die beiden Helden durch diverse Scherze: Sie setzten Jour- nalisten per Hubschrauber auf ei- ner einsamen Insel vor der briti- schen Küste aus, oder sie zündeten in Schweden einen Scheiterhau- fen aus Schallplatten an, weil ih- nen die Benutzung eines Sound- schnipsels des Erfolgsquartetts Abba untersagt worden war. Ihre pyromanischen Neigungen lebten Drummond und Cauty nach dem Abschied vom Hitpara- denpop erst richtig aus. Das Witz- bold-Duo firmierte nun als „The K Foundation“ und präsentierte der Öffentlichkeit ein Kunstwerk, das aus auf einem Holzbrett festgena- REDFERNS gelten Banknoten im Wert von ei- Aktionskünstler Cauty, Drummond: Attacken auf die Langeweile des Showgeschäfts ner Million Pfund bestand – zu- gleich boten sie die Skulptur den ten: „Ladies and Gentlemen, The KLF ha- Hütern der Londoner Tate Gallery für EXZENTRIKER ben hiermit das Musikgeschäft verlassen.“ 500000 Pfund zum Kauf an. Als die Tate- Das war 1992. Im August dieses Jahres Leute nicht zugreifen wollten, verbrannten Millionen in erschien im Londoner Stadtmagazin „Time die verkannten Artisten das Eine-Million- out“ eine Anzeige: „Sie sind wieder da. Pfund-Mißverständnis 1994 bei einer spek- Die Erfinder von Trance. Die Lords des takulären Aktion auf der schottischen In- Flammen Ambient. Die Könige des Stadion-House. sel Jura. Die Paten des Techno-Metal. Die beste Für viele Briten hörte angesichts solcher Bill Drummond und Jimmy Rave-Band aller Zeiten! THE KLF.“ Und Umtriebe der Spaß auf – zumal Drummond tatsächlich ist nun eine neue Single unter und Cauty jede Erklärung zu ihrem Treiben Cauty sind berüchtigt für Schock- dem Titel „Fuck the Millenium“ erschienen bis heute ablehnen. -
The KLF Are Back
The KLF are back – but are they any closer to answering that burning million pound question? August 31, 2017 1.13pm BST https://theconversation.com/the-klf-are-back-but-are-they-any-closer-to-answering-that-burning- million-pound-question-83168 Annebella Pollen Principal Lecturer in the History of Art and Design, University of Brighton Burning issue. Shutterstock For ravers of a certain age, the electronic band known (mostly) as the KLF provided many of the dance floor fillers of the early 1990s. What Time is Love? and 3am Eternal were part of the euphoria of club culture. There was also the silliness of their novelty record, Doctorin’ the Tardis. And who could forget the deliberately perverse appearance of country singer Tammy Wynette on the baffling single Justified and Ancient? The KLF were known for heavy-handed sampling, and bending every pop rule, until their career went up in flames over two decades ago. Then, in the summer of 2017, they came back. In an ice cream van. To Liverpool, where an event was held in search of an explanation for KLF’s most notorious and controversial act – the burning of £1m in cash. The money burning by the band’s two core members, Bill Drummond and Jimmy Cauty, was one of a series of subversive manoeuvres designed to “amend art history”. The pair had previously fired blanks from a machine gun into a music industry crowd after being named best band at the Brit Awards in 1992. Two years later, as the K Foundation, they attempted to undermine the 1994 Turner Prize by awarding double the official prize money to the artist they considered to be the worst on the short list. -
("The 1994 Agreement") Which Agreement Was Hereinafter Referred to As "The Prior Agreement" Music Agreement&
IMPORTANT NOTICE TO THE SONGWRITER THIS DOCUMENT CONTAINS AN IMPORTANT AGREEMENT WHICH MAY AFFECT YOUR CAREER ON A LONG TERM BASIS lT IS VITAL THAT YOU UNDERSTAND ITS CONTENTS AND ITS POTENTlAL RAMIFICATIONS YOU MUST THEREFORE SEEK SPECIALIST ADVICE FROM A LAWYER WITH EXPERIENCE OF AGREEMENTS OF THIS KIND BEFORE THE AGREEMENT IS ENTERED INTO WE WILL REQUIRE EVIDENCE THAT YOU HAVE HAD THE BENEFIT OF SUCH ADVICE T HT S A G REEM ENT is made th~day of ~wo thousand and three BETWEEN CHRYSALIS MUSIC LIMITED ofThe Chrysalis Building Bramley Road London WlO 6SP (hereinafter called "the Publisher") ofthe one part and KRISTIAN WESTON (pka "THRASH'') care ofBaxter McKay LLP Solicitors 34 Great James Street London WClN 3HB (hereinafter called "the Writer") of the other part WHEREAS 1. The Writer together with Duncan Alexander Robert Paterson aod Adam Morris entered into an agreement with Publisher on I 7lh May 1994 ("the 1994 Agreement") which agreement was amended (inter a/ia) by way of a further agreement between the same parties on 29th August 1997 ("the 1997 Agreement") The 1994 Agreement (as the same has been varied and amended) is hereinafter referred to as "the Prior Agreement" 2. Pursuant to the Prior Agreement the Writer granted to the Publisher certain rights in relation to the Writers interest in the Big Life Music Works (as defined therein) Such rights included (without limitation) the right to receive royalties otherwise payable to the Writer by Big Life Music Limited ("Big Life") pursuant to the Writers prior agreement with Big Life Music Ltd ("the Big Life Music Agreement") ("the Big Life Royalties") 3. -
SEMANAL 1 Pag
RECICL EL A P D A O P 100% Periódico Independiente de la Montaña Del 11 al 17 de febrero de 2011 AÑO XVIII • Tercera Época Número 581 La libertad es tan solo el derecho que tienes de pensar. Anónimo 1,40 euros www.escaparatedigital.com Los concejales díscolos ponen en peligro la mayoría del PP en Ibi Felicidad Peñalver y Rafael Pastor rompen la disciplina de voto en el último Pleno y Antonio Granero excusa su ausencia PÁGINA 5 IBI TIBI ESPECIAL El PSOE incorpora en El PP vota en contra de La campaña ‘Un la lista a las la subvención juguete, una ilusión’ municipales un 60 por millonaria de la recauda más de 3’3 cien de caras nuevas Diputación al Teatro millones de euros 4 14 15 IBI COMARCA ONIL El desempleo baja en La Cruz de la Juventud El Ayuntamiento pide a 78 personas, el mayor recorrerá la Foia de la Diputación de descenso de la Castalla del 7 al 9 Alicante que arregle el comarca de marzo camino viejo de Sax 11 19 12 MUSEO BIODIVERSIDAD CASTALLA DEPORTES Exito de público en la Maite Candela Orts es El Onix CB sigue líder Jugueteros en Nuremberg. Un gran número de la dama de honor de invicto de su categoría empresas jugueteras y muñequeras de la comarca de la Foia de campaña provincial Castalla se dio cita en la LXII edición de la Feria Internacional ‘Te llevamos el museo los Moros Mudéjares tras vencer a un ‘Teixe’ del Juguete de Nuremberg, celebrada en esta ciudad alemana del al cole’ para las Fiestas 2011 que le plantó cara 3 al 8 de febrero, adonde acudieron, para ofrecer su respaldo a estos industriales, las alcaldesas de Ibi y Onil y el presidente de 9 18 22 la Generalitat Valenciana. -
Iiusicweek for Everyone in the Business of Music 16 SEPTEMBER
iiusicweek For Everyone in the Business of Music 16 SEPTEMBER 1995 £3.10 Simply Red the new single 'Fairground' Release date 18th September Formats: 2CDs, Cassette CD1 includes live tracks CD2 includes remixes w thusfcwe For Everyone in the Business of Music 16 SEPTEMBER 1995 THIS WEEK Black retumsto EMI as MD 4 Help wi He says his former colleague was the Warners and am now looking At 33, Black joins a growing list of agamsttjme Clive Black has finally been installed only"When candidate Manchester for his oldjob. United were -------theEMI. challenges Besides, ofJF- my put new r youthfu!industry, managingalongside directors MCA's in Nickthe lOBlur ingas managing weeks of spéculation. director of EMI UK, end- ers,champions, but you they don't tried change to change a winning play- Cecillon adds that I mldn't refuse." Phillips,RCA's Hugh 32, Goldsmith,_35,Epic's Rob Stringer, BMG misic _33, iWadsworth the company he left at the beginning of between' " ' us ays. "The ' ' îtry' Works inhis A&R new will job. be an"I aci division président Jeremy Marsh, 35, 12PRS:agm department,last year following most recently10 years inas itshead A&R of teamBlack again. wf ■ork alongside the tv UKandthekeytothfParlophone to be the signais s been WEA A&R Ton; il b managingand Roger directors Lewis, A&R drivenguy - probablyand becaus tl replacesdirector Jeanfor theFran | areporting daily basis. directly Cecillon to stresses him,"usiness he says.- tlu for Aftera manager two years at Intersong he moved Musicon to h I vacated the positioi will be given a free rein, "My mesf raftBlack of acts was to responsible the label in for his bringing last spell a movingWEA, to EMIwhose in 1984.managing di danceat EMI actUK, Markand at MorrisonWEA, he signedand teennew Moira BeUas says she wishes Black i group Optimystic. -
I Commissioned Bill Drummond to Write This Essay. It Subsequently Appeared As Chapter in His Book the 17
I commissioned Bill Drummond to write this essay. It subsequently appeared as chapter in his book The 17. WHAT IS REAL? 13 September 2006 A couple of weeks back I got an email from an Irish artist named Dennis McNulty. He had read something about The17 in a Dublin magazine which had prompted his email. He reckoned there were similarities in our approach to working. There was a link in his email to an artist’s statement on his site. I clicked and read this: ‘I am an artist/musician who works in a process-driven way. This frequently manifests itself in the creation of site-specific performances. The sonic content of these performances is improvised i.e. each sound performance is unique and unrepeatable.’ He goes on to explain how earlier this year he had sent out an email to the 2000 names on a mailing list of a Brazilian record label, some sort of underground specialist label. He was inviting the recipients of the email to email him back and to invite him round to their place to perform his music. But he stipulated that only those who lived on the higher floors of tower blocks should respond and that his performance could only happen at the magic hour just before sunset. In the email to me he also said that he was about to have an exhibition in a gallery in Derry in Northern Ireland. The exhibition was to be a record of what he had done in Brazil: sound, video, photos, text, all the usual media of documentation. -
The Jams' and the KLF's Invocation of Mu
CHART MYTHOS The JAMs’ and The KLF’s Invocation of Mu [Received August 18th 2016; accepted September 22nd 2016 – DOI: 10.21463/shima.10.2.07] Jon Fitzgerald <[email protected]> Southern Cross UniversitY Philip Hayward <[email protected]> Kagoshima UniversitY Research Center for the Pacific Islands and UniversitY of TechnologY SYdneY ABSTRACT: The JAMs and The KLF, two overlapping popular music ensembles led by British multi-media performers JimmY CautY and Bill Drummond, were notable for both the success theY had with a batch of singles in the late 1980s and early 1990s and the complex mythologY theY constructed and celebrated in song lYrics, music videos, press releases and short films. KeY to their mYthological project was their association with the fictional lost island-continent of Mu (with the band name JAMs being an abbreviation for ‘Justified Ancients of Mu Mu’). The latter identitY was derived from Robert Shea and Robert Anton Wilson’s Illuminatus trilogY of novels in which the aforementioned “ancients” were a secret brotherhood involved in combatting the rival Illuminati, who originated in Atlantis. As the JAMS’ and KLF’s oeuvres progressed, aspects of Mu and Atlantis were synthesised by CautY and Drummond with elements of other actual and fictional islands. The article traces the initial imagination and representation of Mu in esoteric crYpto-historical literature, its rearticulation in Shea and Wilson’s counter-cultural novels and its invocation and function in CautY and Drummond’s work with The JAMs and The KLF. KEY -
Ambient Music the Complete Guide
Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality.