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Press Release
LOOKING AT MUSIC: SIDE 2 EXPLORES THE CREATIVE EXCHANGE BETWEEN MUSICIANS AND ARTISTS IN NEW YORK CITY IN THE 1970s AND 1980s Photography, Music, Video, and Publications on Display, Including the Work of Jean-Michel Basquiat, Blondie, Richard Hell, Sonic Youth, and Patti Smith, Among Others Looking at Music: Side 2 June 10—November 30, 2009 The Yoshiko and Akio Morita Gallery, second floor Looking at Music: Side 2 Film Series September—November 2009 The Roy and Niuta Titus Theaters NEW YORK, June 5, 2009—The Museum of Modern Art presents Looking at Music: Side 2, a survey of over 120 photographs, music videos, drawings, audio recordings, publications, Super 8 films, and ephemera that look at New York City from the early 1970s to the early 1980s when the city became a haven for young renegade artists who often doubled as musicians and poets. Art and music cross-fertilized with a vengeance following a stripped-down, hard-edged, anti- establishment ethos, with some artists plastering city walls with self-designed posters or spray painted monikers, while others commandeered abandoned buildings, turning vacant garages into makeshift theaters for Super 8 film screenings and raucous performances. Many artists found the experimental music scene more vital and conducive to their contrarian ideas than the handful of contemporary art galleries in the city. Artists in turn formed bands, performed in clubs and non- profit art galleries, and self-published their own records and zines while using public access cable channels as a venue for media experiments and cultural debates. Looking at Music: Side 2 is organized by Barbara London, Associate Curator, Department of Media and Performance Art, The Museum of Modern Art, and succeeds Looking at Music (2008), an examination of the interaction between artists and musicians of the 1960s and early 1970s. -
Elvis Costello and Blondie
FOR IMMEDIATE RELEASE Media Contact: Bridget Smith v.845.583.2179 Photos & Interviews may be available upon request [email protected] ELVIS COSTELLO & THE IMPOSTERS AND BLONDIE EMBARK ON CO-HEADLINING SUMMER TOUR, BEGINNING AT BETHEL WOODS ON SATURDAY, JULY 20TH Tickets on-sale Saturday, April 6th at 10 AM April 2, 2019 (BETHEL, NY) – Bethel Woods Center for the Arts, the nonprofit cultural center located at the site of the 1969 Woodstock festival, today announced that Elvis Costello & The Imposters and Blondie will perform at the center on July 20th as the first stop on their coast-to-coast co-headlining tour. Tickets go on-sale Saturday, April 6th at 10:00 AM at www.BethelWoodsCenter.org, www.Ticketmaster.com, Ticketmaster outlets, or by phone at 1.800.745.3000. Elvis Costello and Blondie shared spots near the top of the UK Singles Chart 40 years ago when Blondie's "Heart Of Glass” sat neck-and-neck alongside Elvis Costello & The Attraction’s "Oliver's Army” in the company of The Bee Gees, Gloria Gaynor and ABBA. The same week, Blondie's seminal album Parallel Lines reached #1 on the Album Chart while Costello's Armed Forces landed at #3. Elvis Costello & The Imposters’ last tour in late 2018 found the combo reaching new live performance peaks. The band "came out swinging” (Star Tribune) in Minneapolis, were “unstoppable” in Anaheim (OC Register) and played an “epic and euphoric” (Variety) show in LA that even at nearly three hours “[left] ‘em wanting more.” The Imposters are: Steve Nieve (keyboards), Davey Faragher (bass) and Pete Thomas (drums). -
Smash Hits Volume 33
FORTNIGHTLY March 6-19 1980 i: fcMrstfjg i TH LYING LIZARDS .;! albums STS EDMUNDS )ur GRRk/£V£t/HlfLK HATES 7EEJM THAT TVf^ itav UGLYMONSTERS/ ^A \ / ^ / AAGHi. IF THERE'S ONE THING THATMAKES HULK REALLYAM6RY, IT'S PEOPLE WHO DON'T LOOK AFTER THEIRT€€TH! HULK GOES MAD UNLESS PEOPLE CLEAN THEIR TEETH THOROUGHLY EVERY DAY (ESPECIALLY LAST THING ATNIGHT). HE GOES SSRSfRK IFTHEY DON'T VISITTHE DENTIST REGULARLY! IF YOU D0N7 LOOKAFTER YOUR TEETH, SOMEBODY MAY COME BURSTING INTO YOUR HOUSE IN A TERRIBLE TEMPER AND IT WON'T BE THE MamAM...... 1 ! IF YOU WOULD LIKE A FREE COLOUR POSTER COPY OF THIS ADVERTISEMENT, FlU IN THE COUPON AND RETURN IT TO: HULK POSTER P.O BOX 1, SUDBURY, SUFFOLK COlO 6SL. tAeE(PUASETICKTHEAPPROPRIATEBOir)UNDERI3\Z\i3-l7\3lSANDOVER\JOFFERCLOSESONAPRIL30THmO.AUOW2SDAYSFORDELIVERY(sioaMPmisniA5l}l SH 1 uNAME ADDRESS X. i ^i J4 > March 6-19 1980 Vol 2 No. 5 Phew! Talk about moving ANIMATION mountains — we must have The Skids 4 shifted about six Everests' worth of paper this fortnight, what with ALABAMA SONG your voting forms and Walt David Bowie 4 Jabsco entries. With a bit of luck we'll have the poll results ready SPACE ODDITY forthe next issue but you'll find David Bowie 5 our Jabsco winners on page 26 of this issue. There's also an CUBA incredibly generous Ska Gibson Brothers 8 competition on page 24, not to mention our BIG NEWS! Turn to ALL NIGHT LONG the inside back page and find out Rainbow 14 what we mean . I'VE DONE EVERYTHING FOR YOU Sammy Hagar 14 Managing Editor HOT DOG Nick Logan Shakin' Stevens 17 Editor HOLDIN' -
"Rip Her to Shreds": Women's Musk According to a Butch-Femme Aesthetic
"Rip Her to Shreds": Women's Musk According to a Butch-Femme Aesthetic Judith A, Peraino "Rip Her to Shreds" is the tide of a song recorded in 1977 by the rock group Blondie; a song in which the female singer cat tily criticizes another woman. It begins with the female "speak er" addressing other members of her clique by calling attention to a woman who obviously stands outside the group. The lis tener likewise becomes a member of the clique, forced to par ticipate tacitly in the act of criticism. Every stanza of merciless defamation is articulated by a group of voices who shout a cho rus of agreement, enticing the listener to join the fray. (spoken! Hey, psf pst, here she comes !lOW. Ah, you know her, would YOIl look ollhlll hair, Yah, YOIl know her, check out Ihose shoes, A version of this paper was read at the conference "Feminist Theory and Music: Toward a Common Language," Minneapolis, MN, June 1991. If) 20 Peraino Rip Her to Shreds She looked like she stepped out in the middle of somebody's cruise. She looks like the Su nday comics, She thinks she's Brenda Starr, Her nose·job is real atomic, All she needs is an old knife scar. CHORUS: (group) 00, she's so dull, (solo) come on rip her to shreds, (group) She's so dull, (solo) come on rip her to shreds.! In contrast to the backstabbing female which the Blondie song presents, so-called "women's music" emphasizes solidarity and affection between women, and reserves its critical barbs for men and patriarchal society. -
BBC 4 Listings for 5 – 11 June 2021 Page 1 of 4
BBC 4 Listings for 5 – 11 June 2021 Page 1 of 4 SATURDAY 05 JUNE 2021 Sarah and Jan are convinced that there is a link between fashion and hip-hop scenes that have fed off historic power Nanna's murder and an unsolved case from 15 years earlier. It is struggles and culture clashes, both between ancient empires and SAT 19:00 How the Celts Saved Britain (b00ktrby) now a race against time to nail the evidence. Pernille and Theis against French colonisers. She traces the story of Leopold Salvation are puzzled as they realise the case is far from closed. Troels is Senghor, a poet who became the father of Senegalese counting on winning the election and is willing to put everything independence and redefined what Africa is. She explores cities Provocative two-part documentary in which Dan Snow blows on the line. with exuberant murals and street culture that respond to the the lid on the traditional Anglo-centric view of history and past, and she meets internationally acclaimed choreographer reveals how the Irish saved Britain from cultural oblivion during Germaine Acogny, griot musician Diabel Cissokho and hip-hop the Dark Ages. SAT 00:45 The Killing (b00zth0c) legend DJ Awadi. Series 1 He follows in the footsteps of Ireland's earliest missionaries as they venture through treacherous barbarian territory to bring Episode 18 SUN 23:00 Searching for Shergar (b0b623r9) literacy and technology to the future nations of Scotland and The story of one of the world's most valuable racehorses, England. Sarah and Jan check out an abandoned warehouse to look for Shergar, who disappeared in 1983 at the height of the Troubles. -
Weißer Mann, Was Nun?
Freiburg · Mittwoch, 15. Januar 2020 http://www.badische-zeitung.de/weisser-mann-was-nun-die-tagung-queer-pop-in-freiburg Weißer Mann, was nun? Die Tagung „Queer Pop“ in Freiburg will nicht nur die Grenzen des Geschlechter-Denkens erweitern, sondern stellt dem Denken auch das Tanzen zur Seite F F O O T T O Als die Pet Shop Boys 1984 mit ihrem Al- ordnung als das Selbstverständnis quee- Unis Seminare zu Queer Pop stattgefun- O : : A C N bum „West End Girls“ ihre erfolgreichste rer Popstars wider, das immerzu chan- den, sondern die Party wird mit Perfor- H N R I E S T T T Zeit erlebten, waren sie noch Teil einer giert, sich neu erfindet und starres Scha- mances Studierender eröffnen, die quee- O E P K H O S schwul-lesbischen Subkultur, die sich in R blonen-Denken bewusst durchkreuzt. re Ästhetik auf die Bühne bringen. Dar- C O H L M Codes ausdrückte. Für das Publikum, das L Bei „Queer Pop“ geht es nicht nur um auf, wie auch heterosexuelle Menschen I D T sie an die Spitze der Charts hievte, stand Musik: Queere Strategien finden sich in sich queer inszenieren, darf man ge- ( D P A die geschlechtliche Identität der Musiker allen medialen Bereichen, vom Film über spannt sein, doch weist diese Frage auch ) zumindest nicht im Vordergrund. Anders Literatur und Mode bis zur Kunst und auf einen anderen Umstand hin: Queeres war das bei Boy George und seiner Band Fotografie. „Wir wollen uns mit queerer Denken hat sich von der reinen Auseinan- Culture Club, die etwa zur gleichen Zeit Ästhetik beschäftigen, aber auch aufzei- dersetzung mit Genderrollen hin zu durch ihr androgynes Auftreten zu welt- gen, wie diese inzwischen Diskussionen grundlegenden sozialkritischen Fragen weiten Pop-Ikonen wurden. -
C Annual Fall Sale
40 C R O C K O N by EthKe Ann Vare Petty is "pure rock"? My dear records. Look' at AC/DC. Now is, an opinion. As writer Spider ALBUM REVIEWS misinformed child, he is merely that is music. Heavy metal is Robinson says, “A critic is your basic, boring pop—the superior, and platinum is the someone who tells you whether Theartist......... Debbie Harry stuff that rises up the song proof of a good group. or not something is ‘art.’ A The album..................KooKoo charts to the Top Ten (the ten —Unsigned. reviewer tells you if he likes it.” I The label.................Chrysalis worst songs in America, in other Dear Anonymous Teenaged am a record reviewer, happily words). What I know is rock Male Reader:I take it you sharing my own (reasonably in The cover art of Blondie's real you call "posturing, prehistoric, weren’t pleased with my review formed) tastes with you. Feel lead singer's solo debut is so macho, mindless gunk." Well, of Van Halen. Well, I stand by spellbinding (it was created by More Rock On that "gunk” sells a hell of a lot of my opinion—and that's what it the set designer of the film Page 41 "Alien") that one expects a similar eerie beauty from the music. Tough luck. Harry has gotten together with the Chic organization (pro genitors of "Le Freak." pro ducers of Sister Sledge) to record an album of soft-soaped, ANNUAL disco/funk/rap that is not so bad in and of itself—it just seems like an ethnic rip-off coming from this lily-white warbler. -
Psaudio Copper
Issue 41 SEPTEMBER 11TH, 2017 Welcome to Copper #41! The title isn't to announce a James Taylor retrospective---sorry to crush your hopes--- but is just what I see in today's weather reports. The Pacific Northwest, where I'm bound for a long-delayed vacation, is up in flames, along with many other parts of the tinder-dry US. Meanwhile, back in my former home of Florida...they've already had nearly two feet of rain, and Hurricane Irma is not even close to the state yet. Stay safe, everyone. I'm really pleased and excited to have Jason Victor Serinus back with us, with the first part of an intensive introduction to art song. Jason brings tremendous knowledge of the field, and provides plenty of recorded examples to listen to, and in the case of videos, watch. There are many stunning performances here, and I hope you enjoy this extraordinary resource. We'll have Part 2 in Copper #42. Dan Schwartz is again in the lead-off spot with the second in his series of articles on encounters–this one, with Phil Lesh and crew; Seth Godin tells us how control is overrated; Richard Murison hears a symphony; Duncan Taylor takes us to Take 1; Roy Hall tells about a close encounter of the art kind; Anne E. Johnson introduces indie artist Anohni; and I worry about audio shows (AGAIN, Leebs??), and conclude my look at Bang & Olufsen. Industry News tells of the sale of audiophile favorite, Conrad-Johnson; Gautam Raja is back with an amazing story that I think you'll really enjoy, all about Carnatic music, overlooked heritage, and the universal appeal of rock music; and Jim Smith takes another warped look at LPs. -
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter -
Glam Rock by Barney Hoskyns 1
Glam Rock By Barney Hoskyns There's a new sensation A fabulous creation, A danceable solution To teenage revolution Roxy Music, 1973 1: All the Young Dudes: Dawn of the Teenage Rampage Glamour – a word first used in the 18th Century as a Scottish term connoting "magic" or "enchantment" – has always been a part of pop music. With his mascara and gold suits, Elvis Presley was pure glam. So was Little Richard, with his pencil moustache and towering pompadour hairstyle. The Rolling Stones of the mid-to- late Sixties, swathed in scarves and furs, were unquestionably glam; the group even dressed in drag to push their 1966 single "Have You Seen Your Mother, Baby, Standing in the Shadow?" But it wasn't until 1971 that "glam" as a term became the buzzword for a new teenage subculture that was reacting to the messianic, we-can-change-the-world rhetoric of late Sixties rock. When T. Rex's Marc Bolan sprinkled glitter under his eyes for a TV taping of the group’s "Hot Love," it signaled a revolt into provocative style, an implicit rejection of the music to which stoned older siblings had swayed during the previous decade. "My brother’s back at home with his Beatles and his Stones," Mott the Hoople's Ian Hunter drawled on the anthemic David Bowie song "All the Young Dudes," "we never got it off on that revolution stuff..." As such, glam was a manifestation of pop's cyclical nature, its hedonism and surface show-business fizz offering a pointed contrast to the sometimes po-faced earnestness of the Woodstock era. -
Boy George (George O'dowd) (B
Boy George (George O'Dowd) (b. 1961) by Tina Gianoulis Boy George performing Encyclopedia Copyright © 2015, glbtq, Inc. in London in 2001. Entry Copyright © 2002, glbtq, Inc. Photograph by Jessica Reprinted from http://www.glbtq.com Hansson. Image appears under the Boy George is, like many middle-aged queers, a survivor. And, like many pop icons, Creative Commons Attribution ShareAlike one of the main trials he has had to survive is his own fame. License Version 2.5. The Boy George persona, which came to international attention with the success of the band Culture Club in the early 1980s, threatened to overshadow completely Boy George the performer. However, George's talent, resilience, and genuine affability have seen him through his band's breakup, his own drug addiction, an unexpected solo comeback, and a 1998 reunion with Culture Club. Retaining his sense of style and eclecticism throughout, George has proved he is not merely a stage persona, but also a real original and a gay pioneer. Born in Bexleyheath, a cheerless section of South London, on June 14, 1961, George Alan O'Dowd was the third of six children born to working class Irish parents. His father, a builder and boxing coach, and his mother, who worked in a nursing home, had little attention to spare to give emotional support to their children, especially little George, who showed signs of being "different" from a very early age. He often showed up at church in outlandish hats and platform shoes. Indeed, the eccentric clothes he wore to school got him assigned to a class for incorrigibles. -
WARHOL on VINYL: the Record Covers, 1949–1987+ June 21, 2014–March 15, 2015 WARHOL on VINYL: the Record Covers, 1949–1987+
Cranbrook Art Museum WARHOL ON VINYL: The Record Covers, 1949–1987+ June 21, 2014–March 15, 2015 WARHOL ON VINYL: The Record Covers, 1949–1987+ June 21, 2014–March 15, 2015 Curated by Laura Mott © 2014 Andy Warhol Foundation for the Visual Arts / ARS, New York, NY. Cranbrook Art Museum Andy Warhol was a lightning rod for popular culture, and the thunder that accompanied its bright flash was music—rock, classical, musicals, opera, jazz, soul, experimental, and everything in between. Warhol had a fervent appreciation for all types of music. When entering the Factory it was not uncommon to find him working with two stereos blasting simultaneously, one playing Bach and the other rock-n-roll.1 Sometimes Fig. 1 Fig. 2 Warhol would listen to the same piece of music one hundred times in a A Program for Mexican Music Melodic Magic by Lew White at the row without tiring; he explained it was done “in order to understand what conducted by Carlos Chávez, 1949. Organ and His Orchestra, circa 1953. it meant.”2 His role as cultural provocateur and producer of The Velvet © 2014 Andy Warhol Foundation for © 2014 Andy Warhol Foundation for the Visual Arts / ARS, New York, NY. the Visual Arts / ARS, New York, NY. Underground is well known, and the combination of art and music was a Reproduced by permission of Sony Reproduced by permission of Sony constant throughout his professional life from 1949 until his death in 1987. Music Entertainment. Music Entertainment. However, his design of record covers was the only medium in which he worked consistently throughout his nearly forty years of artistic production.