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The Concert Hall As a Medium of Musical Culture: the Technical Mediation of Listening in the 19Th Century
The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century by Darryl Mark Cressman M.A. (Communication), University of Windsor, 2004 B.A (Hons.), University of Windsor, 2002 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the School of Communication Faculty of Communication, Art and Technology © Darryl Mark Cressman 2012 SIMON FRASER UNIVERSITY Fall 2012 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for “Fair Dealing.” Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Darryl Mark Cressman Degree: Doctor of Philosophy (Communication) Title of Thesis: The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century Examining Committee: Chair: Martin Laba, Associate Professor Andrew Feenberg Senior Supervisor Professor Gary McCarron Supervisor Associate Professor Shane Gunster Supervisor Associate Professor Barry Truax Internal Examiner Professor School of Communication, Simon Fraser Universty Hans-Joachim Braun External Examiner Professor of Modern Social, Economic and Technical History Helmut-Schmidt University, Hamburg Date Defended: September 19, 2012 ii Partial Copyright License iii Abstract Taking the relationship -
The Queers Beat Off Mp3, Flac, Wma
The Queers Beat Off mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Beat Off Country: US Released: 2014 Style: Punk MP3 version RAR size: 1883 mb FLAC version RAR size: 1330 mb WMA version RAR size: 1281 mb Rating: 4.3 Votes: 828 Other Formats: AAC MP4 MIDI DMF AC3 TTA FLAC Tracklist Hide Credits A1 Steak Bomb 0:48 A2 Drop The Attitude Fucker 1:40 A3 You Make Me Wanna Puke 2:07 A4 Teenage Gluesniffer 2:35 A5 Ben Weasel 2:16 A6 Voodoo Doll 3:01 Mirage B1 2:56 Written By – T. Hart B2 Grounded 1:45 B3 Live This Life 1:37 B4 Half Shitfaced 1:30 B5 Too Many Twinkies 1:13 B6 All Screwed Up 3:25 My Old Man's A Fatso B7 Written-By – Angry Samoans Credits Bass, Vocals – B-Face Drums – Dan Panic Guitar, Vocals – Danny Vapid, Joe King Producer – Ben Weasel Recorded By – Mark Schwartz, Mass Giorgini Remix, Remastered By – Mass Giorgini Written-By – B-Face (tracks: B4, B6), Joe King (tracks: A1-A5, B1-B6) Notes This limited edition of 400 features hand-screened artwork and is pressed on black vinyl. Other versions Category Artist Title (Format) Label Category Country Year The Beat Off (LP, Lookout! Lookout #81 Lookout #81 US 1994 Queers Album) Records Lookout! Lk 0081CD, The Beat Off (CD, Records, Lk 0081CD, US 1994 #81 LOOKOUT Queers Album) Lookout! #81 LOOKOUT Records The Beat Off (Cass, Lookout! LOOKOUT #81 LOOKOUT #81 US 1994 Queers Album) Records The Beat Off (CD, Asian Man ASM 142 CD ASM 142 CD US 2007 Queers Album, RE) Records The Beat Off (LP, Lookout! Lookout #81 Lookout #81 US Unknown Queers Album) Records Related Music albums to Beat Off by The Queers The Putz - Hole In One Artemisia Absinthium / Weasel Walter - Split AA/ WW Cletus - Grease, Grits And Gravy Screeching Weasel - Weasel Mania Don Winsley - Rise Of The Weasel King Remix EP Various - Punk USA Goat Perversion - Mass-åKra Screeching Weasel - Snappy Answers For Stupid Questions Screeching Weasel - Kill The Musicians The Queers - Everything's O.K. -
Read Razorcake Issue #27 As A
t’s never been easy. On average, I put sixty to seventy hours a Yesterday, some of us had helped our friend Chris move, and before we week into Razorcake. Basically, our crew does something that’s moved his stereo, we played the Rhythm Chicken’s new 7”. In the paus- IInot supposed to happen. Our budget is tiny. We operate out of a es between furious Chicken overtures, a guy yelled, “Hooray!” We had small apartment with half of the front room and a bedroom converted adopted our battle call. into a full-time office. We all work our asses off. In the past ten years, That evening, a couple bottles of whiskey later, after great sets by I’ve learned how to fix computers, how to set up networks, how to trou- Giant Haystacks and the Abi Yoyos, after one of our crew projectile bleshoot software. Not because I want to, but because we don’t have the vomited with deft precision and another crewmember suffered a poten- money to hire anybody to do it for us. The stinky underbelly of DIY is tially broken collarbone, This Is My Fist! took to the six-inch stage at finding out that you’ve got to master mundane and difficult things when The Poison Apple in L.A. We yelled and danced so much that stiff peo- you least want to. ple with sourpusses on their faces slunk to the back. We incited under- Co-founder Sean Carswell and I went on a weeklong tour with our aged hipster dancing. -
The Long History of Indigenous Rock, Metal, and Punk
UNIVERSITY OF CALIFORNIA Los Angeles Not All Killed by John Wayne: The Long History of Indigenous Rock, Metal, and Punk 1940s to the Present A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in American Indian Studies by Kristen Le Amber Martinez 2019 © Copyright by Kristen Le Amber Martinez 2019 ABSTRACT OF THESIS Not All Killed by John Wayne: Indigenous Rock ‘n’ Roll, Metal, and Punk History 1940s to the Present by Kristen Le Amber Martinez Master of Arts in American Indian Studies University of California Los Angeles, 2019 Professor Maylei Blackwell, Chair In looking at the contribution of Indigenous punk and hard rock bands, there has been a long history of punk that started in Northern Arizona, as well as a current diverse scene in the Southwest ranging from punk, ska, metal, doom, sludge, blues, and black metal. Diné, Apache, Hopi, Pueblo, Gila, Yaqui, and O’odham bands are currently creating vast punk and metal music scenes. In this thesis, I argue that Native punk is not just a cultural movement, but a form of survivance. Bands utilize punk and their stories as a conduit to counteract issues of victimhood as well as challenge imposed mechanisms of settler colonialism, racism, misogyny, homophobia, notions of being fixed in the past, as well as bringing awareness to genocide and missing and murdered Indigenous women. Through D.I.Y. and space making, bands are writing music which ii resonates with them, and are utilizing their own venues, promotions, zines, unique fashion, and lyrics to tell their stories. -
Screeching Weasel How to Make Enemies and Irritate People Mp3, Flac, Wma
Screeching Weasel How To Make Enemies And Irritate People mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: How To Make Enemies And Irritate People Country: US Released: 1994 Style: Punk MP3 version RAR size: 1146 mb FLAC version RAR size: 1233 mb WMA version RAR size: 1808 mb Rating: 4.5 Votes: 403 Other Formats: AHX TTA MPC AU AIFF AUD ADX Tracklist Hide Credits A1 Planet Of The Apes A2 99 A3 I Hate Your Guts On Sunday Jonny R U Weird? A4 Backing Vocals – Gretchen SmearWritten-By – B. Paine*, L. Paine* A5 Time Bomb A6 Burnout Girl A7 If I Was You Nobody Likes You B1 Written-By – D. Vapid* B2 Degenerate Surf Goddess B3 Written-By – J. King* B4 Kathy Isn't Right B5 Kathy's On The Roof B6 I Wrote Holden Caulfield Companies, etc. Copyright (c) – Screeching Weasel Phonographic Copyright (p) – Lookout! Records Recorded At – Panic's Basement Mastered At – Golden Mastering Mastered At – Greg Lee Processing – L-43197 Credits Bass [Off The Rack Bass], Backing Vocals – Mike Dirnt Cover – Christopher Appelgren Drums [Garage Sale Drums] – Dan Panic Engineer – Mass Giorgini Guitar [Pawn Shop Guitar] – Jughead Photography By [Band Photos] – Anne Mullen Producer – Benito Mussoweasel* Vocals [Vocalization], Guitar [$200 Guitar] – Ben Weasel Written-By – B. Weasel* (tracks: A1 to A3, A5 to B6) Notes Includes lyric sheet and detailed discography (through 1994). Recorded June 14-16 & 22-24, 1994 in Panic's basement. Engineered on the Leapin' Lizard mobile division of Sonic Iguana Studios. Gretchen Smear appears courtesy of Headhunter Records. Mike Dirnt appears courtesy of Reprise Records Ben Weasel, Dan Panic, and Jughead appear courtesy of Lookout Records Mass Giorgini appears courtesy of Lafayette, Indiana. -
Nightlight: Tradition and Change in a Local Music Scene
NIGHTLIGHT: TRADITION AND CHANGE IN A LOCAL MUSIC SCENE Aaron Smithers A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum of Folklore. Chapel Hill 2018 Approved by: Glenn Hinson Patricia Sawin Michael Palm ©2018 Aaron Smithers ALL RIGHTS RESERVED ii ABSTRACT Aaron Smithers: Nightlight: Tradition and Change in a Local Music Scene (Under the direction of Glenn Hinson) This thesis considers how tradition—as a dynamic process—is crucial to the development, maintenance, and dissolution of the complex networks of relations that make up local music communities. Using the concept of “scene” as a frame, this ethnographic project engages with participants in a contemporary music scene shaped by a tradition of experimentation that embraces discontinuity and celebrates change. This tradition is learned and communicated through performance and social interaction between participants connected through the Nightlight—a music venue in Chapel Hill, North Carolina. iii ACKNOWLEDGEMENTS Any merit of this ethnography reflects the commitment of a broad community of dedicated individuals who willingly contributed their time, thoughts, voices, and support to make this project complete. I am most grateful to my collaborators and consultants, Michele Arazano, Robert Biggers, Dave Cantwell, Grayson Currin, Lauren Ford, Anne Gomez, David Harper, Chuck Johnson, Kelly Kress, Ryan Martin, Alexis Mastromichalis, Heather McEntire, Mike Nutt, Katie O’Neil, “Crowmeat” Bob Pence, Charlie St. Clair, and Isaac Trogden, as well as all the other musicians, employees, artists, and compatriots of Nightlight whose combined efforts create the unique community that define a scene. -
Record Store Day 2018 - 21.04.2018
RECORD STORE DAY 2018 - 21.04.2018 Interpret Titel Format Inhalt Label Aaliyah Back & Forth 12" 1 Legacy Abba Summer Night City 7" 1 Universal Abruptum Evil Genius (Ltd. Marble Silver-Black LP / RSD) LP 1 SOUND POLLUTION / BLACK LODGE RECORDS AC / DC Back In Black MC 1 Epic Adam Sandler They’re All Gonna Laugh At You! LP VINYL 2 Warner Bros. Label Air Sexy Boy SINGLE VINYL 1 PLG France Allman Brothers Band, The Live At The Atlanta Pop Festival July 3 & 5, 1970 LP Set 4 Epic ALTERNATIVE TV DARK PLACES 12" 1 FOURTH DIMENSION Amorphous Androgynous The Isness (The Abbey Road Version) (RSD LP 1 JUMPIN & PUMPIN Angelika Express Best of and Rarities (Limited 10") Vinyl 10" 1 Unter Schafen Records Antonio Sanches Buli povo! (RSD) LP 1 ANALOG AFRICA Antony Gormley Sounds Of The Studio 1 LP 1 Gearbox Records Anywhere Anywhere II (RSD 2018 Exclusive) LP 1 ORG Music ARABROT SINNERMAN LP 1 PELAGIC Arcade Fire Arcade Fire EP 12" 1 Columbia ARMSTRONG,TIM A Poet's Life - RSD Edition LP 1 Epitaph AT THE GATES GARDENS OF GRIEF EP 1 BACK ON BLACK RECORD STORE DAY 2018 - 21.04.2018 Interpret Titel Format Inhalt Label Awolnation Live in Vienna 7" 1 Red Bull BALDRY, LONG JOHN & HOOCHIE COOCHIE MEN FILTHY MCNASTY EP 7" 1 1960'S RECORDS BALMORHEA TILLERY / CHIME 7" 1 WESTERN VINYL Base, Rob & DJ EZ Rock It Takes Two LP 1 Legacy BASS COMMUNION (STEVEN WILSON) BASS COMMUNION LP 2 HIDDEN ART BATMOBILE TEENAGE LOBOTOMY 7" 1 Music On Vinyl Baxter Dury Miami (Ltd. -
Crinew Music Re Uoft
CRINew Music Re u oft SEPTEMBER 11, 2000 ISSUE 682 VOL. 63 NO. 12 WWW.CMJ.COM MUST HEAR Universal/NIP3.com Trial Begins With its lawsuit against MP3.com set to go inent on the case. to trial on August 28, Universal Music Group, On August 22, MP3.com settled with Sony the only major label that has not reached aset- Music Entertainment. This left the Seagram- tlement with MP3.com, appears to be dragging owned UMG as the last holdout of the major its feet in trying to reach a settlement, accord- labels to settle with the online company, which ing to MP3.com's lead attorney. currently has on hold its My.MP3.com service "Universal has adifferent agenda. They fig- — the source for all the litigation. ure that since they are the last to settle, they can Like earlier settlements with Warner Music squeeze us," said Michael Rhodes of the firm Group, BMG and EMI, the Sony settlement cov- Cooley Godward LLP, the lead attorney for ers copyright infringements, as well as alicens- MP3.com. Universal officials declined to corn- ing agreement allowing (Continued on page 10) SHELLAC Soundbreak.com, RIAA Agree Jurassic-5, Dilated LOS AMIGOS INVIWITI3LES- On Webcasting Royalty Peoples Go By Soundbreak.com made a fast break, leaving the pack behind and making an agreement with the Recording Word Of Mouth Industry Association of America (RIAA) on aroyalty rate for After hitting the number one a [digital compulsory Webcast license]. No details of the spot on the CMJ Radio 200 and actual rate were released. -
Discorder Interview HE1L
^aruiaity #144 PIS- cover Unlike Santa, we busy little elves at DiSCORDER haven't liad time to stand around putting our fingers up our noses. Gracing our Yuletide mag thus month is a swell bit of original art by Holly Anderson. EDITOR Dylan Griffith ADVERTISING REP Kevin Pendergraft PRODUCTION ASSISTANTS Inn Patter*,,,,, Mike Walkey, Kevi Pendergraft, Tarn CHARTS Megan Mallelt START YOUR NEW YEAR ON THE RISE LOCAL DISTRIBUTION Matt Steflkh at the PIT PUB! VON'S DISTRIBUTION DIS-contents (anil the rest of America, loo) Tnco Bell Tania & Double Manhattan LIVE BANDS EVERY VERUCA SALT // DAYTONA /2 THURSDAY NIGHT! SPEEDBUGGY /<? ADMISSION IS FREEH NERDYGIRL /4 IE GRAMES BRO AND IE ROOTEBEGGEfl INTERVIEW HELL tf CLASSICAL BEAT & E STOLE MY BEE I CAN READ /6 AND SEVEN INCH /7 CINNAM*. yAN 311 No.tni.tr 15. U JAf smm « REAL LIVE ACTION 20 UNDER REVIEW 22 THRILL SQUAD CHARTS 24 H ON THE DIAL 2f, THEW GOOD BA DATEBOOK 26' BANDSSTART@9:30 , B.C. CANADA WT IZl A SMALL RAY OF LIGHT £/ Sara^;Ti-r-ar\ Poor Br'\ct3'it, it wasobviou When vje $ot bacv^, r bought us a Married \">fe wasn't as "idyllic as she had very litMe ta\ent house on a beaut;fo\ piece of X had hoped. Bridgit --oas careV* * such silly idea.s about ocear\ front property- home, and wh«*- I 3\d see her it being frorv* outer space \was only to askfor more money. .and since Br.dgit was always 1 ...it was almost as if x was i Although "TWe was ceria<nl-y oo out pursuing her own interests j rn.arr.ed noi" to Tx.dgjt b u t"J J^AA*U<*<. -
CMO and EMO Public Charter Schools: a Growing Phenomenon in the Charter School Sector Public Charter Schools Dashboard Data from 2007-08, 2008-09, and 2009-10
CMO and EMO Public Charter Schools: A Growing Phenomenon in the Charter School Sector Public Charter Schools Dashboard Data from 2007-08, 2008-09, and 2009-10 Charter Management Organizations (CMOs) are nonprofit entities that manage two or more charter schools. Widely recognized CMOs include KIPP, Uncommon Schools and Achievement First, but there are many more. CMOs often provide back office functions for charter schools to take advantage of economies of scale, but some also provide a wider range of services—including hiring, professional development, data analysis, public relations and advocacy. Education Management Organizations (EMOs) are for-profit entities that manage charter schools and perform similar functions as CMOs. EMOs generally charge a management fee for their services to charter schools. CMOs and EMOs are different than the wide range of vendors that schools may contract with for specific services, primarily because CMOs and EMOs have considerable influence over the instructional design and operations of their affiliated charter schools.i CMOs and EMOs play an important part in the scalability of the charter school movement by enabling the replication of models that work, creating economies of scale, encouraging collaboration between similar schools, and building support structures for schools.ii Philanthropic foundations as well as federal policymakers have promoted the growth of CMO and EMO run schools. Two bills in the 112th Congress pursued additional funding for the replication and expansion of quality charter schools: the All Students Achieving through Reform (All STAR) Act and the Empowering Parents Through Quality Charter Schools Act. Additionally, the U.S. Department of Education has promoted replication of high- quality models through competitive grant programs: Race to the Top, Investing in Innovation (i3) Fund, and the Replication and Expansion for High-Quality Charter Schools through the Charter Schools Program. -
A Global Threat • Ashers • Common Enemy Defiance
PRESENTS RELEASES FROM: A GLOBAL THREAT • ASHERS • COMMON ENEMY DEFIANCE • DUCKY BOYS • F BOMBERS MDC/NAKED AGGRESSION/SöM-HI NöISE/RAW POWER MORAL CRUX • THE NERVE SCHEME • PINK LINCOLNS THE PINKERTON THUGS • THE SCARRED • THE SPEARS TENEBRAE • VIOLENT AFFAIR Now Exclusively Distributed by A GLOBAL THREAT Street Date: Until We Die, LP/CD AVAILABLE NOW! INFORMATION: Artist Hometown: Boston, MA Key Markets: Boston, Texas, Arizona, Minnesota, Chicago Germany, United Kingdom For Fans of: CASUALTIES, THE UNSEEN, BLANKS 77, DEFIANCE, KRUM BUMS, street punk, punk rock One of the best selling and most revered albums in the street punk genre! Until We Die was originally released in 2000, and quickly went out of print the next year. In 2003, after obtaining master rights back, Mark Unseen’s label A.D.D. Records did a repressing that went out of print in a matter of months. Today, the album is next to impossible to find, with the original cd pressing regularly fetching over $100 on eBay. The vinyl format has ARTIST: A GLOBAL THREAT been meticulously re-mixed and re-mastered specifically for the different TITLE: Until We Die formats, including limited 200-gram black (sold out) and 160-gram colored LABEL: JAILHOUSE vinyl, and comes with a full-color poster foldout. We plan on another 200 CAT#: JHR116-1/2 gram re-pressing for late summer 2013. FORMAT: LP/CD GENRE: Punk Rock/Street Punk BOX LOT: LP: 15 / CD: 30 Marketing Points: SRLP: LP: $12.98 / CD: $10.98 UPC: LP: 721405294282 CD: 721405294268 • Back in print after 10 years of obscurity EXPORT: -
Swissted 4/3/13 11:41 PM
swissted 4/3/13 11:41 PM swissted swissted is an ongoing project by graphic designer mike joyce, owner of stereotype design in new york city. drawing from his love of punk rock and swiss modernism, two movements that have (almost) nothing to do with one another, mike has redesigned vintage punk, hardcore, new wave, and indie rock show flyers into international typographic style posters. each design is set in lowercase berthold akzidenz-grotesk medium (not helvetica). every single one of these shows actually happened.the swissted book is finally out from quirk books—get it here! http://www.swissted.com/ Page 1 of 135 swissted 4/3/13 11:41 PM http://www.swissted.com/ Page 2 of 135 swissted 4/3/13 11:41 PM ramones at the palladium, 1978 http://www.swissted.com/ Page 3 of 135 swissted 4/3/13 11:41 PM descendents at fender’s, 1987 agent orange at goodies, 1987 http://www.swissted.com/ Page 4 of 135 swissted 4/3/13 11:41 PM jawbreaker at irving plaza, 1995 patti smith at max’s kansas city, 1974 http://www.swissted.com/ Page 5 of 135 swissted 4/3/13 11:41 PM refused at the p.w.a.c., 1996 t.s.o.l. and others at fender’s, 1986 http://www.swissted.com/ Page 6 of 135 swissted 4/3/13 11:41 PM misfits at gildersleeves, 1983 lush at the fillmore, 1994 http://www.swissted.com/ Page 7 of 135 swissted 4/3/13 11:41 PM yo la tengo at cbgb, 1993 rollins band at the outhouse, 1990 http://www.swissted.com/ Page 8 of 135 swissted 4/3/13 11:41 PM david bowie at cleveland music hall, 1972 meat puppets at the roxy theatre, 1986 http://www.swissted.com/ Page 9 of 135 swissted 4/3/13 11:41 PM built to spill at fox theatre, 1997 modest mouse at speak in tongues, 1996 http://www.swissted.com/ Page 10 of 135 swissted 4/3/13 11:41 PM nick cave & the bad seeds at fillmore / 1989 the velvet underground at max’s k.c.