Imogen Heap I Megaphone
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Issue 199.Pmd
email: [email protected] website: nightshift.oxfordmusic.net Free every month. NIGHTSHIFT Issue 199 February Oxford’s Music Magazine 2012 Asher Oxford’sDust maverick MC on his incredible lifetime of music making plus all your local music news, reviews and upcoming gigs. photo: Zahra Tehrani NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWNEWSS Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 email: [email protected] Online: nightshift.oxfordmusic.net TRUCK FESTIVAL is set to return this summer after founders Robin and Joe Bennett handed the event over to new management. Truck, which had been the centrepiece of Oxford’s live music calendar since 1998, surviving both floods and foot and mouth crises, succumbed to financial woes last year, going into administration in September. However, the event has been taken over by the organisers of Y-Not Festival in Derbyshire, which won Best Grassroots Festival 2011 at the UK Festival Awards. The new organisers hope to take Truck back to its roots as a local community festival. In a statement on the Truck website, Joe and Robin announced, ““We have always felt a great responsibility for the integrity and sustainability of Truck Festival, which grew so quickly and with such enthusiasm from very humble beginnings in 1998. Via Truck’s unique catering arrangements with the Rotary Club, tens of thousands of pounds have been raised for charities and good causes every year, including last year, and many great bands have taken their first steps to international prominence. BONNIE ‘PRINCE’ BILLY makes visits Oxford in May when he “However, after a notoriously difficult summer of trading for Truck teams up with alt.folk band Trembling Bells. -
Mycelia World Tour Pilot
MYCELIA WORLD TOUR PILOT FRIDAY 8th DECEMBER 2017 THE ROUND HOUSE HAVERING-ATTE-BOWER LONDON @mycelia4music #mycelia www.myceliaformusic.org MYCELIA FOR MUSIC. SOLUTIONS FOR THE MUSIC MAKING COMMUNITY, CONNECTING THE DOTS FOR A FLOURISHING MUSIC BUSINESS ECOSYSTEM Founded by Imogen Heap, gathering support and growing a collective of creatives, professionals and lovers of music. CREATIVE PASSPORT The Creative Passport is Mycelia’s proposal for a digital identity standard for music makers, forming the Creative Passport Database, generating huge positive impact and benefits for the music business ecosystem at large. The Master Key to unlocking the door to a verified open Global Repertoire Database, the Creative Passport contains verified profile information, IDs, acknowledgements, works, business partners and payment mechanisms, acting as the essential connective hub for all music related services. MYCELIA WORLD TOUR The Mycelia World Tour is a 3 day music and tech festival, travelling with over 30 music makers and enablers, visiting over 40 major urban hubs around the world each year. A new model for touring musicians being a space to share creative works, knowledge and showcase music tech developments. At its core, it is a vehicle to deliver Creative Passports to music makers, empowering a new era of abundance for the music business ecosystem. Constantly growing and refining the Creative Passport functionality as it crosses the globe, inviting gatherings like here today, to discuss and collaborate in each location. Connecting global touring -
Imsk Week for Everyone in the Business of Ivlusic 13 MOVEMBER 1993 £2.8
imsk week For Everyone in the Business of IVlusic 13 MOVEMBER 1993 £2.8 BPI: pil himnow The music industry has roundly con- Keely Gilbert, of Chris Rea's man- Highdemned Court the judge warning last metedweek to eut alleged by a wasagement able toReal order Life, video says bootlegs the company of Rea's bootleggerCharlesworth, Stephen previously Charlesworth. of Clwyd- threeconcerts months by phone. to arrive "They and took were about rub- guilty in the High Court of breaching judgebish," isn'tshe muchadds. of "A a punishment."warning from a latingan injunction leaflets stopping advertising him from circu-video APUThe on case Designatec's arose from premises a raid inby May, the That,bootlegs Chris of Rea,top artistsand Peter such Gabriel. as Take CharlesworthMr Justice to payFerris the costs ordered of the behalfBPI, which of sixhad memberbrought thecompanies. case on Charlesworth was also wamed that and July 26 the BPI wouid have ceedingsSubsequently for conte. tl : BPI bi CourtStephen last Charlesworth week after heing leaves found the inHigh And warning to pii pirated acts unauthorised Take That_ he videoshad offered and contempt of an injunction restraining "It's laughable," says lan Grant, mai tapesCharlesworth for sale in July. appeared in the High advertisinghim from circulating pirate audio leaflets and hootleg iEVERLEY plainedager of inBig the Country, past of leafletswho has offerin con Court ins Septemberadjourned' for " but s1 the proceed-' until video cassettes. Charlesworth, of video bootlegs of the band. This maki photographerClwyd, -
The Ultimatum XLS This Multi-Chamber, Multi-Driver Confection Looks to the Seated Listener Like Any Other Two-Way Stand-Mount
October 2011 NEAT XLS Loudspeaker A small loudspeaker that is truly mesmerizing and emotionally moving. Review By Malcolm Steward NEAT Acoustics produced its first loudspeaker back in 1989. That unassuming-looking but ground-breaking model, the Petite, quickly became my 'reference' compact, high-end, two-way. It has retained that position for more than two decades. While the latest mark for iteration, the Petite SX, has replaced the somewhat utilitarian looking original, with its almost bitumen-like finished cabinet, little else – certainly nothing fundamental – has changed in all that time... except the price, of course. The Petite has now been joined in my listening room – and affections – by another and rather grander. NEAT: The Ultimatum XLS This multi-chamber, multi-driver confection looks to the seated listener like any other two-way stand-mount. However, closer inspection reveals that the bass-midrange section uses two, isobarically loaded 168mm drivers; the HF uses a single Sonomex domed XL driver; and on the top face of the enclosure sit two EMIT 25mm planar/ribbon super HF units – aka super-tweeters. That enclosure is unusual as well. It is fabricated from slow-growing, Birch plywood, chosen for its consistency and its excellent behavior in terms of resonance. The front baffle consists of controlled density fiberboard bonded to the main cabinet with a Polyethylene membrane. This produces a remarkably inert platform upon which to mount the mid-bass and high frequency drivers. Each of this array of drive units is located in its own discrete chamber: the largest of these cavities is also ported to provide ideal loading for the rear unit of the isobaric bass pairing. -
Eprints.Qut.Edu.Au/79982
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queensland University of Technology ePrints Archive This is the author’s version of a work that was submitted/accepted for pub- lication in the following source: Wikstrom, Patrik (2014) Tools, building blocks, and rewards : traditional media organizations learn to engage with productive audiences. Journal of Media Business Studies, 11(4), pp. 67-89. This file was downloaded from: http://eprints.qut.edu.au/79982/ c Copyright c 2014 Journal of Media Business Studies. Notice: Changes introduced as a result of publishing processes such as copy-editing and formatting may not be reflected in this document. For a definitive version of this work, please refer to the published source: http://doi.org/10.1080/16522354.2014.11073589 Tools, building blocks, and rewards: Traditional media organizations learn to engage with productive audiences Associate Professor Patrik Wikström Principal Research Fellow Creative Industries Faculty Queensland University of Technology Brisbane, Australia [email protected] Abstract: This paper explores how traditional media organizations (such as magazines, music, film, books, and newspapers) develop routines for coping with an increasingly productive audience. While previous studies have reported on how such organizations have been affected by digital technologies, this study makes a contribution to this literature by being one of the first to show how organizational routines for engaging with an increasingly productive audience actually emerge and diffuse between industries. The paper explores to what extent routines employed by two traditional media organizations have been brought in from other organizational settings, specifically from so-called ‘software platform operators’. -
01 Cover JULY.Indd
B63C:B7;/B35C723B=5/G:=<2=< 4@33 9G:73E=EE=EE=E 7<A723¬D/<1=CD3@>@723:=<2=</<<735/G07<5= EEE=Cb;/51=C9 7AAC3<7<3B33<%& =C :=@3; bZ]`S[ WORDS BY LOREM DELOREM | PHOTOGRAPH BY MAET IPSUM =CbT`]\b Knight Hooson has an EDITORIAL// immigrant’s view of ADVERTISING the British PAGE 46 Editor INTERNATIONAL MR David Hudson LEATHER [email protected] Chris Jepson reports +44 (0)20 7258 1943 from the annual Contributing Editor International Mr Adrian Gillan Leather contest in [email protected] Chicago Design Concept Splicer Design PAGE 51 www.splicerdesign.com OUT THERE Art Director Upcoming scene Markus Scheef highlights for July, plus [email protected] PAGE 20 coverage of Hustlaball, Designer KYLIE XXL Bear Pride and Siv Nilsen Circus Sub Editor Kathryn Fox PAGE 81 Contributors OUTREACH Marc Andrews, Dan Browne, Dr Justin Varney on Paul Burston, Charlotte making your protests Dingle, Adrian Foster, Knight CONTENTS heard Hooson, Cary James, Gary Ryan, Richard Tonks, Michael Turnbull, Justin Varney, Iwan PAGE 04 Watson, Steve Watson LETTERS Photographers Send your Chris Jepson, Dick Goose correspondence to Publisher [email protected] Sarah Garrett//Linda Riley ISDN: 1473-6039 HUDSON’S LETTER PAGE 06 Head of Business Development Walking on the Pride I think I’ve been on every MY LONDON Rob Harkavy London parade last Pride march in London Gaydar radio and [email protected] year, I was struck by the since 1989, and the Classic FM’s Jamie Crick PAGE 54 +44 (0)20 7258 1936 huge number of gay faces numbers taking part on BEAR PRIDE Sales Executive I recognised lining the the parade have dwindled PAGE 08 Dan Goodban route… compared to the over the years. -
Imogen Heap As Musical Cyborg: Renegotiations of Power, Gender and Sound
Proceedings of the 4th Art of Record Production Conference 1 University of Massachusetts Lowell. 14th – 16th November 2008 Imogen Heap as Musical Cyborg: Renegotiations of Power, Gender and Sound Alexa Woloshyn Faculty of Music, University of Toronto, Canada [email protected] Abstract instruments, including cello, clarinet (Retka), and a “hilarious keyboard with boss-nova presets” (Gilbey 2005). Imogen Heap, British electronica artist, has had a Her first significant opportunity to experiment with successful solo and collaborative career since her 1998 electronic music technology was at the private boarding release of I Megaphone. She became a widespread name in school she attended as a young teenager. Heap clashed with 2004 after the song ‘Let Go’ from her collaborative album her music teacher, who punished her by sending her alone to with Guy Sigsworth, Details, was used in the film Garden a small room. Left in the room with an Atari computer, State. Following this success, Heap returned to solo work with Mac Classic 2 and Notator, and the large manual, Heap and released Speak for Yourself in 2005. Through an began to experiment and gained an interest in building her analysis of Heap’s musical development from her earliest own studio (Gilbey 2005). She formalized her training in musical experiences to her latest solo endeavors, this paper production at the BRIT school of Performing Arts & demonstrates Heap’s renegotiations of power, gender and Technology in Croyden, Surrey, from 1992 until 1995. sound allowed by the reconfigurations of institutional and In 1998, Heap released her first solo album I Megaphone commercial structures, which were enabled by the with Almo Sounds. -
PDF Download Someday Ebook
SOMEDAY PDF, EPUB, EBOOK Alison McGhee,Peter H Reynolds | 32 pages | 23 Apr 2007 | SIMON & SCHUSTER | 9781416928119 | English | New York, United States Someday | Disney Wiki | Fandom Decade 's 's 's 's 's 's 's 's 's 's. Filter by gender:. Best matches: Someday. Mouse House: Disn…. We the People. The Best of Nicke…. Lyrics: Someday Miley Cyrus. Someday Scarface. Someday, Someday Thirsty Merc. Someday Parker Polhill. He's on the Phone Saint Etienne. Someday John Mellencamp. Someday Ledisi. Someday Mariah Carey. Someday at Christmas The Jackson 5. Maybe Someday The Cure. Someday Soon Journey. Someday M People. Someday Christopher Cross. Someday at Christmas Mary J. Discuss these someday Lyrics with the community: 0 Comments. Notify me of new comments via email. Cancel Report. Create a new account. Log In. We need you! Help build the largest human-edited lyrics collection on the web! Add Lyrics. Hidden Cities City's T…. David Gagne. Feels Like Dying. Ally Nicholas. Michael J. Gibson the Rockstar Cat. Get instant explanation for any lyrics that hits you anywhere on the web! A remixed version of the song was included on the remix compilation, B in the Mix: The Remixes. A few reviewers considered it as a lesson on the singer's history and a "tear-jerker" ballad, while others considered it a non-savable "flop single". The song reached the top ten in Denmark, Sweden and Switzerland and also charted in a number of European countries. Entirely shot in black- and-white , the music video features Spears as a pregnant woman and portrays a transformation of her character. -
Taylor, Damian
DAMIAN TAYLOR SELECTED PRODUCER, MIXER & REMIXER CREDITS: City of the Sun Chapter II (Verve) P E M Naeem Startisha (37d03d) ad-P M ALASKALASKA The Dots (Marathon Artists) M LOSERS Welcome to Help M Coyle Girelli Bittersweet Symphony (From My Dinner w/ Herve OST) Prog E M Dizzy Baby Teeth* (Royal Mountain Records) P E M *Juno nominated Alternative Album of the Year 2019 Louise Burns Young Mopes (Light Organ) P M Odette To A Stranger (EMI Australia) P M Evanescence Synthesis (BMG) M Ad-Prog Kirin J. Callinan S.A.D. (Universal Australia) M TRUST Bicep (Perfect Bloom) Co-P E M Ad-Prog Petra Glynt "This Trip" Stone Lions Dub (Vibe Over Method) M Prog The Range Potential (Domino) Ad-P M Arcade Fire (Ft. Mavis Staples) "I Give You Power" single (Arcade Fire Music) Ad-Prog Braids Companion (Arbutus) M Zack Lopez Bloodlines (Bright Antenna) M The Temper Trap Thick As Thieves (Liberation/Glassnote) P M Prog Mark Stoermer "Are Your Stars Out" from Dark Arts (St. August) M Co-W Björk Biophilia* (One Little Indian) E M Prog *Grammy nominated Best Alternative Album 2012 Björk Volta* (Atlantic) Co-P E Prog *Grammy nominated Best Alternative Album 2008 Björk Volta - Live (18 Month World Tour 2007-2008) MD Björk Vespertine* (Elektra) E Prog *Grammy nominated Best Alternative Album 2001 P-Producer E-Engineer M-Mixer Rmx-Remix MD-Musical Director Prog-Programming DAMIAN TAYLOR SELECTED PRODUCER, MIXER & REMIXER CREDITS: The Killers Battle Born (Island Def Jam) P, Co-P M Prog Arcade Fire "Sprawl II" & "Ready To Start" Remixes (Merge) P Rmx Arcade Fire Reflektor -
A Charts, So Could Have Been Released in the May Push Singles Back up the Chart Or Keep Them Around for Longer, Nevertheless the Chart Is a UK, Or Imported Here
Real Chart Page 1 such as the 78! Since the emergence of downloads the AA single has become a problem, since CHART LOG - A each track can sometimes be released as a separate download. However if it is known that a track is being released on 'hard copy' as a AA side, then the tracks will be grouped as one, or Symbol Explanations as soon as known. s j Top Ten Hit Number One hit. For the above reasons many remixed songs are listed as re-entries, however if the title is altered ± Indicates that the record probably sold more than 250K. Only used on unsorted charts. to reflect the remix it will be listed as would a new song by the act. This does not apply to Unsorted chart hits will have no position, but if they are black in colour than the record made the Real Chart. Green coloured records might not have records still in the chart and the sales of the mix would be added to the track in the chart. This made the Real Chart. The same applies to the red coulered hits, these are known to have made the USA charts, so could have been released in the may push singles back up the chart or keep them around for longer, nevertheless the chart is a UK, or imported here. sales chart and NOT a popularity chart on people’s favourite songs or acts. Due to encryption decoding errors some artists/titles may be spelt wrong, I apologise for any inconvenience this may cause. -
Björk Vespertine Mp3, Flac, Wma
Björk Vespertine mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Vespertine Released: 2001 Style: IDM, Experimental, Ambient MP3 version RAR size: 1374 mb FLAC version RAR size: 1215 mb WMA version RAR size: 1481 mb Rating: 4.5 Votes: 390 Other Formats: AA VQF ADX FLAC TTA WMA RA Tracklist Hide Credits Hidden Place Arranged By [Choir], Orchestrated By – Vince MendozaProducer, Bass [Bassline], Arranged 1 By [Choir] – BjörkProgrammed By – Matmos, Matthew HerbertProgrammed By, Arranged 5:29 By [Choir] – Guy SigsworthProgrammed By, Engineer [Protools Recording] – Damian Taylor, Jake Davies Cocoon 2 4:27 Producer, Programmed By – Björk, Thomas Knak It's Not Up To You Arranged By [Strings], Arranged By [Choir], Orchestrated By – Vince MendozaClavichord, Arranged By [Clavichord] – Guy SigsworthDrum Programming, Engineer [Protools 3 5:09 Recording] – Valgeir Sigurdsson*Engineer [Protools Recording] – Jake Davies, Leigh JamiesonHarp – Caryl ThomasHarp, Arranged By [Harp] – Zeena ParkinsProducer, Arranged By [Harp], Arranged By [Choir] – Björk Undo Arranged By [Strings], Orchestrated By – Vince MendozaHarp, Arranged By [Harp] – Zeena 4 ParkinsProducer, Arranged By [Choir], Edited By [Vocals] – BjörkProgrammed By – Thomas 5:38 KnakTechnician [Protools] – Jan "Stan" KybertTechnician [Protools], Engineer [Recording] – Jake Davies, Valgeir Sigurdsson* Pagan Poetry Adapted By [To Music Box] – Jack PerronArranged By [Harp] – Zeena ParkinsProducer 5 5:14 [Additional], Programmed By – Marius De VriesProducer, Programmed By, Bass [Bassline], -
©Copyright 2010 Bradley T. Osborn
©Copyright 2010 Bradley T. Osborn Beyond Verse and Chorus: Experimental Formal Structures in Post-Millennial Rock Music Bradley T. Osborn A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2010 Program Authorized to Offer Degree: Music University of Washington Graduate School This is to certify that I have examined this copy of a doctoral dissertation by Bradley T. Osborn and have found that it is complete and satisfactory in all respects, and that any and all revisions required by the final examining committee have been made. Chair of the Supervisory Committee: ___________________________________________________ Áine Heneghan Reading Committee: __________________________________________________ Áine Heneghan __________________________________________________ Jonathan Bernard ___________________________________________________ John Rahn ___________________________________________________ Lawrence Starr Date: ________________________________________ In presenting this dissertation in partial fulfillment of the requirements for the doctoral degree at the University of Washington, I agree that the Library shall make its copies freely available for inspection. I further agree that extensive copying of the dissertation is allowable only for scholarly purposes, consistent with “fair use” as prescribed in the U.S. Copyright Law. Requests for copying or reproduction of this dissertation may be referred to ProQuest Information and Learning, 300 North Zeeb Road, Ann Arbor, MI 48106-1346, 1-800-521-0600, to whom the author has granted “the right to reproduce and sell (a) copies of the manuscript in microform and/or (b) printed copies of the manuscript made from microform.” Signature________________________ Date____________________________ University of Washington Abstract Beyond Verse and Chorus: Expermental Formal Structures in Post-Millennial Rock Music Bradley T. Osborn Chair of Supervisory Committee: Dr.