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Kauffman Center for the Performing Arts Announces Rock Show Double-Header to Kick Off Kauffman Center Presents 2017-2018 Season
NEWS RELEASE Contact: FOR IMMEDIATE RELEASE Bess Wallerstein Huff, Director of Marketing Monday, February, 13, 2017 Kauffman Center for the Performing Arts (816) 994-7229 | [email protected] KAUFFMAN CENTER FOR THE PERFORMING ARTS ANNOUNCES ROCK SHOW DOUBLE-HEADER TO KICK OFF KAUFFMAN CENTER PRESENTS 2017-2018 SEASON Blondie & Garbage: The Rage and Rapture Tour to stop at Muriel Kauffman Theatre on July 18 Kansas City, MO – The first announced show of its 2017-18 Kauffman Center Presents season will feature two quintessential rock ‘n’ roll acts. Blondie & Garbage: The Rage and Rapture Tour will perform for one night in Muriel Kauffman Theatre on Tuesday, July 18. Tickets for the show range from $79 to $149, and go on sale to the public at 10 a.m. Friday, February 24. Tickets will be available through the Kauffman Center Box Office at (816) 994-7222, via the Kauffman Center mobile app, or online at www.kauffmancenter.org. ABOUT BLONDIE Singer-songwriter Debbie Harry, guitarist and co-writer Chris Stein, powerhouse drummer Clem Burke and their band- mates in the punk/new wave band Blondie are undeniable pop icons, their sound and sensibility as fresh as when they first topped the charts in the late 1970s. Since their groundbreaking 1978 album Parallel Lines, the members of Blondie have always been a forward-thinking – and forward-moving – group. Their brand of cross-genre rock has spawned hits including “Call Me,” “Rapture,” and “Heart of Glass,” bringing underground sounds into the mainstream. Blondie’s 11th studio album, Po11inator, is out in May. ABOUT GARBAGE Hailing from Madison, WI, Garbage is guitarist Duke Erikson, drummer Butch Vig, guitarist Steve Marker and lead singer Shirley Manson. -
Anglophone Music As Poetry
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Croatian Digital Thesis Repository University of Rijeka Faculty of Humanities and Social Sciences in Rijeka Department of English Matea Lacmanović: Anglophone Music as Poetry Mentor: Lovorka Gruić Grmuša, PhD Rijeka, July 2015 1 Abstract Literature as a whole is usually divided into poetry, prose and drama (Solar 2006: 154) with fairly clear boundaries between them. When it comes to their subdivision and definition of specific literature and art type, the boundaries become unclear and many questions arise. One of the most difficult questions to answer is what poetry is and which criteria must be met in order for some work to be classified as poetry. It is known that authors such as Shakespeare, Byron, Cummings or Angelou are poets and their work is interpreted as poetry. However, can the circle of poetry and art be expanded to similar forms such as contemporary music? That is the topic of this thesis – analysis, explanation and specific examples of modern song lyrics which can be viewed as poetry and something more valuable in the art context than it actually is due to the commercialization of music. With songs performed by Tupac, Garbage, Leonard Cohen, Bill Withers and various artists who belong to different music genres and eras, poetry is broadened and upgraded to the 21st century level. Key words: Anglophone music, music, poetry, lyrics, analysis, literature, art, contemporary, modern, intermediation, authorship 2 Table of Contents Abstract -
A Comparison of the Verbal Teaching Patterns of Two Groups of Secondary
A comparison of the verbal teaching patterns of two groups of secondary student teachers, Montana State University, 1969-70 by Dennis Larry Martinen A thesis submitted to the Graduate Faculty in partial fulfillment of the requirements for the degree \ of DOCTOR OF EDUCATION in Secondary Education Montana State University © Copyright by Dennis Larry Martinen (1970) Abstract: The problem in this study was to investigate the verbal teaching patterns of secondary student teachers and to determine essentially what these teaching patterns were. As a corollary to the problem, the Rokeach Dogmatism Scale and the Teaching Situation Reaction Test were administered to student teachers to determine if these tests could predict successful student teachers prior to their student teaching experience in the secondary schools of Montana. It was the purpose of this study, then, to record and analyze the verbal behavior patterns of two groups of secondary student teachers. One group, the control group, consisted of students who went through the regular training program. The other group received twenty hours of training in interaction analysis. Selected aspects of the reconstructed Flanders' matrix were compared and analyzed. Another aspect of the problem dealt with the possible predictive value of the Teaching Situation Reaction Test and the Rokeach Dogmatism Scale as they pertained to superior teaching. A comparison and analysis was made between scores achieved on the two tests and such quantitative elements as grade point average in the major subject area, mean scores on the rating forms used by Montana State University supervisors and the grade given to measure the success in student teaching. -
Black Bottom of Modernity: the Racial Imagination of Japanese Modernism in the 1930S
The Japanese Journal of American Studies, No. 27 (2016) Copyright © 2016 Keiko Nitta. All rights reserved. This work may be used, with this notice included, for noncommercial purposes. No copies of this work may be distributed, electronically or otherwise, in whole or in part, without permission from the author. Black Bottom of Modernity: The Racial Imagination of Japanese Modernism in the 1930s Keiko NITTA* APPROPRIATION OF THE PRIMITIVE In 1930, the eminent Japanese literary critic of the day Soichi Oya summarized “modernism” in terms of its fascination with the element of the “primitive”: Modernism starts with abolishing the traditional norms of various phases of life. Free and unrestricted from everything, and led by the most intense stimulus, it amplifies its own excitement; in this sense, modernism has much in common with primitivism. It is jazz that flows with colorful artificial illumination to the pavements of the modern metropolis, bewitching pedestrians. Such bewitching exemplifies the surrender of civilizations to barbarism.1 As Oya stated here, jazz was symbolized as something not merely primitive but also something indicating a modern taste for “barbarism.” Similar to the contemporaneous American author F. Scott Fitzgerald, who coined the term “the Jazz Age,”2 Japanese intellectuals attempted to establish their own “modernized” status as consumers of art and culture defined as primitive. It *Professor, Rikkyo University 97 98 KEIKO NITTA is to this paradoxical imagination of Japanese modernism that I turn my attention in this article. I will particularly look at creational tendencies of a short-lived but once quite dominant literary circle in Japan in the early 1930s. -
THE 1F ALBU CHART COMMENTARY Fronted By
THE 1F ALBU ALBUM FACTFILE Fronted by Scotswoman Shirley ThusStupid far, Cirl, the and only peahed single atlifted number from su CHART sceneManson, in Garbage1995, and exploded bave sold onto nearly the debuted/peakedVersion 2.0 is Push at It,number which mne a 500,000 copies1 theof their UK self-titled COMMENTARY début album in the UK ^oJoniyte date. Thei a Garbàgesfortnight ago. all-American Aside from line-up Manson, is secona aioum,, Versionwciaiv/.. 2.0, sold only a GarbagSteve Marker, Doug 'Duke'iDuke, EriksonEr.((son little(31,500 over to 5%be ofprécisé) that total but thatlast was and Butch Vig, of whom the latter is énôûih'for it to début at number one. the best-known., ■..a;na snnic Vigjiroduced Youth, the several hitGarbage singles, houses including a fôrnîîaable Queer and array of Smashing Pumfik and N recent Cendedatatonia's its own International 14 week wattVelvet and album its ATMARKET A GLANCE WEEKLY REPORT MARKET SHARES -strong The Best97 place Of Frank rise Sith label's 14 year wait for a number one TOP 10 COMPANIES TOP CORPORATE GROUPS 133-36 after selling over 3,500 copies o thislast week,week bybut Garbage, is instantly though overwbelmed the margin announcementFriday and Saturday, of Frank following Sinatra the s death. of2.0 Garbage's selling 31,500 victory copies is slim, while with Version Whileamount. that don't may forget not sound this islike stock a huge that toInternational carry the latterVelvet album's sold 29,000 overail - tallyenough wasalbum already peaked sitting at number in the shops.13 when The overGarbage 200,000. -
Behind the Music
Q&A BEHIND THE MUSIC It’s crazy to think that this year marks the 20th Anniversary of Kurt Cobain’s passing – a true game-changer in our industry, and a man who, in many ways, revolutionised music, inadvertently spawning a whole new scene. Nevermind is a seminal record, and its success was the catalyst for record labels’ mission impossible, the search for ‘the next Nirvana’. Although he might not have known it at the time, those 16 days recording Nevermind would change Butch Vig’s career forever. It paved the way for a remarkable musical journey, the production of a string of hit records for supergroups such as The Smashing Pumpkins, The Foo Fighters, and many more... Not to mention Garbage, Vig’s own band, which has enjoyed more than 17 million record sales over the last two decades. This legend of the game reveals some of his trade secrets, and shares some fond, unforgettable memories... Your career speaks for itself, but first up, how did it all begin for you? Well, I played in bands in high school in a small town in Wisconsin, and then I went to University in Madison. I started getting into the local music scene, and joined a band, which was sort of a power pop, new wave band called Spooner; and Duke [Erikson] from Garbage was the guitarist and lead singer at the time. I also got a degree in film, and ended up doing a lot of music for film; a lot of synth, and abstract music, and that’s where I kind of got the recording bug. -
Garbage & the Temper Trap Join for Next Winery Series!
Media Release – Thursday July 28 GARBAGE & THE TEMPER TRAP JOIN FOR NEXT WINERY SERIES! With the Preatures, Tash Sultana and Adalita a day on the green has assembled an epic line-up for its next series of winery concerts. Alt-rock pioneers Garbage and Australia’s own multi-platinum chart toppers The Temper Trap will come together as part of their respective national tours for five outdoor events through November/December. The concerts will feature a stellar under-card with special guests The Preatures, Tash Sultana and Adalita. The five band bill kicks off at Victoria’s Rochford Wines on Saturday November 26. These will be the Garbage’s first Australian shows since 2013 and celebrate their acclaimed sixth studio album Strange Little Birds (out now via Liberator Music). To create Strange Little Birds, their first album in four years, Garbage (Shirley Manson, Steve Marker, Duke Erikson and Butch Vig) drew on a variety of influences including the albums they loved growing up. Upon its June release, the album debuted at #9 on the ARIA Album Chart and picked up widespread acclaim: ‘20-plus years after forming, each band member is still fired up to mine new sounds and approaches for inspiration. That willingness to be uncomfortable and look beneath the surface makes Strange Little Birds a rousing success.’ – The A.V. Club ‘The electronic rockers return with a sixth studio album as cool and caustic as their 1995 debut’ – NME ‘Garbage haven’t released an album this immediate, melodically strong and thematically interesting since their self-titled 1995 debut.’ – Mojo In support of the album’s release, Garbage performed a powerful two-song performance on Jimmy Kimmel Live! – watch ‘Empty’ here and ‘Push It’ here. -
A VERBAL SPACE – INTERSECTING the VISIBLE Virve Sarapik
A VERBAL SPACE – INTERSECTING THE VISIBLE Virve Sarapik The idea that man is not able to conceive of reality consciously is a very old one. An intermediate stage is necessary. Through this the real world may acquire the face of intermediary, relying on the sense-organs, experience, language, univer- sals, categorisation. Continuity of the outside world needs some points of sup- port. It is easier to comprehend discrete entities than a continuum and the best means for categorisation is language. Counterbalance to this much criticised lan- guage-centred viewpoint is idea of the importance of visual experience, phrased in the sentence attributed to Aristotle, "one picture is worth a thousand words." These two points of view on art clash in two ways: in the reciprocal condi- tionality of the pictorial and verbal expression, and in art as language. The two main issues concerning art and language can be formulated as: – the communicative quality of an artwork, i.e. the problem of the meaning of an artwork and art as language; – relations of the verbal language and artwork, or the influence of the verbal context on the meaning of an artwork. 1. Plato's paradox Once, reading Victor Burgin's book The End of Art Theory, I found a surprising passage. Debating the main opponent of the theory of postmodern art Clement Greenberg, Burgin writes: "In the Phaedo, Plato puts into the mouth of Socrates a doctrine of two worlds: the world of murky imperfection to which our mortal senses have access, and an "upper world" of perfection and light. Discursive speech is the tangled and inept medium to which we are condemned in the for- mer, while in the latter all things are communicated visually as a pure and un- mediated intelligibility which has no need for words." (Burgin 1986: 31.) A Verbal Space – Intersecting the Visible The idea, that there are two forms of communication: words and images (the second one being more direct), was passed to the Christian tradition with New Platonism. -
Smells Like Teen Spirit Appears in Rock & Pop 2018
ACCESS ALL AREAS... SMELLS LIKE TEEN SPIRIT APPEARS IN ROCK & POP 2018 Released: 1991 Album: Nevermind Label: DGC Records ABOUT THE SONG Nirvana’s Kurt Cobain was attempting to write the ‘ultimate pop song’ when he came up with the guitar riff that would become ‘Smells Like Teen Spirit’. He WITH THE LIGHTS OUT, wanted to write a song in the style of The Pixies, telling Rolling Stone in 1994: ‘I was basically trying to rip off The Pixies. I have to admit it.’ The title came IT’S LESS DANGEROUS after Kathleen Hanna, lead singer of Bikini Kill, spray- painted ‘Kurt smells like Teen Spirit’ on his bedroom “ wall. Teen Spirit was actually a brand of deodorant. HERE WE ARE NOW, The first single from Nirvana’s second album Nevermind, ‘Smells Like Teen Spirit’ was a surprise hit. The label had anticipated that ‘Come As You Are’, the follow-up single, would be the song to cross over to a mainstream audience. ‘Smells Like Teen Spirit’ ENTERTAIN US was first played on college radio before rock stations and MTV picked it up. It is widely praised as one of I FEEL STUPID AND CONTAGIOUS the greatest songs in the history of rock music. RECORDING AND PRODUCTION Cobain began writing ‘Smells Like Teen Spirit’ a few weeks before Nirvana were due in the studio to record Nevermind. After presenting the main riff and melody of the chorus to the rest of the band, they jammed around the riff for an hour and a half. Bassist Krist Novoselic slowed the verse down and drummer Dave Grohl created a drum beat and as a result, ‘Smells Like Teen Spirit’ is the only song on Nevermind to give songwriting credits to all three band members. -
Language and Questions of Culture: an Interview by Xiaoping Jiangcultus
Language and Questions of Culture David Crystal is Interviewed by Xiaoping Jiang 1. Xiaoping Jiang: Dear Professor David Crystal, Perhaps we could start with my personal experience in studying and using English as a lingua franca, which is that learning a language is much more than simply mastering a linguistic tool: it involves learning the culture behind that language. Yet your response to Michael Agar’s Language Shock (1994) was that "It is also important not to overstate the case". And you continue, "When all these factors of individuality are taken into account, I wonder just how much will be left for languaculture?" (Crystal, 1994). Well, in my experience as a Chinese national living and working overseas, many communication breakdowns are due to non-language issues. In fact, languages and cultures tend to be inseparable. Then, interestingly, in your more recent autobiography, Just A Phrase I’m Going Through (2009) you expressed a more linguacultural view. As you state, “To get to know a language, you have to get to know the people. There is no other way. And what better way is there of getting to know someone than over a glass or two in a snug?” Unfortunately there are no pubs as such on the University campus in Guangzhou, China (a very interesting cultural difference), though Chinese beer is very good and 'Maotai', China’s national heritage liquor, is sweetly intoxicating. So based on your statements, how would you now advise a language learner "to get to know the people" well especially when he/she has never been to the country in which the language is spoken? Is there any viable approach to overcome cultural barriers in intercultural communication? A nice and easy first question! David Crystal: Increasingly, over the past ten years, I’ve come to take the view that a cultural perspective is intrinsic to the future of language teaching and learning, especially in the case of English, as it becomes increasingly global. -
SXSW2016 Music Full Band List
P.O. Box 685289 | Austin, Texas | 78768 T: 512.467.7979 | F: 512.451.0754 sxsw.com PRESS RELEASE - FOR IMMEDIATE RELEASE SXSW Music - Where the Global Community Connects SXSW Music Announces Full Artist List and Artist Conversations March 10, 2016 - Austin, Texas - Every March the global music community descends on the South by Southwest® Music Conference and Festival (SXSW®) in Austin, Texas for six days and nights of music discovery, networking and the opportunity to share ideas. To help with this endeavor, SXSW is pleased to release the full list of over 2,100 artists scheduled to perform at the 30th edition of the SXSW Music Festival taking place Tuesday, March 15 - Sunday, March 20, 2016. In addition, many notable artists will be participating in the SXSW Music Conference. The Music Conference lineup is stacked with huge names and stellar latebreak announcements. Catch conversations with Talib Kweli, NOFX, T-Pain and Sway, Kelly Rowland, Mark Mothersbaugh, Richie Hawtin, John Doe & Mike Watt, Pat Benatar & Neil Giraldo, and more. All-star panels include Hired Guns: World's Greatest Backing Musicians (with Phil X, Ray Parker, Jr., Kenny Aranoff, and more), Smart Studios (with Butch Vig & Steve Marker), I Wrote That Song (stories & songs from Mac McCaughan, Matthew Caws, Dan Wilson, and more) and Organized Noize: Tales From the ATL. For more information on conference programming, please go here. Because this is such an enormous list of artists, we have asked over thirty influential music bloggers to flip through our confirmed artist list and contribute their thoughts on their favorites. The 2016 Music Preview: the Independent Bloggers Guide to SXSW highlights 100 bands that should be seen live and in person at the SXSW Music Festival. -
Boa White Wishes Live
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