Spring Carnival Review: Section B
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Drone Music from Wikipedia, the Free Encyclopedia
Drone music From Wikipedia, the free encyclopedia Drone music Stylistic origins Indian classical music Experimental music[1] Minimalist music[2] 1960s experimental rock[3] Typical instruments Electronic musical instruments,guitars, string instruments, electronic postproduction equipment Mainstream popularity Low, mainly in ambient, metaland electronic music fanbases Fusion genres Drone metal (alias Drone doom) Drone music is a minimalist musical style[2] that emphasizes the use of sustained or repeated sounds, notes, or tone-clusters – called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece compared to other musics. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism".[4] Drone music[5][6] is also known as drone-based music,[7] drone ambient[8] or ambient drone,[9] dronescape[10] or the modern alias dronology,[11] and often simply as drone. Explorers of drone music since the 1960s have included Theater of Eternal Music (aka The Dream Syndicate: La Monte Young, Marian Zazeela, Tony Conrad, Angus Maclise, John Cale, et al.), Charlemagne Palestine, Eliane Radigue, Philip Glass, Kraftwerk, Klaus Schulze, Tangerine Dream, Sonic Youth,Band of Susans, The Velvet Underground, Robert Fripp & Brian Eno, Steven Wilson, Phill Niblock, Michael Waller, David First, Kyle Bobby Dunn, Robert Rich, Steve Roach, Earth, Rhys Chatham, Coil, If Thousands, John Cage, Labradford, Lawrence Chandler, Stars of the Lid, Lattice, -
Ashton Patriotic Sublime.5.Pdf (9.823Mb)
commercial spaces like theaters, and to performances spanning the gamut from the solemn, to the joyous. This diversity encompassed celebrations outside the expected calendar of national days. Patriotic sentiment was even a key feature of events celebrating the economic and commercial expansion of the new nation. The commemorative celebration for the laying of the foundation-stone of the Baltimore & Ohio Railroad, the “great national work which is intended and calculated to cement more strongly the union of the Eastern and the Western States,” took place on July 4, 1828.1 It beautifully illustrated the musical ties that bound different spaces together – in this case a parade route, a temporary outdoor civic space, and the permanent space of the Holliday Street Theatre. Organizers chose July Fourth for the event, wishing to signal civic pride and affective patriotism. Baltimore filled with visitors in the days before the celebration, so that on the morning of the Fourth the “immense throng of spectators…filled every window in Baltimore-street, and the pavement below….fifty thousand spectators, at least, must have been present.” The parade was massive and incorporated a great diversity of groups, including “bands of music, trades, and other bodies.” One focal point was a huge model, “completely rigged,” of a naval vessel, the “Union,” complete with uniformed sailors. Bands playing patriotic tunes were interspersed amongst the nationalist imagery on display: militia uniforms, banners emblazoned with patriotic verse, national flags, eagle figures, shields, and more. Charles Carrollton, one of the last surviving signers of the Declaration of Independence, gave the main public address at the site, accompanied by a march composed for the occasion, the “Carrollton March” (see Figure 2.4). -
Musiques Du Diable Et Autres Bruits Bénéfiques , Avec
MUSIQUES DU DIABLE ET AUTRES BRUITS BÉNÉFIQUES ALEXANDRE VINCENT FONTAINE ROUSSEAU GIARD sélection et textes dessins MUSIQUES DU DIABLE ET AUTRES BRUITS BÉNÉFIQUES sélection musicale 2010 — 2015 LES ÉDITIONS DE TA MÈRE attention : Ce livre contient au moins 23 tounu·e·s, Pour mon voisin préféré 23 têtes de mort (dont 3 avec du feu) et un nombre incalculable de coches pétées. Pour mon voisin préféré Direction littéraire : Révision : Maxime Raymond Maude Nepveu-Villeneuve Direction artistique : Maquette et composition : Benoit Tardif Vincent Giard © Éditions de Ta Mère, 2017 © Alexandre Fontaine Rousseau, 2017 © Vincent Giard, 2015 — 2017 Bibliothèque et Archives nationales du Québec, 2017 Bibliothèque et Archives du Canada, 2017 isbn : 978-2-924670-13-2 www.tamere.org Nous remercions de son soutien financier le Conseil des Arts du Canada. L’an dernier, le Conseil a investi 153 millions de dollars pour mettre de l’art dans la vie des Canadiennes et des Canadiens de tout le pays. Nous remercions de leur soutien moral Cathon et Sophie Bédard, qui ont chacune commis un dessin dans ce livre. Saurez-vous les trouver ? plus sérieusement : Ce livre est un hommage aux treize numéros du défunt zine Tout va bien, publiés entre 2009 et 2013. Son existence est aussi intimement liée à celle des États altérés, diffusés depuis janvier 2009 sur les ondes de cism. Les auteurs tiennent à remercier celles et ceux qui ont contribué, de près ou de loin, à ce que ces deux entités existent. Ils désirent aussi profiter de cette occasion pour rassurer le lecteur quant à leur santé physique et mentale, leur hygiène personnelle ainsi que leur alimentation (liquide ou non). -
2011 – Cincinnati, OH
Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers. -
Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 James M. Maynard Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the American Film Studies Commons, American Literature Commons, and the American Popular Culture Commons Recommended Citation Maynard, James M., "Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/170 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 Jamie Maynard American Studies Program Senior Thesis Advisor: Louis P. Masur Spring 2012 1 Table of Contents Introduction..…………………………………………………………………………………4 Chapter One: Developing the niche for rock culture & Monterey as a “savior” of Avant- Garde ideals…………………………………………………………………………………...7 Chapter Two: Building the rock “umbrella” & the “Hippie Aesthetic”……………………24 Chapter Three: The Yin & Yang of early hippie rock & culture—developing the San Francisco rock scene…………………………………………………………………………53 Chapter Four: The British sound, acid rock “unpacked” & the countercultural Mecca of Haight-Ashbury………………………………………………………………………………71 Chapter Five: From whisperings of a revolution to a revolution of 100,000 strong— Monterey Pop………………………………………………………………………………...97 Conclusion: The legacy of rock-culture in 1967 and onward……………………………...123 Bibliography……………………………………………………………………………….128 Acknowledgements………………………………………………………………………..131 2 For Louis P. Masur and Scott Gac- The best music is essentially there to provide you something to face the world with -The Boss 3 Introduction: “Music is prophetic. It has always been in its essence a herald of times to come. Music is more than an object of study: it is a way of perceiving the world. -
Human Readable Messages [Mezangelle 2003 - 2011]
TRAUMA first edition 2011 ISBN: 978-3-9502910-9-4 All rights reserved. This book is only available at the online shop of Trauma Wien. http://traumawien.at – [email protected] This book was set in Computer Modern cover: Luc Gross & Julian Palacz production: Julian Palacz edit: Luc Gross ⠞⠗⠁⠥⠍⠁ ISBN: 123-456789-12-12 Mez Breeze human readable messages [mezangelle 2003 - 2011] TR AU M AWIEN Contents 1 2003 27 1.1June............................... 27 1.1.1 ][frag.ment][ (2003-06-10 09:55) ........... 27 1.1.2 papazine n terview ][1][ (2003-06-10 10:08) ..... 28 1.1.3 papa.mag N terview ][2][ (2003-06-10 10:09) .... 28 1.1.4 zineish bits ][3][ (2003-06-10 10:12) ......... 29 1.1.5 blurb ][4][ (2003-06-10 10:13) ............. 29 1.1.6 horse like driven snow[mobiles] (2003-06-10 22:46) . 30 1.1.7 yos.semi.T yearn ings (2003-06-11 08:39) ...... 30 1.1.8 m[v]elt[vet N doctor]ing lines nuanced code (2003-06-12 08:31) ................... 31 1.1.9 soc[d]ial engine (2003-06-12 09:02) ......... 31 { 1.1.10 – scopi.ca[u]l. (2003-06-13 08:45) .......... 32 1.1.11 Re: [-empyre-] Active Narrative Gathering (2003-06-13 11:05) ................... 32 1.1.12 shift (2003-06-13 16:30) .............. 33 1.1.13 [f]lip fi[l]t[ers] (2003-06-14 14:18) ........... 34 1.1.14 Chrysalis Ontologies Snapped (2003-06-15 12:05) 34 1.1.15 cru.s[ocial]t codas (2003-06-16 08:03) ...... -
Fathers of Invention
FRIDAY, MARCH 2 0 , 2 0 0 9 PAGE 1 3 From left: Dave Konopka, Tyondai Braxton, John Stanier and Ian Williams of Battles. PhotocourtesyoftheWall Fathers of invention Watching New York math-rockers Battles perform their searingly complex music live can be a life-altering experience BY JacK HEWSON CONTRIBUTING REPORTER arp Records is a titan in underground A more instrumental direction at the A ‘TUG-OF-WAR’ music and hosts some of the most London-based label has prompted the Now emerging from a brief break following consummate electronic innovators of signing of a number of guitar-focused acts, a year and a half touring to promote its the past 20 years, including Autechre, but it is Battles’ inclusion that arguably acclaimed first LP Mirrored, the band WSquarepusher and Aphex Twin. One of its serves best to reconcile Warp styles old and is only just beginning to work on fresh most recent signings is neo-prog rock outfit new, a viewpoint Braxton shares. material and Braxton is elusive as to the Battles, which pays its first visit to Taipei “I feel like we’re a natural extension of direction the next record may take. this Wednesday at The Wall (這牆). what they had being doing. And I feel like “It’s so new right now that I really don’t “We’re all really thrilled and honored they were trying to push themselves to get know, it’s really hard to tell where we’re to be working with these guys,” says out of the solely electronic ‘IDM’ [intelligent gonna hop to next.” guitarist, keyboardist and vocalist, dance music] world .. -
American Military History: a Resource for Teachers and Students
AMERICAN MILITARY HISTORY A RESOURCE FOR TEACHERS AND STUDENTS PAUL HERBERT & MICHAEL P. NOONAN, EDITORS WITH AN INTRODUCTION BY WALTER A. MCDOUGALL AUGUST 2013 American Military History: A Resource for Teachers and Students Edited by Colonel (ret.) Paul H. Herbert, Ph.D. & Michael P. Noonan, Ph.D. August 2013 About the Foreign Policy Research Institute Founded in 1955 by Ambassador Robert Strausz-Hupé, FPRI is a non-partisan, non-profit organization devoted to bringing the insights of scholarship to bear on the development of policies that advance U.S. national interests. In the tradition of Strausz-Hupé, FPRI embraces history and geography to illuminate foreign policy challenges facing the United States. In 1990, FPRI established the Wachman Center, and subsequently the Butcher History Institute, to foster civic and international literacy in the community and in the classroom. About First Division Museum at Cantigny Located in Wheaton, Illinois, the First Division Museum at Cantigny Park preserves, interprets and presents the history of the United States Army’s 1st Infantry Division from 1917 to the present in the context of American military history. Part of Chicago’s Robert R. McCormick Foundation, the museum carries on the educational legacy of Colonel McCormick, who served as a citizen soldier in the First Division in World War I. In addition to its main galleries and rich holdings, the museum hosts many educational programs and events and has published over a dozen books in support of its mission. FPRI’s Madeleine & W.W. Keen Butcher History Institute Since 1996, the centerpiece of FPRI’s educational programming has been our series of weekend-long conferences for teachers, chaired by David Eisenhower and Walter A. -
Dossier De Premsa
22 – 26 MAYO BARCELONA DOSSIER DE PREMSA EL FESTIVAL CARTELL PARC DEL FÒRUM PROGRAMACIÓ COMPLEMENTÀRIA PRIMAVERA A LA CIUTAT PRIMAVERAPRO ORGANITZACIÓ I PARTNERS TICKETS CAMPANYA GRÀFICA CITES DE PREMSA HISTÒRIA CONTACTE ANNEX: BIOGRAFIES D’ARTISTES EL FESTIVAL Des dels seus inicis, el festival ha centrat els seus esforços en oferir noves propostes musicals de l’àmbit independent juntament amb artistes de contrastada trajectòria i de qualsevol estil o gènere, buscant primor- dialment la qualitat i apostant essencialment pel pop, el rock i les tendències més underground de la música electrònica i de ball. El festival ha comptat al llarg de la seva història amb propostes dels més diversos colors i estils. Així ho demostren els artistes que durant aquests deu anys han desfilat pels seus escenaris: de Pixies a Aphex Twin, passant per Neil Young, Sonic Youth, Portishead, Pet Shop Boys, Pavement, Echo & The Bunnymen, Lou Reed, My Bloody Valentine, El-P, Pulp, Patti Smith, James Blake, Arcade Fire, Cat Power, Public Enemy, Grin- derman, Franz Ferdinand, Television, Devo, Enrique Morente, The White Stripes, LCD Soundsystem, Tinders- ticks, PJ Harvey, Shellac, Dinosaur Jr., New Order, Surfin’ Bichos, Fuck Buttons, Swans, Melvins, The National, Psychic TV, Spiritualized, The Cure, Bon Iver, La Buena Vida, Death Cab For Cutie, Iggy & The Stooges, De La Soul, Marianne Faithfull o Mazzy Star, entre molts d’altres. Primavera Sound s’ha consolidat com el festival urbà per excel·lència amb característiques úniques, atès que es desmarca de la resta de macro esdeveniments musicals i es manté fidel a la línia artística, el nivell d’exigència i la qualitat organitzativa de les passades edicions, prescindint de grups de caràcter comercial. -
Searchable PDF (6.837Mb)
N!)e*$M+,i-$M!.a/0n# S12f% T!"l#$o%$C&'t#'t( Dylan Polcyn - Editor-In-Chief Braeden Rodriguez - Head of Editing F34T56E7 Alex Townsend - Page Editor 14 Rachel Dranoff - Head of Writing Naked Playlist Danielle Nobbe - Head of Design Timeline Stefanie Roudebush - Designer 11 Gwendolyn Balogh - Writer Food Column 11 Mimi Strauss - Writer Van Forsman - Writer Jay Grenda - Wrier Erin Bensinger - Writer Rachel Lifton - Writer Mireya Gúzman-Ortiz - Designer E>?T@6IABS Erica Vanneste - Writer Viola Brown - Designer (Don’t) pirate these 2 *ULIÀQ6PDOOH\'HVLJQHU 13 Naked Person albums Joel Bryson - Writer of the Issue Jon Jerow - Writer Cleome Bernick-Roehr - Writer New leaders page 3 Naked Music Magazine Kalamazoo College 1200 Academy Street Kalamazoo, MI 49006 D&D Printing E:;N<= 2531 Azo Drive Kalamazoo, MI 49048 Double Phelix 7-8 Like what we do? Have Homecoming concert 11 comments? Suggestions? An article you want to write? Contact 9 That Freak Quincy us! Find us on Facebook, Tumblr Alex’s Big Show 5 and Twitter. Naked Music & Culture Magazine mkdmagazine.tumblr.com @NakedMCMagazine Cover Art by Paris Weisman R38I39S 4 21st Cent. Arctic Monkeys 4 6 Earl Sweatshirt Pretty Lights 10 2 Cage the Elephant Danny Brown 12 Page 1 Pirate these Cage the Elephant: (Don't)Albums Melophobia age the Elephant- Melophobia dry up and wither away”. Compared to C In the age of electronic music, the “Black Widow” the brass section’s tone VHDUFKIRUTXDOLW\URFNFDQEHUDWKHUGLIÀ- is slow and sloppy, as if they’re mocking $UWLVW:LOG&XE cult. Despite this lack of mainstream rock, the placidness of The Beatles in their later $OEXP<RXWK there are still bands that are able to break work. -
African American History of Los Angeles
LOS ANGELES CITYWIDE HISTORIC CONTEXT STATEMENT Context: African American History of Los Angeles Prepared for: City of Los Angeles Department of City Planning Office of Historic Resources FEBRUARY 2018 SurveyLA Citywide Historic Context Statement Context: African American History of Los Angeles Certified Local Government Grant Disclaimers The activity that is the subject of this historic context statement has been financed in part with Federal funds from the National Park Service, Department of Interior, through the California Office of Historic Preservation. However, the contents and opinions do not necessarily reflect the views or policies of the Department of the Interior or the California Office of Historic Preservation, nor does mention of trade names or commercial products constitute endorsement or recommendation by the Department of the Interior or the California Office of Historic Preservation. This program receives Federal financial assistance for identification and protection of historic properties. Under Title VI of the Civil Rights Act of 1964, Section 504 of the Rehabilitation Act of 1973, and the Age Discrimination Act of 1975 as amended, the Department of the Interior prohibits discrimination based on race, color, national origin, disability, or age in its federally assisted programs. If you believe you have been discriminated against in any program, activity, or facility as described above, or if you desire further information, please write to: Office of Equal Opportunity National Park Service 1849 C Street, N.W. Washington -
View the Collective MFNW Pdf Here!
Music Fest North West PHOTO CRED: Hannah Steinkopf-Frank // STREET CRED: Ryder Sherwood Music Fest Northwest, the annual Portland perusal. Sporting acts spanning the spectrum of indie rock, it appears we’ve come across a gem of the music world, and I was only there for the final two-thirds of it. The event was in no way the most diverse in the lineup dept., and certainly not cleanest in air-quality, but there is only so much that is within the bounds of human control. Over the course of just 65 short hours, from Foster the Peo- ple, to Modest Mouse, I laughed, cried, slept and drank, and biked, and walked, even. That’s right, except for Foster the People, I missed the first day. Lost Lander, Milo Green, and Misterwives down the drain. Does that make my opinions invalid? Of course. But that’s actually not the deciding factor. I’m going to be writing a little bit about the bands I saw at the Fest, maybe what I didn’t like, but I’d hazard a guess that about 90% of this will be what I did in fact, enjoy. You could start and end at the smoky air quality, as my old roommate had been quoted about that day, “It’s just like the morning smoked a spliff”. And it truly was just like that. As soon as morning had gotten up, it made some eggs, and smoked a spliff. We’ve all been there, and all can agree it’s really a poor way to start the day.