Cymande Music Is the Message and the Message Is Music Bio 2019
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Creative Synthesis: Collaborative Cross Disciplinary Studies in the Arts
Western Oregon University Digital Commons@WOU Honors Senior Theses/Projects Student Scholarship 6-1-2012 Creative Synthesis: Collaborative Cross Disciplinary Studies in the Arts Ermine Todd Western Oregon University, [email protected] Follow this and additional works at: https://digitalcommons.wou.edu/honors_theses Part of the Dance Commons Recommended Citation Todd, Ermine, "Creative Synthesis: Collaborative Cross Disciplinary Studies in the Arts" (2012). Honors Senior Theses/Projects. 82. https://digitalcommons.wou.edu/honors_theses/82 This Undergraduate Honors Thesis/Project is brought to you for free and open access by the Student Scholarship at Digital Commons@WOU. It has been accepted for inclusion in Honors Senior Theses/Projects by an authorized administrator of Digital Commons@WOU. For more information, please contact [email protected], [email protected], [email protected]. Creative Synthesis: Collaborative Cross Disciplinary Studies in the Arts By Ermine Todd IV An Honors Thesis Submitted in Partial Fulfillment of the Requirements for Graduation from the Western Oregon University Honors Program Professor Darryl Thomas Thesis Advisor Dr. Gavin Keulks, Honors Program Director Western Oregon University June 2012 Todd 2 Acknowledgements This project would not have been possible without the tireless support of these people. My professor, Thesis Advisor and guide along my journey, Darryl Thomas. Academic advisor Sharon Oberst for always keeping the finish line in sight. Cassie Malmquist for her artistry and mastery of technical theatre. Tad Shannon for guiding the setup of Maple Hall and troubleshooting all technical requirements. Brandon Woodard for immense photographic contributions throughout the length of the project and Photography credit for my poster and program. -
Bookpagespre.Pdf
KC had started hanging out at the new T.K. studios–a combination record ware- house and attic recording facility owned by R & B music legend Henry Stone. It was here, in the fullness of time, that he would rendezvous with his destiny–and his new musical collaborator, Rick Finch. “My biggest break was finding this little record company, this little recording studio,” he recalls. “I mean, there was Criteria in Miami, but you had to have money to get into Criteria to record a record. “T.K. was not like Criteria. Criteria was a recording studio where everybody from the Who’s Who list paid big money to record there. T.K. was this private thing. They were making their own records and distributing them.” Steve Alaimo, T.K. Productions’ vice president and head of A&R, years ago reflected on the origins of the south Florida recording industry in a newspaper interview. “Around 1970, Henry Stone and I decided we were going to start a record company in Florida,” Alaimo said. “And we just worked real hard and it worked. For one thing, the weather’s so good down here. L.A., New York... it’s more comfortable here. We built a little studio. We just added on and got bigger.” AT LEAST YOU’RE DOING WHAT YOU LOVE 39 The original name of the group, in fact, was KC And The Sunshine Junkanoo Band, which suggests that the band’s original charter, beyond its affiliations with R & B, tended toward a raucous, Caribbean sensibility. “In a way it was Early Disco, if you want to call it that,” says KC. -
1995 Spring Program Guide
c;; 5([1 ~ -H~J JJ _0~ ·. o:'6-:5i--S ,· I ~~ - - - ---------------------- -·· ,.----··--·---- i ' /') l ' ,/ ·' !! ' , r: _;( - ./' ' . ·'1i .1 'I ' '-----·•--- ------- . ;: ._;. : .. ~ .. :' · .. ~ .. ' MONDAY: the wack. 12-2 am: "The Glory Box" Kara Fiegenschuh 8-lOam: "The Circus Freakshow" Nina Aronson Shoegazers and slackers from the 50 states and A mix of everything: New sounds, groovy Europe. rhythms, and upbeat melodies. Music that 2-4 am: "Fishin' the Northwest" Michael Wolfe makes you feel good, whether you feel good The Edge tries to tell you what Seattle music is. about life, pain, whatever. None of that here, we'll show you what real 10-12 pm: "Punker Than You" Stephanie Boehmer Sea ttli tes listen to. Spinnin' the punk and oi! anthems from the late '70's and early '80's. There's no show more WEDNESDAY: desperate and more bored. 12-2pm: "Classical Lunchbox" Chris Schiffer 8-10 am: "Swingcheese" Robin Moore Chris will play classical music and will try not to Two hours of swing and jazz with snappy vocals, DJ in a monotone NPR voice. There is the swingin' instrumentals and an ever lovin open possibility of guest composers/musicians. request line. In all things be fabulous baby. 2-4pm: "Variety Show" Thien-Bao Thuc Phi 10-12 am: "Kara and Joanna's Office Hours" One show I may devote to hip hop, one to show We'll play you music while we clean the office tunes, or maybe on the same day I'll bust Craig and organize things. Mack and Sophie B. Hawkins back to back. 12-2 pm: "A Night at the Village Vanguard" Chris 4-6pm: "Music for the Fall Guy" Nate Sparks Stromquist Country and Western music from the past and The best jazz you'll hear before midnight. -
Dec. 22, 2015 Snd. Tech. Album Arch
SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London. -
Rap and Islam in France: Arabic Religious Language Contact with Vernacular French Benjamin Hebblethwaite [email protected]
Rap and Islam in France: Arabic Religious Language Contact with Vernacular French Benjamin Hebblethwaite [email protected] 1. Context 2. Data & methods 3. Results 4. Analysis Kamelancien My research orientation: The intersection of Language, Religion and Music Linguistics French-Arabic • Interdisciplinary (language contact • Multilingual & sociolinguistics) • Multicultural • Multi-sensorial Ethnomusicology • Contemporary (rap lyrics) Religion This is a dynamic approach that links (Islam) language, culture and religion. These are core aspects of our humanity. Much of my work focuses on Haitian Vodou music. --La fin du monde by N.A.P. (1998) and Mauvais Oeil by Lunatic (2000) are considered breakthrough albums for lyrics that draw from the Arabic-Islamic lexical field. Since (2001) many artists have drawn from the Islamic lexical field in their raps. Kaotik, Paris, 2011, photo by Ben H. --One of the main causes for borrowing: the internationalization of the language setting in urban areas due to immigration (Calvet 1995:38). This project began with questions about the Arabic Islamic words and expressions used on recordings by French rappers from cities like Paris, Marseille, Le Havre, Lille, Strasbourg, and others. At first I was surprised by these borrowings and I wanted to find out how extensive this lexicon --North Africans are the main sources of Arabic inwas urban in rap France. and how well-known --Sub-Saharan Africans are also involved in disseminatingit is outside the of religiousrap. lexical field that is my focus. The Polemical Republic 2 recent polemics have attacked rap music • Cardet (2013) accuses rap of being a black and Arab hedonism that substitutes for political radicalism. -
State of Bass
First published by Velocity Press 2020 velocitypress.uk Copyright © Martin James 2020 Cover design: Designment designment.studio Typesetting: Paul Baillie-Lane pblpublishing.co.uk Photography: Cleveland Aaron, Andy Cotterill, Courtney Hamilton, Tristan O’Neill Martin James has asserted his right under the Copyright, Designs and Patents Act 1988 to be identied as the author of this work All rights reserved. No part of this publication may be reproduced, in any form or by any means, without permission from the publisher While the publishers have made every reasonable eort to trace the copyright owners for some of the photographs in this book, there may be omissions of credits, for which we apologise. ISBN: 9781913231026 1: Ag’A THE JUNGLISTS NAMING THE SOUND, LOCATING THE SCENE ‘It always has been such a terrible name. I’ve never known any other type of music to get so misconstrued by its name.’ (Rob Playford, 1996) Of all of the dance music genres, none has been surrounded with quite so much controversy over its name than jungle. No sooner had it been coined than exponents of the scene were up in arms about the racist implications. Arguments raged over who rst used the term and many others simply refused to acknowledge the existence of the moniker. It wasn’t the rst time that jungle had been used as a way to describe a sound. Kool and the Gang had called their 1973 funk standard Jungle Boogie, while an instrumental version with an overdubbed ute part and additional percussion instruments was titled Jungle Jazz. The song ends with a Tarzan yell and features grunting, panting and scatting throughout. -
SONG LIST AS of 1/1/2020 Classic Rock- 60'S & 70'S
SONG LIST AS OF 1/1/2020 Classic Rock- 60’s & 70’s All Right Now – Free (listen to the band) American Girl – Tom Petty and the Heartbreakers Birthday – The Beatles Blue Suede Shoes – Elvis Presley Brown Eyed Girl – Van Morrison But It’s All Right – JJ Jackson Can’t Help Falling in Love – Elvis Presley Come and Get Your Love – Redbone Crazy Love – Van Morrison Dancing in the Streets – Martha Reeves (Listen to the Band) Down on the Corner – Credence Clearwater Revival Europa – Santana (listen to the band) Evil Ways – Santana Fire – Jimi Hendrix Forever Young- Bob Dylan/Joan Baez Get Down Tonight – KC and the Sunshine Band (Listen to the Band- LIVE) Gimme Some Lovin – Spenser Davis Group (listen to the band) Good Lovin – Young Rascals Honky Tonk Woman – Rolling Stones I Wish – Stevie Wonder I Got A Line On You – Spirit I Want You To Want Me – Cheap Trick I Will Survive – Gloria Gaynor (Listen to the band- LIVE) Keep Your Hands To Yourself – Georgia Satellites Let’s Groove Tonight- Earth, Wind and Fire Moondance – Van Morrison (Listen to the Band) Move Over – Janis Joplin Old Time Rock & Roll – Bob Seeger Pretty Woman – Roy Oberson Proud Mary – Credence Clearwater Revival Since I Saw Her Standing There – The Beatles Somebody to Love – Jefferson Airplane (listen to the band) Stayin Alive – The Bee Gees Sweet Caroline – Neil Diamond Ticket to Ride – The Beatles Twist & Shout – The Beatles Two Tickets to Paradise – Eddie Money Unchained Melody- Righteous Brothers Venus – Shocking Blue We Gotta Get Out Of This Place – The Animals Werewolves of -
AXS TV Schedule for Mon. April 23, 2018 to Sun. April 29, 2018 Monday
AXS TV Schedule for Mon. April 23, 2018 to Sun. April 29, 2018 Monday April 23, 2018 6:30 PM ET / 3:30 PM PT 8:00 AM ET / 5:00 AM PT Best of 2016: New Orleans Jazz & Heritage Festival Nashville Celebrating another year of music and culture, this hour and a half ‘Best Of’ show features Didn’t Expect It To Go Down This Way - Maddie runs away from home. performances from Bonnie Raitt, Grace Potter, Flo Rida, Gary Clark Jr., Aaron Neville, Nick Jonas, and more! 9:00 AM ET / 6:00 AM PT The Big Interview Premiere Robert Plant - Dan Rather sits down with Robert Plant, Led Zeppelin’s legendary frontman, for a 8:00 PM ET / 5:00 PM PT thoughtful conversation touching on Plant’s most personal lyrics and the stories behind some of Nothing But Trailers rock’s most lasting hits. Sometimes the best part of the movie is the preview! Watch some of the best trailers, old and new, during this special presentation. 10:00 AM ET / 7:00 AM PT KC And The Sunshine Band - Live From The Bomb Factory 9:00 PM ET / 6:00 PM PT It’s gettin’ funky on AXS TV because KC & the Sunshine Band are performing live in this week’s Cliffhanger Summer Concert Series. Since being founded in 1973 the disco funk band has won 3 Grammy A group of estranged mountain-climbing friends are asked to return to the mountain where awards and have sold over 100 million records worldwide. Get ready to “Shake Your Booty” on tragedy tore them apart. -
Scripting and Consuming Black Bodies in Hip Hop Music and Pimp Movies
SCRIPTING AND CONSUMING BLACK BODIES IN HIP HOP MUSIC AND PIMP MOVIES Ronald L Jackson II and Sakile K. Camara ... Much of the assault on the soulfulness of African American people has come from a White patriarchal, capitalist-dominated music industry, which essentially uses, with their consent and collusion, Black bodies and voices to be messengers of doom and death. Gangsta rap lets us know Black life is worth nothing, that love does not exist among us, that no education for critical consciousness can save us if we are marked for death, that women's bodies are objects, to be used and discard ed. The tragedy is not that this music exists, that it makes a lot of money, but that there is no countercultural message that is equally powerful, that can capture the hearts and imaginations of young Black folks who want to live, and live soulfully) Feminist film critics maintain that the dominant look in cinema is, historically, a gendered gaze. More precisely, this viewpoint argues that the dominant visual and narrative conventions of filmmaking generally fix "women as image" and "men as bearer of the image." I would like to suggest that Hollywood cinema also frames a highly particularized racial gaze-that is, a representational system that posi tions Blacks as image and Whites as bearer of the image.2 Black bodies have become commodities in the mass media marketplace, particu larly within Hip Hop music and Black film. Within the epigraph above, both hooks and Watkins explain the debilitating effects that accompany pathologized fixations on race and gender in Black popular culture. -
Funk Soul Brother – Repertoire 2018
FUNK SOUL BROTHER – REPERTOIRE 2018 PARTY MUSIC & DANCE FLOOR FILLERS! A Little Less Conversation - Elvis Another One Bites The Dust - Queen Beat It - Michael Jackson Billie Jean - Michael Jackson Blame It On The Boogie - Jackson 5 Blurred Lines - Robin Thicke Cake By The Ocean - DNCE Canned Heat - Jamiroquai Car Wash - Rose Royce Cold Sweat - James Brown Cosmic Girl - Jamiroquai Dance To The Music - Sly & The Family Stone Don't Stop Til You Get Enough - Michael Jackson Get Down On It - Kool and the Gang Get Down Saturday Night - Oliver Cheatham Get Lucky - Daft Punk Get Up Offa That Thing - James Brown Good Times - Chic Groove Is In The Heart - Dee-Lite Happy - Pharrell Williams Higher And Higher - Jackie Wilson I Believe in Mircales - Jackson Sisters I Wish - Stevie Wonder It's Your Thing - The Isley Brothers Kiss - Prince Ladies Night - Kool and the Gang Lady Marmalade - Labelle Le Freak - Chic Let's Stay Together - Al Green (continued) +44 (0)1572 335108 • [email protected] • www.pureartists.co.uk Long Train Running - Doobie Brothers Locked Out of Heaven - Bruno Mars Love Shack - B52s Mercy - The Third Degree/Duffy Move On Up - Curtis Mayfield Move Your Feet - Junior Senior Mr Big Stuff - Jean Knight Mustang Sally - Wilson Pickett Papa’s Got A Brand New Bag - James Brown Pick Up The Pieces - Average White Band Play That Funky Music - Wild Cherry Rather Be - Clean Bandit ft. Jess Glynne Rehab - Amy Winehouse Respect - Aretha Franklin Signed Sealed Delivered - Stevie Wonder Sir Duke - Stevie Wonder Superstition - Stevie Wonder -
1 "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music S
"Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music Studies, 20, 3, 2008, 276-329 This story begins with a skinny white DJ mixing between the breaks of obscure Motown records with the ambidextrous intensity of an octopus on speed. It closes with the same man, debilitated and virtually blind, fumbling for gospel records as he spins up eternal hope in a fading dusk. In between Walter Gibbons worked as a cutting-edge discotheque DJ and remixer who, thanks to his pioneering reel-to-reel edits and contribution to the development of the twelve-inch single, revealed the immanent synergy that ran between the dance floor, the DJ booth and the recording studio. Gibbons started to mix between the breaks of disco and funk records around the same time DJ Kool Herc began to test the technique in the Bronx, and the disco spinner was as technically precise as Grandmaster Flash, even if the spinners directed their deft handiwork to differing ends. It would make sense, then, for Gibbons to be considered alongside these and other towering figures in the pantheon of turntablism, but he died in virtual anonymity in 1994, and his groundbreaking contribution to the intersecting arts of DJing and remixology has yet to register beyond disco aficionados.1 There is nothing mysterious about Gibbons's low profile. First, he operated in a culture that has been ridiculed and reviled since the "disco sucks" backlash peaked with the symbolic detonation of 40,000 disco records in the summer of 1979. -
The Funky Diaspora
The Funky Diaspora: The Diffusion of Soul and Funk Music across The Caribbean and Latin America Thomas Fawcett XXVII Annual ILLASA Student Conference Feb. 1-3, 2007 Introduction In 1972, a British band made up of nine West Indian immigrants recorded a funk song infused with Caribbean percussion called “The Message.” The band was Cymande, whose members were born in Jamaica, Guyana, and St. Vincent before moving to England between 1958 and 1970.1 In 1973, a year after Cymande recorded “The Message,” the song was reworked by a Panamanian funk band called Los Fabulosos Festivales. The Festivales titled their fuzzed-out, guitar-heavy version “El Mensaje.” A year later the song was covered again, this time slowed down to a crawl and set to a reggae beat and performed by Jamaican singer Tinga Stewart. This example places soul and funk music in a global context and shows that songs were remade, reworked and reinvented across the African diaspora. It also raises issues of migration, language and the power of music to connect distinct communities of the African diaspora. Soul and funk music of the 1960s and 1970s is widely seen as belonging strictly in a U.S. context. This paper will argue that soul and funk music was actually a transnational and multilingual phenomenon that disseminated across Latin America, the Caribbean and beyond. Soul and funk was copied and reinvented in a wide array of Latin American and Caribbean countries including Brazil, Panama, Jamaica, Belize, Peru and the Bahamas. This paper will focus on the music of the U.S., Brazil, Panama and Jamaica while highlighting the political consciousness of soul and funk music.