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Manic Street Preachers Tornano Con Un Nuovo Disco, Intitolato Futurology, in Uscita L'8 Manic Street Preachers Luglio 2014
LUNEDì 28 APRILE 2014 A soli nove mesi di distanza dall'acclamato Rewind The Film (top 5 nel Regno Unito), undicesimo album da studio della band, i Manic Street Preachers tornano con un nuovo disco, intitolato Futurology, in uscita l'8 Manic Street Preachers luglio 2014. Futurology, il nuovo album, in uscita l'8 luglio. Registrati ai leggendari Hansa Studios di Berlino e al Faster, lo studio dei In concerto in Italia il 2 giugno 2014 al RocK In Manics a Cardiff, i tredici brani che compongono l'album vedono la band Idro di Bologna gallese in forma smagliante, addirittura esplosiva. Uno stacco netto rispetto al disco precedente, ma sempre all'insegna di uno stile inconfondibile. LA REDAZIONE Il primo singolo estratto è "Walk Me To The Bridge", dalle chiare influenze europee. In una recente conversazione con John Doran di Quietus, Nicky Wire ha parlato del testo del brano, che ha cominciato a prendere forma qualche anno fa. "Qualcuno penserà che la canzone contenga tanti riferimenti a Richey Edwards, ma in realtà parla del ponte di Øresund che collega la Svezia alla Danimarca. Tanto tempo fa, quando [email protected] attraversavamo quel ponte, stavo perdendo entusiasmo per le cose e SPETTACOLINEWS.IT pensavo di lasciare la band (il "fatal friend"). 'Walk Me To The Bridge' parla dei ponti che ti consentono di vivere un'esperienza extracorporea quando lasci un luogo per raggiungerne un altro". Secondo James Dean Bradfield, il brano è "una canzone ideale per i viaggi in auto, dal sapore squisitamente europeo e carica di tensione emotiva, con sintetizzatori in stile primi Simple Minds e un assolo di chitarra Ebow alla 'Heroes'". -
Music Globally Protected Marks List (GPML) Music Brands & Music Artists
Music Globally Protected Marks List (GPML) Music Brands & Music Artists © 2012 - DotMusic Limited (.MUSIC™). All Rights Reserved. DotMusic reserves the right to modify this Document .This Document cannot be distributed, modified or reproduced in whole or in part without the prior expressed permission of DotMusic. 1 Disclaimer: This GPML Document is subject to change. Only artists exceeding 1 million units in sales of global digital and physical units are eligible for inclusion in the GPML. Brands are eligible if they are globally-recognized and have been mentioned in established music trade publications. Please provide DotMusic with evidence that such criteria is met at [email protected] if you would like your artist name of brand name to be included in the DotMusic GPML. GLOBALLY PROTECTED MARKS LIST (GPML) - MUSIC ARTISTS DOTMUSIC (.MUSIC) ? and the Mysterians 10 Years 10,000 Maniacs © 2012 - DotMusic Limited (.MUSIC™). All Rights Reserved. DotMusic reserves the right to modify this Document .This Document 10cc can not be distributed, modified or reproduced in whole or in part 12 Stones without the prior expressed permission of DotMusic. Visit 13th Floor Elevators www.music.us 1910 Fruitgum Co. 2 Unlimited Disclaimer: This GPML Document is subject to change. Only artists exceeding 1 million units in sales of global digital and physical units are eligible for inclusion in the GPML. 3 Doors Down Brands are eligible if they are globally-recognized and have been mentioned in 30 Seconds to Mars established music trade publications. Please -
New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry
New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry by Evan Landon Wendel B.S. Physics Hobart and William Smith Colleges, 2004 SUBMITTED TO THE DEPARTMENT OF COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2008 © 2008 Evan Landon Wendel. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: _______________________________________________________ Program in Comparative Media Studies May 9, 2008 Certified By: _____________________________________________________________ William Uricchio Professor of Comparative Media Studies Co-Director, Comparative Media Studies Thesis Supervisor Accepted By: _____________________________________________________________ Henry Jenkins Peter de Florez Professor of Humanities Professor of Comparative Media Studies and Literature Co-Director, Comparative Media Studies 2 3 New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry by Evan Landon Wendel Submitted to the Department of Comparative Media Studies on May 9, 2008 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies Abstract This thesis explores the evolving nature of independent music practices in the context of offline and online social networks. The pivotal role of social networks in the cultural production of music is first examined by treating an independent record label of the post- punk era as an offline social network. -
Manic Street Preachers Pubblicano "Futurology"
LUNEDì 7 LUGLIO 2014 A quasi un anno di distanza dall'acclamato "Rewind The Film" (top 5 nel Regno Unito), undicesimo album da studio della band, i Manic Street Preachers tornano con un nuovo disco, intitolato "Futurology", in uscita Manic Street Preachers l'8 luglio 2014, prodotto dal gruppo insieme a Loz Williams e Alex Silva pubblicano "Futurology" (The Holy Bible) e registrato ai leggendari Hansa Studios di Berlino e al Faster di Cardiff, lo studio dei Manics. Il nuovo album, in uscita domani 8 luglio I brani che compongono l'album, già recensito positivamente dalle riviste inglesi, vedono la band gallese in forma smagliante, addirittura esplosiva ma sempre all'insegna di uno stile inconfondibile. Il cd viene LA REDAZIONE pubblicato in digitale e versione fisica, quest'ultima si potrà trovare in vendita in formato standard (13 brani ed un libretto di 12 pagine) e deluxe (il cd standard + 1 cd con le versioni demo di tutte le 13 canzoni, oltre a 3 bonus tracks: "Blistered Mirrors" - "Empty Motorcade" - "The Last Time I Saw Paris" ed un libretto composto da 24 pagine). Il primo singolo estratto è "Walk Me To The Bridge". "Un brano carico di [email protected] tensione emotiva, con sintetizzatori in stile primi Simple Minds" dice SPETTACOLINEWS.IT Nicky Wire e parlando del testo racconta: "Qualcuno penserà che la canzone contenga tanti riferimenti a Richey Edwards, ma in realtà parla del ponte di Øresund che collega la Svezia alla Danimarca. Tanto tempo fa, quando attraversavamo quel ponte, stavo perdendo entusiasmo per le cose e pensavo di lasciare la band (il "fatal friend"). -
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI Via AP Balazs Mohai
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI via AP Balazs Mohai Sziget Festival March 26-April 2 Horizon Festival Arinsal, Andorra Web www.horizonfestival.net Artists Floating Points, Motor City Drum Ensemble, Ben UFO, Oneman, Kink, Mala, AJ Tracey, Midland, Craig Charles, Romare, Mumdance, Yussef Kamaal, OM Unit, Riot Jazz, Icicle, Jasper James, Josey Rebelle, Dan Shake, Avalon Emerson, Rockwell, Channel One, Hybrid Minds, Jam Baxter, Technimatic, Cooly G, Courtesy, Eva Lazarus, Marc Pinol, DJ Fra, Guim Lebowski, Scott Garcia, OR:LA, EL-B, Moony, Wayward, Nick Nikolov, Jamie Rodigan, Bahia Haze, Emerald, Sammy B-Side, Etch, Visionobi, Kristy Harper, Joe Raygun, Itoa, Paul Roca, Sekev, Egres, Ghostchant, Boyson, Hampton, Jess Farley, G-Ha, Pixel82, Night Swimmers, Forbes, Charline, Scar Duggy, Mold Me With Joy, Eric Small, Christer Anderson, Carina Helen, Exswitch, Seamus, Bulu, Ikarus, Rodri Pan, Frnch, DB, Bigman Japan, Crawford, Dephex, 1Thirty, Denzel, Sticky Bandit, Kinno, Tenbagg, My Mate From College, Mr Miyagi, SLB Solden, Austria June 9-July 10 DJ Snare, Ambiont, DLR, Doc Scott, Bailey, Doree, Shifty, Dorian, Skore, March 27-April 2 Web www.electric-mountain-festival.com Jazz Fest Vienna Dossa & Locuzzed, Eksman, Emperor, Artists Nervo, Quintino, Michael Feiner, Full Metal Mountain EMX, Elize, Ernestor, Wastenoize, Etherwood, Askery, Rudy & Shany, AfroJack, Bassjackers, Vienna, Austria Hemagor, Austria F4TR4XX, Rapture,Fava, Fred V & Grafix, Ostblockschlampen, Rafitez Web www.jazzfest.wien Frederic Robinson, -
Groove Me New Jack Swing Feel
GROOVE ME NEW JACK SWING FEEL Original Recording Profile Recording Artist: Guy Drummer: drum machine Original Album: Guy Record Label: MCA Recording Date: 1988 Recorded at various studios throughout the New York and New Jersey area Historical Overview This tune set a new precedent when it first hit the airwaves in 1988. It featured this ridiculously funky and utterly infectious groove. The drum beat itself was the main attraction of the song and was deceivingly not as simple as it sounded. This song was produced by Teddy Riley, a pioneer and innovator of a new sound that was dubbed new jack swing. New jack swing was a style of R&B music that combined ol’ skool soul vocals and harmonies with rap interludes to bring about a fusion of old and new music. It had the swing factor of jazz music with the fat backbeat associated with funk. The swingy feeling was most often felt in the arena of the drum machine-programmed percussion, bass drum, and hi-hat parts. In essence, the music was swing funk with modern production and recording techniques that made use of one of its newest tools, the drum machine. Because many of the people that were programming the machines were not drummers themselves, they didn’t consider whether any of us mere humans could play the groove in a live situation when called upon to do so later. This put incredible new demands on drummers that were sometimes a bit overwhelming. But if you were willing to stretch the limits of your playing and get out of your comfort zone, this era was a great opportunity to experience new growth. -
1 Giant Leap Dreadlock Holiday -- 10Cc I'm Not in Love
Dumb -- 411 Chocolate -- 1975 My Culture -- 1 Giant Leap Dreadlock Holiday -- 10cc I'm Not In Love -- 10cc Simon Says -- 1910 Fruitgum Company The Sound -- 1975 Wiggle It -- 2 In A Room California Love -- 2 Pac feat. Dr Dre Ghetto Gospel -- 2 Pac feat. Elton John So Confused -- 2 Play feat. Raghav & Jucxi It Can't Be Right -- 2 Play feat. Raghav & Naila Boss Get Ready For This -- 2 Unlimited Here I Go -- 2 Unlimited Let The Beat Control Your Body -- 2 Unlimited Maximum Overdrive -- 2 Unlimited No Limit -- 2 Unlimited The Real Thing -- 2 Unlimited Tribal Dance -- 2 Unlimited Twilight Zone -- 2 Unlimited Short Short Man -- 20 Fingers feat. Gillette I Want The World -- 2Wo Third3 Baby Cakes -- 3 Of A Kind Don't Trust Me -- 3Oh!3 Starstrukk -- 3Oh!3 ft Katy Perry Take It Easy -- 3SL Touch Me, Tease Me -- 3SL feat. Est'elle 24/7 -- 3T What's Up? -- 4 Non Blondes Take Me Away Into The Night -- 4 Strings Dumb -- 411 On My Knees -- 411 feat. Ghostface Killah The 900 Number -- 45 King Don't You Love Me -- 49ers Amnesia -- 5 Seconds Of Summer Don't Stop -- 5 Seconds Of Summer She Looks So Perfect -- 5 Seconds Of Summer She's Kinda Hot -- 5 Seconds Of Summer Stay Out Of My Life -- 5 Star System Addict -- 5 Star In Da Club -- 50 Cent 21 Questions -- 50 Cent feat. Nate Dogg I'm On Fire -- 5000 Volts In Yer Face -- 808 State A Little Bit More -- 911 Don't Make Me Wait -- 911 More Than A Woman -- 911 Party People.. -
Philosophizing Post-Punk
COMMENTARY Philosophizing post-punk Ben Watson hilosophers are talking more about music than they did in the past. This is partly to do with the rise of Adornoʼs star in the philosophical firmament and Pthe fact that over half of his writings are devoted to music. But it is also because a generation that imbibed punk in its formative years is now in a position to choose the cultural objects of its intellectual scrutiny. So when a book appears called Rip It Up and Start Again: Post-Punk 1978–1984, it raises the temperature of intellectual debate.* This was the period when fascism loomed as an electoral reality in England, and the Left made anti-racism an inescapable feature of mainstream politics. Music was crucial to the process. The material basis for musicʼs cultural relevance is its industrial production and commercial distribution, initiated at the close of the nineteenth century and indelibly associated with the political upheavals of the 1960s. Mass production makes discussions of music turn ineluctably towards politics and social theory. Irony and sophistry flake off. To talk about a musical experience, you need to put yourself in the picture. Discussants wax autobiographical, they posit determinate social identities. Class issues – long hounded out of academia – become graphic and pressing. It was not for nothing that black America coined the tag ʻsoul musicʼ. In a secularized, commercialized society, music is the locus of the soul; social being becomes unavoidable, specific and poignant. In philosophy, things began with Nietzsche on Wagner (first for, then against) and were stoked by Adornoʼs polemics against classical harmony in favour of twelve-tone. -
1 Nr Artiest Titel
NR ARTIEST TITEL 1 PRINCE & THE REVOLUTION PURPLE RAIN 2 MICHAEL JACKSON THRILLER 3 QUEEN & DAVID BOWIE UNDER PRESSURE 4 TOTO AFRICA 5 GUNS N' ROSES SWEET CHILD OF MINE 6 A-HA TAKE ON ME 7 U2 SUNDAY BLOODY SUNDAY 8 PHIL COLLINS IN THE AIR TONIGHT 9 JOURNEY DON'T STOP BELIEVIN' 10 DURAN DURAN THE REFLEX 11 BRUCE SPRINGSTEEN BORN IN THE USA 12 QUEEN A KIND OF MAGIC 13 GUNS N' ROSES PARADISE CITY 14 ALAN PARSONS PROJECT OLD AND WISE 15 THE CURE A FOREST 16 EUROPE THE FINAL COUNTDOWN 17 BON JOVI LIVIN' ON A PRAYER 18 ANDRÉ HAZES ZIJ GELOOFT IN MIJ 19 QUEEN RADIO GA GA 20 MADONNA LIKE A PRAYER 21 PINK FLOYD ANOTHER BRICK IN THE WALL 22 ABBA THE WINNER TAKES IT ALL 23 MICHAEL JACKSON BILLIE JEAN 24 ALICE COOPER POISON 25 PAUL SIMON YOU CAN CALL ME AL 26 QUEEN I WANT TO BREAK FREE 27 U2 WITH OR WITHOUT YOU 28 ACDC BACK IN BLACK 29 THE POLICE EVERY LITTLE THING SHE DOES IS MAGIC 30 DIRE STRAITS BROTHERS IN ARMS 31 ROLLING STONES START ME UP 32 TALK TALK SUCH A SHAME 33 GEORGE MICHAEL FAITH 1 NR ARTIEST TITEL 34 VANDENBERG BURNING HEART 35 DOE MAAR 32 JAAR (SINDS EEN DAG OF 2) 36 AEROSMITH LOVE IN AN ELEVATOR 37 ANITA MEYER WHY TELL ME WHY 38 SIMPLE MINDS DON'T YOU (FORGET ABOUT ME) 39 BILLY OCEAN WHEN THE GOING GETS TOUGH, THE TOUGH GETS GOING 40 VAN HALEN JUMP 41 U2 PRIDE (IN THE NAME OF LOVE) 42 ABC THE LOOK OF LOVE 43 SURVIVOR EYE OF THE TIGER 44 TOTO STOP LOVING YOU 45 SALT-N-PEPA PUSH IT 46 KLEIN ORKEST OVER DE MUUR 47 ZZ TOP GIMME ALL YOUR LOVIN' 48 MICHAEL JACKSON SMOOTH CRIMINAL 49 DIRE STRAITS PRIVATE INVESTIGATIONS 50 PAT BENATAR LOVE -
Jacques Derrida” (1982), a Jolly Two-Step That Sounds Like a Sped-Up and Neutered Version of an Alan Jackson Song
LOVESTRUCK by SASHA FRERE-JONES Scritti Politti trades theory for feelings. New Yorker magazine - Issue of 2006-07-24 If you walk into an American bar and ask for Scritti Politti, the bartender will probably put on the British band’s 1985 hit “Perfect Way.” The song is similar to music of the period by New York club artists like Madonna: very loud snare drums matched with bright keyboard lines and even brighter guitars. Green Gartside, Scritti Politti’s singer, songwriter, guitarist, and only continuous member, performs both lead and backing vocals. His voice is high—almost, but not quite, falsetto. Over the punishingly clear instruments, he sounds blissful, teetering on the edge of rapture. The chorus ends with a line of stock dance-floor chat—“I got a perfect way to make the girls go crazy”—but the verses suggest that the singer spends more of his time at the independent bookstore: “I don’t have a purpose, omission, I’m empty by definition. I got a lack, girl, that you’d love to be.” You don’t need to catch the literary references to be taken by the song, and it’s unlikely that when the band lip-synched to “Perfect Way” on “American Bandstand,” in 1985, Dick Clark started wondering where his Jacques Lacan books were. Gartside’s singing is so fiercely unmasculine that if he weren’t obviously enjoying himself so much you would think he was making fun of the Boy Georges and George Michaels of the world. Gartside’s career has been marked by unlikely turns. -
What Is Post-Punk?
What is Post-Punk? A Genre Study of Avant-Garde Pop, 1977-1982 Mimi Haddon Schulich School of Music McGill University, Montréal April 2015 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Ph.D. in Musicology © Mimi Haddon 2015 iii TABLE OF CONTENTS Abstract ........................................................................................................................................... vi Résumé ......................................................................................................................................... vii Acknowledgements ..................................................................................................................... viii List of Musical Examples ................................................................................................................ x List of Diagrams and Tables ........................................................................................................... xi List of Figures ............................................................................................................................... xii INTRODUCTION ........................................................................................................................... 1 Historiography and Genre ........................................................................................................ 4 Genre as Musical Style .......................................................................................................... -
Post-Punk Blues
18 March 1983 Marxism Today The late 70s saw the heyday of political pop. Since then it has granted now that they don't. Today the waned. Or has it? ingratiating Peter Powell (not John Peel) is the Radio 1 deejay young musicians most want to impress (he has the A&R departments' ear) and video has become Simon Frith music's best selling device. Groups have to pass through new gate-keepers, TV produc- ers and packagers, whose reactionary ideas Post-punk Blues are obvious in their presentation of women: video-pop has meant the return of the female In this article I want to raise some questions about the repressive British state, shot their performer as little-girl-cum-vamp. 'Political' about the effects of punk. What long term music through with a hoarse call to militant music has been driven to the pop fringe and changes, if any, did that 'explosion' of 1976 youth action. Lora Logic was a female sax so, ironically, British musicians (after the make to the music business? What is the player whose sounds owed as much to the 'provincial' limitations of punk) are once political significance, if any, of pop music surprises of free music as to the certainties of more appearing in the US charts. now? Much of what I'll say derives from the pop. Robert Rental and the Normal were music session at the Moving Left Show, and electronic technicians whose very stage Rough Trade I remember one question in particular. 'All I presence — turning the knobs on their tape Pop music has failed, then, to realise the want to know,' said someone plaintively, 'is recorders — threw into question the usual political fantasies that were piled on punk.