Download Radiohead Album Free Download Radiohead Album Free

Total Page:16

File Type:pdf, Size:1020Kb

Download Radiohead Album Free Download Radiohead Album Free download radiohead album free Download radiohead album free. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 66c552277fa7f14a • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Free Download: Radiohead and Jay-Z Mash-Up, ‘Jaydiohead’ Check out DJ Minty Fresh Beats' curious combination of tracks from the New York rapper and the Brit brainiacs. Jay-Z is no stranger to involuntary collaborations with the rock’n’roll elite; remix wizards across the web have mashed his tunes with those of bands from Oasis to Pavement and beyond. And now he has another musical partnership to add his lengthy list: Radiohead. Unlike Danger Mouse’s sensational The Grey Album , which united Jay’s Black Album and the Beatles’ self-titled “White Album” track for track, Jaydiohead mashes an array of songs from both artists, including pairs like The Black Album ’s “99 Problems” and Kid A ’s “Nation Anthem” (remix title: “99 Anthems”), and American Gangster ’s “Fallin'” and In Rainbows ’ “15 Step” (“Fall in Step”). The man behind the mix: New York’s DJ Minty Fresh Beats, who premiered Jaydiohead on his MySpace page December 30. Radiohead - The Bends album flac. It was produced by John Leckie, and engineered by Nigel Godrich, who has produced all of Radiohead's subsequent studio albums. It was the first Radiohead album with cover art by Stanley Donwood, who, with singer Thom Yorke, has produced all of Radiohead's artwork since. The Bends also marked an evolution to multi-layered song arrangements, and increasingly mysterious lyricism which moved away from Yorke’s previous themes of personal angst. Under pressure to match the success of Pablo Honey, Radiohead’s first two months working on the album proved to be a great challenge. Matched with a slow recording process, the band found it counterproductive to record several hit singles in succession, with producer John Leckie recalling: Everyone was pulling their hair out saying, ‘It’s not good enough!. e were trying too hard. The Bends is the second studio album by English rock band Radiohead. Produced by John Leckie and engineered by Nigel Godrich, who would go on to co-produce all future albums by the band, The Bends marked the beginning of a shift in aesthetics and themes, with greater use of keyboards and more abrasive and subtle guitar tracks. It was produced by John Leckie, and engineered by Nigel Godrich, who went on to produce all of future Radiohead’s releases. It was the first Radiohead album with cover art by Stanley Donwood, who, with singer Thom Yorke, has produced all of Radiohead’s artwork since. Radiohead's first album, Pablo Honey (1993), preceded by their breakthrough single "Creep", features a sound reminiscent of alternative rock bands such as the Pixies and Nirvana. The Bends (1995) marked a move toward "anthemic rock", with more cryptic lyrics about social and global topics, and elements of Britpop Kid A (2000) and Amnesiac (2001), recorded. Radiohead, The Bends Album Mike McConnell SONGS. 1 planet telex (missing). high and dry. fake plastic trees. intro: D, C, B, C, B, C (x4) verse: E, G, C (x2). Tracklist Hide Credits. 1 Planet Telex 4:18 2 The Bends 4:06 3 High And Dry. Companies, etc. Phonographic Copyright (p) – EMI Records Ltd. Copyright (c) – EMI Records Ltd. Manufactured By – EMI Distributed By – EMI Made By – EMI Uden. Credits. Arranged By [String Arrangements] – Jon*, Thom* Artwork [Fine Art By] – Stanley Donwood, The White Chocolate Farm Artwork [Pasting By] – Green Ink Bass – Colin Greenwood Cello – Caroline Lavelle Drums – Phil Selway Engineer – Chris Brown , Jim Warren, Nigel Godrich Engineer [Assistant] – Guy Massey, Shelley Saunders Guitar, Organ, Recorder, Synthesizer, Piano – Jon Greenwood* Guitar, Vocals [Voice] – Ed O'Brien Mastered By, Edited By [Digitally Edited By] – Chris Blair Mixed By [Mixing] – John Leckie, Paul Q. Kolderie, Radiohead, Sean Slade Producer – John Leckie Viola, Violin – John Matthias Voice, Guitar, Piano – Thom Yorke. Notes. Recorded at Rak, The Manor & Abbey Road. Mixed at Forte Apache & Abbey Road. Mastered & digitally edited at Abbey Road. On CD: Made in Italy. On back inlay: Printed in Italy. Barcode and Other Identifiers. Barcode: 7243 8 29626 2 5 Matrix / Runout: EMI UDEN 8296262 @ 2 3-3 18 NL Price Code (I): 072 Other (Category UK): CDPCS 7372. Other versions. Category Artist Title ( Format ) Label Category Country Year 7243 8 29626 2 5, CDPCS 7372 Radiohead The Bends ​ (CD, Album) Parlophone, Parlophone 7243 8 29626 2 5, CDPCS 7372 UK 1995 CDP 7243 8 29626 2 5 Radiohead The Bends ​ (CD, Album, Club, RP, Son) Capitol Records CDP 7243 8 29626 2 5 US Unknown 7243 8 29626 2 5 Radiohead The Bends ​ (CD, Album) Parlophone, EMI Music Canada 7243 8 29626 2 5 Canada 1995 7243 8 29626 4 9 Radiohead The Bends ​ (Cass, Album) EMI 7243 8 29626 4 9 Indonesia 1995 7243 8 29626 4 9, L4EMCJ (N) 5593 Radiohead The Bends ​ (Cass, Album) Parlophone, EMI 7243 8 29626 4 9, L4EMCJ (N) 5593 South Africa 1995. Tracklist Hide Credits. 1 Planet Telex 4:18 2 The Bends 4:06 3 High And Dry. Credits. Arranged By [Strings] – Jon*, Thom* Artwork [Fine Art] – Stanley Donwood, The White Chocolate Farm Artwork [Pasting] – Green Ink Bass – Colin Greenwood Cello – Caroline Lavelle Drums – Phil Selway Engineer – Chris Brown , Jim Warren, John Leckie, Nigel Godrich Engineer [Assistant] – Guy Massey, Shelley Saunders Guitar, Organ, Recorder, Synthesizer, Piano – Jon Greenwood* Guitar, Vocals – Ed O'Brien Mastered By, Edited By [Digitally] – Chris Blair Mixed By – John Leckie, Paul Q. Kolderee*, Radiohead, Sean Slade Producer – John Leckie (tracks: 1, 2, 4 to 9, 11, 12) Viola, Violin – John Matthias Vocals, Guitar, Piano – Thom Yorke Written-By – Radiohead. Notes. ℗ 1995 except track 8 ℗ 1994. © 1995 EMI Records Ltd. Manufactured by Capitol Records, Inc. Printed in USA. Published by Warner Chappell Ltd. Recorded at Rak, The Manor & Abbey Road. Mixed at Forte Apache & Abbey Road. Mastered & digitally edited at Abbey Road. Dedicated to the late Bill Hicks. Also to Indigo. Barcode and Other Identifiers. Barcode (Text): 7 2438-29626-2 5. Other versions. Category Artist Title ( Format ) Label Category Country Year 7243 8 29626 2 5, CDPCS 7372 Radiohead The Bends ​ (CD, Album) Parlophone, Parlophone 7243 8 29626 2 5, CDPCS 7372 UK 1995 CDP 7243 8 29626 2 5 Radiohead The Bends ​ (CD, Album, Club, RP, Son) Capitol Records CDP 7243 8 29626 2 5 US Unknown 7243 8 29626 2 5 Radiohead The Bends ​ (CD, Album) Parlophone, EMI Music Canada 7243 8 29626 2 5 Canada 1995 7243 8 29626 2 5, CDPCS 7372 Radiohead The Bends ​ (CD, Album) Parlophone, Parlophone 7243 8 29626 2 5, CDPCS 7372 Italy 1995 7243 8 29626 4 9 Radiohead The Bends ​ (Cass, Album) EMI 7243 8 29626 4 9 Indonesia 1995. Tracklist. A1 Planet Telex 4:18 A2 The Bends 4:06 A3 High And Dry 4:17 A4 Fake Plastic Trees 4:50 A5 Bones 3:08 A6 (Nice Dream) 3:53 B1 Just 3:54 B2 My Iron Lung 4:36 B3 Bullet Proof..I Wish I Was 3:28 B4 Black Star 4:07 B5 Sulk 3:42 B6 Street Spirit (Fade Out) 4:12. Companies, etc. Phonographic Copyright (p) – EMI Records Ltd. Copyright (c) – EMI Records Ltd. Notes. J-card folds out w/ lyrics and artwork, 9 sections (18 total pages). Capitol Records (p) 1995 except side two, track 2. (p) 1994 (c) 1995 EMI Records, Ltd. Radiohead Says: Pay What You Want. Thom Yorke performs with Radiohead at the Carling Apollo Hammersmith in London, England. Related. Roughly 12,000 albums are released in an average year, so the announcement late Sunday night that the new Radiohead record, In Rainbows , will be out Oct. 10 is not itself big news. Sure, Radiohead is on a sustained run as the most interesting and innovative band in rock, but what makes In Rainbows important — easily the most important release in the recent history of the music business — are its record label and its retail price: there is none, and there is none. In Rainbows will be released as a digital download available only via the band's web site, Radiohead.com. There's no label or distribution partner to cut into the band's profits — but then there may not be any profits. Drop In Rainbows ' 15 songs into the online checkout basket and a question mark pops up where the price would normally be. Click it, and the prompt "It's Up To You" appears. Click again and it refreshes with the words "It's Really Up To You" — and really, it is. It's the first major album whose price is determined by what individual consumers want to pay for it. And it's perfectly acceptable to pay nothing at all. Radiohead's contract with EMI/Capitol expired after its last record, Hail to the Thief , was released in 2003; shortly before the band started writing new songs, singer Thom Yorke told TIME, "I like the people at our record company, but the time is at hand when you have to ask why anyone needs one.
Recommended publications
  • Radiohead's Pre-Release Strategy for in Rainbows
    Making Money by Giving It for Free: Radiohead’s Pre-Release Strategy for In Rainbows Faculty Research Working Paper Series Marc Bourreau Telecom ParisTech and CREST Pinar Dogan Harvard Kennedy School Sounman Hong Yonsei University July 2014 RWP14-032 Visit the HKS Faculty Research Working Paper Series at: http://web.hks.harvard.edu/publications The views expressed in the HKS Faculty Research Working Paper Series are those of the author(s) and do not necessarily reflect those of the John F. Kennedy School of Government or of Harvard University. Faculty Research Working Papers have not undergone formal review and approval. Such papers are included in this series to elicit feedback and to encourage debate on important public policy challenges. Copyright belongs to the author(s). Papers may be downloaded for personal use only. www.hks.harvard.edu Makingmoneybygivingitforfree: Radiohead’s pre-release strategy for In Rainbows∗ Marc Bourreau†,Pınar Dogan˘ ‡, and Sounman Hong§ June 2014 Abstract In 2007 a prominent British alternative-rock band, Radiohead, pre-released its album In Rainbows online, and asked their fans to "pick-their-own-price" (PYOP) for the digital down- load. The offer was available for three months, after which the band released and commercialized the album, both digitally and in CD. In this paper, we use weekly music sales data in the US between 2004-2012 to examine the effect of Radiohead’s unorthodox strategy on the band’s al- bum sales. We find that Radiohead’s PYOP offer had no effect on the subsequent CD sales. Interestingly, it yielded higher digital album sales compared to a traditional release.
    [Show full text]
  • Critics' Picks for Best Books and Movies of the Year
    Critics' Picks for Best Books and Movies of the Year VOA Special English (voaspecialenglish.com) is Voice of America's daily news and information service for English learners. Read the story and then do the activities at the end. AP From left, Brad Pitt, Jessica Chastain and Sean Penn arrive for "The Tree of Life" at the Cannes film festival in France DOUG JOHNSON: Welcome to AMERICAN MOSAIC in VOA Special English. I'm Doug Johnson. Today on our show: the best books and movies from two thousand eleven. Plus, we play some of the music we missed this year. Best Books DOUG JOHNSON: Hundreds of great books are published in America every year. And every year, editors, critics and other readers try to choose a list of favorites. The many lists for twenty-eleven cover almost every kind of fiction you can imagine. A few books showed up on list after list of the best fiction from this year. One of them was Ann Patchett's "State of Wonder." Publishers Weekly described the novel as one "readers will hate to see end." The story centers on a drug researcher from Minnesota named Maria Singh. She travels to Brazil to investigate the death of a co-worker. Her search takes her deep into the Amazon area and danger. But, she also goes deep into her own soul for a close look at who she is, what she has lost in her life and how she wants the future to look. Special English is part of VOA Learning English: voanews.com/learningenglish | January 2012 | 1 Ann Patchett lives in Tennesee.
    [Show full text]
  • Htemships Offer Popular Afternative Creased to 15 Counts in 2008 from Focused on Removing the Veazie 11 in 2007
    ALUMNI NEWS \ D1WALI FESTIVAL Campus Kulik '76 crime stats counts published river fish By MICHAEL BROPHY By EMMA CREEDEN ASSISTANT NEWS EDITOR CONTRIBUTING WRITER Earlier mis month, College Se- The Penobscot River Restora- curity submitted the College's tion Project is an assertive, ag- 2008 Campus Crime Statistics to gressive, public-private attempt to the U.S. Department of Educa- restore native fish populations in tion and posted the information the Penobscot River. on the Department of Security Over 150 years of land clear- web page. ing, sewage waste and industrial In accordance with federal law, pollution by pulp, paper, textile the report must list the counts for and lumber mills turned the river an array of potential campus into what Brandon Kulik '76 crimes, ranging from burglary all refers to as a "biological desert." the way to murder and arson for The Penobscot River contin- the calendar year of 2008. The ued to succumb to extreme statistics from 2008 are listed amounts of sludge and contami- next to the same statistics for the ¦ nation until the passage of the — CHRIS KASPRA1VTHE CWBY ECHO calendar years 2006 and 2007. Clean Water Act in 1972 and a se- Students danced for a crowd in Foss on Friday to celebrate the holiday of lights. The event featured traditional Indian song and dance. The statistic that stands out ries of hydro quality reforms in most in the report is the signifi- the 1980s. cant increase in larceny, which Today, the Penobscot River increased to 86 counts in 2008 Restoration Project is issuing a from 53 in 2007.
    [Show full text]
  • Hyperreality in Radiohead's the Bends, Ok Computer
    HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A Thesis Presented as Partial Fulfillment of the Requirements for the Attainment of the Sarjana Sastra Degree in English Language and Literature By: Azzan Wafiq Agnurhasta 08211141012 STUDY PROGRAM OF ENGLISH LANGUAGE AND LITERATURE DEPARTMENT OF ENGLISH LANGUAGE EDUCATION FACULTY OF LANGUAGES AND ARTS YOGYAKARTA STATE UNIVERSITY 2014 APPROVAL SHEET HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A THESIS By Azzan Wafiq Agnurhasta 08211141012 Approved on 11 June 2014 By: First Consultant Second Consultant Sugi Iswalono, M. A. Eko Rujito Dwi Atmojo, M. Hum. NIP 19600405 198901 1 001 NIP 19760622 200801 1 003 ii RATIFICATION SHEET HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A THESIS By: AzzanWafiqAgnurhasta 08211141012 Accepted by the Board of Examiners of Faculty of Languages and Arts of Yogyakarta State University on 14July 2014 and declared to have fulfilled the requirements for the attainment of the Sarjana Sastra degree in English Language and Literature. Board of Examiners Chairperson : Nandy Intan Kurnia, M. Hum. _________________ Secretary : Eko Rujito D. A., M. Hum. _________________ First Examiner : Ari Nurhayati, M. Hum. _________________ Second Examiner : Sugi Iswalono, M. A. _________________
    [Show full text]
  • Rock Harmony Reconsidered: Tonal, Modal and Contrapuntal Voice&
    DOI: 10.1111/musa.12085 BRAD OSBORN ROCK HARMONY RECONSIDERED:TONAL,MODAL AND CONTRAPUNTAL VOICE-LEADING SYSTEMS IN RADIOHEAD A great deal of the harmony and voice leading in the British rock group Radiohead’s recorded output between 1997 and 2011 can be heard as elaborating either traditional tonal structures or establishing pitch centricity through purely contrapuntal means.1 A theory that highlights these tonal and contrapuntal elements departs from a number of developed approaches in rock scholarship: first, theories that focus on fretboard-ergonomic melodic gestures such as axe- fall and box patterns;2 second, a proclivity towards analysing chord roots rather than melody and voice leading;3 and third, a methodology that at least tacitly conflates the ideas of hypermetric emphasis and pitch centre. Despite being initially yoked to the musical conventions of punk and grunge (and their attendant guitar-centric compositional practice), Radiohead’s 1997– 2011 corpus features few of the characteristic fretboard gestures associated with rock harmony (partly because so much of this music is composed at the keyboard) and thus demands reconsideration on its own terms. This mature period represents the fullest expression of Radiohead’s unique harmonic, formal, timbral and rhythmic idiolect,4 as well as its evolved instrumentation, centring on keyboard and electronics. The point here is not to isolate Radiohead’s harmonic practice as something fundamentally different from all rock which came before it. Rather, by depending less on rock-paradigmatic gestures such as pentatonic box patterns on the fretboard, their music invites us to consider how such practices align with existing theories of rock harmony while diverging from others.
    [Show full text]
  • The Pleasure of the Intertext: Towards a Cognitive Poetics of Adaptation
    !1 THE PLEASURE OF THE INTERTEXT: TOWARDS A COGNITIVE POETICS OF ADAPTATION A dissertation presented by Meg Tarquinio to The Department of English In partial fulfillment of the requirements for the degree of Doctor of Philosophy in the field of English Northeastern University Boston, Massachusetts April, 2017 !2 THE PLEASURE OF THE INTERTEXT: TOWARDS A COGNITIVE POETICS OF ADAPTATION by Meg Tarquinio ABSTRACT OF DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English Literature in the College of Social Sciences and Humanities of Northeastern University April, 2017 !3 ABSTRACT The field of adaptation studies has been diagnosed as lacking consensus around its main tenets, especially those that would build a strong ontological foundation. This study participates in the burgeoning critical approach that places cognitive science in conversation with literary theory, looking towards the start of a cognitive turn in adaptation studies. Specifically, I offer the axiom that adaptations are analogies. In other words, I advance the original argument that adaptations are the textual expression of the cognitive function of analogy. Here, I’m using a cognitive theory of analogy as the partial mapping of knowledge (objects and relations) from a source domain to a target domain. From this vantage point, I reassess the theoretical tensions and analytical practices of adaptation studies. For instance, the idea of essence is an anathema within academic studies of adaptation, yet it continues to hold sway within popular discourse. My approach allows for a productive return to essence, not as some mystical quality inherent in an original text and then indescribably transmitted to its adaptation, but as the expression of a key sub-process of analogical reasoning – what Douglas Hofstadter refers to, conveniently, as “essence” or “gist extraction.” This line of argument demonstrates the degree to which André Bazin’s 1948 theorization of adaptation is in line with this cognitive version of essence.
    [Show full text]
  • Radiohead in 2007: Phil Selway, Ed O'brien, Jonny Greenwood, Thom Yorke, and Colin Greenwood (From Le )
    Radiohead in 2007: Phil Selway, Ed O’Brien, Jonny Greenwood, Thom Yorke, and Colin Greenwood (from le) 20494_RNRHF_Text_Rev1_22-61.pdf 33 3/11/19 5:23 PM > > ONE OF THE MOST RadioheadINNOVATIVE GROUPS OF RadioheadTHE NINETIES, THEY CONTINUE TO BUCK MUSICAL TRENDS BY DAVIDA FRICKE n October 2000, a week after Radiohead’s fourth al- (1993), a Top Five hit in the U.S. or U.K., usually both – and bum – the cryptic, electronica-soaked Kid A – shot a succession of sold-out arena tours and festival triumphs to Number One in America upon release, singer that have established the 2019 Rock & Roll Hall of Fame Thom Yorke politely dodged a question about the inductees as enduring alternative-rock heirs to the Beatles’ record’s improbable success, especially given the psychedelic idealism and Pink Floyd’s progressive-rock English modern-rock band’s perversely low-key searching. Willfully experimental in their songwriting promotion. They had done no videos and released and exploration of the studio’s outer limits, Radiohead are no singles; they did three tour dates in North America plus fiercely uncompromising in their protection and presenta- a TV appearance on Saturday Night Live; and they had just tion of the results. But they are also absolutely commercial one U.S. interview, on a bench in New York’s Central Park in in their consistent all-embracing impact: a people’s band on the crisp autumn dusk. record and in performance, propelling Yorke’s naked, often “I’m actually the last person in the band to talk about it,” brutal lyric honesty with an explosive, universal resonance Yorke declared with an impish grin.
    [Show full text]
  • Corpus Antville
    Corpus Epistemológico da Investigação Vídeos musicais referenciados pela comunidade Antville entre Junho de 2006 e Junho de 2011 no blogue homónimo www.videos.antville.org Data Título do post 01‐06‐2006 videos at multiple speeds? 01‐06‐2006 music videos based on cars? 01‐06‐2006 can anyone tell me videos with machine guns? 01‐06‐2006 Muse "Supermassive Black Hole" (Dir: Floria Sigismondi) 01‐06‐2006 Skye ‐ "What's Wrong With Me" 01‐06‐2006 Madison "Radiate". Directed by Erin Levendorf 01‐06‐2006 PANASONIC “SHARE THE AIR†VIDEO CONTEST 01‐06‐2006 Number of times 'panasonic' mentioned in last post 01‐06‐2006 Please Panasonic 01‐06‐2006 Paul Oakenfold "FASTER KILL FASTER PUSSYCAT" : Dir. Jake Nava 01‐06‐2006 Presets "Down Down Down" : Dir. Presets + Kim Greenway 01‐06‐2006 Lansing‐Dreiden "A Line You Can Cross" : Dir. 01‐06‐2006 SnowPatrol "You're All I Have" : Dir. 01‐06‐2006 Wolfmother "White Unicorn" : Dir. Kris Moyes? 01‐06‐2006 Fiona Apple ‐ Across The Universe ‐ Director ‐ Paul Thomas Anderson. 02‐06‐2006 Ayumi Hamasaki ‐ Real Me ‐ Director: Ukon Kamimura 02‐06‐2006 They Might Be Giants ‐ "Dallas" d. Asterisk 02‐06‐2006 Bersuit Vergarabat "Sencillamente" 02‐06‐2006 Lily Allen ‐ LDN (epk promo) directed by Ben & Greg 02‐06‐2006 Jamie T 'Sheila' directed by Nima Nourizadeh 02‐06‐2006 Farben Lehre ''Terrorystan'', Director: Marek Gluziñski 02‐06‐2006 Chris And The Other Girls ‐ Lullaby (director: Christian Pitschl, camera: Federico Salvalaio) 02‐06‐2006 Megan Mullins ''Ain't What It Used To Be'' 02‐06‐2006 Mr.
    [Show full text]
  • Music Trivia Questions #23
    MUSIC TRIVIA QUESTIONS #23 ( www.TriviaChamp.com ) 1> Released in 2010, who recorded the album "Rolling in the Deep"? a. Bruno Mars b. Robyn c. Katy Perry d. Adele 2> Featured on Just Dance 3 for the Nintendo Wii, which artist(s) recorded the song Barbra Streisand? a. Bon Iver b. Duck Sauce c. J. Cole d. Lady Gaga 3> Which band is made up of Dave Grohl, Nate Mendel, Pat Smear, Taylor Hawkins and Chris Shiflett? a. Radiohead b. Dream Theater c. Coldplay d. Foo fighters 4> Which of these songs was recorded by the group Coldplay? a. Bigger Stronger b. I Will c. Creep d. Sail to the Moon 5> Which song opens with the line "I will shake myself into your pocket"? a. Curl of the Burl b. Down by the Water c. Lotus Flower d. The Cave 6> Which artist was a member of both Cactus and Vanilla Fudge? a. Mick Mars b. Tommy Lee Jones c. Carmine Appice d. Jeff Beck 7> Mick Mars played lead guitar for which of these heavy metal bands? a. Megadeath b. Slayer c. Black Sabbath d. Motley Crue 8> Released in 2011, which band recorded the album "The King is Dead"? a. The Rolling Stones b. Nickelback c. The Decemberists d. Goo Goo Dolls 9> Which song includes the lines "We spiral towards disaster! Survival fading faster!"? a. Torches b. On the Backs of Angels c. The Whole Love d. The King of Limbs 10> Which country is home to Corinne Bailey Rae? a. Britain b. Scotland c. Sweden d.
    [Show full text]
  • Lotus Flower – Diferença E Repetição Na Performance Midiática1
    Lotus flower – Diferença e repetição na performance midiática1 Lotus flower – Difference and repetition in media performances Fabricio Lopes Silveira | [email protected] Jornalista graduado pela UFSM, mestre em Comunicação e Informação (UFRGS), doutor em Comunicação (Unisinos) é professor e pesquisador junto ao Programa de Pós-Graduação em Comunicação da Unisinos-RS. Resumo O artigo discute a noção de performance midiática, suas variações e caracterizações. Especificamente, examina o videoclipe Lotus flower, para a música homônima do conjunto inglês Radiohead, incluída no álbum The king of limbs (2011). Lotus flower dá insumos interessantes para pensarmos a performance tanto como “en- gajamento do corpo” quanto como jogo compartilhado entre público e artista. Palavras-Chave: Performance; Videoclipe; Lotus flower. Abstract The article discuss the notion of media performance, its variations and characterizations. Specifically, it examines Lotus flower videoclip, for the song of the English band Radiohead, part of the album The king of limbs (2011). Lotus flower is an interesting case to think the performance in such a way as “enrollment of the body” as well as a game shared between public and artist. Keywords: Performance; Videoclip; Lotus flower. 200 LOGOS 35 Mediações sonoras. Vol.18, Nº 02, 2º semestre 2011 Silveira Lotus flower – Diferença e repetição na performance midiática De saída, sem dúvida, o clipe de Lotus flower espanta. Motivos não faltam. Entretanto – para o bem e/ou para o mal –, não são os motivos que esperaríamos, não são os nossos motivos habituais. Inicialmente, não parece, de fato, um “grande” videoclipe, um lançamento de vulto, como convém aos atuais ícones pop. Nele não encontramos, por exemplo – apenas para suscitarmos algumas reflexões iniciais –, os exageros e a voluptuosidade de Beyoncé em Single ladies.
    [Show full text]
  • The Free Press Vol 44 Issue 7, 10-29-2012
    University of Southern Maine USM Digital Commons Free Press, The, 1971- Student Newspapers 10-29-2012 The Free Press Vol 44 Issue 7, 10-29-2012 Kirsten Sylvain University of Southern Maine Follow this and additional works at: https://digitalcommons.usm.maine.edu/free_press Recommended Citation Sylvain, Kirsten, "The Free Press Vol 44 Issue 7, 10-29-2012" (2012). Free Press, The, 1971-. 88. https://digitalcommons.usm.maine.edu/free_press/88 This Book is brought to you for free and open access by the Student Newspapers at USM Digital Commons. It has been accepted for inclusion in Free Press, The, 1971- by an authorized administrator of USM Digital Commons. For more information, please contact [email protected]. News Arts & Culture Perspectives Sports Community USM golf in Renovation ASB gearing up in Gorham the spotlight Zombie fl ick at LAC Q&A with 2 12 14 Pingree 18 20 Vol. 44, Issue No.7 the free press Oct. 29, 2012 University of Southern Maine Student Newspaper usmfreepress.org University sys- King speaks on higher tem employee education at Wishcamper dies unexpect- in Portland edly David Norton was found in his offi ce on the second fl oor of the Science Building Kirsten Sylvain the duration of October break. Editor-in-Chief That would mean that Norton had Alex Greenlee / Multimedia Editor been confi ned to his offi ce from King spoke to Maine education leaders on Oct. 24, detailing his plan for Maine’s education system. David Norton, 45, senior com- Oct. 5 to the Oct. 10 when he was fi King explained that we cannot munications specialist for the found by of cer Soper.
    [Show full text]
  • Radiohead Launches Austin City Limits New Season Season Premiere Airs October 6Th on PBS
    Radiohead Launches Austin City Limits New Season Season Premiere Airs October 6th on PBS Austin, TX—September 28, 2012—The groundbreaking PBS television series Austin City Limits (ACL), premieres its brand new season Saturday, October 6th, with a rare, full-hour performance from iconic British band Radiohead. The episode marks Radiohead's long-awaited and unforgettable debut appearance, taking to the ACL stage for the first time. Viewers can tune-in to their local PBS station for the season premiere; check local listings for times. “Hi, we're Radiohead, we're pleased to meet you,” says the band's Thom Yorke by way of a greeting in their ACL debut. Taped in Austin before a concert audience at ACL's new home, The Moody Theater, the premiere features an epic hour of music from one of the world's most acclaimed bands. Drawing largely from their last three albums, The King of Limbs, In Rainbows and Hail to the Thief, and also touching on classics from Kid A and OK Computer as well as the odd obscure B-side and rare and unreleased tracks, Radiohead blazes through some of their most daring material in a masterful eleven-song performance. As the single most celebrated and influential alternative rock act of the past two decades, Radiohead’s musical legacy is undisputed. The band’s ACL set is a prime example of how its progressive sound and experimental structures have come to define them as masters of innovation in modern rock music, and nowhere is this more evident than in their peerless live show.
    [Show full text]