The Ledger and Times, October 17, 1955
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The History of Rock Music: 1970-1975
The History of Rock Music: 1970-1975 History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) Sound 1973-78 (These are excerpts from my book "A History of Rock and Dance Music") Borderline 1974-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. In the second half of the 1970s, Brian Eno, Larry Fast, Mickey Hart, Stomu Yamashta and many other musicians blurred the lines between rock and avantgarde. Brian Eno (34), ex-keyboardist for Roxy Music, changed the course of rock music at least three times. The experiment of fusing pop and electronics on Taking Tiger Mountain By Strategy (sep 1974 - nov 1974) changed the very notion of what a "pop song" is. Eno took cheap melodies (the kind that are used at the music-hall, on television commercials, by nursery rhymes) and added a strong rhythmic base and counterpoint of synthesizer. The result was similar to the novelty numbers and the "bubblegum" music of the early 1960s, but it had the charisma of sheer post-modernist genius. Eno had invented meta-pop music: avantgarde music that employs elements of pop music. He continued the experiment on Another Green World (aug 1975 - sep 1975), but then changed its perspective on Before And After Science (? 1977 - dec 1977). Here Eno's catchy ditties acquired a sinister quality. -
Perth Amboy, NJ
-■ "m· l> SOUTH AMBOY. I W00PBBID6E. | PLEASANT PLAINS. T0TTENV1LLE. Hay'aHaii*M M m M I GET IN THK CONTEST. For Tou cannot afford to miss that vacation trip to Niagara Falls this LOCAL MEN TO Health DOG CATCHER the Summer's summer. Staten Island Is to be rep- ARREST TWO resented regardless of how the Never Falls to others stand. Pleasant Plains can RESTORE GRAY or FADED Cooking send one of her fair daughters if the ENCAMPMENT 18 APPOINTED No kitchen people get together and hustle. Qet FOR BURGLARY HAIR to Its NATURAL appliance give» In the contest noyr. Save the cou- •uch actual satisfaction and and secure a new or COLOR and BEAUTY pons subscriber real home as the New two. It is an to a de- Several Members of Truex Post Committee comfort easy way get Youths Held on ot No matter how long it has been gray Woodbridge Township Perfection Wick Blue Flame lightful outing. Remember, all ex- 'uspicion Will Attend or faded. Promotes a luxuriant growth Takes Action to End Scare- Cook-Stove. penses are paid. Think It over. Srm ' G.A.R. Session of healthy hair. Stops ite falling out, Pil Knowing ing aï Hotel and removes Dan- £ Kitchen work, thi» coming w BIRTHDAY at Park. positively Commends Health Board. ^ ANNIVERSARY. Theft at [ reischa / Asbury druff. Keeps hair soft and glossy. Re- summer, will be better and quicker done, with greater Gladys Englebrecht entertained lie. fuse all substitutes. 2)i times as much comfort for the worker if, instead of the stifling friends at a birthday party at her in |1.00 as 50c size. -
Golden Hours
GOLDEN HOURS 26-27 AVRIL DE ANNE TERESA DE KEERSMAEKER PRODUCTION ROSAS MUSIQUE BRIAN ENO Dossier de présentation Contact Service des relations avec les publics Claire Cantuel / Agathe Givry / Camille Prost Adrien Buléon 03 62 72 19 13 [email protected] p. 3 OPÉRA DE LILLE Golden Hours 2, rue des Bons-Enfants p. 4 BP 133 Anne Teresa de Keersmaeker 59001 Lille cedex p. 6 La musique de Brian Eno dans Golden Hours p. 8 As You Like It de William Shakespeare p. 9 Golden Hours en images p. 10 L’Opéra de Lille p. 13 L’opéra : un lieu, un bâtiment, un vocabulaire p. 14 Vos notes ! 2 • • • Golden Hours Golden Hours (As you like it) signe une nouvelle page des inépuisables relations que la chorégraphe belge, Anne Teresa De Keersmaeker, tisse entre danse et musique. Sa recherche porte cette fois sur la musique pop, une piste un peu particulière dans le parcours de sa compagnie Rosas. Selon la chorégraphe, la pop « représente notre relation quotidienne à la musique » dans la mesure où « elle fait partie de notre mémoire collective, là où se mêlent en musique des éléments de danse, de théâtralité et de littérature ». Le point de départ est ici Golden Hours de Brian Eno, extrait de Another Green World, le dernier album de chansons que l’artiste a composées avant de se tourner vers la musique ambient. De Keersmaeker travaille ici avec un groupe de jeunes danseurs. Elle exalte la singularité gestuelle de chacun d’eux en suivant l’un de ses récents principes chorégraphiques : « la parole devient danse ». -
Residents Discuss SID Plan to Revitalize Downtown by DONALD PEZ1 JR
W&TFIELD MEP.'OHIAL LIBRARY WESTFIEt.D, .. ,V .."-:;:JEY Dastardly Devils /jBfc Everybody's a big wheel See this week's Westfield's football ^ ''^Hk in this organization Automotive Guide team guns to 2-0 start for Auto Show details See page A-9 ^A9r See this week's WGOfcondl Inside this issue Volume 2, Number 41 Ihe^festfield Record Thursday, October 10,1991 A Forbes Newspaper 15 cents Residents discuss SID plan to revitalize downtown By DONALD PEZ1 JR. The SID generates funds through an as- the state. lack of funding. ing, stating it has created "a new layer of RECORD STAFF WRITER sessment on local businesses on top of the Henry said many of the objectives of an Meryl Layton, who was one of the mini-government" with assessments that About 60 residents, local business own- existing property taxes, which is used to SID are similar to those of shopping malls, founding trustees of the SID in Cranford, "go on ad infinitum." ers and officials attended a panel discus- suit the downtown needs. In Englewood, which he said are doing a lot of things conceded that many business people in Henry countered by reiterating that a sion last week in the Municipal Building, over 50 percent of the funds raised are right," he said. town were skeptical at first. Many resi- governing body can vote against continu- used towards promotions, while nothing is to learn how a Special Improvement Dis- Among them are effective management, dents were also against the idea of an SID ing the program each year and that Cran- trict (SID) could help revitalize the central spent on maintenance. -
Some Wait 8 Hours for U2 Tickets
---------------------------------------------------------- (() SHOWERS U2 ticket lines are chaotic, confusing Friday The Observer feels the University was woefully unprepared for high ticket ~ HIGH 69° demand, resulting in a frustrating afternoon and evening for all involved . SEPTEMBER21, ... LOWS4° Viewpoint + page 18 •••••• •• 2001 THE The Independent Newspaper Serving Notre Dame and Saint Mary's VOL XXXV NO. 18 HTTP://OBSERVER.N D.EDU Some wait 8 hours for U2 tickets + Students complain between 3 and 4 p.m. to receive entitlement tickets. Those tick distribution process ets allowed students to draw at is chaotic, disorderly 4 p.m. a color-coded ticket that determined their places in one of three selling lines. By JASON MCfARLEY At 6 p.m., security personnel News Ediwr announced the number from which ticket sales in each line As late night fell Thursday on would start. one of the i:)iggest ticket sales But disorderly mobs, not lines, events in Notre Dame history, were typical of Thursday's tick students remained packed in et sales, students said. lines outside the Joyce Center, "There were no lines," said waiting for tickets to an Oct. 10 Saint Mary's junior Liz Stevens. concert by Irish rock band U2. "No one really lined up to get The sales began mid-after entitlement tickets or the lottery noon Thursday with the largest tickets. There were just mobs of student turnout - more than people around the ushers." 4,500, University officials esti Stevens arrived at Gate 10 of mated - for a Joyce Center the Joyce Center around 3 p.m. concert and ended eight hours with five friends. -
A Generative Ambient Video Engine
Re:Cycle - a Generative Ambient Video Engine Jim Bizzocchi Belgacem Ben Youssef Brian Quan Assistant Professor, School of Assistant Professor, School of Bachelors Student, School of Interactive Arts and Technology Interactive Arts and Technology Interactive Arts and Technology Simon Fraser University Simon Fraser University Simon Fraser University 1-778-782-7508 1-778-869-1162 1-604-767-5803 [email protected] [email protected] [email protected] Wakiko Suzuki Majid Bagheri Bernhard E. Riecke Bachelors Student, School of Masters Student, School of Assistant Professor, School of Interactive Arts and Technology Interactive Arts and Technology Interactive Arts and Technology Simon Fraser University Simon Fraser University Simon Fraser University 1-604-781-9246 1-604-780-4911 1-778-782-8432 [email protected] [email protected] [email protected] ABSTRACT Keywords Re:Cycle is a generative ambient video art piece based on nature ambient video, generative processes, video art, ubiquitous imagery captured in the Canadian Rocky Mountains. Ambient computing, high-definition display, ambient display, "calm" video is designed to play in the background of our lives. An technology, "slow" technology, design ambient video work is difficult to create - it can never require our attention, but must always rewards attention when offered. A 1. AMBIENT VIDEO central aesthetic challenge for this form is that it must also support Ambient Video is video intended to play on the walls in the repeated viewing. Re:Cycle relies on a generative recombinant backgrounds of our lives. In the spirit of Brian Eno's "ambient strategy for ongoing variability, and therefore a higher re- music", Ambient Video must be "as easy to ignore as it is to playability factor. -
Rock Album Discography Last Up-Date: September 27Th, 2021
Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least. -
Brian Eno • • • His Music and the Vertical Color of Sound
BRIAN ENO • • • HIS MUSIC AND THE VERTICAL COLOR OF SOUND by Eric Tamm Copyright © 1988 by Eric Tamm DEDICATION This book is dedicated to my parents, Igor Tamm and Olive Pitkin Tamm. In my childhood, my father sang bass and strummed guitar, my mother played piano and violin and sang in choirs. Together they gave me a love and respect for music that will be with me always. i TABLE OF CONTENTS DEDICATION ............................................................................................ i TABLE OF CONTENTS........................................................................... ii ACKNOWLEDGEMENTS ....................................................................... iv CHAPTER ONE: ENO’S WORK IN PERSPECTIVE ............................... 1 CHAPTER TWO: BACKGROUND AND INFLUENCES ........................ 12 CHAPTER THREE: ON OTHER MUSIC: ENO AS CRITIC................... 24 CHAPTER FOUR: THE EAR OF THE NON-MUSICIAN........................ 39 Art School and Experimental Works, Process and Product ................ 39 On Listening........................................................................................ 41 Craft and the Non-Musician ................................................................ 44 CHAPTER FIVE: LISTENERS AND AIMS ............................................ 51 Eno’s Audience................................................................................... 51 Eno’s Artistic Intent ............................................................................. 55 “Generating and Organizing Variety in -
ŸƑ螱Ʃ·ļšè¯º Éÿ³æ
å¸ƒèŽ±æ© Â·ä¼Šè¯º 音樂專輯 串行 (专辑 & æ—¶é— ´è¡¨) Another Green World https://zh.listvote.com/lists/music/albums/another-green-world-771427/songs https://zh.listvote.com/lists/music/albums/ambient-1%3A-music-for-airports- Ambient 1: Music for Airports 127100/songs Thursday Afternoon https://zh.listvote.com/lists/music/albums/thursday-afternoon-7799409/songs Wrong Way Up https://zh.listvote.com/lists/music/albums/wrong-way-up-128940/songs Before and After Science https://zh.listvote.com/lists/music/albums/before-and-after-science-676884/songs Ambient 4: On Land https://zh.listvote.com/lists/music/albums/ambient-4%3A-on-land-958618/songs Discreet Music https://zh.listvote.com/lists/music/albums/discreet-music-2058212/songs Music for Films https://zh.listvote.com/lists/music/albums/music-for-films-39267/songs https://zh.listvote.com/lists/music/albums/apollo%3A-atmospheres-and- Apollo: Atmospheres and Soundtracks soundtracks-3282479/songs Cluster & Eno https://zh.listvote.com/lists/music/albums/cluster-%26-eno-2980401/songs After The Heat https://zh.listvote.com/lists/music/albums/after-the-heat-4690656/songs Another Day on Earth https://zh.listvote.com/lists/music/albums/another-day-on-earth-279977/songs https://zh.listvote.com/lists/music/albums/fourth-world%2C-vol.-1%3A-possible- Fourth World, Vol. 1: Possible Musics musics-8135341/songs Nerve Net https://zh.listvote.com/lists/music/albums/nerve-net-3492507/songs Music for Films III https://zh.listvote.com/lists/music/albums/music-for-films-iii-6941772/songs January 07003: Bell -
Senza Titolo 9
www.Timeoutintensiva.it OTT 2008, Recensioni-B.Eno. N° 7 Brian ENO: Discografia e filmografia (colonne sonore): Discografia * (1972) Roxy Music (da Roxy Music) * (1973) For Your Pleasure (da Roxy Music) * (1973) No Pussyfooting (con Robert Fripp) * (1973) Portsmouth Sinfonia Plays the Popular Classics (con la Portsmouth Sinfonia) * (1973) Here Come The Warm Jets * (1974) Taking Tiger Mountain (By Strategy) * (1975) Evening Star (con Robert Fripp) * (1975) Another Green World * (1975) Discreet Music * (1977) Cluster & Eno (con i Cluster) * (1978) Before and After Science * (1978) Ambient #1 / Music for Airports * (1978) Music for Films * (1978) After the Heat (con Roedelius e Dieter Moebius, alias Cluster) * (1979) In a Land of Clear Colors (con Pete Sinfield che recita un racconto di Robert Sheckley) * (1980) Ambient #2 / The Plateaux of Mirror (con Harold Budd) * (1980) Fourth World, Vol. 1: Possible Musics (con Jon Hassell) * (1980) Ambient #3 / Day of Radiance (da Laraaji con Eno producing) * (1981) My Life in the Bush of Ghosts (con David Byrne) * (1982) Ambient #4 / On Land * (1983) Apollo: Atmospheres and Soundtracks * (1984) The Pearl (con Harold Budd) * (1985) Thursday Afternoon (per una galleria di arte video) * (1985) Hybrid (con Daniel Lanois e Michael Brook) * (1988) Music from Films III (con Daniel Lanois, Michael Brook e Roger Eno) * (1989) Textures (raccolta di brani editi e inediti riservata ai film-makers) * (1990) The Shutov Assembly (All Saints Records) * (1990) Wrong Way Up (con John Cale) (All Saints Records) * (1992) Nerve Net (All Saints Records) * (1993) Neroli (All Saints Records) * (1995) Spinner (con Jah Wobble) (All Saints Records) * (1995) Original Soundtracks No. -
A Brief Introduction to Brian Eno's Generative Music
A brief introduction to Brian Eno’s generative music by Michael Bracewell Brian Eno’s generative music systems are best known for creating richly textured soundscapes, as engrossing as they are minimal, and as densely layered as they are refined to delicate curves, drifts and traceries of sound. His collaboration on Mimmo Paladino’s sculptural installation, collectively known as I Dormienti, and first shown at the Undercroft of London’s iconic ‘The Roundhouse’ venue in the early autumn of 1999, marked a simultaneous advance and consolidation of Eno’s career- long fascination in music making systems; more specifically in the routing of generative music through notions of time, randomness and context. In this, his interest in the generative became on one level an enquiry into the passing of time. The idea of creating music generating systems has been central to Brian Eno’s art and ideas since his days as a student at Winchester School of Art, during the middle years of the 1960s. Famously, Eno has cited Steve Reich’s pioneering work from 1965, It’s Gonna Rain – in which a tape recording of a Pentecostal preacher’s sermon is played back in semi-sampled form at differing speeds – as being hugely influential on his thinking. But Eno’s development as an ideologue, ‘non- musician’ and artist has always been founded upon an astonishing configuration and conflation of at times seemingly irreconcilable enthusiasms. Indeed, it is out of precisely such a fusion of opposed ideas, and Eno’s ceaseless questioning of the subsequent evolution of this fusion, that his originality, intellectual nerve and creative restlessness has emerged. -
The Movement, November 1967. Vol. 3 No. 11
THE INSIDE: THE FULL STORY OF STOP THE DRAFT WEEK DAYS WE SEIZED THE STREET IN OAKLAN COPS "ARMED MERCENARIES/' SAYS EX-COP - By Steven Lindstedt when they said it was a war and the $5500 to $220 and I was soon bailed out, The police across the nation are rapidly people out there were the enemy. Perhaps I now await trial. becoming militarized; they are preparing I sat alone in a tiny celL The mono I had gotten too involved with the people That particular Tuesday' will not be for battle. Urban police forces have in tony of the concrete was broken only by that I encountered. Perhaps I felt too soon forgotten. It was a radicalizing day creasingly employed military tactics and the steel bars of the cell door - beyond much or questioned too much, Whatever and an enlightening day. Old illusions give military equipment. They feel that their that, another concrete walL I had been the reason, I never Q1lite made it as a way to new perspectives -: the image of position in the community has been threat charged with a felonious assault upon a policeman. the police as community servants has been ened. They have reacted by resorting to police officer. Only four weeks prior, I The four weeks that had passed since replaced by an image of armed mercen more frantic and more oppressive ways of had been a city police officer myself, leaving the force now seemed like a life aries. maintaining "order." ...... in Berkeley. The transition had been time, I felt no commonality and no com total.