{PDF} Kraftwerk: I Was a Robot
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The Chemical Brothers: Elektrobank (Spike Jonze 1997) And
The Chemical Brothers: Elektrobank (Spike Jonze 1997) and Star Guitar (Michel Gondry 2001) Once you feel you’ve got the trust in the director, then it’s their thing and they make the video. (The Chemical Brothers – Tom Rowlands and Ed Simons) For some types of music, particularly electronic dance, there is almost a sub-genre of videos in which the artist either does not appear at all or merely makes a token cameo appearance. Specialists in this are the directors Spike Jonze and Michel Gondry who have both taken music promos in new directions, effectively finding a mass audience for experimental filmmaking. Though both directors have made plenty of videos featuring the artist as central performer, their willingness to push the boundaries of the conventions of music video has led to some interesting work. In Electrobank, Jonze used the idea of the Svengali coach training a young gymnast, based on his reading about Soviet coaches of young girls preparing for the Olympic Games. His (then) girlfriend, Sofia Coppola, appeared as the main character – a high school competitor – and had to learn gymnastics, dance and ribbonwork for the part. Jonze created a back-story for her and the other characters, where she chooses this music for her routine (counterpointed by the classical music which plays as she arrives in the hall). This short film represents a melodrama in which the young gymnast battles against a leg injury with the encouragement of both her coach and her family to narrowly win at the end. It is a simple story, told visually, mainly through exchanges of looks between characters and through the routine she performs, but what makes it memorable is the context – this is a music video. -
Llnierchandise Continues to Thrive, Since Ueven Ihe Most Revered Indie-Rock Labels Rarely Inspire I
_ANCE LABELS: Record lalrel- mer cnandising Uevenllnierchandise Ihe most continues revered indie-rock to thrive, sincelabels dancerarely Inspireones do. Ihe same kind of allegiance as weiring your of lelling■ Kyou peopleboy a label's you're merchandiseinto bouse or ifsgarage, a way Mil (orMerchandising example," explains (which créâtes Mark Dixon lines offor Impacl the flIVI:PMand Distinctive labels, among others). A 1 î" ""'sisette everyhody,But merchandising observes Lewisdoesn't Pennington, work (or the growing market for dance-related, logo-emblazoned merchandise suppliespartner in dance Merchandising labels including Mallers, has become ever more innovative and adaptable, says Peter Lyle i Positiva, Krr, Jackpot and 5 i soonStrictly discovered Rhythm UK. unless "We a iANCE ACTS: Conventional wisdom says thaï this year's merchandising companies such m label is of a certain size il _ landmost the prominent Mercury dancePrize-winning acts - the Roni chart-topping Size - willr Pulfnot inspireDaddy as Underworld and De-Luxe, simply tlnesn't have the Ihe same kind of dévotion as a rock band like Oasis n whichUnderworld includes the inband ils rosier(whose rangeprofile ot le merchandising," support a full U2.their Consequently loyalty by having dance their fans logosare unlikely blazoned to expressacross memb s double as design says Pennington. their chests. JamiroquaiJa[rcollectivecoll Tomato) (whose andlogo breakDixon an agréés,unknown "Ifs label. hard If theto Virgins and Our shirtîrtRock as longinnn fans as will that go T-shirfsT.chSrtv out in a gotndirty* Ihe pair logoi-.„„ of ijeans and■ a, dirty T- rone of the best fi Prices aren'l (amiliar with the product, they wail says Mark Dixon, sales executiven at Impact Merchandising. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
DJ Skills the Rise of the Hip-Hop DJ 3
The Rise of the Hip-Hop DJ 1 74 The Rise of The Hip-hop DJ DJs were Hip-hop’s original architects, and remain crucial to its contin- ued development. Hip-hop is more than a style of music; it’s a culture. As with any culture, there are various artistic expressions of Hip-hop, the four principal expressions being: • visual art (graffiti) • dance (breaking, rocking, locking, and popping, collectively known in the media as “break dancing”) • literature (rap lyrics and slam poetry) • music (DJing and turntablism) Unlike the European Renaissance or the Ming Dynasty, Hip-hop is a culture that is very much alive and still evolving. Some argue that Hip-hop is the most influential cultural movement in history, point- ing to the globalization of Hip-hop music, fashion, and other forms of expression. Style has always been at the forefront of Hip-hop. Improvisation is called free styling, whether in rap, turntablism, breaking, or graf- fiti writing. Since everyone is using the essentially same tools (spray paint for graffiti writers, microphones for rappers and beat boxers, their bodies for dancers, and two turntables with a mixer for DJs), it’s the artists’ personal styles that set them apart. It’s no coincidence that two of the most authentic movies about the genesis of the move- ment are titled Wild Style and Style Wars. There are also many styles of writing the word “Hip-hop.” The mainstream media most often oscillates between “hip-hop” and “hip hop.” The Hiphop Archive at Harvard writes “Hiphop” as one word, 2 DJ Skills The Rise of the Hip-Hop DJ 3 with a capital H, embracing KRS-ONE’s line of reasoning that “Hiphop Kool DJ Herc is a culture with its own foundation narrative, history, natives, and 7 In 1955 in Jamaica, a young woman from the parish of Saint Mary mission.” After a great deal of input from many people in the Hip-hop community, I’ve decided to capitalize the word but keep the hyphen, gave birth to a son who would become the father of Hip-hop. -
Kraftwerk Electric Cafe (English Version) Mp3, Flac, Wma
Kraftwerk Electric Cafe (English Version) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Electric Cafe (English Version) Country: Germany Released: 1986 Style: Electro MP3 version RAR size: 1912 mb FLAC version RAR size: 1919 mb WMA version RAR size: 1808 mb Rating: 4.4 Votes: 925 Other Formats: MP4 AU MMF XM MP3 ADX AAC Tracklist A1 Boing Boom Tschak A2 Techno Pop A3 Musique Non Stop B1 The Telephone Call B2 Sex Object B3 Electric Cafe Credits Engineer – Bill Miranda*, Henning Schmitz, Joachim Dehmann Mastered By – Bob Ludwig Mixed By – François Kevorkian, Ron St. Germain Performer – Florian Schneider, Karl Bartos, Ralf Hutter*, Wolfgang Flur* Other versions Category Artist Title (Format) Label Category Country Year 1C 064-24 0654 Kling Klang, 1C 064-24 0654 Electric Cafe (LP, 1, 064-24 0654 Kraftwerk EMI, EMI, 1, 064-24 0654 Germany 1986 Album, Gat) 1, 24 0654 1 EMI 1, 24 0654 1 31C 064 31C 064 Electric Cafe (LP, 240644, 31C Kraftwerk EMI, EMI 240644, 31C Brazil 1987 Album, Gat) 264 240644 264 240644 Electric Cafe (LP, 074 24 0644 1 Kraftwerk EMI 074 24 0644 1 Spain 1986 Album, Gat) Warner Electric Cafe (Cass, 9 25525-4 Kraftwerk Bros. 9 25525-4 US 1986 Album, SR) Records Electric Cafe (Cass, 534 Kraftwerk B.W. 534 Poland Unknown Album, Unofficial) Comments about Electric Cafe (English Version) - Kraftwerk Olma A "funny thing" with this cassette when I purchased it new back in 1987, was that the tape inside the casing was reversed so that the tape was playing backwards. Probably some manufacturing error. -
Green the Green Book
Book # 1 THE GREEN BOOK Universal Zulu Nation Infinity Lessons Archive 1973 - 2000 FOR THE MASSES Compiled By : King Mark Luv & Malika Saphire Table of Contents Myths and Misconceptions ..................................................................................................................................................... 2 Laws and Regulations of the Universal Zulu Nation Part 1 (1 – 20) ........................................................................................ 4 Laws and Regulations of the Universal Zulu Nation Part 2 (21 – 46) ...................................................................................... 5 INFINITY LESSON ONE ............................................................................................................................................................. 6 ABOUT ZULU NATION ......................................................................................................................................................... 6 Message to the People........................................................................................................................................................ 7 INFINITY LESSON TWO ............................................................................................................................................................ 8 THE HISTORY OF AFRIKA BAMBAATAA ............................................................................................................................... 8 INFINITY LESSON THREE ....................................................................................................................................................... -
Electronic from Kraftwerk to the Chemical Brothers Release.Pdf
By show directors Smith & Lyall. Photo credit: Luke Dyson Electronic: From Kraftwerk to The Chemical Brothers 1 April – 26 July 2020 the Design Museum #MixandRemix @DesignMuseum IMAGE LINK The Design Museum in London launches new exhibition exploring the hypnotic world of electronic music, from its origins to its futuristic dreams Discover how design, technology and innovation powered the genre in the work of visionaries including Kraftwerk, The Chemical Brothers, Jeff Mills, Daphne Oram, Jean-Michel Jarre and Aphex Twin Experience the museum premiere of electronic pioneers The Chemical Brothers’ sensory spectacle by creative studio Smith & Lyall featuring mesmerising visuals for the Grammy Award-winning track ‘Got to Keep On’ This exhibition makes connections between electronic music and contemporary design, fashion and art. Including works from Charles Jeffrey of Loverboy, Andreas Gursky, Peter Saville, Boiler Room, the Designers Republic, Christian Marclay, Jeremy Deller and more 1 Grab your headphones and plug into the first music-themed exhibition at the Design Museum, from Wednesday 1 April 2020 – featuring a club-like environment where lighting and video are synched to a specially curated soundtrack by French DJ Laurent Garnier. Complete with a new series of live AV experiences, visitors will be transported by multi-sensory installations. This is your chance to step inside the visual world of The Chemical Brothers featuring elements of their legendary live show, as visuals and lights interact to create a three- dimensional immersive experience by Smith & Lyall (@smithandlyall) – inspired by the psychedelic duo’s acclaimed ’No Geography’ Tour. Delve into the extreme visual world created by Weirdcore for Aphex Twin’s ‘Collapse’ and celebrate 50 years of legendary group Kraftwerk with a 30-minute 3D experience. -
Hip-Hop & the Global Imprint of a Black Cultural Form
Hip-Hop & the Global Imprint of a Black Cultural Form Marcyliena Morgan & Dionne Bennett To me, hip-hop says, “Come as you are.” We are a family. Hip-hop is the voice of this generation. It has become a powerful force. Hip-hop binds all of these people, all of these nationalities, all over the world together. Hip-hop is a family so everybody has got to pitch in. East, west, north or south–we come MARCYLIENA MORGAN is from one coast and that coast was Africa. Professor of African and African –dj Kool Herc American Studies at Harvard Uni- versity. Her publications include Through hip-hop, we are trying to ½nd out who we Language, Discourse and Power in are, what we are. That’s what black people in Amer- African American Culture (2002), ica did. The Real Hiphop: Battling for Knowl- –mc Yan1 edge, Power, and Respect in the LA Underground (2009), and “Hip- hop and Race: Blackness, Lan- It is nearly impossible to travel the world without guage, and Creativity” (with encountering instances of hip-hop music and cul- Dawn-Elissa Fischer), in Doing Race: 21 Essays for the 21st Century ture. Hip-hop is the distinctive graf½ti lettering (ed. Hazel Rose Markus and styles that have materialized on walls worldwide. Paula M.L. Moya, 2010). It is the latest dance moves that young people per- form on streets and dirt roads. It is the bass beats DIONNE BENNETT is an Assis- mc tant Professor of African Ameri- and styles of dress at dance clubs. It is local s can Studies at Loyola Marymount on microphones with hands raised and moving to University. -
L the Charlatans UK the Charlatans UK Vs. the Chemical Brothers
These titles will be released on the dates stated below at physical record stores in the US. The RSD website does NOT sell them. Key: E = Exclusive Release L = Limited Run / Regional Focus Release F = RSD First Release THESE RELEASES WILL BE AVAILABLE AUGUST 29TH ARTIST TITLE LABEL FORMAT QTY Sounds Like A Melody (Grant & Kelly E Alphaville Rhino Atlantic 12" Vinyl 3500 Remix by Blank & Jones x Gold & Lloyd) F America Heritage II: Demos Omnivore RecordingsLP 1700 E And Also The Trees And Also The Trees Terror Vision Records2 x LP 2000 E Archers of Loaf "Raleigh Days"/"Street Fighting Man" Merge Records 7" Vinyl 1200 L August Burns Red Bones Fearless 7" Vinyl 1000 F Buju Banton Trust & Steppa Roc Nation 10" Vinyl 2500 E Bastille All This Bad Blood Capitol 2 x LP 1500 E Black Keys Let's Rock (45 RPM Edition) Nonesuch 2 x LP 5000 They's A Person Of The World (featuring L Black Lips Fire Records 7" Vinyl 750 Kesha) F Black Crowes Lions eOne Music 2 x LP 3000 F Tommy Bolin Tommy Bolin Lives! Friday Music EP 1000 F Bone Thugs-N-Harmony Creepin' On Ah Come Up Ruthless RecordsLP 3000 E David Bowie ChangesNowBowie Parlophone LP E David Bowie ChangesNowBowie Parlophone CD E David Bowie I’m Only Dancing (The Soul Tour 74) Parlophone 2 x LP E David Bowie I’m Only Dancing (The Soul Tour 74) Parlophone CD E Marion Brown Porto Novo ORG Music LP 1500 F Nicole Bus Live in NYC Roc Nation LP 2500 E Canned Heat/John Lee Hooker Hooker 'N Heat Culture Factory2 x LP 2000 F Ron Carter Foursight: Stockholm IN+OUT Records2 x LP 650 F Ted Cassidy The Lurch Jackpot Records7" Vinyl 1000 The Charlatans UK vs. -
Westminsterresearch Synth Sonics As
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-Skool’ to Trap Exarchos, M. This is an electronic version of a paper presented at the 2nd Annual Synthposium, Melbourne, Australia, 14 November 2016. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 2nd Annual Synthposium Synthesisers: Meaning though Sonics Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-School’ to Trap Michail Exarchos (a.k.a. Stereo Mike), London College of Music, University of West London Intro-thesis The literature on synthesisers ranges from textbooks on usage and historiogra- phy1 to scholarly analysis of their technological development under musicological and sociotechnical perspectives2. Most of these approaches, in one form or another, ac- knowledge the impact of synthesisers on musical culture, either by celebrating their role in powering avant-garde eras of sonic experimentation and composition, or by mapping the relationship between manufacturing trends and stylistic divergences in popular mu- sic. The availability of affordable, portable and approachable synthesiser designs has been highlighted as a catalyst for their crossover from academic to popular spheres, while a number of authors have dealt with the transition from analogue to digital tech- nologies and their effect on the stylisation of performance and production approaches3. -
The Chemical Brothers the Chemical Brothers Mp3, Flac, Wma
The Chemical Brothers The Chemical Brothers mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: The Chemical Brothers Country: UK Released: 2008 Style: Techno, Big Beat MP3 version RAR size: 1343 mb FLAC version RAR size: 1544 mb WMA version RAR size: 1947 mb Rating: 4.2 Votes: 534 Other Formats: MP4 WAV WMA RA FLAC AA AA Tracklist Hide Credits 1-01 Do It Again (Edit) 3:41 1-02 Block Rockin' Beats 5:15 1-03 Music: Response 5:35 1-04 Hey Boy Hey Girl 4:51 Believe (Erol Alkan's 'Feel Me' Re-Work) 1-05 6:27 Remix – Erol Alkan 1-06 Chico's Groove 4:49 1-07 Get Yourself High 5:52 1-08 My Elastic Eye 3:44 1-09 Star Guitar (Edit) 4:03 1-10 Galaxy Bounce 4:46 1-11 The Golden Path 4:48 1-12 Out Of Control 7:21 1-13 Electronic Battle Weapon 9 6:41 1-14 The Private Psychedelic Reel 9:08 2-01 Leave Home 5:07 2-02 Let Forever Be 3:44 2-03 Come With Us 5:00 2-04 H.I.A. 7:14 2-05 Prescription Beats 5:15 2-06 Power Move 4:12 Battle Scars (Beyond The Wizard's Sleeve Remix) 2-07 8:34 Remix – Beyond The Wizards Sleeve 2-08 Under The Influence 4:18 2-09 Setting Sun (Instrumental) 7:03 2-10 Das Spiegel 5:54 2-11 Freak Of The Week 6:07 2-12 Galvanize (Single Version) 4:30 2-13 Elektrobank (Live) 7:46 2-14 Asleep From Day 4:47 Companies, etc. -
Charged Dispute: Kraftwerk Sues Electric Firm for Name 10 March 2015
Charged dispute: Kraftwerk sues electric firm for name 10 March 2015 for portable musical-playing devices," said the lawsuit filed in a federal court in the eastern state of Delaware, where eZelleron has a US base. Hutter presented a lengthy list of items for which he said he held the trademark registration for Kraftwerk's name, ranging from shirts and CDs to bow-ties and toilet paper. Hutter called for the court to stop eZelleron from using the name and for an unspecified amount in damages along with legal costs. The company did not immediately respond to a Members of the German band Kraftwerk perform their request for comment. piece "Radioactivity" during a concert at the Neue Nationalgalerie museum in Berlin on January 6, 2015 Kraftwerk, formed by Hutter and Florian Schneider, emerged in Dusseldorf in the 1970s and broke new ground in popular music, with a robotic sound that put the human element in the shadows. The leader of German electronic music pioneers Kraftwerk has sued a company for dubbing its new Kraftwerk has resumed touring in recent years and electric smartphone charger with the same name has been especially active in lobbying against as the band. nuclear power in the wake of the Fukushima disaster. In a lawsuit filed in a US court Monday, Ralf Hutter said that "kraftwerk"—which means a power station © 2015 AFP in German—was closely identified with the band known for mechanized-sounding songs such as "We Are the Robots" and "The Man-Machine". The German company eZelleron Inc. in January started a crowd-funding campaign to launch the kraftwerk, billed as an innovative and lightweight charger for smartphones, tablets and cameras which generates its own power with the same fuel used in lighters and camping stoves.