Dear Guest, We're Proud to Guide You Through Seward: When We Talk
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In Focus 5. Verano 2003. the Boogie Punkers. (PDF
Editorial Sumario LA CRÍTICA, EL CRÍTICO, EL CRITERIO REPORTAJES (004) Curiosos palabros estos tres. Al crítico no le (002) The Boogie Punkers gusta formar parte de la crítica pero se sabe (006) Los Del Tonos poseedor de criterio. El criticado cuando recibe (009) Doctor Deseo una buena crítica piensa que está hecha con cri- (015) Fito y Fitipaldis (016) Edu "Bighands" terio, así que si tiene ocasión se lo hace saber al (018) Gorka Gassman crítico, y el crítico, claro está, opina entonces que (020) Los Padrinos el criticado tiene criterio al criticar su crítica. (023) Sanchís y Jocano Suena críptico pero suele ser así. (027) Séan Keane (029) Tres Hombres Bien, ¿qué facultades debe tener un crítico? En (031) E- Bow el caso que nos ocupa, se supone que cultura (034) Bad- F Line musical. No problemo, si hay que escuchar dis- (036) The Cumshots cos, se escuchan, mola. Pero el problema está en (038) Dover las condiciones. Si eres de una discográfica y (040) El Drogas y el Kutxi quieres venderme a tu grupo, hazme el favor (043) Koniec (045) Mike Sobieski (ironía) de mandarme un disco, y no un Cd-R sin (046) Motorhead títulos, sin créditos, sin contactos y sin nada ("tie- (049) Obligaciones nes fotos en la güéf"). Si tu grupo está presen- (051) Los Reyes del KO tando su última grabación, no me entregues la (054) Peer Wyboris víspera de la rueda de prensa el disco ("por men- (058) Sharon Sahnnon (060) Shisha Pangma sajero, que corre prisa") y me sueltes encima la BREVES (062) puntilla: "les preguntas cuatro bobadas". -
BEAR Tips / STAFF SELECTIONS . 114 DEUTSCHE OLDIES
1 COUNTRY .......................2 BEAT, 60s/70s ..................136 AMERICANA/ROOTS/ALT. .............54 SURF .............................140 TEXAS MUSIC SPECIAL ................60 CLASSIC ROCK/BIKER/SOUTHERN... .....141 OUTLAWS/SINGER-SONGWRITER .......60 WESTERN .......................74 REVIVAL/NEO ROCKABILLY .....142 WESTERN SWING....................78 PSYCHOBILLY ......................146 TRUCKS & TRAINS ...................80 BRITISH R&R ........................146 C&W SOUNDTRACKS.................81 SKIFFLE ...........................147 C&W SPECIAL COLLECTIONS...........83 AUSTRALIAN R&R ....................148 COUNTRY CANADA..................84 INSTRUMENTAL R&R/BEAT .............148 COUNTRY AUSTRALIA/NEW ZEALAND....85 COUNTRY DEUTSCHLAND/EUROPE......87 BLUEGRASS.....................89 POP VOCAL .....................148 NEWGRASS ........................97 POP INSTRUMENTAL .................154 INSTRUMENTAL .....................99 POP COMEDY & SPECIAL INTEREST ......157 OLDTIME ..........................102 LATIN ............................157 HAWAII ...........................106 JAZZ .............................158 CAJUN/ZYDECO ....................106 SOUNDTRACKS .....................159 TEX-MEX ..........................108 FOLK .............................108 WORLD ...........................112 BEAR TIPs / STAFF SELECTIONS . 114 DEUTSCHE OLDIES ..............159 KLEINKUNST / KABARETT ..............161 ROCK & ROLL ...................116 DEUTSCHLAND - SPECIAL INTEREST .....161 REGIONAL R&R .....................122 OPER/OPERETTE/MUSICAL.............162 -
Michael Seman CIRP 6301
WHAT IF HEWLETT AND PACKARD HAD STARTED A BAND INSTEAD? DENTON, TEXAS’ MUSIC SCENE AS ECONOMIC CLUSTER AND ITS BROADER IMPLICATIONS FOR THE CITY’S ECONOMY by MICHAEL SEMAN Presented to the Faculty of the Graduate School of Urban and Public Affairs The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT ARLINGTON May 2014 Copyright © by Michael Seman 2014 All Rights Reserved Acknowledgements This dissertation represents an immersive several year process wherein I was equally involved as a participant in the community I observed and the classroom where I made sense of my findings. I would like to thank those who had patience with my admittedly dynamic lifestyle during my doctoral studies and fostered my intellectual growth during the process. Carl Grodach understood my research agenda and challenged me to take what I observed in the field and learned in the classroom and frame it in a broader context shared by other arts disciplines inhabiting the urban landscape. Richard Florida also immediately understood my work and generously offered insight, support, and guidance concerning it and my career – facts made even more substantial as his work and career inspired me to enter a doctoral program. My committee members, Enid Arvidson and Rod Hissong demonstrated great patience during the completion of this project and were always ready to lend insight when asked. My completion of both this dissertation and my doctoral program is also due to people outside of the University of Texas at Arlington who offered their time and consideration in varying ways. -
Ronnie Fauss Last of the True (2017)
RONNIE FAUSS LAST OF THE TRUE (2017) "I didn't want to leave anything on the table when I was recording this album," songwriter Ronnie Fauss says of his third album, Last of the True. "I wanted to empty my notebook." The strongest, widest-reaching album of his career, Last of the True finds Fauss looking to his own record collection for inspiration. He's a genuine fan of the Americana catalog, and he nods to those influences here, duetting with Ben Kweller one minute and tackling a handful of cover songs — in- cluding tunes popularized by Uncle Tupelo and Okkervil River, as well as an updated, piano-fueled version of Bob Dylan's "Don't Think Twice (It's All Right)" — the next. With nearly a dozen original songs adding heft and variety to the tracklist, Last of the True is something rare: a modern-day Amer- icana gem, as well as a celebration of the older sounds that influenced the genre. Recorded with members of Jason Isbell, Justin Townes Earle, Rodney Crowell and Emmylou Harris' touring bands, Last of the True continues Fauss' evolution as an acclaimed singer/songwriter and multi-instrumentalist. He even produced the album himself, working alongside engineer and former Centro-Matic drummer Matt Pence (Jason Isbell, Sarah Jaffe, Nikki Lane), who hosted most of the recording sessions at his own Echo Lab studio in Argyle, Texas. "When I first recorded I Am the Man You Know I'm Not," Fauss says of his debut, "I wanted to make a country record. Then, when I wrote Built to Break, I put more focus on the rock & roll side of Amer- icana. -
THE FADER PREMIERES “HARDER DREAMS” from HIGHLY ANTICIPATED NEW ALBUM LP5, DUE out FEBRUARY 7Th VIA OLD OMENS/THIRTY TIGERS
FOR IMMEDIATE RELEASE DECEMBER 2019 THE FADER PREMIERES “HARDER DREAMS” FROM HIGHLY ANTICIPATED NEW ALBUM LP5, DUE OUT FEBRUARY 7th VIA OLD OMENS/THIRTY TIGERS JOHN MORELAND ANNOUNCES SUPPORT ACTS FOR EXPANSIVE 2020 TOUR “He wrings poetry from commonplace words and wisdom from dirty Midwestern country rock, chronicling tangled relationships and dead-end small towns, crushing regrets and dying hopes.” - UNCUT Nashville, TN - The Fader posted an exclusive premiere of the song “Harder Dreams” from John Moreland’s upcoming album LP5 on December 5th. Click HERE to listen. LP5, from the critically acclaimed songwriter will drop on February 7th via Old Omens/Thirty Tigers. Moreland has also announced the opening acts for his upcoming 2020 tour dates, where he’ll be joined by Justin Peter Kinkel-Schuster, S.G. Goodman and Will Johnson as he travels from the Southeast to the West Coast during April and May of next year. He will be accompanied on stage by multi-instrumentalist/vocalist John Calvin Abney. “Few singer-songwriters make struggle and anguish sound better than John Moreland.” - New York Magazine Produced by Matt Pence (Jason Isbell, The Breeders, Sarah Jaffe) and recorded at The Echo Lab, LP5 marks the first time that Moreland has worked with an outside producer. Though Moreland has long possessed the ability to quiet a noisy room with nothing but his voice, songs, and a guitar, the elevated production of the new album takes Moreland’s lyrical mastery to a stunning new level. Special guests on the album include Pence on drums, Bonnie Whitmore on bass/vocals and Moreland’s talented band-mate John Calvin Abney on a variety of instruments. -
Catalansounds-Dossier.Pdf
Catalan Sounds on Tour 2012: Music from Catalonia & The Balearic Islands és una iniciativa de l’Institut Ramon Llull per apropar a l’audiència internacional la varietat musical i estilística de Catalunya i les Illes Balears. Una proposta que convida bandes destacades del nostre territori a participar i presentar-se dins la programació de festivals i mercats internacionals de música de primer nivell. Setze formacions catalanes a les quatre fires musicals més importants del mercat anglosaxó en l’àmbit de la música indie-pop. Seran presents al South by SouthWest d’Austin, la Canadian Music Week de Toronto, el Vive Latino de Mèxic i The Great Escape a Brighton. Web: http://catalansounds.llull.cat/index.shtml L’Institut Ramon Llull presenta Catalan Sounds on Tour, una iniciativa que portarà alguns dels grups més destacats de l’actual panorama de la música indie-pop de casa nostra a les plataformes de difusió més importants del mercat anglosaxó. Una gran oportunitat de promoció ja que són les fires on es donen cita milers de professionals d’arreu del món, que busquen nous talents per programar. Tots quatre tenen en comú que per poder-hi participar, s’ha de ser prèviament seleccionat per la pròpia fira. Les invitacions efectuades des de quatre dels festivals més importants de l’escena internacional confirmen el bon moment actual que viu la música indie-pop a Catalunya i les Illes Balears. Una consolidació que es deu en part a la bona feina feta durant anys pels festivals i les agències de management de casa nostra que ha ajudat a situar els grups actuals en el panorama mundial i que es valora també des de l’àmbit internacional, com demostren aquestes invitacions.