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Young Americans to Emotional Rescue: Selected Meetings
YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music. -
Donna Summer, Giorgio Moroder, and “I Feel Love”
Thamyris/Intersecting No. 26 (2013) 43–54 Turning the Machine into a Slovenly Machine: Donna Summer, Giorgio Moroder, and “I Feel Love” Tilman Baumgärtel The track “I Feel Love” by Donna Summer still seems to come out of another world. Even though the song was produced three decades ago, it still sounds alien and futurist. And the world, out of which “I Feel Love” came, has been built out of loops, nothing but loops. The song rattles on and on like a machine gun. The loops appear deceptively simple at first. “I Feel Love” is based on the electronic throb of a pattern out of a few synthesizer notes the sequencer repeats over and over and occasionally transposes. But in the framework of these minimalist preconditions the track develops a field of rhythmic differences, deviations, and shifts. The blunt, mechanical thumping of a machine turns into complex polyrhythms, strict rule turns into confusing diversity, and eventually becomes an organism out of repetitions. Even Donna Summer herself eventually got lost in the confusing labyrinth of rhythms in “I Feel Love.” In this essay I want to show how producer Giorgio Moroder succeeded in trans- forming the clatter of the synthesizer loops of “I Feel Love” into an organic pulse with the help of a relatively simple production trick. Then, I want to discuss how “I Feel Love” systematically dissolves and collapses antithetical oppositions. This pro- duction trick not only lends an organic quality to the mechanical loops, but, in the process, amalgamates nature and technology on a musical level. -
The Inside Story of Casablanca Records Larry Harris, Curt Gooch, Jeff Suhs - Book Free
[pdf] And Party Every Day: The Inside Story Of Casablanca Records Larry Harris, Curt Gooch, Jeff Suhs - book free Download PDF And Party Every Day: The Inside Story Of Casablanca Records Free Online, Download And Party Every Day: The Inside Story Of Casablanca Records E-Books, Read Best Book Online And Party Every Day: The Inside Story Of Casablanca Records, And Party Every Day: The Inside Story Of Casablanca Records Free Read Online, And Party Every Day: The Inside Story Of Casablanca Records Free Download, PDF And Party Every Day: The Inside Story Of Casablanca Records Popular Download, And Party Every Day: The Inside Story Of Casablanca Records Free Download, by Larry Harris, Curt Gooch, Jeff Suhs And Party Every Day: The Inside Story Of Casablanca Records, free online And Party Every Day: The Inside Story Of Casablanca Records, And Party Every Day: The Inside Story Of Casablanca Records Free PDF Online, And Party Every Day: The Inside Story Of Casablanca Records Ebook Download, And Party Every Day: The Inside Story Of Casablanca Records Book Download, Download And Party Every Day: The Inside Story Of Casablanca Records PDF, I Was So Mad And Party Every Day: The Inside Story Of Casablanca Records Larry Harris, Curt Gooch, Jeff Suhs Ebook Download, Read And Party Every Day: The Inside Story Of Casablanca Records Online Free, full book And Party Every Day: The Inside Story Of Casablanca Records, PDF And Party Every Day: The Inside Story Of Casablanca Records Free Download, And Party Every Day: The Inside Story Of Casablanca Records Ebooks, And Party Every Day: The Inside Story Of Casablanca Records Full Download, Read And Party Every Day: The Inside Story Of Casablanca Records Books Online Free, DOWNLOAD CLICK HERE kindle, mobi, azw, pdf Description: A fascinating read, one-off series by Richard Bower on how we have evolved from a humble start at Oxford University's School of Economics. -
Discourse on Disco
Chapter 1: Introduction to the cultural context of electronic dance music The rhythmic structures of dance music arise primarily from the genre’s focus on moving dancers, but they reveal other influences as well. The poumtchak pattern has strong associations with both disco music and various genres of electronic dance music, and these associations affect the pattern’s presence in popular music in general. Its status and musical role there has varied according to the reputation of these genres. In the following introduction I will not present a complete history of related contributors, places, or events but rather examine those developments that shaped prevailing opinions and fields of tension within electronic dance music culture in particular. This culture in turn affects the choices that must be made in dance music production, for example involving the poumtchak pattern. My historical overview extends from the 1970s to the 1990s and covers predominantly the disco era, the Chicago house scene, the acid house/rave era, and the post-rave club-oriented house scene in England.5 The disco era of the 1970s DISCOURSE ON DISCO The image of John Travolta in his disco suit from the 1977 motion picture Saturday Night Fever has become an icon of the disco era and its popularity. Like Blackboard Jungle and Rock Around the Clock two decades earlier, this movie was an important vehicle for the distribution of a new dance music culture to America and the entire Western world, and the impact of its construction of disco was gigantic.6 It became a model for local disco cultures around the world and comprised the core of a common understanding of disco in mainstream popular music culture. -
LIT2013000004 - Andy Gibb.Pdf
•, \.. .. ,-,, i ~ .«t ~' ,,; ~-· ·I NOT\CE OF ENTR'Y.OF APPEARANCE AS AllORNE'< OR REPRESEN1' Al\VE DATE In re: Andrew Roy Gibb October 27, 1978 application for status as permanent resident FILE No. Al I (b)(6) I hereby enter my appearanc:e as attorney for (or representative of), and at the reQUest of, the fol'lowing" named person(s): - NAME \ 0 Petitioner Applicant Andrew Roy Gibb 0 Beneficiary D "ADDRESS (Apt. No,) (Number & Street) (City) (State) (ZIP Code) Mi NAME O Applicant (b)(6) D ADDRESS (Apt, No,) (Number & Street) (City} (ZIP Code) Check Applicable ltem(a) below: lXJ I I am an attorney and a member in good standing of the bar of the Supreme Court of the United States or of the highest court of the following State, territory; insular possession, or District of Columbia A;r;:ka.nsa§ Simt:eme Coy;ct and am not under -a (NBme of Court) court or administrative agency order ·suspending, enjoining, restraining, disbarring, or otherwise restricting me in practicing law. [] 2. I am an accredited representative of the following named religious, charitable, ,social service, or similar organization established in the United States and which is so recognized by the Board: [] i I am associated with ) the. attomey of record who previously fited a notice of appearance in this case and my appearance is at his request. (If '!J<?V. check this item, also check item 1 or 2 whichever is a1wropriate .) [] 4. Others (Explain fully.) '• SIGNATURE COMPLETE ADDRESS Willi~P .A. 2311 Biscayne, Suite 320 ' By: V ? Litle Rock, Arkansas 72207 /I ' f. -
Issue 431 Decent Exposure: Too Much TV? If It Seems Like Every Time You Turn on the TV There’S Another Awards Show, You’Re Right
January 20, 2015, Issue 431 Decent Exposure: Too Much TV? If it seems like every time you turn on the TV there’s another awards show, you’re right. A quick, unofficial count reveals nearly 20 opportunities a year for artists to get valuable screen time on either country or all-genre shows. Add to that the myriad of daytime and late night talk shows and the number jumps to nearly 40. When is enough enough ... or even too much? Country Aircheck asked Sony/Nashville Chairman/CEO Gary Overton, Warner Music Nashville’s SVP/Publicity Wes Vause, Spalding Entertainment’s Clarence Spalding (Jason Aldean, Rascal Flatts) and The Green Room Owner/Publicist Mary Hilliard Harrington (Aldean, Lady Antebellum) to find out how they create “must see TV” while protecting their artists from overexposure. “Carrie Underwood, Miranda Lambert, Kenny Chesney and Brad Paisley get asked to All Saints: Mercury’s Canaan Smith (c) celebrates a day do everything under the sun,” says Overton. well spent at the Country Cares for St. Jude seminar with “I speak with their managers at least once a (l-r) The Country Club with Dee Jay Silver’s Keith Kaufman, Gary Overton week. So many times whether it’s the timing WGH/Norfolk’s Dave Paulus, Curb’s Mike Rogers, Campbell Entertainment’s Craig Campbell, WGH/Norfolk’s John Shomby or another reason, the answer has to be, ‘We and Mercury’s Jack Christopher. can’t do it.’ We’re very calculated about what makes sense.” It All Begins With A Song: For top artists, the channel to television clicks on with an artist’s album cycle. -
The Moving Power of Parliament Funkadelic
Funk Is Its Own Reward: The Moving Power of Parliament Funkadelic An Honors Thesis by Vladimir Gutkovich Contents Introduction: Make my Funk the P-Funk! 3 I. The Birth and Rise of the P-Funk Empire: A Discography Synopsis 11 II. Everything is on the ONE: The Music of the Funk Mob 22 1. Musical Beginnings: “Free Your Mind, And Your Ass Will Follow” 24 2. Everything is on the ONE! 28 3. Controlled Chaos: P-Funk’s Anti-Formula 33 4. Funk as a Way of Life 35 III. Funkentelechy: The P-Funk Vision 38 1. Funk Used to Be a Bad Word 39 2. The Politics of P-Funk 41 i. P-Funk Vs. American Wrongs 41 ii. P-Funk and Black America 44 iii. One Nation Under a Groove 47 3. Transcefunkadentalism: The Church of Funk 50 iv. The Dogma of P-Funk 50 v. Funk is its Own Reward: The Prescriptive Philosophy of P-Funk 53 IV. Parliament Funkadelic Live: No Ordinary Funk Show 60 1. Learning to Play LIVE 63 2. Larger than Life: Costumes, Characters and Charisma 64 3. Visualizing the Myth: Props at P-Funk Shows 66 4. P-Funk and Dancing: Salvation by Way of (Communal) Booty-Shaking 68 V. “Mothership Connection” Live 72 Conclusion: “Ain’t No Party Like a P-Funk Party, ‘Cause a P-Funk Party Don’t Stop!” 82 1 1. George Clinton and P-Funk’s Careers Since the 1980’s 82 2. Parliament Funkadelic and Hip-Hop 86 3. Rising Above it All: P-Funk and Trancing 90 Appendix A: A Partial Discography of Parliament, Funkadelic, George Clinton, and the P-Funk All-Stars 95 Works Cited 98 Albums Cited 101 Appendix B: Vladimir Gutkovich’s Thesis Recital 103 2 Introduction: Make My Funk the P-Funk! “While most critics want to put the holy trinity [Beatles, Stones, Zeppelin] on a pedestal, with the world domination of hip-hop culture and the large role that P-Funk has played in the sound of hip-hop music, I dare say that P-Funk’s impact can be felt much more strongly thirty years later than of those three bands. -
Giorgio Moroder Interview
This interview with GIORGIO MORODER, writer/producer of “I Feel Love,” was conducted by the Library of Congress on October 14, 2015. LOC: “I Feel Love” makes up the “future” section of Donna Summer’s 1977 album “I Remember Yesterday,” that you produced. Did you, from the beginning, aspire to create something “futuristic” sounding? Yes, I definitely wanted to explore it as a whole concept and come up with a sound that was of the future. I did it by only using synthesizers, because I thought it was the instrument that would be used in the future--be the instrument of the future. We used it, and only it, to create all the sounds. I wanted to try to imitate what people would do in 20 or 30 years. I used all digital sounds for the song, all of them coming from the computer. Everything except the voice was created by the Moog. The problem was I always composed at piano, with the chords. This time [with the Moog], I had to start with the tracks not the melody. So, I started with a bass line. It was a big, big job. First, I recorded a click, the tempo, about four notes in: dong dong dong dong. I just looped them. I got the sound I wanted by holding one note—let’s say C—and holding it then moving it to F and G…. The problem then is I had to stop and restart after every seven to eight seconds to retune the synth. But, once I had the chord structure, I then used a white noise generator and put it in the envelope [?] to make it sound like a high hat, a snare and many other instruments. -
Oh Happy Day” – the Edwin Hawkins Singers (1968) Added to the National Registry: 2005 Essay by Bill Carpenter (Guest Post)*
“Oh Happy Day” – The Edwin Hawkins Singers (1968) Added to the National Registry: 2005 Essay by Bill Carpenter (guest post)* Original label The Edwin Hawkins Singers If four-time Grammy Award winning singer, songwriter and choirmaster Edwin Hawkins had been a record label executive and had to pick his own radio singles, then his multi- million selling 1968 recording of “Oh, Happy Day” probably would not have become the global anthem that it became in the heart of the counterculture, civil rights and Jesus movements in the late sixties and early seventies. “My mother had an old hymnal and I had a knack for rearranging hymns,” Hawkins says of the song that first surfaced on his custom-made LP “Let Us Go into the House of the Lord.” The song was recorded at the Ephesians Church of God in Christ (COGIC) in his hometown of Oakland, CA to raise money for the church’s 40+-member youth choir to attend a convention. “‘Oh Happy Day’ was an old hymn and I rearranged it. It was actually one of the least likely songs to become a hit. There were some much stronger songs on there. We were going to hand-sell the album in the Bay Area. We ordered 500 copies. Lamont Bench, a Mormon guy, recorded that album on a two-track system. All 500 copies sold.” One of those albums fell into the hands of Abe “Voco” Keshishian, an influential DJ at KSAN 94.9 FM in the Bay area, who started to play “Oh Happy Day” on his “Lights Out San Francisco” blues and rock program in early 1969. -
The “Poumtchak” Pattern
The “PoumTchak” Pattern: Correspondences Between Rhythm, Sound, and Movement in Electronic Dance Music Hans T. Zeiner-Henriksen Department of Musicology Faculty of Humanities University of Oslo 2010 ii Contents Introduction....................................................................................................................... 1! Prologue .......................................................................................................................... 1! The twist and the turn, Part I....................................................................................... 1! The twist and the turn, Part II ..................................................................................... 2! The poumtchak pattern ............................................................................................... 3! The project: choices, limitations and terminology.......................................................... 4! The music.................................................................................................................... 4! The movements........................................................................................................... 5! The theory ................................................................................................................... 5! The survey................................................................................................................... 8! The analyses............................................................................................................... -
Night Fever, 100 Hits Qui Ont Fait Le Disco
BELKACEM MEZIANE NIGHT FEVER 100 HITS QUI ONT FAIT LE DISCO LE MOT ET LE RESTE BELKACEM MEZIANE NIGHT FEVER 100 hits qui ont fait le disco le mot et le reste 2020 À mes disco queens, Karelle & Chaka INTRODUCTION « GOING BACK TO MY ROOTS » Odyssey Lorsqu’on étudie la chronologie des courants successifs de la musique noire américaine du xxe siècle, nombreux sont les ouvrages, thèses universitaires, documentaires et autres sources qui omettent le disco ou qui minimisent sa place dans cette évolution. Évidemment, ce n’est pas systématique mais assez fréquent pour être remarqué. Au funk, apparu à la fin des années soixante sur les bases musicales de la soul, succéderait immédiatement le hip-hop alors qu’entre-temps, la planète entière danse sur le beat disco. Cette lecture pointe du doigt la conception que certains se font de la musique noire et amène quelques questions : le disco fait-il partie de l’histoire de la musique noire et quels liens entretient-il avec le blues, le jazz, le gospel, le rhythm’n’blues, la soul ou le funk qui sont les grandes étapes de cette great black music ? L’histoire américaine, marquée par l’esclavage et la ségrégation, est à l’origine de cette distinction entre musique noire et musique blanche. Par musique noire, on désigne généralement des styles développés et représentés en majorité par des chanteurs, musi- ciens, compositeurs ou producteurs noirs. La réalité est en fait plus complexe et l’on ne peut pas se baser uniquement sur la couleur de peau pour définir un courant. -
Stax Bassist 'Duck' Dunn, Played on Immortal Soul Hits
~R&R! DONNA SUMMER ative.' But because I was black, they couldn't understand me [Cant. from 15J well, and peo- having that level of creativity." ple believed the story I was act- Neil Bogart's son Evan, ing," Summer said in 1979. a producer and songwriter, Neil Bogart, the shame- worked with his "Aunt Donna" less, marketing-savvy head of on her final album, Crayons, disco label Casablanca Rec- which came out in 2008. "You ords, heard "Love to Love You can count on one or two hands Baby" and instructed More- the voices as big as hers," he der to expand the song from says. And Bogart hears her in- three minutes to 17. "You're fluence in electronic acts from crazy," Moroder supposedly re- Chromeo to Daft Punk: "David torted, but he complied - and Guetta specifically told me he the song was a breakthrough wouldn't be doing what he's smash. Summer had found the doing without 'I Feel Love.' song "very difficult" to record, Disco never died - it turned and she later said, "There were into dance music." times when I hated the ... sex- Like most friends, Bogart goddess image." was unaware Summer had lung When her subsequent rec- cancer; not even her agent at ords with Moroder and co- When Eno heard "I Feel Love," he told William Morris knew. "I saw producer Pete Bellotte didn't her a year ago, and she looked match "Love to Love You Baby," Bowie, "Iheard the sound of the future." great," Bogart says. One of the Casablanca worried that she few people who knew was Mi- would become a one-hit won- so out of it." In her memoir, Bruce Springsteen wrote chael Omartian, who co-wrote der.