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New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry
New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry by Evan Landon Wendel B.S. Physics Hobart and William Smith Colleges, 2004 SUBMITTED TO THE DEPARTMENT OF COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2008 © 2008 Evan Landon Wendel. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: _______________________________________________________ Program in Comparative Media Studies May 9, 2008 Certified By: _____________________________________________________________ William Uricchio Professor of Comparative Media Studies Co-Director, Comparative Media Studies Thesis Supervisor Accepted By: _____________________________________________________________ Henry Jenkins Peter de Florez Professor of Humanities Professor of Comparative Media Studies and Literature Co-Director, Comparative Media Studies 2 3 New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry by Evan Landon Wendel Submitted to the Department of Comparative Media Studies on May 9, 2008 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies Abstract This thesis explores the evolving nature of independent music practices in the context of offline and online social networks. The pivotal role of social networks in the cultural production of music is first examined by treating an independent record label of the post- punk era as an offline social network. -
Music 10378 Songs, 32.6 Days, 109.89 GB
Page 1 of 297 Music 10378 songs, 32.6 days, 109.89 GB Name Time Album Artist 1 Ma voie lactée 3:12 À ta merci Fishbach 2 Y crois-tu 3:59 À ta merci Fishbach 3 Éternité 3:01 À ta merci Fishbach 4 Un beau langage 3:45 À ta merci Fishbach 5 Un autre que moi 3:04 À ta merci Fishbach 6 Feu 3:36 À ta merci Fishbach 7 On me dit tu 3:40 À ta merci Fishbach 8 Invisible désintégration de l'univers 3:50 À ta merci Fishbach 9 Le château 3:48 À ta merci Fishbach 10 Mortel 3:57 À ta merci Fishbach 11 Le meilleur de la fête 3:33 À ta merci Fishbach 12 À ta merci 2:48 À ta merci Fishbach 13 ’¡¡ÒàËÇèÒ 3:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 14 ’¡¢ÁÔé’ 2:29 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 15 ’¡à¢Ò 1:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 16 ¢’ÁàªÕ§ÁÒ 1:36 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 17 à¨éÒ’¡¢Ø’·Í§ 2:07 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 18 ’¡àÍÕé§ 2:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 19 ’¡¡ÒàËÇèÒ 4:00 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 20 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:49 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 21 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 22 ¡ÅèÍÁÅÙ¡â€ÃÒª 1:58 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 23 ¡ÅèÍÁÅÙ¡ÅéÒ’’Ò 2:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 24 Ë’èÍäÁé 3:21 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 25 ÅÙ¡’éÍÂã’ÍÙè 3:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 26 ’¡¡ÒàËÇèÒ 2:10 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 27 ÃÒËÙ≤˨ђ·Ãì 5:24 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… -
Guardian and Observer Editorial
≤ Steve Davies Drums/congas, 1980 Now: does music workshops in schools and prisons ‘I refused to tour with a rock band ever again’ ≤ Kay Carroll Backing vocals/man- agement, 1977-83 ≤ Now: doctor’s Dave Milner assistant Drums, 2001-04 ‘Mark never let Now: taxi driver anybody feel part ‘The Fall is the of the Fall’ ≤ band to be in if you Una Baines desire extremes’ Keyboards, 1976-78 ≤ Simon Archer Now: singer Bass, 2003-04 ‘Mark is certainly Now: musician not just an ogre’ ‘All the stories and myths about Mark ≤ ≥ Simon Julia Adamson were true’ Wolstencroft (then Nagle) ≥ Ruth Daniel Drums, 1986-97 Keyboards/guitar, Keyboards, 2002 Now: musician 1995-2001 Now: researcher/ ‘I learned so much Now: works at a record label manager about life, just publishing company ‘Mark would bark listening to Mark’ ‘I was quite poorly like a dog’ after dating Mark’ ≤ Ed Blaney Guitar/tour manager, ≤ Karen Leatham 2000-04 Bass, 1988 Now: ‘free man’ Now: Designer/carer ‘My duties included ‘Looking after keeping ex-members gentlemen with out of the dressing mental needs is room’ not unlike being in a band’ ≤ Dave Tucker ≥ Tommy Crooks ≥ Brix Smith Clarinet, 1980-81 Guitar, 1997-98 Guitar, 1983-89, 94-96 Now: musician Now: artist Now: runs a boutique ‘Mark brought in ‘The Fall are the ‘Mark fired a people like me to best British band soundman for make the other ever, including Excuse me, weren’teating a salad’ yyou in theguys nervous’ Fall?the Beatles’ Mark E Smith’s band is legendary for its ever-changing line-up. -
Smash Hits Volume 65
35pUSA$i75 Mayas- June 101 ^ S */A -sen ^^ 15 HIT UfRiasmolding StandAndDe^^r iMimnliMl Being Wj LANDSCAPBin colour KIM WILDE m u ) Vol. 3 No. 11 IF YOU'VE already sneaked a peek around the back of this issue you'll have twigged the fact that you're dealing with something out of the ordinary. So welcome, friends, to the first (and the only?) double sided edition of your favourite musical publication. In effect you get two magazines, each with its own cover, bumper feature, songwords, competition and Bitz section. Soon as you get fed up of poring over this half, just flip it and play the other side. Now you may well ask why we've taken the unusual step of standing the entire magazine on its head. Well, there are a number of reasons; 1 To confuse newsagents 2) We couldn't decide who to put on the cover In 3) the hope that some dummies would buy it twice 4) For laffs THIS SIDE STAND AND DELIVER Adam And The Ants 2A NORMAN BATES Landscape .8A DON'T LET IT PASS YOU BY UB40 9A ROCKABILLY GUY Polecats 9A GHOSTS OF PRINCES IN TOWERS Rich Kids 11A IS THAT LOVE Squeeze 14A BETTE DAVIS EYES Kim Games 14A BEING Vi/ITH YOU Smokey Robinson 17A HOW 'BOUT US Champaign 19A STRAY CATS: Feature 4A/5A/6A BITZ (A) 12A/13A CARTOON 17A DISCO ISA STAR TEASER 20A THE BEAT COMPETITION 21A SINGLES REVIEWS 23A LANDSCAPE: Colour Poster The Middle THAT SIDE FUNERAL PYRE The Jam 2B HOUSES IN MOTION Talking Heads 8B THE ART OF PARTIES Japan SB BAD REPUTATION Thin Lizzy SB THEM BELLY FULL (BUT WE HUNGRY) Bob Marley 11B ANGEL OFTh£ MORNING Juice Newton 14B KIM WILDE: Feature 4B/5B/6B BITZ(B) 12B/13B UNDERTONES COMPETITION 15B LEHERS 16B/17B INDEPENDENT BITZ 1SB GIGZ 20B/21B ALBUM REVIEWS 23B The charts appearing in Smash Hits are compiled by Record Business Research from information supplied by panels of specialist shcps. -
'Prole Art Threat': the Fall, the Blue Orchids and the Politics of the Post-Punk Working-Class Autodidact
PUNK 3 (1) pp. 67–82 Intellect Limited 2014 Punk & Post-Punk Volume 3 Number 1 © 2014 Intellect Ltd Article. English language. doi: 10.1386/punk.3.1.67_1 david wilKinson University of Reading ‘Prole art Threat’: The Fall, the Blue orchids and the politics of the post-punk working-class autodidact aBsTracT Keywords In much of the writing that exists on The Fall, a persistent myth is perpetuated of the post-punk inscrutable character of Mark E. Smith. One of the contributing factors to this myth politics concerns Smith’s politics, commonly seen as ambiguous yet so far not analysed in Fall detail. Here I shed some light on this issue. Furthermore, I wish to open up academic Blue Orchids discussion on the work of The Blue Orchids, an outgrowth of The Fall, which devel- working class oped an outlook inchoate in the original line-up, one which was lost when Smith autodidact became its driving force. There is a fascinating comparison to be made between the left Fall and Blue Orchids on the basis of working-class negotiations of leftist post-punk Thatcherism at the dawn of Thatcherism. I examine how the two bands’ cultural production and political attitudes towards freedom and pleasure were shaped by residual countercul- tural and class-based influences. I then consider the divergent outcomes of Smith’s affinities with Thatcherism (which nevertheless retained oppositional elements) and The Blue Orchids’ mystical rejection of both the New Right and New Pop in favour of an oppositional ethos of fulfilment that was part G. I. Gurdjieff and part Worker’s Educational Association. -
Downloaded From: Publisher: Intellect DOI
Wilkinson, David (2014) ‘Prole Art Threat’: The Fall, the Blue Orchids and the politics of the post-punk working-class autodidact. Punk & Post Punk, 3 (1). pp. 67-82. ISSN 2044-1983 Downloaded from: https://e-space.mmu.ac.uk/623504/ Publisher: Intellect DOI: https://doi.org/10.1386/punk.3.1.67_1 Please cite the published version https://e-space.mmu.ac.uk 1 ‘Prole Art Threat’: The Fall, the Blue Orchids and the politics of the post-punk working-class autodidact David Wilkinson, University of Manchester Abstract In much of the writing that exists on The Fall, a persistent myth is perpetuated of the in- scrutable character of Mark E. Smith. One of the contributing factors to this myth con- cerns Smith’s politics, commonly seen as ambiguous yet so far not analysed in detail. Here I shed some light on this issue. Furthermore, I wish to open up academic discussion on the work of The Blue Orchids, an outgrowth of The Fall, which developed an outlook inchoate in the original line-up, one which was lost when Smith became its driving force. There is a fascinating comparison to be made between the Fall and Blue Orchids on the basis of working-class negotiations of leftist post-punk at the dawn of Thatcherism. I ex- amine how the two bands’ cultural production and political attitudes towards freedom and pleasure were shaped by residual countercultural and class-based influences. I then con- sider the divergent outcomes of Smith’s affinities with Thatcherism (which nevertheless retained oppositional elements) and The Blue Orchids’ mystical rejection of both the New Right and New Pop in favour of an oppositional ethos of fulfilment that was part G. -
Bibliography
BIBLIOGRAPHY BOOKS AND CHAPTERS IN EDITED COLLECTIONS Adorno, Theodor. 1991. The Culture Industry: Selected Essays on Mass Culture . Edited by J. M. Bernstein. London: Routledge. Albertine, Viv. 2014. Clothes Music Boys . London: Faber. Althusser, Louis. 2008. On Ideology . London: Verso. Anderson, Perry. 1983. In the Tracks of Historical Materialism . London: Verso. Bakhtin, Mikhael. 1981. The Dialogic Imagination . Edited by Michael Holquist. Austin: University of Texas Press. Barthes, Roland. 1975. The Pleasure of the Text . Translated by Richard Miller. New York: Hill and Wang. Bayton, Mavis. 1998. Frock Rock: Women Performing Popular Music . Oxford: Oxford University Press. Bennett, Andy, Barry Shank, and Jason Toynbee, eds. 2006. The Popular Music Studies Reader . London: Routledge. Benson, Richard. 2010. The Wit and Wisdom of Margaret Thatcher and Other Tory Legends . Chichester: Summersdale. Bourdieu, Pierre. 1984. Distinction: A Social Critique of the Judgement of Taste . Translated by Richard Nice. London: Routledge and Kegan Paul. CCCS. 1978. On Ideology . London: Hutchinson. Clarke, John. 1977. “Skinheads and the Magical Recovery of Community.” In Resistance Through Rituals: Youth Subcultures in Postwar Britain , edited by Stuart Hall and Tony Jefferson. London: Hutchinson. © The Editor(s) (if applicable) and The Author(s) 2016 205 D. Wilkinson, Post-Punk, Politics and Pleasure in Britain, DOI 10.1057/978-1-137-49780-2 206 BIBLIOGRAPHY Cobb, W. Mark. 2004. “Diatribes and Distortions: Marcuse’s Academic Reception.” In Herbert Marcuse: A Critical Reader , edited by John Abromeit and W. Mark Cobb. London: Routledge. Cowling, Maurice. 1978. “The Present Position.” In Conservative Essays , edited by Cowling. London: Cassell. Derrida, Jacques. 1995. “A ‘Madness’ Must Watch Over Thinking.” Interview with Francois Ewald, Le Magazine Litteraire , March 1991 in Elizabeth Weber (ed.), Points … : Interviews 1974–1994 , translated by Peggy Kamuf. -
Treasures of Which We Part [Pdf]
ARTIST TITLE PREIS FORMAT INFO 23 Skidoo 7 Songs 30€ LP 23 Skidoo Ethics 20€ 7" 2nd Layer State Of Emergency 30€ 7" 39 Clocks DNS/Twisted & Shouts 35€ 7" 48 Chairs Snap it Around 10€ 7" 49 Americans The Hot Album 25€ 7" A Certain Ratio All Night Party 35€ 7" A Tribe Called Quest People's Instinctive Travels And The Paths Of Rhythm 25€ LP Abrasive Wheels The Army Song (ABW EP) 15€ 7" Abwärts Amok/Koma 50€ LP American Music Club California (sealed) 50€ LP Animals & Men Don't Misbehave In The New Age 40€ 7" Animals & Men Don't Misbehave In The New Age 40€ 7" Animals & Men The Shellshock Fixation 20€ 7" Armed Force Popstar/Attack 35€ 7" Ashcroft, Richard A Song For The Lovers 17€ 12" Asphalt Ribbons (pre Tindersticks) Good Love 60€ 12" Sealed Aztec Camera Mattress Of Wire 18€ 7" Bane, Honey You Can Be You 15€ 7" Bangs, Lester Let It Blurt 20€ 7" Bauhaus In The Flat Field 35€ LP Beach Boys Shut Down Vol.2 30€ LP Beasts In Cages My Coo Ca Choo 16€ 7" Beasts Of Bourbon Psycho 20€ 7" Beat Necessity/Veldt Split 35€ 7" Beck Mutations (+7") 60€ LP Believers, The So Many Times 13€ 7" Birdie Some Dusty 60€ LP Black Dog Productions Bytes 44€ 2LP Black, Frank s/t lilimited Sleeve 55€ LP Blah Blah Blah In The Army 15€ 7" Bloc Party A Weekend In The City 50€ LP Blue Orchids The Flood/Disney Boys 15€ 7" Bluetones, The Expecting To Fly(ltd Numbered) 35€ LP Bluetones, The Science & Nature 40€ LP Blumfeld Old Nobody 60€ LP Blumfeld Jenseits Von Jedem 35€ LP Blumfeld L'Etat Et Moi 70€ LP BMX Bandits C86 30€ LP BMX Bandits Star Wars 45€ LP BMX Bandits Life -
(2020) Shot by Both Sides: Punk Attitude and Existentialism. Existential Analysis, 31(1), Pp
Hanscomb, S. (2020) Shot by both sides: punk attitude and existentialism. Existential Analysis, 31(1), pp. 4-19. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/209611/ Deposited on: 7 February 2020 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Shot by both sides: Punk Attitude and Existentialism Stuart Hanscomb Shot by both sides: Punk Attitude and Existentialism Stuart Hanscomb Abstract The ‘punk attitude’ that is basic to punk music and culture is hard to define. I argue that it can be more fully appreciated through a comparison with features of, and motivations behind, existentialist philosophy and literature: anti-institutionalism, nihilism, creative outputs and processes that are constantly challenging, and authentic belonging. Key words: punk, post-punk, authenticity, nihilism, creation, challenging, authentic belonging 1. Introduction Punk as a genre, style, movement or attitude has retained significant salience in western culture since its beginnings in the mid-1970s. There is a parallel with existentialism, a niche philosophy that consistently finds an audience more than seventy years after Sartre’s Existentialism and Humanism introduced it to a wider pubic. Both movements can have an immediate appeal, and I want to claim that part of this appeal is grounded in motivations and attitudes that they share. More precisely, both punk and existentialism involve responses to distinctive features of the human condition, and both connect with (often) inchoate insights and questions that are quite commonly experienced. -
Recent Writing on British Punk David Wilkinson
‘I Wanna See Some History’: Recent Writing on British Punk David Wilkinson, Matthew Worley and John Street Viv Albertine, Clothes, Clothes, Clothes, Music, Music, Music, Boys, Boys, Boys (London: Faber & Faber, 2014) Nick Crossley, Networks of Style, Sound and Subversion (Manchester: Manchester University Press, 2015) Pete Dale, Anyone Can Do It: Empowerment, Tradition and the Punk Underground (Aldershot: Ashgate, 2012) Tucked away on the b-side of the Sex Pistols’ third single, ‘Pretty Vacant’ (1977), is a cover version of The Stooges’ ‘No Fun’. The song had long been a staple of the Pistols’ live set; on record, however, Johnny Rotten chose to open the track with a diatribe against those attempting to imbue the punk culture he helped instigate with broader socio-economic, cultural or political implications. ‘Here we go now’, he snarled, ‘a sociology lecture, with a bit of psychology, a bit of neurology, a bit of fuckology’.1 The target of Rotten’s ire was the tendency of journalists such as Caroline Coon to underpin punk’s anger with reference to the desperate economic circumstances of the mid-1970s. It was only ‘natural’, Coon had suggested, that a group of ‘deprived London street kids’ such as the Sex Pistols would produce music ‘with a startlingly anti-establishment bias’.2 But if Rotten was not so sure, then academics, journalists and political commenters have – perhaps predictably – tended to side with Coon. Almost from the moment British punk was ‘named’ in 1976, it was 1 interpreted as a key moment in, or example of, the intersection of political resistance and popular culture.