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Hot Rod Circuit Discography Download
Hot rod circuit discography download Complete your Hot Rod Circuit record collection. Discover Hot Rod Circuit's full discography. Shop new and used Vinyl and CDs. Hot Rod Circuit by Hot Rod Circuit, released 01 November 1. Forgive Me 2. Into The Digital Album. Streaming + Download. Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Find Hot Rod Circuit discography, albums and singles on AllMusic. Find Hot Rod Circuit bio, music, credits, awards, & streaming links on AllMusic - Originally from Auburn, AL, Hot Rod Circuit. Hot Rod Circuit is an American emo band from Auburn, Alabama established in The next album released by HRC hit record stores in September ; it was entitled "If It's Cool .. Create a book · Download as PDF · Printable version History · Early years · Sorry About Tomorrow · Post Break Up. tan marble albums are available from the band on he upcoming tour. Street Find tickets for Hot Rod Circuit showing at The Brighton Bar - Long Branch on. Switch browsers or download Spotify for your desktop. Originally from Auburn, AL, Hot Rod Circuit comprised Andy Jackson (vocal, In their earlier days, Hot Rod Circuit was known as Antidote, under which name they released the album. Listen to songs and albums by Hot Rod Circuit, including "Gin and Juice," "The Pharmacist," "Forgive Me," and many more. Free with Apple Music. Hot Rod Circuit is another perfect example of a band working their asses off to succeed. Having toured relentlessly since releasing their debut album almost five. Hot Rod Circuit discography and songs: Music profile for Hot Rod Circuit, formed Genres: Indie Rock, Emo-Pop, Emo. -
The Dealership of Tomorrow 2.0: America’S Car Dealers Prepare for Change
The Dealership of Tomorrow 2.0: America’s Car Dealers Prepare for Change February 2020 An independent study by Glenn Mercer Prepared for the National Automobile Dealers Association The Dealership of Tomorrow 2.0 America’s Car Dealers Prepare for Change by Glenn Mercer Introduction This report is a sequel to the original Dealership of Tomorrow: 2025 (DOT) report, issued by NADA in January 2017. The original report was commissioned by NADA in order to provide its dealer members (the franchised new-car dealers of America) perspectives on the changing automotive retailing environment. The 2017 report was intended to offer “thought starters” to assist dealers in engaging in strategic planning, looking ahead to roughly 2025.1 In early 2019 NADA determined it was time to update the report, as the environment was continuing to shift. The present document is that update: It represents the findings of new work conducted between May and December of 2019. As about two and a half years have passed since the original DOT, focused on 2025, was issued, this update looks somewhat further out, to the late 2020s. Disclaimers As before, we need to make a few things clear at the outset: 1. In every case we have tried to link our forecast to specific implications for dealers. There is much to be said about the impact of things like electric vehicles and connected cars on society, congestion, the economy, etc. But these impacts lie far beyond the scope of this report, which in its focus on dealerships is already significant in size. Readers are encouraged to turn to academic, consulting, governmental and NGO reports for discussion of these broader issues. -
Chapter One Introduction
CHAPTER ONE INTRODUCTION 1.1 BACKGROUND OF THE STUDY We use language every day to communicate with others. For some of us, we are not aware of the importance of language in our daily life. Language has meaning to us and it is really important for our communication. The explanations below will prove how important language is. According to Oxford Advanced Learner‟s Dictionary, the definitions of language are”1) system of communication in speech and writing that is used by people of particular country, 2) a way of expressing ideas and feelings using movements, symbols, and sound” (Hornby, 752). From the definition above we can conclude that language is the most significant thing for us to communicate as we can deliver our feelings and thoughts using language. Chandler supports this idea when he says “language is…the most powerful communication system by far” (Chandler 9). As communication grows, language can be represented through any media. The media that I would like to analyze in this thesis is an album cover. An album cover is included as the language used by the artists to convey their music or their feelings. 1 Maranatha Christian University Generally, an album cover contains the band‟s or artist‟s name and the title of the music album. Another important thing in an album cover is the picture. The picture can have some important roles. First, it may be used by the artist to show his/her identity. For example, the artist may use his/her portrait. Second, it can show the identity of the music. -
“The Dark Side of the Moon”—Pink Floyd (1973) Added to the National Registry: 2012 Essay By: Daniel Levitin (Guest Post)*
“The Dark Side of the Moon”—Pink Floyd (1973) Added to the National Registry: 2012 Essay by: Daniel Levitin (guest post)* Dark Side of the Moon Angst. Greed. Alienation. Questioning one's own sanity. Weird time signatures. Experimental sounds. In 1973, Pink Floyd was a somewhat known progressive rock band, but it was this, their ninth album, that catapulted them into world class rock-star status. “The Dark Side of the Moon” spent an astonishing 14 years on the “Billboard” album charts, and sold an estimated 45 million copies. It is a work of outstanding artistry, skill, and craftsmanship that is popular in its reach and experimental in its grasp. An engineering masterpiece, the album received a Grammy nomination for best engineered non-classical recording, based on beautifully captured instrumental tones and a warm, lush soundscape. Engineer Alan Parsons and Mixing Supervisor Chris Thomas, who had worked extensively with The Beatles (the LP was mastered by engineer Wally Traugott), introduced a level of sonic beauty and clarity to the album that propelled the music off of any sound system to become an all- encompassing, immersive experience. In his 1973 review, Lloyd Grossman wrote in “Rolling Stone” magazine that Pink Floyd’s members comprised “preeminent techno-rockers: four musicians with a command of electronic instruments who wield an arsenal of sound effects with authority and finesse.” The used their command to create a work that introduced several generations of listeners to art-rock and to elements of 1950s cool jazz. Some reharmonization of chords (as on “Breathe”) was inspired by Miles Davis, explained keyboardist Rick Wright. -
Yeah. 'But It's Also Very Personal and Subconscious and I Guess If You
EXHIBIT 135 WIT.900.020.0144 Yeah. 'But it's also very personal and subconscious and I guess if you were my psychologist or something I would feel a little more uncomfortable with you seeing it, but I don't know if you can see all the stiif.f. I mean because it's very personal. 3rd interview) Some found the experience very exciting: It was really cool because I guess when you first gave it to me I was so excited I'm like "Oh my God, what am I going to take photos op" I was just like trying to like run around and find all these ideas. But then I'm like "No, wait. Get over the excitement and start like figuring out what to do". So, yeah, it was Jim. ; 2nd interview) found it therapeutic and a most useful tool to express emotion and feel in control: It was actually quite good, because I could express a lot ofthings that I couldn't express verbally. Such emotions that I have no control over and kind of taking photos of them, that's kind of like taking control of them, which is good - feeling in control. And it calms me down in a sense. ; 2nd interview) For two of the adolescents, their photos revealed how useful visual material can be in sharing their stories: It's just basically like I can't find the right words to talk about my problems. And as you can see there's spaces in there, and that... Yeah. And I just - it's like for when I'm talking to someone I feel like I can't find the right words to express my feelings. -
Masculinity in Emo Music a Thesis Submitted to the Faculty of Arts and Social Science in Candi
CARLETON UNIVERSITY FLUID BODIES: MASCULINITY IN EMO MUSIC A THESIS SUBMITTED TO THE FACULTY OF ARTS AND SOCIAL SCIENCE IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF MUSIC BY RYAN MACK OTTAWA, ONTARIO MAY 2014 ABSTRACT Emo is a genre of music that typically involves male performers, which evolved out of the punk and hardcore movements in Washington DC during the mid-80s. Scholarly literature on emo has explored its cultural and social contexts in relation to the “crisis” of masculinity—the challenging of the legitimacy of patriarchy through “alternative” forms of masculinity. This thesis builds upon this pioneering work but departs from its perpetuation of strict masculine binaries by conflating hegemonic and subordinate/alternative masculinities into a single subject position, which I call synergistic masculinity. In doing so, I use emo to explicate this vis-à-vis an intertextual analysis that explores the dominant themes in 1) lyrics; 2) the sites of vocal production (head, throat, chest) in conjunction with pitch and timbre; 3) the extensional and intensional intervallic relationships between notes and chords, and the use of dynamics in the musical syntax; 4) the use of public and private spaces, as well as the performative masculine body in music video. I posit that masculine emo performers dissolve these hierarchically organized masculinities, which allows for a deeper musical meaning and the extramusical signification of masculinity. Keywords: emo, synergistic masculinity, performativity, music video, masculinities, lyrics, vocal production, musical syntax, dynamics. ABSTRAIT Emo est un genre musical qui implique typiquement des musiciens de sexe masculine et qui est issu de movement punk et hardcore originaire de Washington DC durant les années 80. -
Mediated Music Makers. Constructing Author Images in Popular Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Laura Ahonen Mediated music makers Constructing author images in popular music Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII, on the 10th of November, 2007 at 10 o’clock. Laura Ahonen Mediated music makers Constructing author images in popular music Finnish Society for Ethnomusicology Publ. 16. © Laura Ahonen Layout: Tiina Kaarela, Federation of Finnish Learned Societies ISBN 978-952-99945-0-2 (paperback) ISBN 978-952-10-4117-4 (PDF) Finnish Society for Ethnomusicology Publ. 16. ISSN 0785-2746. Contents Acknowledgements. 9 INTRODUCTION – UNRAVELLING MUSICAL AUTHORSHIP. 11 Background – On authorship in popular music. 13 Underlying themes and leading ideas – The author and the work. 15 Theoretical framework – Constructing the image. 17 Specifying the image types – Presented, mediated, compiled. 18 Research material – Media texts and online sources . 22 Methodology – Social constructions and discursive readings. 24 Context and focus – Defining the object of study. 26 Research questions, aims and execution – On the work at hand. 28 I STARRING THE AUTHOR – IN THE SPOTLIGHT AND UNDERGROUND . 31 1. The author effect – Tracking down the source. .32 The author as the point of origin. 32 Authoring identities and celebrity signs. 33 Tracing back the Romantic impact . 35 Leading the way – The case of Björk . 37 Media texts and present-day myths. .39 Pieces of stardom. .40 Single authors with distinct features . 42 Between nature and technology . 45 The taskmaster and her crew. -
Music Great Guitar Gathering (DASOTA)
JACKSONVILLE golfing in north florida entertaining u newspaper free weekly guide to entertainment and more | march 1-7, 2007 | www.eujacksonville.com 2 march 1-7, 2007 | entertaining u newspaper table of contents Cover photo courtesy of World Golf Village feature Golfing In North Florida .............................................................................PAGES 19-23 movies Black Snake Moan (movie review) ...................................................................... PAGE 6 Movies In Theaters This Week .....................................................................PAGES 6-11 Craig Brewer interview (Black Snake Moan) ........................................................ PAGE 7 Seen, Heard, Noted & Quoted ............................................................................. PAGE 7 Reno 911!: Miami (movie review) ....................................................................... PAGE 8 Zodiac (movie review) ........................................................................................ PAGE 9 Amazing Grace (movie review) ....................................................................PAGE 10-11 at home The Departed (DVD review) ............................................................................. PAGE 14 2007 Academy Awards (TV Review) ................................................................ PAGE 15 Video Games ................................................................................................... PAGE 16 food Murray Bros. Caddy Shack .............................................................................PAGES -
Manifestations of Interactivity in Music and Their Commercial Potential in the Music Industry’S Contemporary Political Economy
Manifestations of interactivity in music and their commercial potential in the music industry’s contemporary political economy by George Morahan A research paper submitted to the University of Dublin, in partial fulfillment of the requirements for the degree of Master of Science Interactive Digital Media 2015 Declaration I declare that the work in this research paper is, except where otherwise stated, entirely my own work and has not been submitted as an exercise for a degree at this or any other university. signed: ________________________________ George Morahan date: 15th May 2015 1 Permission to lend and/or copy I agree that Trinity College Dublin may lend or copy this research paper upon request. signed: ________________________________ George Morahan 2 Acknowledgements I would like to thank my supervisor, Marguerite Barry, for her encouragement and firm guidance. I would also like to thanks the rest of the IDM 2014-15 class for the mania we have shared as well as my family for their understanding and support in the face of utter neglect these past eight months. For Lorraine and Stevie. 3 Table of contents 1. Introduction 6 1.1. Definitions of interactivity 6 1.2. Concept definition of interactive music video 7 1.3. Interactive music software within the purview of this research paper 8 1.4. Research objectives 9 2. The literature on the political economy of the music industry 10 2.1. Record industry as music industry 10 2.2. Music networks and diversification into auxiliary industries 13 2.3. Imagining the future music industry 16 2.4. Artist vs. Industry attitudes 17 2.5. -
The Road Ahead New Label, New Album: the Used Preps for an Exciting 2011
PULSE / bEATS by Ian JoulaIn The Road Ahead New label, New album: The used preps for aN exciTiNg 2011 94 March 2011 / 944.com March 2011 / 944.com 95 The Used has been around the proverbial had four singles per release, Artwork only will be performing at MusInk on March block, and a decade into their careers, the had one. 6, a three-day music and tattoo festival, band members are ready for what’s next. Alternative Press and allmusic.com which takes place at the Orange County After achieving early success and heavy praised Artwork, but the album’s commercial Fairgrounds. The band performed at the radio airplay, the band has had albums success hinged on the label doing its job in festival in 2008 and is happy to be back. certified gold and platinum, gone on promoting the record. But after the album “The MusInk show coming up should be numerous world tours and become the pride was leaked two months before its release, really fun,” McCracken says. “I think that and joy of Orem, Utah. That last one may be Howard believes that their label, Reprise, we are doing the day with Hot Water Music, a stretch, but the band’s humble beginnings just gave up. “They kind of lost faith in and anyone who knows Hot Water Music have certainly led it to where it is now. doing anything with [Artwork],” Howard should be really stoked.” Bert McCracken, vocals; Jeph Howard, says. “They didn’t push any of the songs, McCracken also disclosed that the band bass; Dan Whitesides, drums; and Quinn and they really just kind of stopped caring. -
The Retriever, Issue 6, Volume 39
18 Features October 5, 2004 THE RETRIEVER By Noah Albro Music review corner Albums with style and soul Anything but Used up The Used: In Love and Death (in stores now) This CD has to be one of the most high- tarist for the band, concocts such intriguing ly anticipated albums of 2004 and man, does it and provocative riffs that he continues to prove deliver. Now I know what a lot of Used fans why he is one of the most original guitarists in must be saying right now: “where the hell did this genre of music. Jeph Howard absolutely the hardcore edge go?” Have the Used pussied enriches his earlier work with the bass riffs on out on us…absolutely not! If anything, I this album…he doesn’t just provide rhythm believe that this CD has served to better estab- with his bass he adds another completely inde- lish these guys as a band that isn’t just a passing pendent layer to each song. Drummer fad. Many fans were drawn in by Used lead Branden Steineckert was incredible on the first singer Bert McCracken’s raging screams and self-titled debut album and he continues to melodic vocal riffs and people, all of that isn’t carry the listener to another level of rhythmic gone. mayhem left untouched by so many main- Songs like “Take It Away,” “I’m a Fake” stream drummers today. and “Sound Effects and Overdramatics” still But the real draw to this album has to be deliver that undeniable vocal power to its the incorporation of so many different sound fullest and serve to pacify the hardcore screamo nuances and stylistic liberties. -
Butterfly Lovers V1.0
Butterfly Lovers v1.0 Butterfly Lovers: Leung Shanpak and Chuk Yingtoi 梁祝恨史 An English Translation of Fong Yim Fun’s Performance Script 芳艷芬演出本 1955 Scripted by PAN Yi Fan 潘一帆編劇 * This Translation (Version 1.0) by NG Wing Chung 伍榮仲 (History, University of Texas at San Antonio) © 2012 * Major Plays of Hong Kong Cantonese Opera: A Translation Project 香港粵劇經典劇目翻譯計劃 Kwan Fong Cultural Research and Development Programme Lingnan University 群芳文化研究及發展部 嶺南大學 Funded by the Cantonese Opera Development Fund 粵劇發展基金資助 1 Butterfly Lovers v1.0 Butterfly Lovers: Leung Shanpak and Chuk Yingtoi An English Translation of Fong Yim Fun’s Performance Script 1955 Scripted by PAN Yi Fan This Translation (Version 1.0) by NG Wing Chung This work is licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License. You are free: to Share — to copy, distribute and transmit the work to Remix — to adapt the work Under the following conditions: Attribution — You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work). Noncommercial — You may not use this work for commercial purposes. This work is also released under this special condition: You may make commercial use of the work only in the circumstance of adapting the work for use as English surtitles/supertitles in Cantonese opera performances. http://creativecommons.org/licenses/by-nc/3.0/ http://creativecommons.org/licenses/by-nc-sa/3.0/hk/legalcode 2 Butterfly Lovers v1.0 Butterfly Lovers: Leung Shanpak