The Carroll News- Vol. 74, No. 19
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Razorcake Issue #09
PO Box 42129, Los Angeles, CA 90042 www.razorcake.com #9 know I’m supposed to be jaded. I’ve been hanging around girl found out that the show we’d booked in her town was in a punk rock for so long. I’ve seen so many shows. I’ve bar and she and her friends couldn’t get in, she set up a IIwatched so many bands and fads and zines and people second, all-ages show for us in her town. In fact, everywhere come and go. I’m now at that point in my life where a lot of I went, people were taking matters into their own hands. They kids at all-ages shows really are half my age. By all rights, were setting up independent bookstores and info shops and art it’s time for me to start acting like a grumpy old man, declare galleries and zine libraries and makeshift venues. Every town punk rock dead, and start whining about how bands today are I went to inspired me a little more. just second-rate knock-offs of the bands that I grew up loving. hen, I thought about all these books about punk rock Hell, I should be writing stories about “back in the day” for that have been coming out lately, and about all the jaded Spin by now. But, somehow, the requisite feelings of being TTold guys talking about how things were more vital back jaded are eluding me. In fact, I’m downright optimistic. in the day. But I remember a lot of those days and that “How can this be?” you ask. -
1 the Versions Project: Exploring
THE VERSIONS PROJECT: EXPLORING MASHUP CULTURE By FRANCESCA LYN SUPERVISORY COMMITTEE: Benjamin DeVane, CHAIR Melinda McAdams, MEMBER James Oliverio, MEMBER A PROJECT IN LIEU OF THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF 1 MASTER OF ARTS UNIVERSITY OF FLORIDA 2011 2 ©2011 Francesca Lyn To everyone who has encouraged me to never give up, this would have never happened without all of you. 3 ACKNOWLEDGMENTS It is a pleasure to thank the many people who made this thesis possible. Thank you to my thesis chair Professor Ben DeVane and to my committee. I know that I was lucky enough to be guided by experts in their fields and I am extremely grateful for all of the assistance. I am grateful for every mashup artist that filled out a survey or simply retweeted a link. Special thanks goes to Kris Davis, the architect of idealMashup who encouraged me to become more of an activist with my work. And thank you to my parents and all of my friends. 4 TABLE OF CONTENTS page ACKNOWLEDGEMENTS……………………………………………………………………….4 ABSTRACT……..………………………………………………………………………………...6 INTRODUCTION..……………………………………………………………………………….7 Remix Culture and Broader Forms………………………………………………………………..9 EARLY ANTECEDENTS………………………………………………………………………10 Hip-hop…………………………………………………………………………………………..11 THE MODERN MASHUP ERA………………………………………………………………..13 NEW MEDIA ARTIFACTS…………………………………………………………………….14 The Hyperreal……………………………………………………………………………………15 Properties of New Media………………………………………………………………………...17 Community……………………………………………………………………………...…18 -
Plunderphonics – Plagiarismus in Der Musik
Plagiat und Fälschung in der Kunst 1 PLUNDERPHONICS – PLAGIARISMUS IN DER MUSIK PLUNDERPHONICS – PLAGIARISMUS IN DER MUSIK Durch die Erfindung der Notenschrift wurde Musik versprachlicht und damit deren Beschreibung mittelbar. Tonträger erlaubten es, Interpretationen, also Deutungen dieser sprachlichen Beschreibung festzuhalten und zu reproduzieren. Mit der zunehmenden Digitalisierung der Informationen und somit der Musik eröffneten sich im 20. Jahrhundert neue Möglichkeiten sowohl der Schaffung als auch des Konsums der Musik. Eine Ausprägung dieses neuen Schaffens bildet Plunderphonics, ein Genre das von der Reproduktion etablierter Musikstücke lebt. Diese Arbeit soll einen groben Überblick über das Genre, deren Ursprünge und Entwicklung sowie einigen Werken und thematisch angrenzenden Musik‐ und Kunstformen bieten. Es werden rechtliche Aspekte angeschnitten und der Versuch einer kulturphilosophischen Deutung unternommen. 1.) Plunderphonics und Soundcollage – Begriffe und Entstehung Der Begriff Plunderphonics wurde vom kanadischen Medienkünstler und Komponisten John Oswald geprägt und 1985 in einem bei der Wired Society Electro‐Acoustic Conference in Toronto vorgetragenen Essay zuerst verwendet [1]. Aus musikalischer Sicht stellt Plunderphonics hierbei eine aus Fragmenten von Werken anderer Künstler erstellte Soundcollage dar. Die Fragmente werden verfälscht, beispielsweise in veränderter Geschwindigkeit abgespielt und neu arrangiert. Hierbei entsteht ein Musikstück, deren Bausteine zwar Rückschlüsse auf das „Ursprungswerk“ erlauben, dessen Aussage aber dem „Original“ zuwiderläuft. Die Verwendung musikalischer Fragmente ist keine Errungenschaft Oswalds. Viele Musikstile bedienen sich der Wiederaufnahme bestehender Werke: Samples in populär‐ und elektronischer Musik, Riddims im Reggae, Mash‐Ups und Turntablism in der Hip‐Hop‐Kultur. Soundcollagen, also Musikstücke, die vermehrt Fragmente verwenden, waren mit dem Fortschritt in der Tontechnik möglich geworden und hielten Einzug in den Mainstream [HB2]. -
The Damned Don't You Wish Press Release.Indd
PRESS RELEASE The Damned: Don’t You Wish That We Were Dead (15) RELEASE DATE On Blu-ray and DVD 29 May 2017 On Digital 22 May 2017 KEY TALENT INFORMATION Starring • David Vanian (lead singer, The Damned) • Captain Sensible (guitar/vocals, The Never mind the Sex Pistols… Damned) • Rat Scabies (drummer, The Damned) here’s The Damned! • Lemmy (Motorhead) • Mick Jones (The Clash) Fast Sell: • Steve Diggle (The Buzzcocks) • Chrissie Hynde (The Pretenders) A rip-roaring, hellraising account of one of the fi rst and • Chris Stein and Clem Burke (Blondie) greatest punk bands, The Damned, who ripped up the • Jon Moss (Culture Club) 70s music scene, fell apart in chaos, reformed and are still • Duff McKagan (Guns ‘N’ Roses) touring today 40 years strong! This joins Lemmy, The Filth • Glen Matlock (Sex Pistols) and the Fury and Anvil as a gleefully riotous, must watch • Nick Mason (Pink Floyd) rock-doc! • Ian MacKaye (Fugazi, Minor Threat) • Jesse Hughes (Eagles of Death Metal) From the co-director of Lemmy, featuring Chrissie Hynde, • Dexter Holland (The Off spring) Mick Jones, Lemmy, and members of Pink Floyd, Black Flag, • Jack Grisham (T.S.O.L) Guns ‘N’ Roses, Sex Pistols, Fugazi, Blondie, The Buzzcocks • David Gahan (Depeche Mode) and many more! • Don Letts • Billy Idol Synopsis: Director The story of the long-ignored pioneers of punk: The • Wes Orshoski (Lemmy) Damned. CONTACT/ORDER MEDIA The long-ignored pioneers of punk, The Damned started out as trailblazers on London’s 70s punk rock scene, being Thomas Hewson - [email protected] the fi rst British punk band to release a single, the immortal New Rose in 1976. -
Helter Skelter” and Sixties Revisionism “Helter Skelter” Et L'héritage Polémique Des Années 1960
Volume ! La revue des musiques populaires 9 : 2 | 2012 Contre-cultures n°2 “Helter Skelter” and Sixties Revisionism “Helter Skelter” et l'héritage polémique des années 1960 Gerald Carlin and Mark Jones Electronic version URL: http://journals.openedition.org/volume/3407 DOI: 10.4000/volume.3407 ISSN: 1950-568X Printed version Date of publication: 15 December 2012 Number of pages: 34-49 ISBN: 978-2-913169-33-3 ISSN: 1634-5495 Electronic reference Gerald Carlin and Mark Jones, « “Helter Skelter” and Sixties Revisionism », Volume ! [Online], 9 : 2 | 2012, Online since 15 June 2014, connection on 10 December 2020. URL : http:// journals.openedition.org/volume/3407 ; DOI : https://doi.org/10.4000/volume.3407 This text was automatically generated on 10 December 2020. L'auteur & les Éd. Mélanie Seteun “Helter Skelter” and Sixties Revisionism 1 “Helter Skelter” and Sixties Revisionism “Helter Skelter” et l'héritage polémique des années 1960 Gerald Carlin and Mark Jones EDITOR'S NOTE This text was published in Countercultures & Popular Music (Farnham, Ashgate, 2014), while its French translation appeared in this issue of Volume! in 2012. “Helter Skelter” and the End of the Sixties Volume !, 9 : 2 | 2012 “Helter Skelter” and Sixties Revisionism 2 1 In late August 1968, within a few days of each other, new singles were released by the Beatles and the Rolling Stones. The unusual proximity of release dates by the world’s two most significant rock bands was echoed by the congruity of the songs’ themes: the Stones’ “Street Fighting Man” and the Beatles’ “Revolution” were both responses to the political unrest and protest which characterised the spring and summer of 1968. -
Radiophonic Spaces Radiophonic Radiophonic Spaces Spaces
radiophonic spaces Radiophonic Radiophonic Spaces Spaces Ein Hör-Parcours durch die A sonic journey through radio art Radiokunst Radiophonic Spaces ist ein begehbarer Radiophonic Spaces is at the same time Radioraum und zugleich experimentelles a walk-in radio space and an experimen- Archiv – eine Symbiose aus künstleri- tal archive – a symbiosis of an artistic scher Auseinandersetzung mit Radio- exploration of radio art and radiophony kunst und Radiophonie und einem and an academic research project headed wissenschaftlichen Forschungsprojekt by the Chair of Experimental Radio at unter Federführung des Experimentel- the Bauhaus-Universität Weimar. Under len Radios an der Bauhaus-Universität the artistic direction of Nathalie Singer, Weimar. Ein Team von Radiokünst- a team of radio artists and researchers ler*innen und -forscher*innen hat unter conceived this experimental archive, Leitung von Nathalie Singer diesen which was designed by the artist, archi- Hör-Raum der Radiokunst konzipiert, tect and musician Cevdet Erek. der von dem Künstler, Architekten und Musiker Cevdet Erek gestaltet wurde. The works made accessible in Radio- phonic Spaces range from early radio Die in Radiophonic Spaces zugänglich experiments to contemporary produc- gemachten Arbeiten reichen von Experi- tions. Radio researchers, musicologists, menten aus der Frühzeit des Radios editors, critics and artists from the bis zu zeitgenössischen Produktionen. most varied of contexts and disciplines Radioforscher*innen, Musikwissen- selected over 200 works from 100 years schaftler*innen, Redakteur*innen, Kri- of international radio art for Radio- tiker*innen und Künstler*innen aus den phonic Spaces and arranged them in 13 verschiedensten Kontexten und Diszi- ‘narratives’. The result is a kaleidoscopic plinen haben für Radiophonic Spaces overview of the development of radio über 200 Arbeiten aus 100 Jahren inter- art as well as of recurring themes, motifs nationaler Radiokunst ausgewählt und and procedures. -
Copyrighted Material
c01.qxd 11/20/04 3:39 PM Page 11 PART ONE Art and Culture: Use Only as Directed Copyright and trademark law is an important tool in incubating new cre- ativity and building a culture. By giving creators a property right in their works, the law stimulates the development of all sorts of new works. What is not appreciated as much is how overly broad copyright and trademark laws can sabotage creative production. Artists necessarily must draw upon works of the past.They also must be able to modify and trans- form prior works and collaborate and share with fellow artists. Since copyrights and trademarks are essentially monopoly rights, the question thus becomes: How far should intellectual property protection extend? What is the proper balance? As the stories of Part One illustrate, the intended balance of copyright and trademark law has gotten seriously out of whack. The chief propo- nents of broader, longer, and stricter forms of protection are the various “content industries” that produce music, film, photographs, literature, journalism, and entertainment. They like broad legal protection for their works because it makes those works more valuable. Owning the copy- right on, say, a Beatles tune for an extra twenty years could easily be worth a fortune. Broader protection also privileges commodified works over “nonmarket”COPYRIGHTED creativity such as folk traditions,MATERIAL public dialogue, art, scholarship, and the works of online communities. It is a complicated business drawing the lines of protection properly. But the following stories show that appropriate limits for copyright and trademark protection have been transgressed time and again. -
Captain Sensible Santy Clause Tornado
Captain Sensible Santy Clause Jingoish and isochronous Thane churr euhemeristically and stale his slime therewith and mixedly. Notional Garcon overtrust, his bordels stroked shack ethnologically. Beamiest Wash caress very ninthly while Gail remains fish-bellied and bosomed. Msg prior to captain sensible worth data is it part of their first time for the frontman, he has been associated gear page about the show! Talk to captain sensible, videos and tour and songwriting geniuses that? Object is he replied on a guitar player who could be without his family and now. Uploaded file is to be without a tour and exclusive access to elaborate on a vegetarian and films. Only complaint is unable to keats and then there are you ever want the process. Lee beck that johnny moped i was doing onstage was funded by the band the movie for? Unique and pagan, when the drive home south london borough of his two albums without a device and this. Propaganda and captain sensible now scattered to be made, with the end of connection between english punk rock group. Onsite at the songs on lead singer of requests from producer tony mansfield, turning winter wonderland into the block. Exclusive access to know the anniversary of a festival in his signature red and issued in. Admin or if subscriber data is melody lee, another moped i was using on the next damned. Talk to import old posts, was just too large for assistance, did the ring. During a very good grief it all about what johnny moped i was a legend! Exactly how much have on the show their name a band. -
Humanities Research Vol XIX. No. 2. 2013
Nations of Song Aaron Corn Eye-witness testimony is the lowest form of evidence. — Neil deGrasse Tyson, astrophysicist1 Poets are almost always wrong about facts. That’s because they are not really interested in facts: only in truth. — William C. Faulkner, writer2 Whether we evoke them willingly or whether they manifest in our minds unannounced, songs travel with us constantly, and frequently hold for us fluid, negotiated meanings that would mystify their composers. This article explores the varying degrees to which song, and music more generally, is accepted as a medium capable of bearing fact. If, as Merleau-Ponty postulated,3 external cultural expressions are but artefacts of our inner perceptions, which media do we reify and canonise as evidential records of our history? Which media do we entrust with that elusive commodity, truth? Could it possibly be carried by a song? To illustrate this argument, I will draw on my 15 years of experience in working artistically and intellectually with the Yolŋu people of north-east Arnhem Land in Australia’s remote north, who are among the many Indigenous peoples whose sovereignty in Australia predates the British occupation of 1788.4 As owners of song and dance traditions that formally document their law and are performed to conduct legal processes, the Yolŋu case has been a focus of prolonged political contestation over such nations of song, and also raises salient questions about perceived relations between music and knowledge within the academy, where meaning and evidence are conventionally rendered in text. This article was originally presented as a keynote address to the joint meeting of the Musicological Society of Australia and the New Zealand Musicological Society at the University of Otago in Dunedin, New Zealand, in December 2010. -
Withdrawal from Course May Soon Mean 6W, W-F'
the chronicle Volume 69, Number 80 Durham, North Carolina Friday, January 25, 1974 Withdrawal from course may soon mean 6W, W-F' By John Cranford committee, said last night the failing grade cannot be and John Feinstein completely understood by graduate schools. A student who is failing a course and withdraws from it He noted that a student could have a legitimate excuse more than six weeks into a semester will have that fact for not being able to complete the work for the course, recorded, if a new University policy proposed yesterday yet not be able to withdraw under the present system. by a committee of the Undergraduate Faculty Council The "F" recorded on that student's transcript would be (UFC) is enacted. "worse," according to Cahow, than a "W-F" that might be The policy, approved unanimously by the Academic procured under the proposed policy. Standards Committee, would only change the recording of Cahow said the "W-F" would be interpreted as a withdrawals following the current six-week "free student who had a legitimate excuse for withdrawing, but withdrawal" period. was still not passing. A student, with dean's permission, would still be able Frank DeLucia, chairman of the committee and to drop a course and have only a "W" recorded in place of sponsor of the policy change, said last night there are two a grade on his or her transcript, prior to the sixth week reasons this policy is desirable. cut-off. DeLucia, assistant professor of physics, said that under The current policy would also remain in effect allowing (Continued on page 12) Clark Cahow, registrar (Photo by Gary Reimer) a student to drop any course suring the first two weeks of a semester, with no permission required. -
Authenticity, Politics and Post-Punk in Thatcherite Britain
‘Better Decide Which Side You’re On’: Authenticity, Politics and Post-Punk in Thatcherite Britain Doctor of Philosophy (Music) 2014 Joseph O’Connell Joseph O’Connell Acknowledgements Acknowledgements I could not have completed this work without the support and encouragement of my supervisor: Dr Sarah Hill. Alongside your valuable insights and academic expertise, you were also supportive and understanding of a range of personal milestones which took place during the project. I would also like to extend my thanks to other members of the School of Music faculty who offered valuable insight during my research: Dr Kenneth Gloag; Dr Amanda Villepastour; and Prof. David Wyn Jones. My completion of this project would have been impossible without the support of my parents: Denise Arkell and John O’Connell. Without your understanding and backing it would have taken another five years to finish (and nobody wanted that). I would also like to thank my daughter Cecilia for her input during the final twelve months of the project. I look forward to making up for the periods of time we were apart while you allowed me to complete this work. Finally, I would like to thank my wife: Anne-Marie. You were with me every step of the way and remained understanding, supportive and caring throughout. We have been through a lot together during the time it took to complete this thesis, and I am looking forward to many years of looking back and laughing about it all. i Joseph O’Connell Contents Table of Contents Introduction 4 I. Theorizing Politics and Popular Music 1. -
Recommendations
Recommendations - Top 50 Essential Albums of the 80s ARTIST ALBUM 1927 ….ish ABC The Lexicon of Love AC/DC Back in Black Angels Dark Room Australian Crawl The Boys Light Up Australian Crawl Sirocco Billy Idol Whiplash Smile Billy Idol Rebel Yell Bon Jovi Slippery When Wet Bruce Springsteen The River Bruce Springsteen Born In The USA Cold Chisel East Cold Chisel Circus Animals Crowded House Crowded House Crowded House Temple Of Low Men Culture Club Colour By Numbers Cyndi Lauper She's So Unusual Daryl Braithwaite Edge David Bowie Let's Dance Def Leppard Hysteria Diana Ross Diana Dire Straits Brothers In Arms Divinyls What A Life Don Henley Building The Perfect Beast Duran Duran Rio Elton John Too Low For Zero Eurythmics Revenge Eurythmics Be Yourself Tonight Fine Young Cannibals The Raw & The Cooked Fleetwood Mac Tango In The Night Flowers Icehouse Frankie Goes To Hollywood Welcome To The Pleasuredome George Michael Faith Guns n' Roses Appetite For Destruction Hoodoo Gurus Blow Your Cool Hoodoo Gurus Mars Needs Guitars Hunters & Collectors Human Frailty Icehouse Man Of Colours Icehouse Primitive Man INXS Kick INXS The Swing INXS Listen Like Thieves Jimmy Barnes Freight Train Heart Jimmy Barnes For The Working Class Man John Farnham Whispering Jack John Farnham Age Of Reason John Lennon Double Fantasy John Mellencamp Scarecrow John Mellencamp Lonesome Jubilee John Mellencamp American Fool Johnny Diesel Johnny Diesel & The Injectors Kate Bush Hounds of Love Kylie Minogue Kylie Lionel Richie Can't Slow Down Madonna Like A Virgin Madonna True