Teacher Guide 80S Mix Tape with the NAC Orchestra
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Excesss Karaoke Master by Artist
XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not -
“Grunge Killed Glam Metal” Narrative by Holly Johnson
The Interplay of Authority, Masculinity, and Signification in the “Grunge Killed Glam Metal” Narrative by Holly Johnson A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario © 2014, Holly Johnson ii Abstract This thesis will deconstruct the "grunge killed '80s metal” narrative, to reveal the idealization by certain critics and musicians of that which is deemed to be authentic, honest, and natural subculture. The central theme is an analysis of the conflicting masculinities of glam metal and grunge music, and how these gender roles are developed and reproduced. I will also demonstrate how, although the idealized authentic subculture is positioned in opposition to the mainstream, it does not in actuality exist outside of the system of commercialism. The problematic nature of this idealization will be examined with regard to the layers of complexity involved in popular rock music genre evolution, involving the inevitable progression from a subculture to the mainstream that occurred with both glam metal and grunge. I will illustrate the ways in which the process of signification functions within rock music to construct masculinities and within subcultures to negotiate authenticity. iii Acknowledgements I would like to thank firstly my academic advisor Dr. William Echard for his continued patience with me during the thesis writing process and for his invaluable guidance. I also would like to send a big thank you to Dr. James Deaville, the head of Music and Culture program, who has given me much assistance along the way. -
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
13Th FLOOR ELEVATORS
13th FLOOR ELEVATORS With such a seminal album, it’s not surprising that the cover for The Psychedelic Sounds Of The 13th Floor Elevators (1966 : International Artists Artwork : John Cleveland) has been borrowed such a lot, often by psych upstarts (also leaning on the music) and CD compliers wanting some of the early sixties garage ambience to rub off on them. The result is a great display of primary colours. Artist : The Suicidal Flowers Title : The Psychedevilic Sounds Of The Suicidal Flowers / 1997 Album / Suicidal Flowers Artwork : Unknown Artist : Artist : Various Various Artists Artists Title : The Title : The Pseudoteutonic Psychedelic Sounds Of The Sounds Of The Prae-Kraut Sonic Cathedral Pandaemonium # / 2010 14 / 2003 Album / Sonic Album / Lost Cathedral Continence Recordings Artwork / Artwork : Jimmy Reinhard Gehlen Young - Andrea Duwa - Splash 1 COVERED! PAGE 6 1 LEONA ANDERSON ASH RA TEMPEL Leona Anderson’s 1958 long-player Music To Suffer By (Unique Records) This copy of Ash Ra Tempel’s 1973 album is a gem, though I must admit I’ve never been able to get vinyl albums Starring Rosi lovingly recreates Peter to shatter quite like that (or the Buzzcocks TV show intro). The Makers Geitner’s original (cover photo : Claus have actually copied the original image for their EP and then just Kranz). added a new label design. Artist : Magic Aum Gigi Title : Starring Keiko/ 2000? Album / Fractal Records Artwork : Peter Artist : The Geitner (Photo : Makers Magic Aum Gigi) Title : Music To Suffer By / 1995 3 track EP / Estrus Wreckers Artwork : Art Chantry Artist : Smiff-N- Artist : Pavement Wessum Title : Watery, Title : Dah Shinin’ Domestic / 1992 / 1995 EP / Matador Album / Wreck Records Records Artwork : Unknown Artwork : C.M.O.N. -
WEB KARAOKE EN-NL.Xlsx
ARTIEST TITEL 10CC DREADLOCK HOLIDAY 2 LIVE CREW DOO WAH DIDDY 2 UNLIMITED NO LIMIT 3 DOORS DOWN KRYPTONITE 4 NON BLONDES WHAT´S UP A HA TAKE ON ME ABBA DANCING QUEEN ABBA DOES YOUR MOTHER KNOW ABBA GIMMIE GIMMIE GIMMIE ABBA MAMMA MIA ACE OF BASE DON´T TURN AROUND ADAM & THE ANTS STAND AND DELIVER ADAM FAITH WHAT DO YOU WANT ADELE CHASING PAVEMENTS ADELE ROLLING IN THE DEEP AEROSMITH LOVE IN AN ELEVATOR AEROSMITH WALK THIS WAY ALANAH MILES BLACK VELVET ALANIS MORISSETTE HAND IN MY POCKET ALANIS MORISSETTE IRONIC ALANIS MORISSETTE YOU OUGHTA KNOW ALBERT HAMMOND FREE ELECTRIC BAND ALEXIS JORDAN HAPPINESS ALICIA BRIDGES I LOVE THE NIGHTLIFE (DISCO ROUND) ALIEN ANT FARM SMOOTH CRIMINAL ALL NIGHT LONG LIONEL RICHIE ALL RIGHT NOW FREE ALVIN STARDUST PRETEND AMERICAN PIE DON MCLEAN AMY MCDONALD MR ROCK & ROLL AMY MCDONALD THIS IS THE LIFE AMY STEWART KNOCK ON WOOD AMY WINEHOUSE VALERIE AMY WINEHOUSE YOU KNOW I´M NO GOOD ANASTACIA LEFT OUTSIDE ALONE ANIMALS DON´T LET ME BE MISUNDERSTOOD ANIMALS WE GOTTA GET OUT OF THIS PLACE ANITA WARD RING MY BELL ANOUK GIRL ANOUK GOOD GOD ANOUK NOBODY´S WIFE ANOUK ONE WORD AQUA BARBIE GIRL ARETHA FRANKLIN R-E-S-P-E-C-T ARETHA FRANKLIN THINK ARTHUR CONLEY SWEET SOUL MUSIC ASWAD DON´T TURN AROUND ATC AROUND THE WORLD (LA LA LA LA LA) ATOMIC KITTEN THE TIDE IS HIGH ARTIEST TITEL ATOMIC KITTEN WHOLE AGAIN AVRIL LAVIGNE COMPLICATED AVRIL LAVIGNE SK8TER BOY B B KING & ERIC CLAPTON RIDING WITH THE KING B-52´S LOVE SHACK BACCARA YES SIR I CAN BOOGIE BACHMAN TURNER OVERDRIVE YOU AIN´T SEEN NOTHING YET BACKSTREET BOYS -
Hanging on to the Edges Hanging on to the Edges
DANIEL NETTLE Hanging on to the Edges Hanging on to the Edges Essays on Science, Society and the Academic Life D ANIEL Essays on Science, Society I love this book. I love the essays and I love the overall form. Reading these essays feels like entering into the best kind of intellectual conversati on—it makes me want and the Academic Life to write essays in reply. It makes me want to get everyone else reading it. I almost N never feel this enthusiasti c about a book. ETTLE —Rebecca Saxe, Professor of Cogniti ve Science at MIT What does it mean to be a scien� st working today; specifi cally, a scien� st whose subject ma� er is human life? Scien� sts o� en overstate their claim to certainty, sor� ng the world into categorical dis� nc� ons that obstruct rather than clarify its complexi� es. In this book Daniel Ne� le urges the reader to unpick such DANIEL NETTLE dis� nc� ons—biological versus social sciences, mind versus body, and nature versus nurture—and look instead for the for puzzles and anomalies, the points of Hanging on to the Edges connec� on and overlap. These essays, converted from o� en humorous, some� mes autobiographical blog posts, form an extended medita� on on the possibili� es and frustra� ons of the life scien� fi c. Pragma� cally arguing from the intersec� on between social and biological sciences, Ne� le reappraises the virtues of policy ini� a� ves such as Universal Basic Income and income redistribu� on, highligh� ng the traps researchers and poli� cians are liable to encounter. -
Discography of the Turbo Label
The Labels of Joe and Sylvia Robinson The All-Platinum Label was formed by Joe and Sylvia Robinson, husband and wife in New Jersey in 1969. Sylvia Robinson was one-half of the duo Mickey and Sylvia of “Love is Strange” fame. George Kerr and the Robinson’s were responsible for A&R. Joe Robinson had parlayed a music publishing company that he established years before in New York into the All-Platinum, Stang, and Turbo record labels. Artists included his wife Sylvia, The Moments, Brother to Brother, Shirley and Company, Linda Jones, Jack McDuff and Chuck Jackson The labels were All-Platinum, Stang, Turbo and Vibration. All-Platinum distributed Charisma (US) which released Malcolm X recordings, More which released Eldridge Cleaver recordings and Maple which released R&B and Psychedelic. In the late 70’s All-Platinum went bankrupt. The Robinson’s then formed Sugar Hill Records in 1979 with Milton Malden and financial funding of Morris Levy, the owner of Roulette Records and pioneered Rap Music The Sugar Hill label's first record was "Rapper's Delight" (1979) by The Sugarhill Gang, which was also the first Top 40 hip hop single. Afterwards Grandmaster Flash, The Sequence, Funky Four Plus One, Crash Crew, Kool Moe Dee, The West Street Mob, and Melle Mel joined the label. Sugar Hill's in-house producer and arranger was Clifton "Jiggs" Chase. The in-house recording engineer was Steve Jerome. Al Goodman, leader of The Moments, ran the show and George Kerr was a major producer. Joe and Sylvia's sons Joey and Leland were also active in the business. -
25 Actual Hits from the 80S That Mr. Moderator Liked
25 Actual Hits From The 80s That Mr. Moderator Liked Even During Those Days When He Was "Too Cool for School": Song Artist Suggested by: 1.) Don't You Want Me Human League Mr. Moderator 2.) True Spandau Ballet Mr. Moderator 3.) Missing You John Waite Mr. Moderator 4.) Like a Virgin Madonna Mr. Moderator 5.) Temptation New Order Mr. Moderator 6.) What You Need INXS Mr. Moderator 7.) Tainted Love Soft Cell funoka 8.) I Melt with You Modern English Mr. Moderator 9.) Faith George Michael Mr. Moderator 10.) She Drives Me Crazy Fine Young Cannibals Mr. Moderator 11.) Always Something There to... Naked Eyes Ohmstead 12.) Age of Consent New Order Slim Jade 13.) Rhythm is Gonna Get You Gloria Estefan Slim Jade 14.) (You Gotta) Fight for Your Right... Beastie Boys Mr. Moderator 15.) So Alive Love and Rockets andyr 16.) Looking for a New Love Jodi Watley jeangray 17.) Pass the Dutchie Musical Youth alexmagic 18.) Antmusic Adam and the Ants alexmagic 19.) Goody Two Shoes Adam Ant alexmagic 20.) Love Plus One Haircut 100 andyr 21.) Paper in Fire John Cougar Melloncamp Mr. Moderator 22.) (Keep Feeling) Fascination Human League alexmagic 23.) Material Girl Madonna Mr. Moderator 24.) Sweet Dreams (Are Made of This) Eurythmics alexmagic 25.) Church of the Poison Mind Culture Club Mr. Moderator Rock Town Hall 80s Master Playlist Song Artist Suggested by: 1.) A Message to You Rudy The Specials ladymisskirroyale 2.) A New England Kristy MacColl Suburban kid 3.) AEIOU Sometimes Y Ebn-Ozn jeangray 4.) Addicted to Love Robert Palmer ladymisskirroyale 5.) Ah! Leah! Donnie Iris Sgt. -
Britten Spring Symphony Welcome Ode • Psalm 150
BRITTEN SPRING SYMPHONY WELCOME ODE • PSALM 150 Elizabeth Gale soprano London Symphony Chorus Alfreda Hodgson contralto Martyn Hill tenor London Symphony Orchestra Southend Boys’ Choir Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Benjamin Britten (1913 – 1976) Spring Symphony, Op. 44* 44:44 For Soprano, Alto and Tenor solos, Mixed Chorus, Boys’ Choir and Orchestra Part I 1 Introduction. Lento, senza rigore 10:03 2 The Merry Cuckoo. Vivace 1:57 3 Spring, the Sweet Spring. Allegro con slancio 1:47 4 The Driving Boy. Allegro molto 1:58 5 The Morning Star. Molto moderato ma giocoso 3:07 Part II 6 Welcome Maids of Honour. Allegretto rubato 2:38 7 Waters Above. Molto moderato e tranquillo 2:23 8 Out on the Lawn I lie in Bed. Adagio molto tranquillo 6:37 Part III 9 When will my May come. Allegro impetuoso 2:25 10 Fair and Fair. Allegretto grazioso 2:13 11 Sound the Flute. Allegretto molto mosso 1:24 Part IV 12 Finale. Moderato alla valse – Allegro pesante 7:56 3 Welcome Ode, Op. 95† 8:16 13 1 March. Broad and rhythmic (Maestoso) 1:52 14 2 Jig. Quick 1:20 15 3 Roundel. Slower 2:38 16 4 Modulation 0:39 17 5 Canon. Moving on 1:46 18 Psalm 150, Op. 67‡ 5:31 Kurt-Hans Goedicke, LSO timpani Lively March – Lightly – Very lively TT 58:48 4 Elizabeth Gale soprano* Alfreda Hodgson contralto* Martyn Hill tenor* The Southend Boys’ Choir* Michael Crabb director Senior Choirs of the City of London School for Girls† Maggie Donnelly director Senior Choirs of the City of London School† Anthony Gould director Junior Choirs of the City of London School -
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. -
Michael Fires Off `Cop' Hit Investment," Adds Lippman
MENT Michael Fires Off `Cop' Hit investment," adds Lippman. "He's head. He's a fan of Eddie Murphy, CONE TO ONE J BY STEVE GEIT one of its major artists, and it's ob- so we played it for [film producers] NEW YORK With radio stations viously concerned to make sure his Don Simpson and Jerry Bruck - Richard Branson already playing George Michael's "I records go out to radio and that his heimer and they loved it." Want Your Sex" off the MCA image is out there. CBS was kind Of the potential dangers of being discusses Virgin's soundtrack "Beverly Hills Cop II," enough to allow us to put the song associated with a movie, Lippman Columbia's promotional staff rush - on the MCA soundtrack, but we says, "The biggest possible minus is renewed venture released the single last week. were always concerned that it had that the movie isn't well received, into the U.S. Sources say Columbia was forced the rights to the single." and therefore people don't take the to switch gears after MCA serviced According to Lippman, "I Want music seriously. In this case, we advance copies of the soundtrack Your Sex" provides an "excellent saw the movie, thought it was Richard Branson, head of the dous feather in the cap for every- two weeks ahead of its May 18 com- opportunity" to keep Michael in the great, and knew it would be a block- ever -expanding Virgin empire, body here that he decided to leave mercial release. MCA was eager to public's eye while he completes his buster. -
An Original Album} an Honors Thesis (HONR 499} by Grant
The College Experience (An Original Album} An Honors Thesis (HONR 499} by Grant Armstrong Thesis Advisor Dr. Laurie Lindberg Ball State University Muncie, Indiana April2018 Expected Date of Graduation May 2018 Abstract Music has always been a way for people to express feelings and experiences. College is a major part of many people's lives, and everyone has a different experience. There are many situations, however, that a lot of college students experience. I created an album titled "The College Experience," consisting of three songs which I feel highlight some of the struggles and landmarks of college. The songs are "Undeclared," "Leftovers," and "What Have You Learned?" Each one describes a college student through a different experience in college. Acknowledgments I would like to thank Dr. Laurie Lindberg for advising me through this project. She provided much needed encouragement during times when I felt my songs weren't very good, and she kept me on track to help me finish on time. SrC-o/1 Under3rc,d The~.,.::-_, LD d. '-/(j;~ . Ll/ :J.-.0/lf' Process Analysis . r17G I first became interested in music when I was in middle school. The first instrument I learned to play was the drums. I took lessons for a few years and even played in my church's worship band for a while. Around this time, I began to play around on the piano, and I liked listening to songs and then figuring out how to play them. I even started writing original songs . The first song I ever wrote was for my brother when he went off to college.