Amherstcinema JUN - AUG 28 Amity St
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
{Download PDF} Goodbye 20Th Century: a Biography of Sonic
GOODBYE 20TH CENTURY: A BIOGRAPHY OF SONIC YOUTH PDF, EPUB, EBOOK David Browne | 464 pages | 02 Jun 2009 | The Perseus Books Group | 9780306816031 | English | Cambridge, MA, United States SYR4: Goodbye 20th Century - Wikipedia He was also in the alternative rock band Sonic Youth from until their breakup, mainly on bass but occasionally playing guitar. It was the band's first album following the departure of multi-instrumentalist Jim O'Rourke, who had joined as a fifth member in It also completed Sonic Youth's contract with Geffen, which released the band's previous eight records. The discography of American rock band Sonic Youth comprises 15 studio albums, seven extended plays, three compilation albums, seven video releases, 21 singles, 46 music videos, nine releases in the Sonic Youth Recordings series, eight official bootlegs, and contributions to 16 soundtracks and other compilations. It was released in on DGC. The song was dedicated to the band's friend Joe Cole, who was killed by a gunman in The lyrics were written by Thurston Moore. It featured songs from the album Sister. It was released on vinyl in , with a CD release in Apparently, the actual tape of the live recording was sped up to fit vinyl, but was not slowed down again for the CD release. It was the eighth release in the SYR series. It was released on July 28, The album was recorded on July 1, at the Roskilde Festival. The album title is in Danish and means "Other sides of Sonic Youth". For this album, the band sought to expand upon its trademark alternating guitar arrangements and the layered sound of their previous album Daydream Nation The band's songwriting on Goo is more topical than past works, exploring themes of female empowerment and pop culture. -
SST Defies Industry, Defines New Music
Page 1 The San Diego Union-Tribune October 1, 1995 Sunday SST Defies Industry, Defines New Music By Daniel de Vise KNIGHT-RIDDER NEWSPAPERS DATELINE: LOS ALAMITOS, CALIF. Ten years ago, when SST Records spun at the creative center of rock music, founder Greg Ginn was living with six other people in a one-room rehearsal studio. SST music was whipping like a sonic cyclone through every college campus in the country. SST bands criss-crossed the nation, luring young people away from arenas and corporate rock like no other force since the dawn of punk. But Greg Ginn had no shower and no car. He lived on a few thousand dollars a year, and relied on public transportation. "The reality is not only different, it's extremely, shockingly different than what people imagine," Ginn said. "We basically had one place where we rehearsed and lived and worked." SST, based in the Los Angeles suburb of Los Alamitos, is the quintessential in- dependent record label. For 17 years it has existed squarely outside the corporate rock industry, releasing music and spoken-word performances by artists who are not much interested in making money. When an SST band grows restless for earnings or for broader success, it simply leaves the label. Founded in 1978 in Hermosa Beach, Calif., SST Records has arguably produced more great rock bands than any other label of its era. Black Flag, fast, loud and socially aware, was probably the world's first hardcore punk band. Sonic Youth, a blend of white noise and pop, is a contender for best alternative-rock band ever. -
I Sing Because I'm Free‖: Developing a Systematic Vocal Pedagogy For
―I Sing Because I‘m Free‖: Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer D. M. A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Crystal Yvonne Sellers Graduate Program in Music The Ohio State University 2009 Dissertation Committee: Loretta Robinson, Advisor Karen Peeler C. Patrick Woliver Copyright by Crystal Yvonne Sellers 2009 Abstract ―I Sing Because I‘m Free‖: Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer With roots in the early songs and Spirituals of the African American slave, and influenced by American Jazz and Blues, Gospel music holds a significant place in the music history of the United States. Whether as a choral or solo composition, Gospel music is accompanied song, and its rhythms, textures, and vocal styles have become infused into most of today‘s popular music, as well as in much of the music of the evangelical Christian church. For well over a century voice teachers and voice scientists have studied thoroughly the Classical singing voice. The past fifty years have seen an explosion of research aimed at understanding Classical singing vocal function, ways of building efficient and flexible Classical singing voices, and maintaining vocal health care; more recently these studies have been extended to Pop and Musical Theater voices. Surprisingly, to date almost no studies have been done on the voice of the Gospel singer. Despite its growth in popularity, a thorough exploration of the vocal requirements of singing Gospel, developed through years of unique tradition and by hundreds of noted Gospel artists, is virtually non-existent. -
Savoy and Regent Label Discography
Discography of the Savoy/Regent and Associated Labels Savoy was formed in Newark New Jersey in 1942 by Herman Lubinsky and Fred Mendelsohn. Lubinsky acquired Mendelsohn’s interest in June 1949. Mendelsohn continued as producer for years afterward. Savoy recorded jazz, R&B, blues, gospel and classical. The head of sales was Hy Siegel. Production was by Ralph Bass, Ozzie Cadena, Leroy Kirkland, Lee Magid, Fred Mendelsohn, Teddy Reig and Gus Statiras. The subsidiary Regent was extablished in 1948. Regent recorded the same types of music that Savoy did but later in its operation it became Savoy’s budget label. The Gospel label was formed in Newark NJ in 1958 and recorded and released gospel music. The Sharp label was formed in Newark NJ in 1959 and released R&B and gospel music. The Dee Gee label was started in Detroit Michigan in 1951 by Dizzy Gillespie and Divid Usher. Dee Gee recorded jazz, R&B, and popular music. The label was acquired by Savoy records in the late 1950’s and moved to Newark NJ. The Signal label was formed in 1956 by Jules Colomby, Harold Goldberg and Don Schlitten in New York City. The label recorded jazz and was acquired by Savoy in the late 1950’s. There were no releases on Signal after being bought by Savoy. The Savoy and associated label discography was compiled using our record collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963. Some album numbers and all unissued album information is from “The Savoy Label Discography” by Michel Ruppli. -
College Voice Vol. 95 No. 5
Connecticut College Digital Commons @ Connecticut College 2011-2012 Student Newspapers 10-31-2011 College Voice Vol. 95 No. 5 Connecticut College Follow this and additional works at: https://digitalcommons.conncoll.edu/ccnews_2011_2012 Recommended Citation Connecticut College, "College Voice Vol. 95 No. 5" (2011). 2011-2012. 15. https://digitalcommons.conncoll.edu/ccnews_2011_2012/15 This Newspaper is brought to you for free and open access by the Student Newspapers at Digital Commons @ Connecticut College. It has been accepted for inclusion in 2011-2012 by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. ----- - -- -- ~-- ----. -- - - - GOBER 31 2011 VOllJiVlE XCI . ISSUE5 NEW LONDON. CONNEOK:UT Bieber Fever Strikes Again HEATHER HOLMES Biebs the pass because "Mistle- sian to sit down and listen to his 2009. In the course of two years, and will release his forthcom- Christmas album is that Bieber STAFF WRITER toe" is seriously catchy. music in earnest. This, I now re- the now 17-year-old released his ing album, Under the Mistletoe released his first single from Under the Mistletoe, aptly titled Unlike many of Bieber's big- Before this week, 1 had never alize, was a pretty gigantic mis- Iirst EP, My World (platinum in (which will likely go platinum), "Mistletoe," in mid-October. gest hits, it's the verses rather listened to Justin Bieber. Of take. I'm currently making up the U.S.), his first full-length al- on November 1. than the chorus on "Mistletoe" course, I had heard his biggest for lost time. -
Black Women's Music Database
By Stephanie Y. Evans & Stephanie Shonekan Black Women’s Music Database chronicles over 600 Africana singers, songwriters, composers, and musicians from around the world. The database was created by Dr. Stephanie Evans, a professor of Black women’s studies (intellectual history) and developed in collaboration with Dr. Stephanie Shonekon, a professor of Black studies and music (ethnomusicology). Together, with support from top music scholars, the Stephanies established this project to encourage interdisciplinary research, expand creative production, facilitate community building and, most importantly, to recognize and support Black women’s creative genius. This database will be useful for music scholars and ethnomusicologists, music historians, and contemporary performers, as well as general audiences and music therapists. Music heals. The purpose of the Black Women’s Music Database research collective is to amplify voices of singers, musicians, and scholars by encouraging public appreciation, study, practice, performance, and publication, that centers Black women’s experiences, knowledge, and perspectives. This project maps leading Black women artists in multiple genres of music, including gospel, blues, classical, jazz, R & B, soul, opera, theater, rock-n-roll, disco, hip hop, salsa, Afro- beat, bossa nova, soka, and more. Study of African American music is now well established. Beginning with publications like The Music of Black Americans by Eileen Southern (1971) and African American Music by Mellonee Burnim and Portia Maultsby (2006), -
Artist with Title Writer Label Cat Year Genre
Artist With Title Writer Label Cat Year Genre Notes Album Synopsis_c Anonymous Uncle Tom’s Cabin No Label 0 Comedy Anonymous - Uncle Tom’s Cabin, No Label , 78, ???? Anonymous The Secretary No Label 0 Comedy Anonymous - The Secretary, No Label , 78, ???? Anonymous Mr. Speaker No Label 0 Comedy Anonymous - Mr. Speaker, No Label , 78, ???? Anonymous The Deacon No Label 0 Comedy Anonymous - The Deacon, No Label , 78, ???? Anonymous First Swimming Lesson Good-Humor 10 0 Comedy Anonymous - First Swimming Lesson, Good-Humor 10, 78, ???? Anonymous Auto Ride Good-Humor 4 0 Comedy Anonymous - Auto Ride, Good-Humor 4, 78, ???? Anonymous Pioneer XXX, Part 1 No Label 0 Comedy Anonymous - Pioneer XXX, Part 1, No Label , 78, ???? Anonymous Pioneer XXX, Part 2 No Label 0 Comedy Anonymous - Pioneer XXX, Part 2, No Label , 78, ???? Anonymous Instrumental w/ lots of reverb No Label 0 R&B Anonymous - Instrumental w/ lots of reverb, No Label , 78, ???? Coy and Helen Tolbert There’s A Light Guiding Me Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - There’s A Light Guiding Me, Chapel Tone 775, 78, ???? Coy and Helen Tolbert Old Camp Meeting Days R. E. Winsett Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - Old Camp Meeting Days (R. E. Winsett), Chapel Tone 775, 78, ???? Donna Lane and Jack Milton Henry Brandon And His Orchestra Love On A Greyhound Bus Blane - Thompson - Stoll Imperial 1001 0 Vocal Donna Lane and Jack Milton - Love On A Greyhound Bus (Blane - Thompson - Stoll), Imperial 1001, 78, ???? G. M. Farley The Works Of The Lord Rural Rhythm 45-EP-551 0 Country G. -
Adyslipper Music by Women Table of Contents
.....••_•____________•. • adyslipper Music by Women Table of Contents Ordering Information 2 Arabic * Middle Eastern 51 Order Blank 3 Jewish 52 About Ladyslipper 4 Alternative 53 Donor Discount Club * Musical Month Club 5 Rock * Pop 56 Readers' Comments 6 Folk * Traditional 58 Mailing List Info * Be A Slipper Supporter! 7 Country 65 Holiday 8 R&B * Rap * Dance 67 Calendars * Cards 11 Gospel 67 Classical 12 Jazz 68 Drumming * Percussion 14 Blues 69 Women's Spirituality * New Age 15 Spoken 70 Native American 26 Babyslipper Catalog 71 Women's Music * Feminist Music 27 "Mehn's Music" 73 Comedy 38 Videos 77 African Heritage 39 T-Shirts * Grab-Bags 82 Celtic * British Isles 41 Songbooks * Sheet Music 83 European 46 Books * Posters 84 Latin American . 47 Gift Order Blank * Gift Certificates 85 African 49 Free Gifts * Ladyslipper's Top 40 86 Asian * Pacific 50 Artist Index 87 MAIL: Ladyslipper, PO Box 3124, Durham, NC 27715 ORDERS: 800-634-6044 (Mon-Fri 9-8, Sat'11-5) Ordering Information INFORMATION: 919-683-1570 (same as above) FAX: 919-682-5601 (24 hours'7 days a week) PAYMENT: Orders can be prepaid or charged (we BACK-ORDERS AND ALTERNATIVES: If we are FORMAT: Each description states which formats are don't bill or ship C.O.D. except to stores, libraries and temporarily out of stock on a title, we will automati available. LP = record, CS = cassette, CD = com schools). Make check or money order payable to cally back-order it unless you include alternatives pact disc. Some recordings are available only on LP Ladyslipper, Inc. -
Sonic Youth: Celebrity DIY
Essays — Peer Reviewed ZoneModa Journal. Vol. 7 (2017) https://doi.org/10.6092/issn.2611-0563/7585 ISSN 2611-0563 Sonic Youth: celebrity DIY Alice Militello Pubblicato: 29 dicembre 2017 Abstract In New York City’s early ’80s music scene and beyond, the band Sonic Youth represents a special case of the celebrity’s concept. It cannot be reduced to the record sales or scandals, like other famous people. They don’t have the typical self-destructive streak of the stars of the show business, which is the basis of the fortune and, at the same time, the defeat of other musicians. They don’t even have the cult of personality, which has destabilized other crews of the time. However Sonic Youth, during their three decades of career, have been able to find a space in the music scene, to involve a broad segment of audience and lovers; becoming a kind of model for younger generations of musicians. Furthermore, the members of Sonic Youthcan be considered such as influencers ahead of his time, thanks to their ability to find new talents. The present study aims to analyze the concept of celebrity applied to the Sonic Youth language, from 1981 (starting year) to 1994, the year of Experimental Jet Set, Trash No Star album, which brings the group to that DIY (Do-It-Yourself) punk ethics that denotes them from the beginning; to plot the New York’s environment in which they fit; and how the entry into the mainstream world changes the aesthetics of the group. In other words, the research is a breakthrough of the band’s long career, marking the highlights that made them the Sonic Youth. -
Friday, September 8, 2006
Rose-Hulman Institute of Technology Rose-Hulman Scholar The Rose Thorn Archive Student Newspaper Fall 9-8-2006 Volume 42 - Issue 01 - Friday, September 8, 2006 Rose Thorn Staff Rose-Hulman Institute of Technology, [email protected] Follow this and additional works at: https://scholar.rose-hulman.edu/rosethorn Recommended Citation Rose Thorn Staff, "Volume 42 - Issue 01 - Friday, September 8, 2006" (2006). The Rose Thorn Archive. 183. https://scholar.rose-hulman.edu/rosethorn/183 THE MATERIAL POSTED ON THIS ROSE-HULMAN REPOSITORY IS TO BE USED FOR PRIVATE STUDY, SCHOLARSHIP, OR RESEARCH AND MAY NOT BE USED FOR ANY OTHER PURPOSE. SOME CONTENT IN THE MATERIAL POSTED ON THIS REPOSITORY MAY BE PROTECTED BY COPYRIGHT. ANYONE HAVING ACCESS TO THE MATERIAL SHOULD NOT REPRODUCE OR DISTRIBUTE BY ANY MEANS COPIES OF ANY OF THE MATERIAL OR USE THE MATERIAL FOR DIRECT OR INDIRECT COMMERCIAL ADVANTAGE WITHOUT DETERMINING THAT SUCH ACT OR ACTS WILL NOT INFRINGE THE COPYRIGHT RIGHTS OF ANY PERSON OR ENTITY. ANY REPRODUCTION OR DISTRIBUTION OF ANY MATERIAL POSTED ON THIS REPOSITORY IS AT THE SOLE RISK OF THE PARTY THAT DOES SO. This Book is brought to you for free and open access by the Student Newspaper at Rose-Hulman Scholar. It has been accepted for inclusion in The Rose Thorn Archive by an authorized administrator of Rose-Hulman Scholar. For more information, please contact [email protected]. R OSE -H ULMAN I NSTITUTE OF T ECHNOLOGY T ERRE H AUTE , I NDIANA Friday, September 8, 2006 Volume 42, Issue 1 “I’m here for the students” News Briefs Jakubowski answers questions and concerns at open forum By Ryan Schultz Fred Webber As for making changes Band sounded terrific. -
Gerri Hirshey and Anthony Bozza
Record: 1 Title: Mothers of invention. (cover story) Authors: Hirshey, Gerri Bozza, Anthony Source: Rolling Stone; 11/13/97 Issue 773, p44, 5p, 9bw Persistent link to this record: http://0-search.epnet.com.library.lib.asu.edu:80/direct.asp?an=9711053726&db=a Database: Academic Search Elite MOTHERS OF INVENTION Women do talk; perhaps it's the intimacies and isolations of domestic life that have made them queens of the cut-to-the-bone colloquial. And before they dared press it on vinyl and send it to market, women had long told one another the unvarnished truth. If you think about it, the blues was the first serious public consciousness raising -- frank, sexy and mercifully non-PC. Since the first blues recordings were made by and for African-Americans, it wasn't necessary to deeply encode the plain facts. There is no mistaking what Bessie Smith meant when she sang, "I need a little sugar in my bowl." America's very first rush of popular-record buying was ignited in the '20s by the talents of black female blues artists who were telling it like it was, is and damn well ought to be. Folks just had to have it, at home and in dirt-floor juke joints. Call these women the true Mothers of Invention - - blues pioneers whose echoes are still heard in the most avant singer/songwriters and in the primmest Orlon'd girl groups. Like the best of rock, theirs was not a studied sound. Largely recording in the South, in makeshift studios, they were strong women singing hard truths in a 12-bar blues format. -
Buying Used Records Once Been Hers
"""r girl has faded away, I still own a copy of one of her favorite records that might've II Buying Used Records once been hers. That cassette has more value to me because of that then it ever Miles W. Curtiss would've had I bought it new. fl A few years ago, I was given a stockpile of rare and prominent As much as I complain about the ill effects of commerce on our socie punk/new wave records. Amongst the collection were several records by a band ty, I must admit I have a soft spot for certain aspects of it. The oddest side effect called Ultravox. While I still think their first record is exceptional and exciting, of our programmed drive to constantly buy is a certain loss of shopping. Of I found most of their later ones to be annoying and unlistenable. I even went as course, people still buy things all the time, but we don't really shop anymore. We far as to dump one of those records on an obscure fire escape on OSU campus, don't entertain that wonderful ritual of walking into a store with no real buying because I couldn't even stand to be around it. The very next day I was telling on agenda, spending hours circling the same comers of the shop until we come of my friends about it when the most beautiful woman I will ever see in my life across some secret gem that we never would've thought to discover on our own: came over to me because she had overheard me mention the band's name.