Disco Hits Vol 2
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Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020)
Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020) Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?) Exclusive Record Store Day version pressed on 7" picture disc! Top song on Billboard's 375Media Ace Of Base The Sign 7" 1 !K7 Pop SI 174427 730003726071 D 1994 Year End Chart. [ENG]Pink heavyweight 180 gram audiophile double vinyl LP. Not previously released on vinyl. 'Nam Myo Ho Ren Ge Kyo' was first released on CD only in 2007 by Ace Fu SPACE AGE 375MEDIA ACID MOTHERS TEMPLE NAM MYO HO REN GE KYO (RSD PINK VINYL) LP 2 PSYDEL 139791 5023693106519 AT: 375 / CH: Irascible Records and now re-mastered by John Rivers at Woodbine Street Studio especially for RECORDINGS vinyl Out of print on vinyl since 1984, FIRST official vinyl reissue since 1984 -Chet Baker (1929 - 1988) was an American jazz trumpeter, actor and vocalist that needs little introduction. This reissue was remastered by Peter Brussee (Herman Brood) and is featuring the original album cover shot by Hans Harzheim (Pharoah Sanders, Coltrane & TIDAL WAVES 375MEDIA BAKER, CHET MR. B LP 1 JAZZ 139267 0752505992549 AT: 375 / CH: Irascible Sun Ra). Also included are the original liner notes from jazz writer Wim Van Eyle and MUSIC two bonus tracks that were not on the original vinyl release. This reissue comes as a deluxe 180g vinyl edition with obi strip_released exclusively for Record Store Day (UK & Europe) 2020. * Record Store Day 2020 Exclusive Release.* Features new artwork* LP pressed on pink vinyl & housed in a gatefold jacket Limited to 500 copies//Last Tango in Paris" is a 1972 film directed by Bernardo Bertolucci, saxplayer Gato Barbieri' did realize the soundtrack. -
BTN6916 LMW NORTHERN SOUL ENTS GUIDE SK.Indd
22-25 SEPT 2017 20-23 SEPT 2019 SKEGNESS RESORT GLORIACELEBRATING 60 YEARS JONES OF MOTOWN BOBBY BROOKS WILSON BRENDA HOLLOWAY EDDIE HOLMAN CHRIS CLARK THE FLIRTATIONS TOMMY HUNT THE SIGNATURES FT. STEFAN TAYLOR PAUL STUART DAVIES•JOHNNY BOY PLUS MANY MORE WELCOME TO THE HIGHLIGHTS As well as incredible headliners and legendary DJs, there are loads WORLD’S BIGGEST AND more soulful events to get involved in: BEST NORTHERN SOUL ★ Dance competition with Russ Winstanley and Sharon Sullivan ★ Artist meet and greets SURVIVORS WEEKENDER ★ Shhhh... Battle of the DJs Silent Disco ★ Tune in to Northern Soul BBC – Butlin’s Broadcasting Company Original Wigan Casino jock and founder of the Soul Survivors Weekender, with Russ! Russ Winstanley, has curated another jam-packed few days for you. It’s an ★ incredible line-up with soul legends fl own in from around the world plus a Northern Soul Awards and Dance Competition host of your favourite soul spinners. We’re celebrating Motown Records 60th Anniversary in 2019. To mark this special occasion we have some of the original Motown ladies gracing the stage to celebrate this milestone birthday. SATURDAY 14.00 REDS Meet and Greet with Eddie Holman, Bobby Brooks Wilson, Tommy Hunt Brenda Holloway, Chris Clark and Gloria Jones will also be joining us for a Q&A session, together with Motown afi cionado, Sharon Davies, on Sunday afternoon in Reds. Not to be missed!! SUNDAY 14.00 REDS Don’t miss the Northern Soul dance classes, DJ Battles, Northern Soul Q&A with Brenda Holloway, Chris Clark, Gloria Jones and Sharon Davis awards and dance competitions across the weekend and be sure to look Hosted by Russ Winstanley and Ian Levine, followed by a meet and greet out for limited edition, souvenir vinyl and merch in the Skyline record stall. -
Spanish Language Broadcasting Collection
Spanish Language Broadcasting Collection NMAH.AC.1404 IrMarie Fraticelli, Edwin A. Rodriguez, and Justine Thomas This collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 4 Series 1: Gilda Mirós, (bulk 1950 - 2016, undated) (bulk 1950 - 2016, undated).................................................................................................................... 4 Series 2: Hector Aguilar, 1940 - 2002, undated.................................................... -
KD-ADV49/KD-AVX44 RÉCEPTEUR DVD/CD RECEPTOR CONDVD/CD DVD/CD RECEIVER Pour L’Installationetlesraccordements,Seréféreraumanuelséparé
ENGLISH DVD/CD RECEIVER RECEPTOR CON DVD/CD RÉCEPTEUR DVD/CD ESPAÑOL KD-ADV49/KD-AVX44 FRANÇAIS For canceling the display demonstration, see page 7. Para cancelar la demonstración en pantalla, consulte la página 7. Pour annuler la démonstration des affichages, référez-vous à la page 7. For installation and connections, refer to the separate manual. For customer Use: Para la instalación y las conexiones, refiérase al manual separado. Enter below the Model No. Pour l’installation et les raccordements, se référer au manuel séparé. and Serial No. which are located on the top or bottom of the cabinet. Retain this information for future INSTRUCTIONS reference. MANUAL DE INSTRUCCIONES MANUEL D’INSTRUCTIONS Model No. Serial No. LVT1797-001B [J/C] CCover_KDADV49AVX44[JC].inddover_KDADV49AVX44[JC].indd 2 008.2.188.2.18 110:45:380:45:38 AAMM Thank you for purchasing a JVC product. Please read all instructions carefully before operation, to ensure your complete understanding and to obtain the best possible performance from the unit. IMPORTANT FOR LASER PRODUCTS 1. CLASS 1 LASER PRODUCT ENGLISH 2. CAUTION: Do not open the top cover. There are no user serviceable parts inside the unit; leave all servicing to qualified service personnel. 3. CAUTION: (For U.S.A.) Visible and/or invisible class II laser radiation when open. Do not stare into beam. (For Canada) Visible and/or invisible class 1M laser radiation when open. Do not view directly with optical instruments. 4. REPRODUCTION OF LABEL: CAUTION LABEL, PLACED OUTSIDE THE UNIT. INFORMATION (For U.S.A.) WARNINGS: This equipment has been tested and found to To prevent accidents and damage comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. -
1 "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music S
"Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music Studies, 20, 3, 2008, 276-329 This story begins with a skinny white DJ mixing between the breaks of obscure Motown records with the ambidextrous intensity of an octopus on speed. It closes with the same man, debilitated and virtually blind, fumbling for gospel records as he spins up eternal hope in a fading dusk. In between Walter Gibbons worked as a cutting-edge discotheque DJ and remixer who, thanks to his pioneering reel-to-reel edits and contribution to the development of the twelve-inch single, revealed the immanent synergy that ran between the dance floor, the DJ booth and the recording studio. Gibbons started to mix between the breaks of disco and funk records around the same time DJ Kool Herc began to test the technique in the Bronx, and the disco spinner was as technically precise as Grandmaster Flash, even if the spinners directed their deft handiwork to differing ends. It would make sense, then, for Gibbons to be considered alongside these and other towering figures in the pantheon of turntablism, but he died in virtual anonymity in 1994, and his groundbreaking contribution to the intersecting arts of DJing and remixology has yet to register beyond disco aficionados.1 There is nothing mysterious about Gibbons's low profile. First, he operated in a culture that has been ridiculed and reviled since the "disco sucks" backlash peaked with the symbolic detonation of 40,000 disco records in the summer of 1979. -
Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity
Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity 2 Copyright © Sarah Thornton 1995 The right of Sarah Thornton to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. First published in 1995 by Polity Press in association with Blackwell Publishers Ltd. Reprinted 1996, 1997, 2001 Transferred to digital print 2003 Editorial office: Polity Press 65 Bridge Street Cambridge CB2 1UR, UK Marketing and production: Blackwell Publishers Ltd 108 Cowley Road Oxford OX4 1JF, UK All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher’s prior consent in any 3 form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. ISBN: 978-0-7456-6880-2 (Multi-user ebook) A CIP catalogue record for this book is available from the British Library. Typeset in 10.5 on 12.5 pt Palatino by Best-set Typesetter Ltd, Hong Kong Printed and bound in Great Britain by Marston Lindsay Ross International -
Bearmach Accessories
LAND ROVER Parts and Accessories suitable for All Land Rovers from BEARMACH Ltd SERIES 2a & 3 FRONT END PROTECTION All of our black, nylon coated steel Nudge Bars, Bull Bars and ‘A’ frames give an aggressive and purposeful look and offer improved front end protection due to their strength. Spot light mounting points are also included on accessories most. The units bolt to the existing holes on the chassis/bumper although some cutting of the front spoiler may be required. BA 119 BA 009 nudge bars INTEGRAL BUMPER & NUDGE BAR Replaces the existing bumper & uses existing fixings. Flame cut profiles with wraparounds mounted to a 14 gauge steel box bumper with a lower protector bar. 11/2” (37mm) diameter tube. Box section 21/2” x 4" (63 x 100mm). Shot blasted, etched and then black nylon coated for superior finish and TUBULAR “A” FRAME NUDGE BAR durability. This is the ultimate coating finish which endures all conditions. Weight: – 26kgs. Robust “A” Frame bar suitable for Series 3. Manufactured in 2" diameter 14 Fits all models (including 90/110). gauge steel. To fit to Series vehicles 8 holes need to be drilled. Also features Spotlight mounting facility. Will also fit air conditioned vehicles. NOTE: For vehicles fitted with side lift jacks use extension BA 2140 (optional) NOTE: For vehicles fitted with side lift jacks use extension BA 2140 (optional) BA 009 – Integral Bumper and Nudge Bar BA 119 Tubular ‘A’ Frame Nudge Bar, Black Nylon Coated. PROTECTION BAR ALSO AVAILABLE BA 119S Tubular ‘A’ Frame Nudge Bar, Polished Stainless Steel. IN STAINLESS STEEL Spotlight mounting brackets to the rear PROTECTION BAR A simple tubular bar, made from heavy gauge steel tubing. -
Notre Dame Collegiate Jazz Festival Program, 1981
Archives of the University of Notre Dame Archives of the University of Notre Dame .. ~@~@@@@@~@@@@@@@@@@@@@@@@@@@@@@@@@@~~ ~ ~ ~ ~ ~ ~ ~ ~ MUSIC, ENTERTAINMENT & MORE. .. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ o=oa ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ FOR THE BEST ENTERTAINMENT: ~ ~ in recorded sounds - ~ ~ JUST FOR THE RECORD ~ ~ ~ ~ ~ ~ in live music - ~ Festival Staff ~ ~e ~ Chairman Tim Griffin ~ ~l( ~ Assistant Kevin Bauer Advertising ......................................................... .. Tom Rosshirt ~ UVlUSIC BOX AfB ~ Assistant Mike Mlynski Applications Jane Andersen Assistant Margie Smith ~ ~. ~ Graphics ........................................................... .. Sandy Pancoe Artists Pat Brunner, Jeff Loustau ~ in Mishawaka ~ High School Festival. ....................................... .. Bob O'Donnell, Joe Staudt ~ ~ ~ Master of Ceremonies .............................................. .. Barry Stevens @ Photography Cathy Donovan, Tim Griffin, Helen Odar . ~ ~ ~ Prizes ...................... James Dwyer Assistants. ........................................ .. Veronica Crosson, Vivian Sierra ~ Enjoy the best of both worlds, ! Production .. .......................................................... Kevin Magers Program Tom Krueger ~ with the best of people! --- ~ Assistants ........................ .. Scott Erbs, Tim Keyes, Scott O'Grady, Doug Ventura ~ ~ Publicity ....................................•........................ Mary Murphy ~ o Assistants Lynn Van Housen, John McBride, Lisa Scapellati ~ J F T R (1leUVlUSIC BOX ~ Security Ron Merriweather -
Memorabilia. Collecting Sounds With…
Research > MEMORABILIA. COLLECTING MEMORABILIA. COLLECTING SOUNDS WITH… Memorabilia. Collecting Sounds with... is a new series from SOUNDS WITH… Ràdio Web MACBA that seeks to break through to unearth and reveal private collections of music and sound memorabilia . The William Bennett documentary series is being presented this spring at the Museum of Contemporary Art of Barcelona (MACBA) in a prospective conference/listening format, where four collectors have been 01. Conversation with William Bennett on his sound invited to share the concerns and particular characteristics that collection have driven them to build their personal collections. This is a historiography of sound collecting that reveals the unseen and When and why did you start collecting sound and music? What led you to become a passionate work of the amateur collector while reconstructing record/music collector and how well-defined or limited to a specific area of multiple parallel histories such as the evolution of recording exploration is your collection? formats, archival issues, the sound collecting market and the evolution of musical styles beyond the marketplace. Since there was no means of playing music at home as a young teenager, there This is a conversation by email between William Bennett and was little point in collecting music at that age – but I used to love reading about Anna Ramos to prepare his forthcoming radio show at Ràdio Web music in books and magazines, and imagining what it sounded like from the MACBA, which took place on March 2011. descriptions or reviews. This most likely had a bearing on the odd direction that my tastes would subsequently take, since when I was finally able to hear stuff at the age of about 16 or so, I was deeply disappointed at music's failure to live up to my grandiose expectations. -
Phil Thornton Interview with Tim Lawrence
Phil Thornton interview with Tim Lawrence, “Love is the Message”, Swine, July 2005 In the last issue of Swine we reviewed Tim Lawrence’s superb history of disco, Love Saves The Day. Tim kindly agreed to answer some of our questions and we will hopefully be getting him up to the north west to talk about ‘Love Saves The Day’ and his other projects; he’s currently writing the eighties follow-up to LSD and a biography of Arthur Russell as well as leading the BA Music Culture: Theory & Production at University of East London. Tim has also written liner notes for the likes of David Mancuso, Marshall Jefferson and Masters at Work LPs and helps co-ordinate the London Loft parties. He’s also just had his second kid. In short he’s a very busy fellar, so we’d like to extend our porcine thanks to him and wish him all the best with his future projects. Swine: Disco has been a much maligned and misunderstood musical genre, what gave you the impetus to write LSD? Tim Lawrence: The initial plan was to write a book that focused on the late eighties and nineties. Then I was introduced to David Mancuso who nobody had really heard of at the time and he introduced me to this whole world of underground parties that I’d never heard of. Initially I was reluctant to get into the 1970s. Like so many early UK house heads, I just equated disco with cheese, but the more I found out about the downtown scene of the 1970s, the more I realised this was where nucleus of contemporary dance culture was formed. -
Korg TRITON Extreme Список Тембров
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A Crash Course in Disco Polo #2: History | Norient.Com 23 Sep 2021 13:35:47
A Crash Course in Disco Polo #2: History | norient.com 23 Sep 2021 13:35:47 A Crash Course in Disco Polo #2: History by Jacek Szczepanek It is importation to which disco polo, Poland’s domestic electronic dance music genre, owes most of its sound. It was the political system flip of 1989 that shaped its troubled fate within Polish society. When it all dissolved in centuries-old wedding traditions, disco polo’s form and aesthetics were set. Look for Sabrina, Boys, Akcent and German number plates in Part 2 of Norient’s guide to disco polo: History. https://norient.com/blog/a-crash-course-in-disco-polo-2-history Page 1 of 7 A Crash Course in Disco Polo #2: History | norient.com 23 Sep 2021 13:35:47 Part 2 of 2 – Part 1 / Part 2 Importation Paths The idea of partying to sequenced synthesised sounds flowed into Poland by both public and private paths, which in a communist country were necessarily two quite distinct channels. Disco was officially embraced in the Eastern Bloc as a cure for the epidemic of rock, as it proposed light-hearted dancing instead of politically malcontent, depressive individualism (Wright 2007). The Soviet Union’s mid-70s policy of encouraging the emergence of local diskoteki (dance clubs) was followed by the invitation of West Germany’s Boney M. to perform in Moscow in 1978 (Wright 2007). A show in Poland followed a year later – Boney M. performed at the International Intervision Festival in Sopot. The concert was transmitted on national television and became a thing to remember.