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Central Florida Future, February 24, 1999
University of Central Florida STARS Central Florida Future University Archives 2-24-1999 Central Florida Future, February 24, 1999 Part of the Mass Communication Commons, Organizational Communication Commons, Publishing Commons, and the Social Influence and oliticalP Communication Commons Find similar works at: https://stars.library.ucf.edu/centralfloridafuture University of Central Florida Libraries http://library.ucf.edu This Newspaper is brought to you for free and open access by the University Archives at STARS. It has been accepted for inclusion in Central Florida Future by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation "Central Florida Future, February 24, 1999" (1999). Central Florida Future. 1479. https://stars.library.ucf.edu/centralfloridafuture/1479 UCF looks to cotrtittue perfect February itt TAAC fourtta•ettf ... See Sports • • __./ _____./ _ _) __ \ • ~ 8 .e 'it v'J ':n g .······· ~he u ntY~t s i t,y .. ·m: . ~ :;:;:. ;'.;~;? t~ I • A D I G I T A L C I T Y 0 R L A N D 0 C 0 M M U N I T Y P A R T N E R (AOL Keyword: Orlando) www.orlando.digitalcity.com Water troubles continue at UCF · The Department!!l of.,"·· Environrttentar . •••·• n)e l'.{epartment of Environmentat Pr01:et:tion set the maxim om Lead and copper found in samples i P'r¢tectiohset the maximum corrtami- • C(?Qtarnih~IJ,t lev~Lfor lea{ht ~g~l'. ·. · ~~nt i~~vel:for . (opper at Jc.30 mg/I o.p.1s buildings in December. The had it licked, but we need to . -
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. -
Led Zeppelin R.E.M. Queen Feist the Cure Coldplay the Beatles The
Jay-Z and Linkin Park System of a Down Guano Apes Godsmack 30 Seconds to Mars My Chemical Romance From First to Last Disturbed Chevelle Ra Fall Out Boy Three Days Grace Sick Puppies Clawfinger 10 Years Seether Breaking Benjamin Hoobastank Lostprophets Funeral for a Friend Staind Trapt Clutch Papa Roach Sevendust Eddie Vedder Limp Bizkit Primus Gavin Rossdale Chris Cornell Soundgarden Blind Melon Linkin Park P.O.D. Thousand Foot Krutch The Afters Casting Crowns The Offspring Serj Tankian Steven Curtis Chapman Michael W. Smith Rage Against the Machine Evanescence Deftones Hawk Nelson Rebecca St. James Faith No More Skunk Anansie In Flames As I Lay Dying Bullet for My Valentine Incubus The Mars Volta Theory of a Deadman Hypocrisy Mr. Bungle The Dillinger Escape Plan Meshuggah Dark Tranquillity Opeth Red Hot Chili Peppers Ohio Players Beastie Boys Cypress Hill Dr. Dre The Haunted Bad Brains Dead Kennedys The Exploited Eminem Pearl Jam Minor Threat Snoop Dogg Makaveli Ja Rule Tool Porcupine Tree Riverside Satyricon Ulver Burzum Darkthrone Monty Python Foo Fighters Tenacious D Flight of the Conchords Amon Amarth Audioslave Raffi Dimmu Borgir Immortal Nickelback Puddle of Mudd Bloodhound Gang Emperor Gamma Ray Demons & Wizards Apocalyptica Velvet Revolver Manowar Slayer Megadeth Avantasia Metallica Paradise Lost Dream Theater Temple of the Dog Nightwish Cradle of Filth Edguy Ayreon Trans-Siberian Orchestra After Forever Edenbridge The Cramps Napalm Death Epica Kamelot Firewind At Vance Misfits Within Temptation The Gathering Danzig Sepultura Kreator -
THE REFLEX Noel Gallagher Is a Fan. Nile Rodgers Is a Fan. Kid
THE REFLEX Noel Gallagher is a fan. Nile Rodgers is a fan. Kid Creole is a fan. Disclosure, Jazzy Jeff, Eats Everything are all fans. From house music royalty Joey Negro, Dimitri from Paris and Mousse T, to the original DJ/remix pioneers François K, Greg Wilson, Danny Krivit, all the way to Karizma, Mistajam, DJ Marky, Horse Meat Disco, J.Rocc, Jazzie B, Cut Killer, Rainer Truby, Acid Arab, Nightmares on Wax… They are all fans of The Reflex. Fascinated by the remix from an early age, London-based French native Nicolas Laugier, aka The Reflex, takes his cue from the first wave of disco remixers by using only the original sounds from the master tapes (or stems) to breathe new life into soul, pop and disco classics. Imaginative arrangements, boxfresh sonics and intricate editing make The Reflex Revisions rocket fuel for every DJ set. Very few editors out there put as much time and detail into their work as The Reflex and the results speak for themselves: heavily championed by BBC6 Music’s Craig Charles, The Reflex Revisions have amassed over 50 weeks of radio play in just two years on this number one rated show. They have also found their way onto the playlists of tastemakers like Rob Da Bank, and Gilles Peterson, who last year sent the Michael Jackson ‘Rock With You’ Revision spinning around the globe. But, it’s not all about the past for The Reflex; Nicolas has also been applying his stems-only formula to contemporary tracks, showing off the strength of his ‘less is more’ approach on production over 35 official remixes for Noel Gallagher, Cerrone, The Kooks, Seun Kuti, Roy Ayers, Simply Red, Nile Rodgers. -
Clubbing in Los Angeles Jonny Coleman Tackles the Multi-Farious Scene in One of America's Biggest Cities
Clubbing in Los Angeles Jonny Coleman tackles the multi-farious scene in one of America's biggest cities. Los Angeles has always been a capital of pop culture. Outside of rave, however, it's never had much of a reputation for its dance music culture. Until recently, that is. The efforts of local promoters have given rise to enormous EDM festivals, the Low End Theory-driven beat scene and thriving techno and house crews—and have led to the city finally becoming internationally recognized. Now, it seems, a place that houses four million people inside the city limits and 18 million in the greater Southland area, is finally representing itself on the world stage. True to its geography—a set of suburbs fronting as a megalopolis—Los Angeles doesn't have a dominant sound or theme. Instead, there are many scenes tugging for attention and battling over the few legitimate dance venues the city has to offer. It's enormously difficult to acquire a liquor license in LA, thanks in no small part to club-owning cowboys like Eddie Nash (of Wonderland murder fame), and those that do can't serve all that late anyway. Most nights last from 10 until 2 or 3 AM (a reality that often results in seeing your headlining DJ for two hours). It doesn't help that many of the historical clubs/bars in places like Hollywood and West Hollywood are a tough sell to fans of underground music, as the price points, degree of parking difficulty and douchebaggery quotient are all high. That means that many parties of note take place downtown or in other east side neighborhoods (if not a private estate). -
SA Expands Internship-For-Credit Program, Invites Students To
The UWM Post SA expands internship-for-credit program, Post photo by Sampson Parsons invites students to Women's Leadership creasing awareness and educating [email protected] or pickup an eappli By Bryan G. Pfeifer people about women's issues on cation for the SA Intern Program a campus, state, and national at Union E351. Applications are level." The UWM Student Association due by 5 p.m. Friday, Feb. 5. The conference will include (SA), representing the university's workshop or session topics on "In- 23,000-plus students on campus "Inviting Voices, Living Out Loud" volvementin the Political Arena," and at the UW system level, has ex UWM SAsenators and students "Childcare Issues," "Women and panded its internship program will take part in the 3rd annual the Media," "Self-defense Work beginning this semester. Women's Leadership Conference shops," "Race and Gender," SA President Jeff Robb said the tided "Inviting Voices, Living Out "Women and War," and many oth SA Intern Program offers student Loud," at UW-Platteville Feb. 12- ers. interns between two andsix credit 13. The keynote speaker is Elena hours. Previously, students could SA Senator Talia Schanck said Featherston, editor of the book only receive volunteer credit about 12-15 students from UWM Skin Deep: Women Writing on through UWM's School of Educa will be attending the conference. Color, Culture & Identity and di tion and internship experience A representative from the rector of the award-winning docu did not focus on a student's ma Women's Resource Center, mentary Alice Walker: Visions of jor. -
New Album Reviews
An Ode To Better Times: New Album Reviews Music | Bittles’ Magazine: The music column from the end of the world In the wrong hands, nostalgia can be little more than a marketing tool, something which can be watered down, bottled up and sold. Yet, when done right it can arouse a wealth of emotions in the listener. There is a distinct tinge of nostalgia to this week’s album reviews. From Kölsch’s homage to his teenage years on 1989 to 90s indebted new LPs from Bicep and Steffi. And if that isn’t enough, we have Dimitri From Paris delving into the Salsoul label’s archives, Lone’s wistful leap into the DJ Kicks series, and the return of 90s trip hop icon Tricky. By JOHN BITTELS So, conjure a favourite cherished memory and let us begin… Belfast duo Bicep have, through hard work and an abundance of talent, become one of the most in demand house acts around today. Their killer DJ sets, cheeky edits, and releases for labels such as Throne Of Blood, Aus and their own Feel My Bicep have seen their star rise and rise. This autumn the duo step into the album format with their self titled debut LP. Sounding like a mixture of Airdrawndagger era Sasha and Aphex Twin’s revered Selected Ambient Works 85-92, the album pairs the best of 90s progressive house and IDM with style. Opener Orca is suitably epic, tough yet with a melancholic resonance that lingers long in the mind. Next track Glue is even better; soft breakbreaks and subdued melodies join forces to create something which stirs the very soul. -
Shibuya-Kei As Transnational Soundscape Martin Roberts
‘A new stereophonic sound spectacular’: Shibuya-kei as transnational soundscape Item Type Article Authors Roberts, Martin Citation ‘A new stereophonic sound spectacular’: Shibuya-kei as transnational soundscape 2013, 32 (01):111 Popular Music DOI 10.1017/S026114301200058X Journal Popular Music Rights Archived with thanks to Popular Music Download date 27/09/2021 06:31:21 Link to Item http://hdl.handle.net/10545/288413 ‘A New Stereophonic Sound Spectacular’: Shibuya-kei as Transnational Soundscape Martin Roberts Abstract This essay focuses on Shibuya-kei, a style of independent popular music that emerged in Japan in the late 1980s and that has been influential in the popularisation of J-pop worldwide. Although usually treated as a uniquely Japanese musical genre, Shibuya-kei was from from its inception defined by an ostentatious internationalism, fusing jazz, easy listening, and bossa nova, with Brit- ish, American, and French retro-pop styles. Tracing the international itineraries of Shibuya-kei musicians and the role of Western musicians and labels in promoting it outside Japan, the essay characterises Shibuya-kei not as just another J-pop genre but as a transnational soundscape, a collaborative project produced by a network of musicians circulating between Japan and the U.K., the U.S., France, Germany, Spain, and Brazil. As such, the essay suggests, it requires us to rethink the place of the national in relation to popular music. In the Japanese popular music industry, where new musical varieties bloom and fade at the speed of a time-lapse movie, the style known as Shibuya-kei has proved surprisingly durable. Having originated in the late 1980s as a loose-knit network of independent musicians, DJs, and labels producing popular music different from that distributed by the major labels, it today occupies a popular stylistic niche within that mainstream, and its founding members are revered and influen- tial figures within the industry at large. -
67 at Decca’S West Hampstead Studios, London
Doves BAND MEMBERS from left to right Terry Clark (Vox., Guitar, ex. Herd member), Brian Curtis (Vox., Bass Guitar), Henry Turtle (Lead Vox., Harp, Guitar), Mick Underwood (Drums, of Outlaws, Episode Six and Gillan acclaim.), Ian ‘Sneaky’ McGlynn (Vox., Lead Guitar). / Harvey Hinsley (not pictured) (Outlaws, future Hot Chocolate member - adopted Ian’s role as lead guitarist and features on all of the below recordings. ) Smokeytime Springtime Written by Henry Turtle, performed by Doves. Recorded in Autumn 1967 at Decca’s West Hampstead Studios, London. Engineered by Bill Price and produced by John Edward. Released by Riviera Record Co. 2011. She’s Not There Written by Rod Argent/ Colin Blunstone, performed by Doves. Recorded on February 4th 1968 at Abbey Road Studios, London. Engineered by Norman Smith and produced by Bob Barrett. Released by Riviera Record Co. 2011. I’ll Cry If You Make Me Written by Terry Clark, performed by Doves. Recorded in Autumn 1967 at Decca’s West Hampstead Studios, London. Engineered by Bill Price and produced by John Edward. 1 The Doves story ‘In that magical, halcyon summer of ’67 - bells, beads, sunshine, ‘Sgt. Pepper’ and what not, Jeff Beck had a group incorporating Rod Stewart and Ronnie Wood and a house just around the corner from where I was living in Sutton, Surrey. I had been to school with Jeff and when he toured with his band across Holland, Germany and other such exotic destinations , he would leave his dogs with me to look after. I longed to be in a band that traveled somewhere different every night; the gypsy in my soul was stirring. -
Playnetwork Business Mixes
PlayNetwork Business Mixes 50s to Early 60s Marketing Strategy: Period themes, burgers and brews and pizza, bars, happy hour Era: Classic Compatible Music Styles: Fun-Time Oldies, Classic Description: All tempos and styles that had hits Rock, 70s Mix during the heyday of the 50s and into the early 60s, including some country as well Representative Artists: Elvis, Fats Domino, Steve 70s Mix Lawrence, Brenda Lee, Dinah Washington, Frankie Era: 70s Valli and the Four Seasons, Chubby Checker, The Impressions Description: An 8-track flashback of great music Appeal: People who can remember and appreciate from the 70s designed to inspire memories for the major musical moments from this era everyone. Featuring hits and historically significant album cuts from the “Far Out!,” Bob Newhart, Sanford Feel: All tempos and Son era Marketing Strategy: Hamburger/soda fountain– Representative Artists: The Eagles, Elton John, themed cafes, period-themed establishments, bars, Stevie Wonder, Jackson Brown, Gerry Rafferty, pizza establishments and clothing stores Chicago, Doobie Brothers, Brothers Johnson, Alan Parsons Project, Jim Croce, Joni Mitchell, Sugarloaf, Compatible Music Styles: Jukebox classics, Donut Steely Dan, Earth Wind & Fire, Paul Simon, Crosby, House Jukebox, Fun-Time Oldies, Innocent 40s, 50s, Stills, and Nash, Creedence Clearwater Revival, 60s Average White Band, Bachman-Turner Overdrive, Electric Light Orchestra, Fleetwood Mac, Guess Who, 60s to Early 70s Billy Joel, Jefferson Starship, Steve Miller Band, Carly Simon, KC & the Sunshine Band, Van Morrison Era: Classic Feel: A warm blanket of familiar music that helped Description: Good-time pop and rock legends from define the analog sound of the 70s—including the the mid-60s through the early-to-mid-70s that marked one-hit wonders and the best known singer- the end of an era. -
Meyhem Lauren Glass 2.0 Produced by Harry Fraud
MEYHEM LAUREN GLASS 2.0 PRODUCED BY HARRY FRAUD Poseidon's Wrath • Root Of Evil (feat. Big Body Bes) Yucca • Bail Money • Steamed Monkfish (Remix) Ducati Dreams • Brunch At The Breakers (feat. Bags) G Shit • Jarlsberg • Poseidon's Wrath (Instrumental) Root Of Evil (Instrumental) • Yucca (Instrumental) Bail Money (Instrumental) • Steamed Monkfish (Remix) (Instrumental) Ducati Dreams (Instrumental) • Brunch At The Breakers (Instrumental) G Shit (Instrumental) • Jarlsberg (Instrumental) In 2018, Meyhem Lauren teamed up with Brooklyn-based producer Harry Fraud to bring you GLASS. The original 9-track project featured Action Bronson, Westside Gunn, Conway the Machine, Big Body Bes and more. For GLASS 2.0, the duo went back to the archives and as the quarantine started, they began to revisit all of the music they recorded together while recording the original GLASS. “Meyhem and I had some new records and a bunch of demos and that we hadn't done post-production on yet. Over the course of about a week in May, I locked in and pretty much tore the songs apart production wise. Then rebuilt them into what would become GLASS 2.0” – Harry Fraud “Me and Fraud had a bunch of unfinished music in the stash that was recorded during the time that we made the original GLASS project. During quarantine extra spices were added and a new dish was born. To make a long story short, sometimes the leftovers taste better than the initial meal.” – Meyhem Lauren While the majority of Meyhem’s vocals were recorded in 2017-2018, Harry Fraud’s tailor-made production of each song gives GLASS 2.0 a sound and style unique from its predecessor. -
Ian Gillan: Vida – Discos – Vídeos (V
V. 2.0 Ian Gillan: Vida – Discos – Vídeos (v. 2.0) VIDA – DISCOS – VÍDEOS V. 2.0 2 Ian Gillan: Vida – Discos – Vídeos (v. 2.0) Texto, edição, fotos, recortes e pisadas na bola: O Eremita. Versão 2.0 – Dezembro de 2020 (155 páginas). As fotos não creditadas foram discretamente surrupiadas de livros, revistas ou da Internet. Por favor, sejam legais e perdoem as ilegais. Não processem O Eremita. Revisão cordial e essencial: Marco Aurélio Valentoni, um marco na revisão. Contato: [email protected] Acesso gratuito, via internet: www.arquivosdoeremita.com.br Este texto não é protegido por nenhuma medida legal quanto aos direitos autorais, intelectuais ou vegetais. Qualquer reprodução de conteúdo sem autorização prévia do autor será considerada um desaforo daqueles. 3 Ian Gillan: Vida – Discos – Vídeos (v. 2.0) I am just one Sou apenas um Soon I’ll be none Logo serei nenhum Life goes on Segue a vida Ian Gillan, in Life goes on, do disco “Double Trouble”, 1981. 4 Ian Gillan: Vida – Discos – Vídeos (v. 2.0) Sumário Apresentação, página 6 Parte I – Vida, página 7 Parte II – Discos, página 14 Capítulo 1 – Setembro de 1962 a Abril de 1965, página 15 Capítulo 2 – Maio de 1965 a Junho de 1969, página 17 Capítulo 3 – Julho de 1969 a Junho de 1973, página 21 Capítulo 4 – Outubro de 1975 a Junho de 1978, página 27 Capítulo 5 – Julho de 1978 a Dezembro de 1982, página 42 Capítulo 6 – Janeiro de 1983 a Março de 1984, página 71 Capítulo 7 – Abril de 1984 a Dezembro de 1988, página 76 Capítulo 8 – Janeiro de 1989 a Fevereiro de 1990, página 79 Capítulo 9 – Março de 1990 a Agosto de 1992, página 83 Capítulo 10 – Setembro de 1992 até hoje, página 91 Parte III – Vídeos, página 108 Citações, página 123 Bibliografia, página 127 Anexos Anexos I, página 135 Anexo II, página 142 Anexo III, página 146 Anexo IV, página 150 5 Ian Gillan: Vida – Discos – Vídeos (v.