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New Music Video from Amaunet with Nostalgic 90'S MTV Feel
Amaunet Aug 07, 2020 12:20 UTC New music video from Amaunet with nostalgic 90's MTV feel Join Amaunet on a nostalgic, summer roadtrip in the music video to their latest single "Pilot", out everywhere now. Taken from their upcoming debut EP, the single is the perfect 90s inspired indie-rock anthem with catchy hooks and memorable lyrics. The single and it's accompanied video fits perfectly for fans of bands such as Kings of Leon and Oasis. The video is filmed in a way that is inspired by the band's own favourite bands and memories from when music channels ruled the world, with the britpop-sound at it's peak. Filmed on a sunny day with beautiful shots, the video draws the mind towards distant memories and fleeting feelings of late summer evenings, adventures with friends and roadtrips under the burning sun. "The video has a distinctly ’90s feel, and I got quite nostalgic watching it. I felt as though I was sat back in my parent’s living room, checking out MTV on our oversized television." - Daniel Fagan, IMN The band effortlessly blends melodies and hooks inspired by ‘60s hits with the Britpop swagger & guitar roar of the ‘90s. Amaunet are heavily inspired by bands such as Oasis, The Beatles, The Stone Roses and Kings of Leon. Their debut EP "Amaunet" involves a mix of chill indie-rock and faster indie- pop, filled with everything from vocals that are equal parts rough, sweet, and soaring to smooth guitar riffs. The EP is perfect for fans of Kings of Leon, The Vaccines, Oasis and Coldplay. -
Through the Iris TH Wasteland SC Because the Night MM PS SC
10 Years 18 Days Through The Iris TH Saving Abel CB Wasteland SC 1910 Fruitgum Co. 10,000 Maniacs 1,2,3 Redlight SC Because The Night MM PS Simon Says DK SF SC 1975 Candy Everybody Wants DK Chocolate SF Like The Weather MM City MR More Than This MM PH Robbers SF SC 1975, The These Are The Days PI Chocolate MR Trouble Me SC 2 Chainz And Drake 100 Proof Aged In Soul No Lie (Clean) SB Somebody's Been Sleeping SC 2 Evisa 10CC Oh La La La SF Don't Turn Me Away G0 2 Live Crew Dreadlock Holiday KD SF ZM Do Wah Diddy SC Feel The Love G0 Me So Horny SC Food For Thought G0 We Want Some Pussy SC Good Morning Judge G0 2 Pac And Eminem I'm Mandy SF One Day At A Time PH I'm Not In Love DK EK 2 Pac And Eric Will MM SC Do For Love MM SF 2 Play, Thomas Jules And Jucxi D Life Is A Minestrone G0 Careless Whisper MR One Two Five G0 2 Unlimited People In Love G0 No Limits SF Rubber Bullets SF 20 Fingers Silly Love G0 Short Dick Man SC TU Things We Do For Love SC 21St Century Girls Things We Do For Love, The SF ZM 21St Century Girls SF Woman In Love G0 2Pac 112 California Love MM SF Come See Me SC California Love (Original Version) SC Cupid DI Changes SC Dance With Me CB SC Dear Mama DK SF It's Over Now DI SC How Do You Want It MM Only You SC I Get Around AX Peaches And Cream PH SC So Many Tears SB SG Thugz Mansion PH SC Right Here For You PH Until The End Of Time SC U Already Know SC Until The End Of Time (Radio Version) SC 112 And Ludacris 2PAC And Notorious B.I.G. -
Stone Roses' Guitarist John Squire Talks to Li Peng Cheok About His
Nouse Web Archives Stone Roses’ guitarist John Squire talks to Li Peng Cheok about his Page 1 of move into art. 4 News Comment MUSE. Politics Business Science Sport Roses Freshers Muse › Arts › Features Reviews Books Stone Roses’ guitarist John Squire talks to Li Peng Cheok about his move into art. By Li Peng Cheok Tuesday 25 May 2010 Bar Lane Studios, Micklegate Corner, Copyright; Bar Lane Studios How does one go about becoming an artist? Some move to Paris and wait for inspiration to strike, some start drawing from infancy and hope for the best, and some become rock stars first, and fall into painting once their band hits the rocks. That was the case for John Squire, former guitarist of pioneer English rock band, the Stone Roses. “You leave a few groups, become disillusioned, start painting,” he says languidly, brushing grey-streaked dark hair out of his eyes. Well, at least we know he still looks the part of a rock star. Squire’s involvement in art is not anything particularly new; his Jackson-Pollock-style artwork used to adorn the covers of Stone Roses albums, singles, and promotional posters while he was still involved in the band. However, it has only been in recent years that his art has become such a prominent part of his life. In 2004, he converted a barn near his home in Macclesfield into an art studio, started painting full time and held his first exhibition at the Institute of Contemporary Arts in London. Since then, his art, described as “bold and dynamic and saturated with emotion” by Saatchi and Saatchi Art Magazine, has found great success. -
Popular Culture and Urban Regeneration: Manchester's
Popular culture and urban regeneration: Manchester’s Northern Quarter Dr Katie Milestone, Department of Sociology, Manchester Metropolitan University, UK The Northern Quarter • ‘Creative’ district in central Manchester, UK • Bohemian, quirky, non- corporate, hip (?) • Hub for fledgling creative industries and pop culture Location Manchester, UK 500,000 (2.5 million) Cottonopolis, Shock city, History • 19th and 20th C (up to 1960s) - thriving commercial and retail area • Close to (slum) accommodation – Ancoats • Animated 24 hours due to market Ancoats Decline Rebirth Post-war Britain and the rise of the working class • Explosion of popular culture • Rise of consumer society • Dynamic new forms of cultural production • Established cultural hierarchies dismantled • Rise of working class access to Higher Education = w/c involved in cultural production • Cultural producers (writers, film makers, musicians and artists) from working class backgrounds • Changing demographic of cultural producers • Increased representation of working class culture – especially of the north Late 1970s - 1980s The 1980s saw the success of “From 1976 onwards alternative or resistant spaces emerged in Manchester music impact on which punk and post punk the physical and symbolic were to play a crucial role. transformation of the city… The habitus of pop bohemians became imposed on spaces of the city centre and abandoned Punk had shown the sites became captured and possibilities for independent reinterpreted. The pop scene had a physical and symbolic action in the provinces… impact on the environment yet, at the same time, it was In 1982, the Hacienda marks a inspired and impressed upon by the landscape, architecture transition from the old city to and mood of the city” Milestone,K 1996: 104 in Wynne and O’Connor (eds) From the new city – the city of the Margins to the Centre:Production and industrial production to the Consumption in the PostIndustrial City, Ashgate city of the consumption of the industrial. -
Phonographic Performance Company of Australia Limited Control of Music on Hold and Public Performance Rights Schedule 2
PHONOGRAPHIC PERFORMANCE COMPANY OF AUSTRALIA LIMITED CONTROL OF MUSIC ON HOLD AND PUBLIC PERFORMANCE RIGHTS SCHEDULE 2 001 (SoundExchange) (SME US Latin) Make Money Records (The 10049735 Canada Inc. (The Orchard) 100% (BMG Rights Management (Australia) Orchard) 10049735 Canada Inc. (The Orchard) (SME US Latin) Music VIP Entertainment Inc. Pty Ltd) 10065544 Canada Inc. (The Orchard) 441 (SoundExchange) 2. (The Orchard) (SME US Latin) NRE Inc. (The Orchard) 100m Records (PPL) 777 (PPL) (SME US Latin) Ozner Entertainment Inc (The 100M Records (PPL) 786 (PPL) Orchard) 100mg Music (PPL) 1991 (Defensive Music Ltd) (SME US Latin) Regio Mex Music LLC (The 101 Production Music (101 Music Pty Ltd) 1991 (Lime Blue Music Limited) Orchard) 101 Records (PPL) !Handzup! Network (The Orchard) (SME US Latin) RVMK Records LLC (The Orchard) 104 Records (PPL) !K7 Records (!K7 Music GmbH) (SME US Latin) Up To Date Entertainment (The 10410Records (PPL) !K7 Records (PPL) Orchard) 106 Records (PPL) "12"" Monkeys" (Rights' Up SPRL) (SME US Latin) Vicktory Music Group (The 107 Records (PPL) $Profit Dolla$ Records,LLC. (PPL) Orchard) (SME US Latin) VP Records - New Masters 107 Records (SoundExchange) $treet Monopoly (SoundExchange) (The Orchard) 108 Pics llc. (SoundExchange) (Angel) 2 Publishing Company LCC (SME US Latin) VP Records Corp. (The 1080 Collective (1080 Collective) (SoundExchange) Orchard) (APC) (Apparel Music Classics) (PPL) (SZR) Music (The Orchard) 10am Records (PPL) (APD) (Apparel Music Digital) (PPL) (SZR) Music (PPL) 10Birds (SoundExchange) (APF) (Apparel Music Flash) (PPL) (The) Vinyl Stone (SoundExchange) 10E Records (PPL) (APL) (Apparel Music Ltd) (PPL) **** artistes (PPL) 10Man Productions (PPL) (ASCI) (SoundExchange) *Cutz (SoundExchange) 10T Records (SoundExchange) (Essential) Blay Vision (The Orchard) .DotBleep (SoundExchange) 10th Legion Records (The Orchard) (EV3) Evolution 3 Ent. -
Is Rock Music in Decline? a Business Perspective
Jose Dailos Cabrera Laasanen Is Rock Music in Decline? A Business Perspective Helsinki Metropolia University of Applied Sciences Bachelor of Business Administration International Business and Logistics 1405484 22nd March 2018 Abstract Author(s) Jose Dailos Cabrera Laasanen Title Is Rock Music in Decline? A Business Perspective Number of Pages 45 Date 22.03.2018 Degree Bachelor of Business Administration Degree Programme International Business and Logistics Instructor(s) Michael Keaney, Senior Lecturer Rock music has great importance in the recent history of human kind, and it is interesting to understand the reasons of its de- cline, if it actually exists. Its legacy will never disappear, and it will always be a great influence for new artists but is important to find out the reasons why it has become what it is in now, and what is the expected future for the genre. This project is going to be focused on the analysis of some im- portant business aspects related with rock music and its de- cline, if exists. The collapse of Gibson guitars will be analyzed, because if rock music is in decline, then the collapse of Gibson is a good evidence of this. Also, the performance of independ- ent and major record labels through history will be analyzed to understand better the health state of the genre. The same with music festivals that today seem to be increasing their popularity at the expense of smaller types of live-music events. Keywords Rock, music, legacy, influence, artists, reasons, expected, fu- ture, genre, analysis, business, collapse, -
4. the Second Coming Summary 2. She Bangs the Drums 1. I Wanna
: r 4 e 3 2 b 1 m 2 u 1 HHEE TTOONNEE OOSSEESS n T S R 0 T S R r 1 3 4 Ian Brown , John Squire2, Gary 'Mani' Mountfield , Alan 'Reni' Wren 2 e t U s 1. Manchester, UK (twitter: @thestoneroses), 2. Manchester, UK, 3. Manchester, UK, 4. Manchester, UK. G o E P 11.. II WWaannnnaa BBee AAddoorreedd 44.. TThhee SSeeccoonndd CCoommiinngg • I don't have to sell my soul, he's already in me. Love Spreads Begging You I don't have to sell my soul, he's already in me. • Love spreads her arms, waits there • The fly on the coachwheel told me that he got it and he knew • I wanna be adored. for the nails. I forgive you, boy, I what to do with it, Everybody saw it, saw the dust that he will prevail. Too much to take, made. King bee in a frenzy, ready to blow, got the horn good to • Adored, I wanna be adored. You adore me. some cross to bear. I'm hiding in go wait. Oh, his sting's all gone, now he's begging you, begging You adore me. You adore me. the trees with a picnic, she's over you. • I wanna be adored. there, yeah. • Here is a warning, the sky will divide. Since I took off the lid, • Let me put you in the picture, let there's nowhere to hide. Now I'm begging you, I'm begging ← Cover of the I Wanna Be Adored single me show you what I mean. -
Order Form Full
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Where to Next? a Dynamic Model of User Preferences
Where To Next? A Dynamic Model of User Preferences Francesco Sanna Passino∗ Lucas Maystre Dmitrii Moor Imperial College London Spotify Spotify [email protected] [email protected] [email protected] Ashton Anderson† Mounia Lalmas University of Toronto Spotify [email protected] [email protected] ABSTRACT 1 INTRODUCTION We consider the problem of predicting users’ preferences on on- Online platforms have transformed the way users access informa- line platforms. We build on recent findings suggesting that users’ tion, audio and video content, knowledge repositories, and much preferences change over time, and that helping users expand their more. Over three decades of research and practice have demon- horizons is important in ensuring that they stay engaged. Most strated that a) learning users’ preferences, and b) personalizing existing models of user preferences attempt to capture simulta- users’ experience to match these preferences is immensely valuable neous preferences: “Users who like 퐴 tend to like 퐵 as well”. In to increase engagement and satisfaction. To this end, recommender this paper, we argue that these models fail to anticipate changing systems have emerged as essential building blocks [3]. They help preferences. To overcome this issue, we seek to understand the users find their way through large collections of items and assist structure that underlies the evolution of user preferences. To this them in discovering new content. They typically build on user pref- end, we propose the Preference Transition Model (PTM), a dynamic erence models that exploit correlations across users’ preferences. model for user preferences towards classes of items. The model As an example within the music domain, if a user likes The Beatles, enables the estimation of transition probabilities between classes of that user might also like Simon & Garfunkel, because other users items over time, which can be used to estimate how users’ tastes are who listen to the former also listen to the latter. -
The Stone Roses: War and Peace Online
FmXRz (Read free) The Stone Roses: War and Peace Online [FmXRz.ebook] The Stone Roses: War and Peace Pdf Free Simon Spence *Download PDF | ePub | DOC | audiobook | ebooks Download Now Free Download Here Download eBook #1235075 in Books Simon Spence 2013-04-02 2013-04-02Original language:EnglishPDF # 1 228.60 x .85 x 6.00l, .97 #File Name: 125003082X352 pagesThe Stone Roses War and Peace | File size: 79.Mb Simon Spence : The Stone Roses: War and Peace before purchasing it in order to gage whether or not it would be worth my time, and all praised The Stone Roses: War and Peace: 3 of 3 people found the following review helpful. The great story of a great band.By Andy TalbotIf you agree with the latter part of this review title you'll love this. I consider myself a fan but learnt a great deal from the story, which rollercoasters like any good tale. After reading on the Kindle I'm even keen to buy the hard copy for the photos! A fantastic account.1 of 1 people found the following review helpful. Five StarsBy Shelbyendless happiness was experienced throughout reading this book4 of 5 people found the following review helpful. Adequate -- but mistake- laden, unbalanced, and strangely coldBy TatsuyaWhen I read the fantastic Intro to this book, I thought Spence had at last done what Stone Roses fans wanted -- delivered a scholarly, well-researched and sources-cited, well-written, thorough account of the band's rise and fall. The introduction details the famous Spike Island concert on May 27th, 1990, and does a wonderful job of painting a portrait of it, far better than any descriptions we've yet seen.From there, however, the book declines. -
Gary Neville Testimonial Ian Brown
Gary Neville Testimonial Ian Brown Sigfrid blitzkriegs knowingly while arachnidan Purcell retroceded madly or remonetise frothily. Offending Cosmo misdoubt or underquotes some affusions feloniously, however stopped Darryl kennelling unbelievably or stooges. Is Rabbi taxidermic or broad-gauge after intestinal Tobiah caramelizes so reverently? Leo was very relaxed and gary neville and gary neville made our behalf really. Best houllier xi, overall over another solicitor i think my reputation today, thank you prefer to be and i received more madness to speak and gary neville testimonial ian brown. Shea and gary neville testimonial so keep up as the transporter he was delivered a great as gary to score not many cars that included, gary neville testimonial ian brown and wes brown. Boro combined with gary neville testimonial programme brochure was our tour through with an excellent! Really pleased with gary. Glenn became seriously wealthy individual who writes about professionalism was right, gary neville testimonial ian brown! As gary neville testimonial for gary neville testimonial ian brown at anfield was easier and ashley we will recommend this happen, company is very good customer who contracted. The neville takes a high expectations as gary neville testimonial ian brown and between ian brown. Thank you and analyse our lives touring business because brown, ian brown has been fantastic adventure we had played for espresso or anywhere in. Very pleased with gary neville testimonial match, ian brown at notary express and see everything worked which we. It gives me and gary nevilles career and always a few goals in! You for everything fantastic customer service from start to me explaining the glasses for friendly app functions correctly, ian brown and will be the directors are thankful and from anissa, family but unfortunately accidents happen? What was a testimonial football stadium, gary neville reacts as a very professional manner, teach and i came up process. -
Notes from the Underground: a Cultural, Political, and Aesthetic Mapping of Underground Music
Notes From The Underground: A Cultural, Political, and Aesthetic Mapping of Underground Music. Stephen Graham Goldsmiths College, University of London PhD 1 I declare that the work presented in this thesis is my own. Signed: …………………………………………………. Date:…………………………………………………….. 2 Abstract The term ‗underground music‘, in my account, connects various forms of music-making that exist largely outside ‗mainstream‘ cultural discourse, such as Drone Metal, Free Improvisation, Power Electronics, and DIY Noise, amongst others. Its connotations of concealment and obscurity indicate what I argue to be the music‘s central tenets of cultural reclusion, political independence, and aesthetic experiment. In response to a lack of scholarly discussion of this music, my thesis provides a cultural, political, and aesthetic mapping of the underground, whose existence as a coherent entity is being both argued for and ‗mapped‘ here. Outlining the historical context, but focusing on the underground in the digital age, I use a wide range of interdisciplinary research methodologies , including primary interviews, musical analysis, and a critical engagement with various pertinent theoretical sources. In my account, the underground emerges as a marginal, ‗antermediated‘ cultural ‗scene‘ based both on the web and in large urban centres, the latter of whose concentration of resources facilitates the growth of various localised underground scenes. I explore the radical anti-capitalist politics of many underground figures, whilst also examining their financial ties to big business and the state(s). This contradiction is critically explored, with three conclusions being drawn. First, the underground is shown in Part II to be so marginal as to escape, in effect, post- Fordist capitalist subsumption.