8Smcppjvngbyw00egrfs 159972

Total Page:16

File Type:pdf, Size:1020Kb

8Smcppjvngbyw00egrfs 159972 INDEX Primavera Pro 2019……………………………………………………………………………………. 1 ​ Primavera Sound in numbers.…………………………………………………………………….... 3 ​ Statistics………..………………………………………………………………………………………….. 6 ​ Participants…………………..………………………………………………………………………….... 9 ​ Day Pro Conference……………………………………….…………………………………………... 16 ​ Showcases………………………………………………………………………………………………... 30 ​ Collaborators………...………………………………………………………………………………….... 31 ​ PRIMAVERA PRO 2019 Centre de Cultura Contemporània de Barcelona (CCCB) Parc del Fòrum - From 29th May to 2nd June 2019 With the last notes of the radiant pop rock by the Valencia band Tin Robots on the Day Pro ​ ​ nd stage on Sunday 2 ​ June, Primavera Pro 2019 officially ended. The tenth edition of the ​ ​ international meeting of the music sector offered a feminist, cross-sectional and diverse programme, in tune with the new normality that Primavera Sound has adopted as ​ its slogan. A grain of sand with which to contribute to a change of paradigm in the centre which there shines an undeniable confirmation: that it is possible to organize an event as ​ a response to the gender gap in the industry by putting a majority of women on stage, both as speakers and as artists. It also proves that you can, definitely, create a forum in ​ which there is no room for high fives but for combat, criticism, and also, self-criticism without which we would not be able to move forward to make the music environment, a truly healthy one, as it emerged from the enlightening roundtable discussion about well-being and mental health. th st The anniversary of Primavera Pro, whose main activities took place from the 29 ​ to the 31 ​ ​ May at the Centre de Cultura Contemporània de Barcelona, was written in purple ink, the 1 one which identifies the Insumisas (“untamed”) programme, the new section organized in ​ ​ collaboration with the association Mujeres de la Industria de la Música to discuss the ​ ​ ​ political dimension of feminism, both in the music sector and in international culture. ​ This was a first edition marked by the presence, at two roundtable discussions, of activists, writers and artists including Brigitte Vasallo, Remedios Zafra, Cristina Morales and ​ ​ ​ ​ ​ ​ Rebeca Lane: an antidote to the condescending patriarchal discourse directed at women ​ who, for their part, to paraphrase the participant Clara!, know how to do their job very well ​ ​ and what button to press to turn the volume up. Primavera Pro 2019 has also been marked by one name in particular, that of Neneh Cherry, whose risky, unpredictable and nonconformist career was recognized by the Primavera Award, and was explained in a generous, career-spanning conversation in which ​ the artist defended the mutability of the present times: “Maybe we don’t need to defend ourselves constantly. Maybe it is enough just to be there. Just to be” While on the other hand, the full house in the Auditori of the CCCB for the session ​ dedicated to analysing the rise of Latin music in the most diverse sectors of the international panorama and the differences and dialogues between the Latin American scenes vindicated the clamour that the “buena vibra” has engendered and which, ​ ​ today, seems unstoppable -this debate included speakers who had travelled to Barcelona ​ ​ thanks to the support of the Programme of Internationalization of the Spanish Culture of ​ Spanish Cultural Action (AC/E)-. The selection of musical film sequences by Stephen ​ Malkmus, in which there was room for both the classics like The Exterminating Angel by ​ ​ ​ Luis Buñuel and the groove of vintage porn, revealed the tousled and laid-back film buff profile of a true slacker rock hero. This dialogue between cinema and music that continued with the master class by Daniel Pemberton about his soundtrack for Spider Man: Into the ​ ​ ​ Spider-Verse, a overwhelming mixture of film score and urban textures that the author ​ dissected by showing exclusive unreleased material and even by occasionally playing the piano. This session by Pemberton constituted the perfect conclusion to the Day Pro Conference ​ activities, that also including the presentation of emerging projects, the congresses of ​ concert venues and of independent labels, effervescent mentoring sessions and, of course, a line up of 36 showcases coming from a dozen different countries and which ​ ​ ​ saw the debut of the rhythms and flavours of the fertile independent scene of Uruguay. ​ Primavera Pro 2019 has thus been a place at which the boundaries and conventions of the music industry were tested, while serving as a meeting point for three thousand professionals from the sector. It invited people to open the doors to the unexpected, to ​ look into each other’s eyes and ask themselves: “What if...?”. Imagining a future of possibilities that, maybe, we will start to get to know next year. 2 PRIMAVERA SOUND IN NUMBERS Primavera Sound: Public: 220.000 visits Number of concerts: 331 shows Number of artists: 295 bands Primavera Pro: Professionals: 3.000 delegates Activities (conferences, presentations, networking sessions, etc): 69 Showcases Primavera Pro: 59 3 LINE UP Primavera Sound Cupido (ES) Japanese (PA) 070 Shake (US) Cybotron live (US) Jarvis Cocker dj set (UK) 107 Faunos (AR) Dâm-Funk (US) Jarvis Cocker introducing JARV IS... Agoria live (FR) Danny Brown (US) (UK) Agost (ES) Danny L Harle live (UK) JASSS (ES) Aïsha Devi (CH) David August (DE) Jawbreaker (US) AJ Tracey (UK) Daymé Arocena (CU) Jayda G (CA) Albany (ES) Deerhunter (US) Job Jobse (NL) Aldous Harding (NZ) Demdike Stare (UK) Joy Orbison (UK) Aleesha (ES) Denis Sulta (UK) JPEGMAFIA (US) Alice Phoebe Lou (ZA) Derby Motoreta's Burrito Kachimba Julia Holter (US) Aliment play Television Personalities (ES) Julien Baker (US) (ES) Dirty Projectors (US) June of 44 (US) Alondra Bentley (ES) Djrum (UK) Jungle (UK) Ama Lou (UK) Dr. Rubinstein (RU) Junglepussy (US) Amyl and The Sniffers (AU) Drab Majesty (US) Just Mustard (IE) Anastasia Kristensen live (RU/DK) Dream Wife (UK) Kali Uchis (CO-US) Anthony Naples live (US) Ecran Total (FR) Kate Tempest (UK) Apparat live & dj (DE) Efrim Manuel Menuck (CA) Kaydy Cain (ES) Avalon Emerson (US) El Mató a un Policía Motorizado feat. Kelly Kapøwsky (ES) Bakar (UK) Amaia, J y Manu Ferrón (AR) Kodie Shane (US) Batu (UK) Elena Setién (ES) Kokoshca play Las Grecas Bbymutha (ES) Empress Of (US) Krystal Klear (IE) Bea Pelea (ES) Epsilove (FR) Kurt Vile & The Violators (US) BEAK> (UK) Erik Urano (ES) La Goony Chonga (US) The Beths (NZ) Erykah Badu (US) La Tiguerita (ES) The Bevis Frond (UK) Evripidis And His Tragedies sing The La Zowi (ES) BFlecha (ES) Magnetic Fields Las Odio (ES) Big Red Machine (US) Fantastic Man b2b Tornado Wallace Laurel Halo dj set (US) Big Thief (US) (AU) Lidia Damunt (ES) Birkins feat. Ken Stringfellow play Filthy Friends (US) Lil Moss (ES) Ziggy Stardust (ES) FKA twigs (UK) Linn Da Quebrada (BR) Bliss Signal (UK) Flaca (AR) Lisabö (ES) Boy Pablo (NO) Flohio (UK) Little Simz (UK) Brat Star (CA) Forest Drive West (UK) Liz Phair (US) Bridget St. John (UK) Frank Carter & The Rattlesnakes Lizzo (US) Built To Spill performs 'Keep It Like (UK) Lndfk (TN) A Secret' (US) Frinda Di Lanco (DE) Lolina (UK) Bush Tetras (US) Fucked Up (CA) Low (US) Cálido Lehamo (ES) Future (US) Loyle Carner (UK) Carcass (UK) Gangsta Boo (US) Lucy Dacus (US) Cariño (ES) Goa (ES) Mac DeMarco (CA) Carly Rae Jepsen (CA) GOTHBOICLIQUE (US) Mad Miran (NL) Cate Le Bon (UK) Guided By Voices (US) Mafalda (PT) Caterina Barbieri (IT) Haru Nemuri (JP) The Mani-las (ES) Celeste (US) Hatchie (AU) DJ Marcelle / Another Nice Mess CHAI (JP) Helena Hauff (DE) (NL) Chandra (US) Hieroglyphic Being (US) María José Llergo (ES) Channel Tres (US) Homeshake (CA) Maribou State (UK) Charli XCX (UK) Hurricane G feat Tony Touch Marie Davidson (CA) Christina Rosenvinge (ES) (PR-US) Mark Luva (ES) Christine and the Queens (FR) Ian Isiah (US) Martyn (NL) Chynna (US) IDK (US) Me And The Bees play The Breeders Clairo (US) Iglooghost (UK) (ES) Clara! (ES) IM (ES) Melenas (ES) DJ Coco (ES) Interpol (US) The Messthetics (US) The Comet Is Coming Isa·bel (ES) Midori Takada (JP) Coucou Chloe (UK) Ivy Queen (PR) Miley Cyrus (US) Courtesy (DK) Izabel (NL) Mina (UK) Courtney Barnett (AU) J Balvin (CO) Miya Folick (US) Cuco (US) James Blake (UK) Modeselektor live (DE) cupcakKe (US) Janelle Monáe (US) Mow (ES) 4 Mozhgan (IR) Soccer Mommy (US) Primavera Pro Mucho Muchacho (ES) Solange (US) 5K HD (AT) Mujeres play Los Saicos (ES) Somadamantina (ES) A. Smyth (IE) Mura Masa (UK) Sons of Kemet XL (UK) Agost (ES) Museless (ES) SOPHIE (UK) Belau (HU) Mykki Blanco (US) Steffi (NL) Birthh (IT) Myrkur (DK) Stephen Malkmus & The Jicks (US) Bonish (UY) The Mystery of the Bulgarian Voices Stereolab (UK) Bronko Yotte (CL) featuring Lisa Gerrard (BU-AU) Sticky M.A. (ES) Conttra (ES) Nas (US) Stiff Little Fingers (IE) DTSQ (KR) Nathy Peluso (AR) Suede (UK) Edsun (LU) The Necks (AU) Dj Supermarkt (DE) Egosex (ES) Neneh Cherry (SE) Suzanne Ciani (US) ELI ALMIC & DJ RC (UY) Nilüfer Yanya (UK) Swervedriver (UK) F5 (UY) Nina Kraviz (RU) Tame Impala (AU) HÅN (IT) Ninhomalo (ES) Terry Riley & Gyan Riley (US) Kirara (KR) Nitzer Ebb (UK) Tierra Whack (US) Kojaque (IE) Nosedrip (BE) Tim Burgess (The Charlatans) dj set L8CHING (TW) Object Blue (CN) (UK) LAOISE (IE) Objekt live & dj (JP) Tim Hecker & Konoyo Ensemble Lonker See (PL) Octo Octa b2b Eris Drew (EU) (CA) Lorena Álvarez (ES) Odina (ES) Tirzah (UK) Malihini (IT) Overmono live & dj (UK) Tomberlin (US) Mayberian Sanskülotts (HU) PAVVLA (ES) Tony Touch & Friends (Don Chezina Meuko! Meuko! (TW) Peach (CA) + Soni WithanEYE) (US) Mr. Perfumme (ES) Peggy Gou (KR) upsammy (NL) Museless (ES) Phosky (ES) Uzielito Mix (MX) Nfx (CL) Piroshka (UK) Veronica Vasicka live (US) OMINIRA (ES) Dj Playero (PR) Viva Belgrado play At The Drive In P POSTMAN ft. Emergency Tiara, Pond (AU) (ES) Darko & Mahkenna, DJ Unknown Primal Scream (UK) Voiski live (FR) (ZA, JP, US) Princess Nokia (US) Wednesday Campanella (JP) Phoro (UY) Pusha T (US) Xols (ES) Retirada! (ES) Putochinomaricón (ES) Yaeji (US-KR) Sistemas Inestables (CL) Pylon Reenactment Society (US) Ylia (ES) Tęskno (PL) r.e.a.l.
Recommended publications
  • Rhythmic Foundation and Accompaniment
    Introduction To Flamenco: Rhythmic Foundation and Accompaniment by "Flamenco Chuck" Keyser P.O. Box 1292 Santa Barbara, CA 93102 [email protected] http://users.aol.com/BuleriaChk/private/flamenco.html © Charles H. Keyser, Jr. 1993 (Painting by Rowan Hughes) Flamenco Philosophy IA My own view of Flamenco is that it is an artistic expression of an intense awareness of the existential human condition. It is an effort to come to terms with the concept that we are all "strangers and afraid, in a world we never made"; that there is probably no higher being, and that even if there is he/she (or it) is irrelevant to the human condition in the final analysis. The truth in Flamenco is that life must be lived and death must be faced on an individual basis; that it is the fundamental responsibility of each man and woman to come to terms with their own alienation with courage, dignity and humor, and to support others in their efforts. It is an excruciatingly honest art form. For flamencos it is this ever-present consciousness of death that gives life itself its meaning; not only as in the tragedy of a child's death from hunger in a far-off land or a senseless drive-by shooting in a big city, but even more fundamentally in death as a consequence of life itself, and the value that must be placed on life at each moment and on each human being at each point in their journey through it. And it is the intensity of this awareness that gave the Gypsy artists their power of expression.
    [Show full text]
  • Awoin6lz3gits5l39neb 1599726
    ÍNDEX Primavera Pro 2019……………………………………………………………………………………. 1 ​ Primavera Sound en números…………………………………………………………………….... 3 ​ Estadístiques…….……………………………………………………………………………………….. 6 ​ Participants…………………..………………………………………………………………………….... 9 ​ Day Pro Conference……………………………………….…………………………………………... 16 ​ Showcases………………………………………………………………………………………………... 30 ​ Col·laboradors………………………………………………………………………………………….... 31 ​ PRIMAVERA PRO 2019 Centre de Cultura Contemporània de Barcelona (CCCB) Parc del Fòrum - Del 29 de maig al 2 de juny de 2019 Quan els valencians Tin Robots van esprémer les últimes notes del seu radiant pop-rock a ​ l'escenari Day Pro el diumenge 2 de juny, Primavera Pro 2019 va arribar oficialment a la seva ​ fi. La desena edició de la trobada internacional del sector musical va oferir una ​ programació feminista, transversal i aperturista, d'acord amb la nova normalitat que ​ Primavera Sound ha adoptat com a lema. Un gra de sorra amb el qual contribuir a un canvi de paradigma en el centre del qual brilla una constatació innegable: és possible articular un ​ esdeveniment que respon a la bretxa de gènere en la indústria col·locant a una majoria de dones damunt de l'escenari, com a ponents i com a artistes. Que es pot, en ​ definitiva, crear un fòrum en el qual no tenen cabuda els triomfalismes, i sí que hi ha lloc per a la lluita, la crítica i, també, l'autocrítica sense la qual no podríem fer un pas endavant per a aconseguir que l'entorn de la música sigui, veritablement, un espai de cures, com es va defensar en la il·luminadora taula rodona sobre benestar i salut mental. L'aniversari de Primavera Pro, les principals activitats del qual van tenir lloc entre el 29 i el 31 de maig en el Centre de Cultura Contemporània de Barcelona, s'ha escrit amb tinta violeta, la que identifica el programa d'Insumisas, la nova secció realitzada en col·laboració amb l'associació ​ ​ Mujeres de la Industria de la Música per a parlar de la dimensió política del feminisme, tant ​ en l'àmbit musical com en el de la cultura global.
    [Show full text]
  • Sex Object’ Offers by BEN SCHMITZ Duction of a Brash, Overdriven TER’S” Sonic Build
    PAGE 8 / campustimes.org MONDAY, OCTOBER 3, 2016 ARTS & ENTERTAINMENT Bon Iver Drops ‘22, A Million’ ‘Sex Object’ Offers BY BEN SCHMITZ duction of a brash, overdriven TER’s” sonic build. Truth, Reality in CONTRIBUTING WRITER drum groove and choppy vocal Closing the album, “00000 samples about halfway through. Million” brings back the folk- Upon the release of his sopho- The last few lines of the lyrics like songwriting of “29 #Straf- Feminism, Life more self-titled release, Bon Iv- profess a desire and motivation ford APTS” and closes the al- er’s Justin Vernon made it abun- in Vernon to move on from his bum’s lyrical themes powerfully. BY ISABEL DRUKKER “The Baby”) and creating an dantly clear that he is a master demons, with him singing, “I The line, “If it’s harmed, it’s A&E EDITOR aesthetic (“Subways,” “Grilled of balancing between too radi- could go forward in the light, harmed me, it’ll harm, I let Cheese,” “Ice”). But if there is a cal and not different enough. well, I better fold my clothes.” it in,” is a clear final word on Jessica Valenti’s first memoir, consistent aesthetic of the mem- Typically, when an artist finds “22, A Million’s” is the best Vernon’s acceptance of the de- “Sex Object” (2016), says a lot. oir, I have yet to see it. success in a given style, they And it should come to no But I don’t think this is a fault. continue their body of work in surprise that the founder of the Valenti’s memoir reads as a a way that is cohesive and non- award-winning site Feminist- tale of transformation and the alienating to their newfound ing and regular columnist for idea that no person has to be, or fan base.
    [Show full text]
  • ¿Muerta O De Parranda? Auge, Caída Y Nuevo Esplendor De La Rumba
    07minv08_rumba.qxd 19/5/08 10:31 Página 55 ¿muerta o de parranda? auge, caída y nuevo esplendor de la rumba catalana MARTÍ MARFÀ I CASTÁN FOTOGRAFÍA COLITA Peret en el Bar de las Cañas, Barcelona, 1963 Pocos géneros musicales han pasado por tantas vicisitudes y altibajos como la rumba catalana. Tantas veces despreciada, y otras tantas reivindicada, su proyección y su influencia sobre la música popular en España es mucho más amplia de lo que a primera vista parece. Sólo recientemente ha empezado la rumba catalana a suscitar el interés de musicólogos, historiadores o antropólogos, como Martí Marfà i Castán, investigador vinculado a la Universidad de Barcelona y al Institut Català d’Antropologia, que rastrea en este artículo la historia del género y su relación con las comunidades de gitanos catalanes. 07minv08_rumba.qxd 19/5/08 10:31 Página 56 56 MINERVA 8.08 De unos años a esta parte la etiqueta «rumba» se ha vuelto a poner HIJA BASTARDA DE CUBA Y EL FLAMENCO de moda. Un creciente número de artistas y bandas reivindican con La rumba catalana nació navegando ya entre dos aguas –con permi- orgullo su apodo rumbero, añadiendo a la receta de su potaje musi- so del Paco de Lucía más rumbero–, es decir entre dos tradiciones cal este nuevo ingrediente, a menudo acompañado de adjetivos que musicales más o menos canónicas: la flamenca y la afrocubana. Para ahuyentan las críticas de los más puristas: bastarda, turbia, mez- ambas es una especie de hija bastarda, desobediente e incómoda, clada, calorra, fusión, canalla... Esta fiebre por las cadencias ligera- que los expertos de una y otra tradición tienden a apartar de sus con- mente aflamencadas, las voces roncas y afónicas, la guitarra «ven- sideraciones de ortodoxia.
    [Show full text]
  • Italian Actress Virna Lisi Dead at 78
    Lifestyle FRIDAY, DECEMBER 19, 2014 Italian actress Virna Lisi dead at 78 talian actress Virna Lisi, who played opposite Hollywood stars including Frank Sinatra in the 1960s Iand later established herself an acclaimed character actress, has died at the age of 78. Italian media quoted her son as saying that Lisi had passed away peacefully in her sleep on Wednesday, a month after being diagnosed Philippine crime lord with an incurable illness. Born in Ancona in 1936, she was an established cine- ma and theatre actress before Hollywood producers enjoys jailhouse rock looking for a new Marilyn Monroe came rime lord “Herbert C” was enjoying chart success. In one of many clips about calling in the mid- national fame and growing iTunes his career posted on YouTube and other 1960s.With Jack Csuccess after reinventing himself as social media, Colanggo appears at a Lemmon she made a lovelorn balladeer from inside the concert in the Bilibid gymnasium where “How to Murder Your Philippines’ biggest jail-until police cut he accepts an Ivory “platinum” record Wife” in 1965 and fol- In this file picture taken on May 23, 1994 US film short his career. Herbert Colanggo lost his award for selling 15,000 albums. He also lowed up by starring director Quentin Tarantino poses with the Golden recording studio and other bribe-induced celebrates being voted “best new male alongside Tony Curtis in Palm he was awarded for his film “Pulp Fiction”, musical privileges after a raid on the recording artist” by a group of entertain- “Not with my Wife, You next to Italian actress Virna Lisi who was named secret prison villas kept by 20 of the ment journalists this year, an accolade Don’t” and with Sinatra best actress for her part in the French movie “La nation’s most notorious robbery, kidnap- that garnered mainstream media cover- in “Assault on a Queen” ping and drug kingpins.
    [Show full text]
  • Whole Day Download the Hansard
    Tuesday Volume 628 12 September 2017 No. 26 HOUSE OF COMMONS OFFICIAL REPORT PARLIAMENTARY DEBATES (HANSARD) Tuesday 12 September 2017 © Parliamentary Copyright House of Commons 2017 This publication may be reproduced under the terms of the Open Parliament licence, which is published at www.parliament.uk/site-information/copyright/. 617 12 SEPTEMBER 2017 618 Mr Speaker: We await the hon. Lady’s oration on that House of Commons occasion with eager anticipation. Tuesday 12 September 2017 Albert Owen (Ynys Môn) (Lab): The Minister’sresponse is simply not good enough. We have waited for report after report, and these carbon budgets have been delayed The House met at half-past Eleven o’clock time and again. I know that we have had an unnecessary and uncosted election, but even the United Nations is PRAYERS saying that our air is not clean. It is time that the Government took this seriously, acted and told the House the exact figures. [MR SPEAKER in the Chair] Claire Perry: I think the hon. Gentleman is showing BUSINESS BEFORE QUESTIONS the effect of our late sitting hours with his grumpiness. He should be celebrating the fact that Britain has led the world in decarbonising our economy, while growing MIDDLE LEVEL BILL the economy at a greater rate than any other G7 country. Motion made, If he wants more affirmation, he should read the PwC That the promoters of the Middle Level Bill, which originated report on that. What we have to do now is set out a very in this House in the previous Session on 24 January 2017, may difficult and long-term plan to meet the fourth and fifth have leave to proceed with the Bill in the current Session carbon budgets and to go beyond.
    [Show full text]
  • Hip Hop Feminism Comes of Age.” I Am Grateful This Is the First 2020 Issue JHHS Is Publishing
    Halliday and Payne: Twenty-First Century B.I.T.C.H. Frameworks: Hip Hop Feminism Come Published by VCU Scholars Compass, 2020 1 Journal of Hip Hop Studies, Vol. 7, Iss. 1 [2020], Art. 1 Editor in Chief: Travis Harris Managing Editor Shanté Paradigm Smalls, St. John’s University Associate Editors: Lakeyta Bonnette-Bailey, Georgia State University Cassandra Chaney, Louisiana State University Willie "Pops" Hudson, Azusa Pacific University Javon Johnson, University of Nevada, Las Vegas Elliot Powell, University of Minnesota Books and Media Editor Marcus J. Smalls, Brooklyn Academy of Music (BAM) Conference and Academic Hip Hop Editor Ashley N. Payne, Missouri State University Poetry Editor Jeffrey Coleman, St. Mary's College of Maryland Global Editor Sameena Eidoo, Independent Scholar Copy Editor: Sabine Kim, The University of Mainz Reviewer Board: Edmund Adjapong, Seton Hall University Janee Burkhalter, Saint Joseph's University Rosalyn Davis, Indiana University Kokomo Piper Carter, Arts and Culture Organizer and Hip Hop Activist Todd Craig, Medgar Evers College Aisha Durham, University of South Florida Regina Duthely, University of Puget Sound Leah Gaines, San Jose State University Journal of Hip Hop Studies 2 https://scholarscompass.vcu.edu/jhhs/vol7/iss1/1 2 Halliday and Payne: Twenty-First Century B.I.T.C.H. Frameworks: Hip Hop Feminism Come Elizabeth Gillman, Florida State University Kyra Guant, University at Albany Tasha Iglesias, University of California, Riverside Andre Johnson, University of Memphis David J. Leonard, Washington State University Heidi R. Lewis, Colorado College Kyle Mays, University of California, Los Angeles Anthony Nocella II, Salt Lake Community College Mich Nyawalo, Shawnee State University RaShelle R.
    [Show full text]
  • Top 40 Singles Top 40 Albums
    23 July 1989 CHART #674 Top 40 Singles Top 40 Albums Bring Me Edelweiss Ring My Bell A New Flame Like A Prayer 1 Edelweiss 21 Collette 1 Simply Red 21 Madonna Last week 2 / 3 weeks WEA Last week - / 1 weeks CBS Last week 1 / 19 weeks Platinum / WEA Last week 8 / 16 weeks Platinum / WEA Batdance Buffalo Stance Open Up And Say . Aah! Avalon Sunset 2 Prince 22 Neneh Cherry 2 Poison 22 Van Morrison Last week 1 / 4 weeks WEA Last week 39 / 22 weeks VIRGIN Last week 3 / 43 weeks Platinum / FESTIVAL Last week 28 / 2 weeks POLYGRAM Funky Cold Medina Good Thing The Raw And The Cooked Union 3 Tone Loc 23 Fine Young Cannibals 3 Fine Young Cannibals 23 Toni Childs Last week 5 / 4 weeks FESTIVAL Last week 21 / 10 weeks POLYGRAM Last week 5 / 16 weeks Platinum / POLYGRAM Last week 16 / 36 weeks Platinum / FESTIVAL If You Don't Know Me By Now Rooms On Fire Don't Be Cruel Vivid 4 Simply Red 24 Stevie Nicks 4 Bobby Brown 24 Living Colour Last week 3 / 9 weeks Gold / WEA Last week 23 / 5 weeks EMI Last week 2 / 27 weeks Platinum / WEA Last week 26 / 14 weeks Gold / CBS Manchild The Best Of Me The Miracle Club Classics Vol I 5 Neneh Cherry 25 Cliff Richard 5 Queen 25 Soul II Soul Last week 12 / 4 weeks VIRGIN Last week 27 / 2 weeks EMI Last week 4 / 4 weeks Gold / EMI Last week 38 / 2 weeks VIRGIN Wind Beneath My Wings Americanos Past Present Southside 6 Bette Midler 26 Holly Johnson 6 Clannad 26 Texas Last week 16 / 3 weeks WEA Last week 19 / 7 weeks WEA Last week 47 / 2 weeks BMG Last week 20 / 4 weeks POLYGRAM Every Little Step Parihaka Appetite For
    [Show full text]
  • Musician Neneh Cherry on Addressing Politics in Your Art
    October 29, 2018 - As told to T. Cole Rachel, 2891 words. Tags: Music, Politics, Process, Collaboration. On addressing politics in your art Musician Neneh Cherry on what makes a good a collaborator, the headspace required for making thoughtful art, and why sometimes being quiet is a radical act. What’s the kind of headspace you need to be in when you’re working on music? It’s somewhat different every time, but recently I had a place that I wanted to go in my spirit and soul, through the songs and with the songs. I knew it was going to need me to be in a more… not a static place, exactly, but a more still place. It was almost like I could feel the songs around my head. Of course, the collaborative journey played an important part in actually reaching the goal. In the case of Broken Politics, I think we reached the goal I had in mind. I work with Cameron McVey, who is my husband and my creative partner, beyond just the spousal stuff. We’ve also had a very intimate creative journey. Quite often we’re working with other programmers and musicians when we’re writing, so there are all of these different things to figure out and negotiate. He’s a really fast writer. I’m a much slower writer. A lot of the time we’re in the studio by ourselves, each working at our own pace. Sometimes, even when you have an idea of where you want to go, it’s still a struggle getting there and getting past all the little weird obstacle courses that your brain sets up for you in order to get to that place where you’re creatively open.
    [Show full text]
  • The History of Rock Music - the Eighties
    The History of Rock Music - The Eighties The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Singer-songwriters of the 1980s (These are excerpts from my book "A History of Rock and Dance Music") Female folksingers 1985-88 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Once the effects of the new wave were fully absorbed, it became apparent that the world of singer-songwriters would never be the same again. A conceptual mood had taken over the scene, and that mood's predecessors were precisely the Bob Dylans, the Neil Youngs, the Leonard Cohens, the Tim Buckleys, the Joni Mitchells, who had not been the most popular stars of the 1970s. Instead, they became the reference point for a new generation of "auteurs". Women, in particular, regained the status of philosophical beings (and not only disco-divas or cute front singers) that they had enjoyed with the works of Carole King and Joni Mitchell. Suzy Gottlieb, better known as Phranc (1), was the (Los Angeles-based) songwriter who started the whole acoustic folk revival with her aptly-titled Folksinger (? 1984/? 1985 - nov 1985), whose protest themes and openly homosexual confessions earned her the nickname of "all-american jewish-lesbian folksinger". She embodied the historic meaning of that movement because she was a punkette (notably in Nervous Gender) before she became a folksinger, and because she continued to identify, more than anyone else, with her post- feminist and AIDS-stricken generation in elegies such as Take Off Your Swastika (1989) and Outta Here (1991).
    [Show full text]
  • “El Mal Querer De Rosalía: Análisis Estético, Audiovisual E Interpretativo”
    UNIVERSIDAD POLITECNICA DE VALENCIA ESCUELA POLITECNICA SUPERIOR DE GANDIA “El mal querer de Rosalía: análisis estético, audiovisual e interpretativo” TRABAJO FINAL DE GRADO Autor/a: Silvia Vaquero Tramoyeres Tutor/a: Nadia Alonso López GANDIA, 2020 1 Resumen En 2018 la cantante Rosalía publicó el álbum que la ha llevado a la fama mundial, titulado El mal querer. Este disco ha resultado ser un producto interesante más allá de lo puramente musical y comercial, destacando en la estética, elementos audiovisuales y simbología empleada. Destaca un factor decisivo en la creación del álbum El mal querer, que es la clara inspiración que ha tomado la cantante Rosalía de Flamenca, una obra literaria occitana, de autoría anónima y que data del siglo XIII. No obstante, pese a ser una novela medieval, Rosalía ha visto la actualidad de la historia y de la heroína, y ha sabido llevarla al mundo de hoy en día, un mundo en el que las relaciones interpersonales, la toxicidad que puede haber en estas y la figura de la mujer no han cambiado tanto. De esta forma, la historia del medievo ha servido para dar estructura al álbum y conformar un hilo narrativo que se desarrolla de manera fragmentaria desde la primera canción hasta la última. Asimismo, la acción contada se lleva a cabo también en el ámbito audiovisual, en el que la fusión de elementos del pasado y la cultura actual se hace efectiva y visible. De este modo, este documento constituye una interpretación del álbum El mal querer, tanto desde su nivel literario y narrativo, atendiendo a qué se cuenta y de qué manera se cuenta, hasta el audiovisual.
    [Show full text]
  • Interactivity and Community in Video Game Live Streams
    Twitch TV Uncovered – Interactivity and Community in Video Game Live Streams A thesis presented to the faculty of the Scripps College of Communication of Ohio University and the Institute for Communication and Media Studies of Leipzig University In partial fulfillment of the requirements for the degrees Master of Science in Journalism (Ohio University), Master of Arts in Global Mass Communication (Leipzig University) Chris J. Vonderlind December 2019 © 2019 Chris J. Vonderlind. All Rights Reserved. This thesis titled Twitch TV Uncovered – Interactivity and Community in Video Game Live Streams by CHRIS J. VONDERLIND has been approved for the E.W. Scripps School of Journalism, the Scripps College of Communication, and the Institute for Communication and Media Studies by Veronika Karnowski Associate Professor of the Institute for Communication and Media Studies Scott Titsworth Dean, Scripps College of Communication, Ohio University Christian Pieter Hoffman Director, Institute for Communication and Media Studies, Leipzig University ii Abstract CHRIS J. VONDERLIND, M.S., Journalism; M.A., Global Mass Communication, December 2019 3709740 Twitch TV Uncovered – Interactivity and Community in Video Game Live Streams Director of Thesis: Veronika Karnowski Committee Members: Veronika Karnowski, Jatin Srivastava, Rosanna Planer Online media is continuing to transform the media consumption habits of today’s society. It encompasses various forms of content, modes of consumption and interpersonal interactions. Live-streaming is one of the less observed but growing forms of new media content. It combines aspects of online video entertainment and user content creation such as YouTube, and social media such as Instagram, in a live setting. The goal of this thesis is to explore this phenomenon by looking at the video game streaming platform Twitch, and, more specifically, the interactions taking place during the live streams.
    [Show full text]