The Music (And More) 2018 Quarter 4 Report
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Press Coverage That the Scranton Jazz Festival Has Received
scrantonjazzfestival.org SCRANTON JAZZ FESTIVAL ABOUT This summer The Scranton Jazz Festival will celebrate its 11th year at the historic Radisson Lackawanna Station Hotel and various downtown Scranton venues. Attracting international, national, and regional jazz/blues and world beat artists, the SJF has proven its true potential to become a long-term musical event. Only with your support, does the festival continue to have the opportunity for an enormous impact on the cultural and economic development of our region. Fostering America’s original art form, jazz, Scranton has a rich history, dating back to the 1930’s when two jazz legends, Tommy Dorsey and Jimmy Dorsey, performed regularly with the Scranton Sirens Jazz Band. Our area is also credited with hosting the first known recorded jazz festival, “The Cavalcade of Dixieland Jazz”, in 1951. Since its premiere in 2005 the festival has drawn audiences from the entire Mid-Atlantic region, resulting in tremendous notoriety and exposure to the international jazz world. The SJF can help revive our region as a cultural epicenter, spreading the arts throughout the northeast, no different than such festivals as Newport, Rhode Island; Saratoga Springs, Florida; and Monterey, California. With your generosity, to support this program, we will be able to significantly enrich our community and region. Your donation will help us to defer costs for production, artists fees, advertising, and promotional expenses. In addition, your contribution will enable us to receive matching funds, provided by local and state funding organiza- tions. Together, as a united team, we can make artistic magic happen for Scranton. How incredible would it be to see this festival, in time, be considered a major summer destination place for the jazz/blues and world beat community? Only with your help will that magic happen. -
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, -
STORM Report Is a Compilation of Up-And-Coming Bands and Artists Popular Music in America Has Never Been More Who Are Worth Watching
Music Without Borders BLACKPINK Jeremy Zucker RY X MISSIO and more ISSUE NO. 63 SUMMER 2019 TABLE OF CONTENTS 4 EYE OF THE STORM Music Without Borders: The Rise of Non-English Language Music in America 5 STORM TRACKER Clairo, Natti Natasha, Raveena, and Florida Georgia Line 6 STORM FORECAST Rihanna @ NYFW, Discover WORLDZ, Life Is Beautiful, and more 7 STORM WARNING Our signature countdown of 20 buzzworthy bands and artists on our radar. On the Cover: Jessie Reyez. Photo by Mabdulle ©2019 ABOUT A LETTER THE STORM FROM THE REPORT EDITOR Watching the MTV Video Music Awards this STORM = STRATEGIC TRACKING OF RELEVANT MEDIA week, it was undeniable to note that, despite a continuing immigration crisis in our country, The STORM Report is a compilation of up-and-coming bands and artists popular music in America has never been more who are worth watching. Only those showing the most promising globally influenced and inspired. One of our potential for future commercial success make it onto our monthly list. favorite new artists Rosalía (who was all of the buzz of Coachella 2019) and Columbian reggaeton How do we know? singer, J Balvin (STORM 35) claimed the award for “Best Latin” at the event this year. And while Through correspondence with industry insiders and our own ravenous there remains some industry controversy in media consumption, we spend our month gathering names of artists defining Rosalía as a “Latinx” artist (she is from who are “bubbling under”. We then extensively vet this information, Barcelona vs. Latin American countries), the fact analyzing an artist’s print & digital media coverage, social media that she primarily performs in Spanish and has growth, sales chart statistics, and various other checks and balances to collaborated with breakthrough Latin musicians ensure that our list represents the cream of the crop. -
Stock DECEMBER 2020
DISTRO / 2020 DISQUE LP CODE STOCK CHF !Attention! - S/T INLP 859 1 12 562 – Cuando vivir es morir INLP 524 2 14 7 seconds – Leave a light on INLP 780 X 25 7 seconds – The crew INLP 599 x 18 7 seconds – Walk together, rock together INLP 107 1 16 A wilhelm scream – S/T INLP 493 1 17 Accidente – Amistad Y Rebelión INLP 918 1 10 Accidente – Pulso INLP 278 2 13 Accidente – S/t INLP 230 2 10 Adhesive – Sideburner INLP 879 1 18 Adolescents – OC Confidential INLP 622 2 12 Adolescents – S/T INLP 006 1 22 Adult Magic – S/T INLP 133 2 14 Against me! - As the eternal cowboy INLP 748 X 21 Against me! - Is reinventing Axl Rose INLP 228 1 21 Against me! - Searching for a former clarity 2LP INLP 752 1 28 Against me! - Shape Shift With Me INLP 342 1 32 Against me! - Transgender dysphoria blues INLP 751 3 27 Agent Attitude – First 2 Eps INLP 614 1 12 Agnostic front – Another voice INLP 668 1 17 Agnostic front – Live At CBGB INLP 543 x 19 Agnostic front – Victim in pain INLP 010 1 17 Alea Jacta Est – Dies Irae INLP 606 4 16 Alea Jacta Est – Gloria Victis INLP 357 2 10 Alea Jacta Est – Vae Victis INLP 776 1 15 Alkaline trio – Maybe i'll cacth fire INLP 222 x 18 Alkaline trio – My shame is true INLP 626 X 26 Alkaline trio – This addiction INLP 373 x 22 All – Allroy for prez INLP 240 1 20 All – Allroy Saves INLP 939 1 22 All – Allroys revenge INLP 238 X 27 All – Breaking things INLP 319 1 28 All – Pummel INLP 651 2 28 All out War – Dying Gods INLP 338 X 18 All Pigs Must Die – Hostage Animal INLP 698 1 21 All pigs must die – Nothing violates this nature INLP 701 1 22 All pigs must die – s/t INLP 015 1 22 Altair – Nuestro Enemigo INLP 294 2 12 American Football - S/T LP3 INLP 1010 2 28 UK 20 American football – s/t INLP 018 X 24 American Football – S/T (EP) INLP 762 x 16 American Football – S/T LP2 INLP 731 X 25 And So Your Life Is Ruined – s/t INLP 938 1 12 Page 1 DISTRO / 2020 And yo your life is ruined – s/t INLP 835 1 13 Angel Du$t - Pretty Buff INLP 1011 1 28 Angel Dust – A.D. -
Dynamics of Musical Success: a Bayesian Nonparametric Approach
Dynamics of Musical Success: A Bayesian Nonparametric Approach Khaled Boughanmi1 Asim Ansari Rajeev Kohli (Preliminary Draft) October 01, 2018 1This paper is based on the first essay of Khaled Boughnami's dissertation. Khaled Boughanmi is a PhD candidate in Marketing, Columbia Business School. Asim Ansari is the William T. Dillard Professor of Marketing, Columbia Business School. Rajeev Kohli is the Ira Leon Rennert Professor of Business, Columbia Business School. We thank Prof. Michael Mauskapf for his insightful suggestions about the music industry. We also thank the Deming Center, Columbia University, for generous funding to support this research. Abstract We model the dynamics of musical success of albums over the last half century with a view towards constructing musically well-balanced playlists. We develop a novel nonparametric Bayesian modeling framework that combines data of different modalities (e.g. metadata, acoustic and textual data) to infer the correlates of album success. We then show how artists, music platforms, and label houses can use the model estimates to compile new albums and playlists. Our empirical investigation uses a unique dataset which we collected using different online sources. The modeling framework integrates different types of nonparametrics. One component uses a supervised hierarchical Dirichlet process to summarize the perceptual information in crowd-sourced textual tags and another time-varying component uses dynamic penalized splines to capture how different acoustical features of music have shaped album success over the years. Our results illuminate the broad patterns in the rise and decline of different musical genres, and in the emergence of new forms of music. They also characterize how various subjective and objective acoustic measures have waxed and waned in importance over the years. -
Anarchism, Hardcore Music, and Counterculture
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2016 Don't Let the World Rot: Anarchism, Hardcore Music, and Counterculture Pearson Bolt University of Central Florida Part of the Critical and Cultural Studies Commons, and the Ethnomusicology Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Bolt, Pearson, "Don't Let the World Rot: Anarchism, Hardcore Music, and Counterculture" (2016). Electronic Theses and Dissertations, 2004-2019. 5128. https://stars.library.ucf.edu/etd/5128 DON’T LET THE WORLD ROT: ANARCHISM, HARDCORE, AND COUNTERCULTURE by PEARSON L. BOLT B.A. University of Central Florida, 2013 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of English in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2016 Major Professor: Anthony Grajeda © Pearson Bolt 2016 ii ABSTRACT Hardcore music is intrinsically anarchistic. The hardcore music scene represents a radical departure from contemporary society. Rejecting the materialism, militarism, and hedonism of the mainstream music scene—and, by extension, modern culture—hardcore music presents an alternative lifestyle rooted in solidarity, equality, and liberty. Indeed, the culture of the hardcore scene approaches a transitive, nomadic model of an anarchistic commune built on resistance as a way of life. -
U.S. Music Mid-Year Report 2019
NIELSEN MUSIC MID-YEAR REPORT U.S. 2019 1 INTRODUCTION Welcome to the 2019 Nielsen Music Mid-Year Report, which provides an exclusive glimpse at the music industry’s leading trends, data and insights from the past six months. The first half of 2019 saw a six-month record of over 507 billion on-demand streams, an exciting new milestone led by singles and albums by Ariana Grande, Billie Eilish, Halsey, Khalid, BTS, Lil Nas X and Bad Bunny that span a wide array of genres, moods and even languages. LPs continue to show strength and lend resilience to physical albums, as independent retail events like Record Store Day continue to bring music fans in droves. This year’s celebration led to the highest non-holiday sales total at independent retail since 2005, and extended vinyl’s hot streak as the format increases 19% year-to-date. All data cited in this story is compiled by Nielsen Music. In this report, Nielsen is using a 24-week period for this year, running from Jan. 4 through June 20; while last year’s corresponding period ran THE FIRST HALF from Dec. 29, 2017, through June 14, 2018. Also, due to the fact that at mid-year 2018 Nielsen adapted different weighting for album OF 2019 SAW A consumption units for paid-audio streams (1,250 streams per unit), ad-supported streams and video streams (3,750 streams per unit), SIX-MONTH last year’s album consumption unit numbers were updated to reflect the current ratios for this story, in order to present an RECORD OF OVER apples-to-apples comparison. -
Analyzing Genre in Post-Millennial Popular Music
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Analyzing Genre in Post-Millennial Popular Music Thomas Johnson The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2884 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ANALYZING GENRE IN POST-MILLENNIAL POPULAR MUSIC by THOMAS JOHNSON A dissertation submitted to the Graduate Faculty in Music in partial Fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 THOMAS JOHNSON All rights reserved ii Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson This manuscript has been read and accepted for the Graduate Faculty in music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ___________________ ____________________________________ Date Eliot Bates Chair of Examining Committee ___________________ ____________________________________ Date Norman Carey Executive Officer Supervisory Committee: Mark Spicer, advisor Chadwick Jenkins, first reader Eliot Bates Eric Drott THE CITY UNIVERSITY OF NEW YORK iii Abstract Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson Advisor: Mark Spicer This dissertation approaches the broad concept of musical classification by asking a simple if ill-defined question: “what is genre in post-millennial popular music?” Alternatively covert or conspicuous, the issue of genre infects music, writings, and discussions of many stripes, and has become especially relevant with the rise of ubiquitous access to a huge range of musics since the fin du millénaire. -
© 2021 Andrew Gregory Page 1 of 13 RECORDINGS Hard Rock / Metal
Report covers the period of January 1st to Penny Knight Band - "Cost of Love" March 31st, 2021. The inadvertently (single) [fusion hard rock] Albany missed few before that time period, which were brought to my attention by fans, Remains Of Rage - "Remains Of Rage" bands & others, are listed at the [hardcore metal] Troy end,along with an End Note. Senior Living - "The Paintbox Lace" (2- track) [alternative grunge rock shoegaze] Albany Scavengers - "Anthropocene" [hardcore metal crust punk] Albany Thank you to Nippertown.com for being a partner with WEXT Radio in getting this report out to the people! Scum Couch - "Scum Couch | Tree Walker Split" [experimental noise rock] Albany RECORDINGS Somewhere In The Dark - "Headstone" (single track) Hard Rock / Metal / Punk [hard rock] Glenville BattleaXXX - "ADEQUATE" [clitter rock post-punk sasscore] Albany The Frozen Heads - "III" [psychedelic black doom metal post-punk] Albany Bendt - "January" (single) [alternative modern hard rock] Albany The Hauntings - "Reptile Dysfunction" [punk rock] Glens Falls Captain Vampire - "February Demos" [acoustic alternative metalcore emo post-hardcore punk] Albany The One They Fear - "Perservere" - "Metamorphosis" - "Is This Who We Are?" - "Ignite" (single tracks) Christopher Peifer - "Meet Me at the Bar" - "Something [hardcore metalcore hard rock] Albany to Believe In" (singles) [garage power pop punk rock] Albany/NYC The VaVa Voodoos - "Smash The Sun" (single track) [garage punk rock] Albany Dave Graham & The Disaster Plan - "Make A Scene" (single) [garage -
Katalog Download
1 MERCH CREW CHARTS Alex: Wolves In The Throne Room, Lip- stick Killers, Isis, Devil´s Blood Danny: Anika, Zement, Shem, Mode- center, Orchestre Tout Puissant, Elara, Darkside, Band of Susans, The Bug „Tote Bag“ Rocket / Vinyl Cat 9,9 Slipmat 7,9 Super heavy 400gr/m2 CanvasCotton orange > black Götz: Anika, Darkside, Liminanas & Lau- white > black / black > white electric blue > black rent Garnier, Jose Gonzales, Horte, Web Siebdruck, 100% gekämmte Baumwolle, FearWear zertifiziert Shirts je 16,9 Größen S-XXL Web x Max Herre, Mono, Jeb Loy Nichols, Low, Molly Lewis, Vanishing Twin Kristof: Fake Fruit, Good Sad Happy Bad, Anika, Yves Tumor, Rolltreppe, Turnstile, Sault, Bachelor Sebastian: Sir Simon, Burkini Beach, circle rocket pilot doppeldecker Shitney Beers, Laura Stevenson, The white > charcoal white > electric blue black > purple rose deep navy > linen Deadnotes, Kaufmann Frust, e.s.t. Tobi: Modecenter, Absolute Body Control, Bootlicker, 50 Kaitenz Tom: Sonny Vincent, Raw Power, Turnstile, Leatherface, Amyl, Rats, Naked Raygun circle rocket pilot doppeldecker white > stereo red white > charcoal black > sport grey deep navy > faded denim LADEN MAILORDER Stühlingerstr. 15 Mo - Fr 10 - 18 h 79106 Freiburg Tel. 0761 208990 [email protected] Do - Sa 12 - 18 h Tel. 0761 5109130 Co2-neutraler Versand, portofrei ab 75,- (DE) Wir arbeiten mit 100% Naturstrom LPs, CDs, 7“s, Zubehör,VVK Sicheres Shoppen via SSL-Verschlüsselung Gutscheine, Bestellservice Geschenkgutscheine analog und digital 2nd Hand An- & Verkauf 2 1 FLIGHT13.COM *** Selling -
Data Specifications and Collection
Ref. Ares(2018)2835897 - 31/05/2018 D2.1 – Data specifications and collection May 31st, 2018 Author/s: Manos Schinas (CERTH), Symeon Papadopoulos (CERTH) Contributor/s: Yiannis Kompatsiaris (CERTH), Frédéric Notet (MMAP), Quimi Luzón (BMAT), Geoffroy Peeters (IRCAM), Rebecka Sjöström (PGM), Daniel Johansson (SYB), Tommy Vaudecrane (BN) Deliverable Lead Beneficiary: CERTH This project has been co-funded by the HORIZON 2020 Programme of the European Union. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use, which may be made of the information contained therein. Multimodal Predictive Analytics and Recommendation Services for the Music Industry 2 Deliverable number or D2.1 – Data specifications and collection supporting document title Type Report Dissemination level Public Publication date 31-05-2018 Author(s) Manos Schinas (CERTH), Symeon Papadopoulos (CERTH) Contributor(s) Yiannis Kompatsiaris (CERTH), Frédéric Notet (MMAP), Quimi Luzón (BMAT), Geoffroy Peeters (IRCAM), Rebecka Sjöström (PGM), Daniel Johansson (SYB), Tommy Vaudecrane (BN) Reviewer(s) Julien Perret (BN), Maria Stella Tavella (MMAP), Vasilis Papanikolaou (ATC), Daniel Molina (BMAT) Keywords music data, data collection, API, database, music platforms, broadcast data, social media, music content, music knowledge base, data management Website www.futurepulse.eu CHANGE LOG Version Date Description of change Responsible V0.1 05/04/2018 First deliverable draft version, table of contents Manos Schinas V0.5 27/04/2018 -
American Popular Music
American Popular Music Larry Starr & Christopher Waterman Copyright © 2003, 2007 by Oxford University Press, Inc. This condensation of AMERICAN POPULAR MUSIC: FROM MINSTRELSY TO MP3 is a condensation of the book originally published in English in 2006 and is offered in this condensation by arrangement with Oxford University Press, Inc. Larry Starr is Professor of Music at the University of Washington. His previous publications include Clockwise from top: The Dickinson Songs of Aaron Bob Dylan and Joan Copland (2002), A Union of Baez on the road; Diana Ross sings to Diversities: Style in the Music of thousands; Louis Charles Ives (1992), and articles Armstrong and his in American Music, Perspectives trumpet; DJ Jazzy Jeff of New Music, Musical Quarterly, spins records; ‘NSync and Journal of Popular Music in concert; Elvis Studies. Christopher Waterman Presley sings and acts. is Dean of the School of Arts and Architecture at the University of California, Los Angeles. His previous publications include Jùjú: A Social History and Ethnography of an African Popular Music (1990) and articles in Ethnomusicology and Music Educator’s Journal. American Popular Music Larry Starr & Christopher Waterman CONTENTS � Introduction .............................................................................................. 3 CHAPTER 1: Streams of Tradition: The Sources of Popular Music ......................... 6 CHAPTER 2: Popular Music: Nineteenth and Early Twentieth Centuries .......... ... 1 2 An Early Pop Songwriter: Stephen Foster ........................................... 1 9 CHAPTER 3: Popular Jazz and Swing: America’s Original Art Form ...................... 2 0 CHAPTER 4: Tin Pan Alley: Creating “Musical Standards” ..................................... 2 6 CHAPTER 5: Early Music of the American South: “Race Records” and “Hillbilly Music” ....................................................................................... 3 0 CHAPTER 6: Rhythm & Blues: From Jump Blues to Doo-Wop ................................