714.01 [Cover] Mothernew3
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Excesss Karaoke Master by Artist
XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not -
Ho Li Day Se Asons and Va Ca Tions Fei Er Tag Und Be Triebs Fe Rien BEAR FAMILY Will Be on Christmas Ho Li Days from Vom 23
Ho li day se asons and va ca tions Fei er tag und Be triebs fe rien BEAR FAMILY will be on Christmas ho li days from Vom 23. De zem ber bis zum 12. Ja nuar macht De cem ber 23rd to Ja nuary 12th. During that peri od BEAR FAMILY Weihnach tsfe rien. Bestel len Sie in die ser plea se send written orders only. The staff will be back Zeit bitte nur schriftlich. Ab dem 12. Janu ar 2004 sind ser ving you du ring our re gu lar bu si ness hours on Mon- wir wie der für Sie da. Bei die ser Ge le gen heit be dan ken day 12th, 2004. We would like to thank all our custo - wir uns für die gute Zusam menar beit im ver gange nen mers for their co-opera ti on in 2003. It has been a Jahr. plea su re wor king with you. BEAR FAMILY is wis hing you a Wir wünschen Ihnen ein fro hes Weih nachts- Merry Christmas and a Happy New Year. fest und ein glüc kliches neu es Jahr. COUNTRY...............................2 BEAT, 60s/70s.........................66 AMERICANA/ROOTS/ALT. ........................19 SURF ........................................73 OUTLAWS/SINGER-SONGWRITER ..................22 REVIVAL/NEO ROCKABILLY .......................75 WESTERN .....................................27 BRITISH R&R ...................................80 C&W SOUNDTRACKS............................28 INSTRUMENTAL R&R/BEAT ........................80 C&W SPECIAL COLLECTIONS ......................28 COUNTRY AUSTRALIA/NEW ZEALAND ...............29 POP ......................................82 COUNTRY DEUTSCHLAND/EUROPE .................30 POP INSTRUMENTAL ............................90 -
Adult Contemporary Radio at the End of the Twentieth Century
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Women Surrealists: Sexuality, Fetish, Femininity and Female Surrealism
WOMEN SURREALISTS: SEXUALITY, FETISH, FEMININITY AND FEMALE SURREALISM BY SABINA DANIELA STENT A Thesis Submitted to THE UNIVERSITY OF BIRMINGHAM for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History and Music The University of Birmingham September 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT The objective of this thesis is to challenge the patriarchal traditions of Surrealism by examining the topic from the perspective of its women practitioners. Unlike past research, which often focuses on the biographical details of women artists, this thesis provides a case study of a select group of women Surrealists – chosen for the variety of their artistic practice and creativity – based on the close textual analysis of selected works. Specifically, this study will deal with names that are familiar (Lee Miller, Meret Oppenheim, Frida Kahlo), marginal (Elsa Schiaparelli) or simply ignored or dismissed within existing critical analyses (Alice Rahon). The focus of individual chapters will range from photography and sculpture to fashion, alchemy and folklore. By exploring subjects neglected in much orthodox male Surrealist practice, it will become evident that the women artists discussed here created their own form of Surrealism, one that was respectful and loyal to the movement’s founding principles even while it playfully and provocatively transformed them. -
1 a Conversation with Abigail Washburn by Frank
A Conversation with Abigail Washburn by Frank Goodman (9/2005, Puremusic.com) It’s curious in the arts, especially music, that success or notoriety can sometimes come more easily to those who started late, or never even planned to be an artist in the first place. But perhaps, by the time that music seriously enters their life, people they’ve met or other things that they’ve done or been interact with that late-breaking musical urge and catalytically convert it into something that works, takes shape or even wings. And so many who may have played the same instrument or sung or composed the same style of music all their lives may never have been rewarded, or at least noticed, for a life’s work. Timing, including the totality of what one brings to the table at that particular time, seems to be what matters. Or destiny, perhaps, if one believes in such a thing. By the time that musical destiny came knocking at Abigail Washburn’s door, her young life was already paved with diverse experiences. She’d gone abroad to China in her freshman year at college, and it changed her fundamentally. She became so interested in that culture and that tradition that it blossomed into a similar interest in her own culture when she returned, and she went deeply into the music of Doc Watson and other mountain music figures, into old time and clawhammer banjo music in particular. She’d sung extensively in choral groups already, so that came naturally. She was working as a lobbyist and living in Vermont, and had close friends who were a string band. -
Heavy Metal and Classical Literature
Lusty, “Rocking the Canon” LATCH, Vol. 6, 2013, pp. 101-138 ROCKING THE CANON: HEAVY METAL AND CLASSICAL LITERATURE By Heather L. Lusty University of Nevada, Las Vegas While metalheads around the world embrace the engaging storylines of their favorite songs, the influence of canonical literature on heavy metal musicians does not appear to have garnered much interest from the academic world. This essay considers a wide swath of canonical literature from the Bible through the Science Fiction/Fantasy trend of the 1960s and 70s and presents examples of ways in which musicians adapt historical events, myths, religious themes, and epics into their own contemporary art. I have constructed artificial categories under which to place various songs and albums, but many fit into (and may appear in) multiple categories. A few bands who heavily indulge in literary sources, like Rush and Styx, don’t quite make my own “heavy metal” category. Some bands that sit 101 Lusty, “Rocking the Canon” LATCH, Vol. 6, 2013, pp. 101-138 on the edge of rock/metal, like Scorpions and Buckcherry, do. Other examples, like Megadeth’s “Of Mice and Men,” Metallica’s “For Whom the Bell Tolls,” and Cradle of Filth’s “Nymphetamine” won’t feature at all, as the thematic inspiration is clear, but the textual connections tenuous.1 The categories constructed here are necessarily wide, but they allow for flexibility with the variety of approaches to literature and form. A segment devoted to the Bible as a source text has many pockets of variation not considered here (country music, Christian rock, Christian metal). -
Sonntags Im Bistro Grottino, Sommer 2015 (16.59H Bis Ca
Sonntags im Bistro Grottino, Sommer 2015 (16.59h bis ca. 19.08h) Set vom 7.6. Real Estate: Past Lives Department of Eagles: No One Does It Like You Unknown Mortal Orchestra: So Good… Ruby Suns: Oh Mojave The Congos: Fisherman The Upsetters: Big Gal Sally Beastie Boys: Song for the Man Captain Beefheart: Abba Zaba Destroyer: Del Monton Magnetic Fields: The Luckiest Guy… Beck: Black Tambourine Can: Halleluhwah Dorothy Collins: Lightworks (Raymond Scott) Erykah Badu: Soldier Digable Planets: Black Ego Calexico: Not Even Stevie Nicks Avey Tare's Slasher Flicks: Little Fang Panda Bear: Boys Latin Deerhoof: Super Duper Rescue Head Daniel Johnston: The Sun Shines Down Gil Scott Heron: Home Is Where the Hatred Is Timmy Thomas: Why Can't We Live Together The Four Tops: Baby I Need Your Loving Matthew E. White: Golden Robes William Onyeabor: Atomic Bomb Connan Mockasin: Megumi the Milkyway Above Django Django: Found You Atlas Sound: Walkabout Islands: Jogging Gorgeous Summer Tame Impala: Let it Happen The Notwist: Gloomy Planets Dan Deacon: Feel the Lightning Tocotronic: Spiralen Destroyer: Kaputt Set vom 14.6. Simone White: Flowers in May Beach House: Walk in the Park Peaking Lights: All the Sun That Shines The Slits: Man Next Door Jaako Eino Kalevi: Deeper Shadows Sisyphus: Lion's Share The Soundcarriers: So Beguiled Toro y Moi: Empty Nesters Kyu Sakamoto: Sukiyaki Homeboy Sandman: Holiday (Kosi Edit) Real Estate: Crime Devendra Banhart: Won't You Come Over Yo La Tengo: Automatic Doom Caribou: Melody Day Chris Cohen: Don't Look Today Unknown Mortal Orchestra: Can't Keep Checking My Phone John Cale: Hanky Panky Nohow Mac DeMarco: Let Her Go Girls: Oh So Protective One Stereolab: Fuses Beck: Tropicalia Cloud One: Atmosphere Strut Remix 1979 Cliff King Solomon: But Officer! Ariel Pink: Baby Frank Ocean: Forrest Gump Animal Collective: Rosie Oh Alexis Taylor: Am I Not A Soldier? Freddie Gibbs & Madlib: Shame (Instrumental) Arthur Russell: That's Us / Wild Combination The Streets: Never Went to Church Jacques Palminger: Wann strahlst Du? Dick Justice: Henry Lee Set vom 21.6. -
Arboretum August 18 - 23, 2014 | Ottawa Music Festival Ottawa’S Festival of New Music + Best Kept Secrets
ARBORETUM AUGUST 18 - 23, 2014 | OTTAWA MUSIC FESTIVAL OTTAWA’S FESTIVAL OF NEW MUSIC + BEST KEPT SECRETS MONDAY WEDNESDAY FRIDAY SATURDAY AUG 18 AUG 20 AUG 22 AUG 23 ST. ALBANS CHURCH $20/AA/ OTTAWA ART GALLERY $0/AA OTTAWA ART GALLERY $0/AA ARTS COURT OUTDOOR MAIN STAGE $30 ADV/AA/ 18:30 FESTIVAL LAUNCH & KEYNOTE 19:30 BOSVELD 08:30 CREATIVE MORNINGS 18:45 PANEL DISCUSSION: WHY I LEFT OTTAWA? 20:00 EVENING HYMNS “Where’s the Cultural Press?” 14:00 PONY GIRL Panelists: Kathleen Edwards, Olivier Fairfield 21:00 JULIE DOIRON & THE WOODEN STARS Panelists: Marie-Claire LeBlanc, Allan Wigney, Peter Emmanuel Sayer, Rémi Thériault. Simpson, Lesley Marshall. Presented by Arboretum Festival + Megaphono 15:00 WEAVES OTTAWA SHOWBOX Secret Shows Presented by Downtown Rideau BIA & Ottawa Art Gallery Presented by Downtown Rideau BIA Happening at undisclosed locations MAVERICKS $15/19+/ 16:15 LOWELL on the main stage grounds. MANX PUB $0/AA ARTS COURT $25 ADV/AA/ OUTDOOR MAIN STAGE 17:15 Secret Show #1 21:30 ADAM SAIKALEY TRIO 21:00 TROPICAL DRIPPS MURRAY STREET x TOWN Performing Beastie Boys “Ill Communication” 19:00 THE YIPS 17:30 STEVE ADAMYK 22:00 PS I LOVE YOU BAND Video projections: MELODY MCKIVOR 20:00 HILOTRONS BBQ 18:15 23:00 FROG EYES Backlot Secret Show #2 Presented by Asinabka Film and Media Arts Festival & National Indigenous Media Arts Coalition 21:30 KEVIN DREW Video projections: 18:30 CHAD Presented by SpectraSonic + Bruised Tongue of Broken Social Scene HARD SCIENCE VANGAALEN Presented by Manx Music 19:45 Secret Show #3 BABYLON NIGHTCLUB -
Public Enemy Suede Underworld Non Phixion Mando Diao
Nummer 6 • 2002 Sveriges största musiktidning Death in Vegas Public Enemy Suede Underworld Non Phixion Mando Diao Chilly & Leafy • S.I. Futures • Moldy Peaches • Ex-girl • Steve Shelley Groove 6 • 2002 Ledare Omslag Death in Vegas av Johannes Giotas Groove Storleken har Box 112 91 Ex-girl sidan 5 404 26 Göteborg Tre frågor till Steve Shelley sidan 5 Telefon 031–833 855 Lätt att vara DJ sidan 5 visst betydelse Elpost [email protected] S.I. Futures sidan 6 http://www.groove.st Som vilken frisk sjuåring som att lägga ut låtar med demoband Allt är NME:s fel sidan 6 helst så växer Groove på höjden, vi tycker förtjänar fler lyssnare, en Chefredaktör & ansvarig utgivare Chilly & Leafy sidan 7 närmare bestämt 5,5 centimeter. unik chans att få höra ny och Gary Andersson, [email protected] Vi har så mycket material och spännande svensk musik. Och Ett subjektivt alfabet sidan 7 idéer att vi inte får plats i den snart levererar vi även konsert- Skivredaktör kvadratiska kostymen – dags att recensioner på hemsidan, något vi Björn Magnusson, [email protected] Mando Diao sidan 8 byta upp sig helt enkelt. Detta märkt att ni, våra läsare, vill ha. Mediaredaktör innebär utöver att våra artiklar Allt detta är, som man säger, Public Enemy sidan 10 Dan Andresson, [email protected] blir fylligare att antalet recensio- under uppbyggnad. Magisk dag i Suede sidan 13 ner ökar rejält (och ändå hittar du veckan kommer att bli måndagar, Layout Non Phixion sidan 14 ytterligare cirka 100 stycken på då släpps alltid någonting nytt. Henrik Strömberg, [email protected] vår hemsida www.groove.st). -
The Sneak Preview Official Biography
The Sneak Preview Official Biography The Sneak Preview was a melodic punk rock band from Maple, Ontario. They formed in the summer of 2000, after Joel Bath (drums) and Mike Mucci (guitar) broke up their band “Then Who Is the Liar?”. The duo started writing new songs alone in Joel’s parent’s basement in Thornhill, Ontario, with influences from Dinosaur Jr., Elliot, Sunny Day Real Estate and a few more local Ontario bands. They then invited Mark “Augie” Petja, to join as bassist as he had previously played in Five Finger Discount with them. The final addition would be Marco Fardella on vocals. Now a complete band, they moved their rehearsal space to Mike’s parent’s house in Maple, Ontario, where they continued to practice until the end. With their first few songs composed, The Sneak Preview were invited to play at a field party somewhere north of Toronto. The details of this have faded with time. But their second should would be well documented. Mike and his girlfriend (now wife) Vicki Bonanno had been booking a few shows for local bands at The Masonic Lodge in Maple, Ontario. It was there that they had booked one of Then Who Is the Liar?’s show in May of 2000 with The China White. The Sneak Preview at their first real show, September 30th 2000 at The Masonic Lodge in Maple, Ontario. Photo courtesy of Vicki Bonanno Eager to play with Chris Gray again, the couple contacted him to book his new band, Zyon, with The Sneak Preview at The Masonic Lodge on September 30th. -
Chasing the Light the CLOUD CULT STORY Mark Allister
Chasing the Light Chasing the Light THE CLOUD CULT STORY Mark Allister Foreword by Mark Wheat University of Minnesota Press Minneapolis • London Interview excerpts from the film No One Said It Would Be Easy are repro- duced by permission of John Paul Burgess. Cloud Cult lyrics are reproduced by permission of Cloud Cult/Craig Minowa. Photographs reproduced by permission of Cloud Cult/Craig Minowa unless otherwise credited. Thanks to Jeff DuVernay, Cody York (http://www.cody yorkphotography.com), and Stacy Schwartz (http://www.stacyannschwartz. com) for contributing photographs to the book. Copyright 2014 by Mark Allister Foreword copyright 2014 by Mark Wheat All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Published by the University of Minnesota Press 111 Third Avenue South, Suite 290 Minneapolis, MN 55401– 2520 http://www.upress.umn.edu {~?~IQ: CIP goes here.} Printed in the United States of America on acid- free paper The University of Minnesota is an equal- opportunity educator and employer. 20 19 18 17 16 15 14 10 9 8 7 6 5 4 3 2 1 For Meredith Coole Allister, partner extraordinaire When your life is finished burning down, You’ll be all that’s left standing there. You’ll become a baby cumulus, And fly up to the firmament. No one gets to know the purpose, We need to learn to live without knowing. But all we are saying is Step forward, step forward. -
Wild Waters Music Fest to Save the Boundary Waters
The Campaign to Save the Boundary Waters announces Wild Waters Music Fest to Save the Boundary Waters Wild Waters Music Fest will take place on Friday, August 16th, 2019 at Bayfront Festival Park in Duluth, MN ELY, MN - Today the Campaign to Save the Boundary Waters announced its inaugural Wild Waters Music Fest: a single day concert event featuring some of Minnesota’s finest musicians to amplify the fight to save the Boundary Waters from proposed sulfide-ore copper mining. In partnership with Live Nation and hosted by Art In Bayfront Park, Wild Waters Music Fest to Save the Boundary Waters will take place on Friday, August 16th, 2019 at Bayfront Festival Park in Duluth, MN. The day will feature sets from nine Minnesota-based artists including Atmosphere, Doomtree, Cloud Cult, Low, Jeremy Messersmith, deM atlaS, War Bonnet, The Lioness, and DJ Keezy. Tickets start at $33 and go on sale this Friday, June 14th at 12:00 PM CT here: https://www.ticketmaster.com/event/060056C4BF53768C A portion of the proceeds from each ticket sold to Wild Waters Music Fest, plus any additional donations will go directly to Northeastern Minnesotans for Wilderness, the organization leading the Campaign to Save the Boundary Waters, working to permanently protect this Minnesota crown-jewel and America’s most popular Wilderness. The festivities will commence at 3:30 PM. On-site food and beverages will be provided by an assortment of local food trucks, restaurants and breweries. For more information, including set times, parking, accommodations and FAQs, please visit: https://www.savetheboundarywaters.org/wildwaters “Like the Boundary Waters, Minnesota’s rich music scene is cherished here at home and recognized far and wide.