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A Cocktailed Way of Life Anne Rosso Iowa State University
Volume 43 Issue 5 Article 6 April 1997 A Cocktailed Way of Life Anne Rosso Iowa State University Follow this and additional works at: http://lib.dr.iastate.edu/ethos Recommended Citation Rosso, Anne (1997) "A Cocktailed Way of Life," Ethos: Vol. 1997 , Article 6. Available at: http://lib.dr.iastate.edu/ethos/vol1997/iss1/6 This Article is brought to you for free and open access by the Student Publications at Iowa State University Digital Repository. It has been accepted for inclusion in Ethos by an authorized editor of Iowa State University Digital Repository. For more information, please contact [email protected]. A ~ocktailad Way oflih! By Anne Rosso College students love keg parties, don't we? Yep, we've all jumped at an opportunity to crowd around kegs of cheap beer, desperately thrusting plastic cups toward the person who just might be holding the nozzle ... hoping, nay, praying to ruthlessly jam ourselves in front of the guy preventing our consumption of those 16 ounces of stale, possibly even warm, Busch Light. These are the parties we came to college for, right? This is what all the cool kids are doing, isn't it? A growing number of Iowa State students say no. Shunning the traditional malt-liquor orgies that have come to typify college life, these renegade students seek the enlightenment and sophistication found only in one beverage-the cocktail. But, to be honest, the allure of a few martinis (shaken, not stirred) isn't the only draw. Cocktails embody a way of life, a culture all their own.With cocktails come ultra smooth, xylophone-punctuated lounge music, long cigarettes, smarmy suits and sleek, retro dresses. -
Funkids Amb La Black Music Big Band & Brodas Junior
Dossier pedagògic — FunKids amb la Black Music Big Band Dossier pedagògic FunKids amb la Black Music Big Band & Brodas Junior Auditori de Girona Dossier pedagògic — FunKids amb la Black Music Big Band —3 Presentació —4 Fitxa artística —5 Black Music Big Band- BMBB —6 Què és una Big Band: una gran orquestra de jazz —7 Ball urbà — 2 Dossier pedagògic — FunKids amb la Black Music Big Band Presentació Qui no es mou amb la música funky? La proposta fresca Un espectacle i rítmica de l’Auditori Obert, en què els alumnes desco- briran l’essència de la música negra amb el funky i el soul amb més de 45 com a protagonistes. Un concert formatiu sobre la Big participants dalt Band, els seus instruments i estil amb explicacions en català i pinzellades en anglès (fàcilment comprensibles de l’escenari per als nens i nenes). Tot plegat de la mà dels joves de la entre músics i BMBB i al costat dels ballarins de Brodas Junior, que fa- ballarins ran del FunKids un concert ple d’espectacularitat i ritme! Qui no es mou amb la música funky? Arriba una proposta fresca i rítmica de l’Auditori Obert, en la qual els més joves descobriran l’essència de la música negra amb el funky i el soul com a protagonistes. Un concert formatiu i pedagògic que ens parlarà de la Big Band, els seus instru- ments i estil, el mon del ball urbà, etc.... Què podrem conèixer a FunKids? - Els seus instruments: secció de saxos, trompetes, trombons i la base rítmica - Escoltarem les diferents veus de la Black Music - Viurem els diferents estils de balls urbans com el locking, el popping, el bboying o el hiphop I tot això amb explicacions en català i pinzellades en anglès. -
LSD, Ecstasy, "Rave" Parties and the Grateful Dead Someaccountssuggestthatdrugusefacilitatesentrytoan Otherwiseunavailablespirituaworl Ld
The New Psychedelic Culture: LSD, Ecstasy, "Rave" Parties and The Grateful Dead Someaccountssuggestthatdrugusefacilitatesentrytoan otherwiseunavailablespirituaworl ld. by ROBERT B. MILLMAN, MD and RELATIONSHIPOFPSYCHOPATHOLOGYTOPATTERNS ANN BORDWINE BEEDER, MD OFUSE Hallucinogens and psychedelics are terms sychedelics have been used since an- and synthetic compounds primarily derived cient times in diverse cultures as an from indoles and substituted phenethylamines i/ integral part of religious or recrea- usedthat induceto describechangesbothinthethoughtnaturallyor perception.occurring tional ceremony and ritual. The rela- The most frequently used naturally occurring tionship of LSD and other psychedelics to West- substances in this class include mescaline ern culture dates from the development of the from the peyote plant, psilocybin from "magic drug in 1938 by the chemist Albert Hoffman. I mushrooms," and ayuahauscu (yag_), a root LSD and naturally occurring psychedelics such indigenous to South America. The synthetic as mescaline and psilocybin have been associ- drugs most frequently used are MDMA ('Ec- I ated in modem times with a society that re- stasy'), PCP (phencyclidine), and ketamine. jected conventional values and sought transcen- Hundreds of analogs of these compounds are dent meaning and spirituality in the use of known to exist. Some of these obscure com- drugs and the association with other users, pounds have been termed 'designer drugs? During the 1960s the psychedelics were most Perceptual distortions induced by hallu- oi%enused by individuals or small groups on an cinogen use are remarkably variable and de- intermittent basis to _celebrate' an event or to pendent on the influence of set and setting. participate in a quest for spiritual or cultural Time has been described as _standing still" by values, peoplewho spend long periodscontemplating Current use varies from the rare, perhaps perceptual, visual, or auditory stimuli. -
EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018
EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018 Rebellion, genre, drugs, freedom, unity, sex, technology, place, community …………………. Disco • Disco marked the dawn of dance-based popular music. • Growing out of the increasingly groove-oriented sound of early '70s and funk, disco emphasized the beat above anything else, even the singer and the song. • Disco was named after discotheques, clubs that played nothing but music for dancing. • Most of the discotheques were gay clubs in New York • The seventies witnessed the flowering of gay clubbing, especially in New York. For the gay community in this decade, clubbing became 'a religion, a release, a way of life'. The camp, glam impulses behind the upsurge in gay clubbing influenced the image of disco in the mid-Seventies so much that it was often perceived as the preserve of three constituencies - blacks, gays and working-class women - all of whom were even less well represented in the upper echelons of rock criticism than they were in society at large. • Before the word disco existed, the phrase discotheque records was used to denote music played in New York private rent or after hours parties like the Loft and Better Days. The records played there were a mixture of funk, soul and European imports. These "proto disco" records are the same kind of records that were played by Kool Herc on the early hip hop scene. - STARS and CLUBS • Larry Levan was the first DJ-star and stands at the crossroads of disco, house and garage. He was the legendary DJ who for more than 10 years held court at the New York night club Paradise Garage. -
TOP 93 of 2012
TOP 93 Of 2012 Add Rank Artist Title Label Date Spins 93 Luengo & Diaz f/Tommy Clint Adrenalized (De-Liver Edit) Big Blind 2/28/12 432 92 Scooter 4 A.M. (Radio Version) Sheffield Tunes 10/16/12 434 91 Empyre One Mirrors (Radio Edit) Global Airbeatz 3/6/12 439 90 Tibration 4 Directions Home (RobKay Remix Edit) Trak 1/31/12 439 89 Cansis vs. Spaceship Trip To Paradise (Radio Edit) Big Beef! 5/1/12 440 88 David Guetta f/Sia She Wolf (Falling To Pieces) EMI 10/16/12 441 87 Kimura & Tube Tonic Love Divided (DJ Gollum Edit) Mental Madness 2/28/12 443 86 Master Blaster vs. Paul Janke Hypnotic Tango 2k12 (Radio Edit) Ministry Of Sound 9/11/12 448 85 Master Blaster Let's Get Mad (DJ THT & Ced Tecknoboy Edit) Zoo Digital 3/13/12 448 84 Partytrooperz Lovebirds (Radio Edit) Punch 12/13/11 448 83 Slin Project & Rene De La Mone Taking Over The Dancefloor (Dan Winter Remix Edit) Munix 10/9/12 452 82 Emma Hewitt Miss You Paradise (Shogun Remix Radio Edit) S107 6/12/12 452 81 Van Snyder f/DJ Selecta Reach Up (PH Electro Remix Edit) Mental Madness 5/1/12 458 80 Modana & Carlprit Club Go Mad (Cc.K Remix Edit) Planet Punk 9/11/12 461 79 Bodybangers f/Victoria Kern Gimme More (Radio Edit) Kontor 6/26/12 461 78 Lady Crush f/Sector One In My Mind (Radio Edit) Hardbassfanatics' 4/3/12 463 77 Cerf, Mitiska & Jaren w/Rank 1 Witness (Radio Edit) Armind 5/1/12 465 76 Booty Boy Booty Booty (RainDropz! Remix Cut) 6/19/12 467 75 Halliday Heartbroken (Empyre One Edit) 6/5/12 469 74 Chris Victory I. -
Trance Generation by Transformation
Trance generation by transformation Darrell Conklin1,2 and Louis Bigo1 1 Department of Computer Science and Artificial Intelligence University of the Basque Country UPV/EHU, San Sebasti´an, Spain 2 IKERBASQUE, Basque Foundation for Science, Bilbao, Spain 1 Introduction Music generation methods can be broadly divided into two categories: rule-based methods use specified rules and constraints for style emulation and algorithmic composition; machine learning approaches generate musical objects by sampling from statistical models built from large corpora of music. In this paper we apply a mixed approach, generation by transformation, which conserves structural fea- tures of an existing piece while generating variable parts with a statistical model (Bigo and Conklin, 2015; Goienetxea and Conklin, 2015). In recent years several music informatics studies have started to explore electronic dance music (EDM) using audio analysis (Diakopoulos et al., 2009; Collins, 2012; Rocha et al., 2013; Yadati et al., 2014; Panteli et al., 2014). The symbolic generation of EDM is a new problem that has been explored in the work of Eigenfeldt and Pasquier (2013), who use a corpus of 100 EDM songs for the extraction of low order statistics. In our approach to EDM generation, a single template piece in Logic Pro X (LPX) format is transformed using a statistical model. As in most digital audio workstation formats, an LPX project contains e↵ects, instrumentation, and orchestration, which can all be inherited by a transformed piece. 2 Methods In this work we focus on generation of the EDM subgenre of trance.The approach to trance generation follows three steps: chord sequence extraction and transformation; chord voicing; and LPX streaming. -
The THREE's a CROWD
The THREE’S A CROWD exhibition covers areas ranging from Hong Kong to Slavic vixa parties. It looks at modern-day streets and dance floors, examining how – through their physical presence in the public space – bodies create temporary communities, how they transform the old reality and create new conditions. And how many people does it take to make a crowd. The autonomous, affect-driven and confusing social body is a dynamic 19th-century construct that stands in opposition to the concepts of capitalist productivity, rationalism, and social order. It is more of a manifestation of social dis- order: the crowd as a horde, the crowd as a swarm. But it happens that three is already a crowd. The club culture remembers cases of criminalizing the rhythmic movement of at least three people dancing to the music based on repetitive beats. We also remember this pandemic year’s spring and autumn events, when the hearts of the Polish police beat faster at the sight of crowds of three and five people. Bodies always function in relation to other bodies. To have no body is to be nobody. Bodies shape social life in the public space through movement and stillness, gath- ering and distraction. Also by absence. Regardless of whether it is a grassroots form of bodily (dis)organization, self-cho- reographed protests, improvised social dances, artistic, activist or artivist actions, bodies become a field of social and political struggle. Together and apart. ARTISTS: International Festival of Urban ARCHIVES OF PUBLIC Art OUT OF STH VI: SPACE PROTESTS ABSORBENCY -
Traditional Funk: an Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio
University of Dayton eCommons Honors Theses University Honors Program 4-26-2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Caleb G. Vanden Eynden University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses eCommons Citation Vanden Eynden, Caleb G., "Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio" (2020). Honors Theses. 289. https://ecommons.udayton.edu/uhp_theses/289 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Abstract Recognized nationally as the funk capital of the world, Dayton, Ohio takes credit for birthing important funk groups (i.e. Ohio Players, Zapp, Heatwave, and Lakeside) during the 1970s and 80s. Through a combination of ethnographic and archival research, this paper offers a pedagogical approach to Dayton funk, rooted in the styles and works of the city’s funk legacy. Drawing from fieldwork with Dayton funk musicians completed over the summer of 2019 and pedagogical theories of including black music in the school curriculum, this paper presents a pedagogical model for funk instruction that introduces the ingredients of funk (instrumentation, form, groove, and vocals) in order to enable secondary school music programs to create their own funk rooted in local history. -
To Kool Chris Absolute Dance Mp3, Flac, Wma
To Kool Chris Absolute Dance mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Absolute Dance Country: US Released: 2006 Style: Hard House, Deep House, Hip-House MP3 version RAR size: 1101 mb FLAC version RAR size: 1938 mb WMA version RAR size: 1787 mb Rating: 4.8 Votes: 734 Other Formats: MP4 MPC WAV ADX WMA MP1 RA Tracklist Hide Credits 1 –To Kool Chris TKC Mega Mix Intro 2 –Groove Coverage Poison 3 –Mandaryna L'ete Indian 4 –Mike Heart Sex Machine 5 –DJ Ross Dream Land 6 –Circ Destroy She Said Thunder Struck (Rocco Rmx) 7 –Blizzard Brothers Remix – Rocco 8 –DJ Isaac Focus 9 –Perpetuous Dreamer Dust.wav 10 –Scooter Nessaja (3 A.M) 11 –To Kool Chris Zombie Nation 12 –Marc Et Claude Feel You 13 –Resource I Just Died In Your Arms 14 –ATB Long Way Home 15 –DJ Isaac Go Insane 16 –Seduction Feat. Valerie Let Me Be Your Fantasy 17 –Flashrider Attenzione 18 –Nightwatchers Insomnia 19 –Groove Coverage The End 20 –Special D Come With Me 21 –Sylver Love Is An Angel 22 –Lange Feat. Leah Don't Think It (Feel It) 23 –Groove Coverage Runaway 24 –Erika I Don't Know 25 –Groove Coverage Moonlight Shadow 26 –Mandaryna Here I Go Again 27 –DJ Volume Spirit Of Yesterday 28 –Brooklyn Bounce Club Bizarre 29 –Baracuda I Leave The World Today 30 –Nova Space* Time After Time Companies, etc. Distributed By – Universal Music Distribution Credits DJ Mix – To Kool Chris Barcode and Other Identifiers Barcode: 602517070776 Other versions Category Artist Title (Format) Label Category Country Year To Kool Absolute Dance (CD, 628261036929 Toucan Cove 628261036929 US 2004 Chris Comp, Mixed) Related Music albums to Absolute Dance by To Kool Chris Various - 100% Techno 1 Groove Coverage - Wait Groove Coverage - God Is A Girl Various - Газ В Пол! Groove Coverage - Covergirl Groove Coverage - Riot On The Dancefloor Groove Coverage - 21st Century Digital Girl Groove Coverage - Angeline - Remix EP Groove Coverage - 7 Years & 50 Days Groove Coverage - 7 Years And 50 Days. -
Hip-Hop's Diversity and Misperceptions
The University of Maine DigitalCommons@UMaine Honors College Summer 8-2020 Hip-Hop's Diversity and Misperceptions Andrew Cashman Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Music Commons, and the Social and Cultural Anthropology Commons This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. HIP-HOP’S DIVERSITY AND MISPERCEPTIONS by Andrew Cashman A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Anthropology) The Honors College University of Maine August 2020 Advisory Committee: Joline Blais, Associate Professor of New Media, Advisor Kreg Ettenger, Associate Professor of Anthropology Christine Beitl, Associate Professor of Anthropology Sharon Tisher, Lecturer, School of Economics and Honors Stuart Marrs, Professor of Music 2020 Andrew Cashman All Rights Reserved ABSTRACT The misperception that hip-hop is a single entity that glorifies wealth and the selling of drugs, and promotes misogynistic attitudes towards women, as well as advocating gang violence is one that supports a mainstream perspective towards the marginalized.1 The prevalence of drug dealing and drug use is not a picture of inherent actions of members in the hip-hop community, but a reflection of economic opportunities that those in poverty see as a means towards living well. Some artists may glorify that, but other artists either decry it or offer it as a tragic reality. In hip-hop trends build off of music and music builds off of trends in a cyclical manner. -
Satan's Trance Media & Magic Final Exam Colleen Viana 12
SATAN’S TRANCE MEDIA & MAGIC FINAL EXAM https://vimeo.com/55339082 COLLEEN VIANA 12/11/12 Sensation can be defined as the mediation of body and world. It enforces and impacts a premonition of what our bodies experience upon some type of contact. Thus, it allows the body to be opened up to other forces and becomings that affirm in and as the future. This concept, posed by Elizabeth Grosz in Chaos, Territory, Art: Deleuze and the Framing of the Earth, is quite eminent in the subject of magic. The quandry of it as the mediation of object and experience, or science and religion, is what drew me to this video experimentation of the mediations created by media in occult and horror film. While sensation is, perhaps, the only state of consciousness that is impossible to scientifically measure, as are the limits of magic, I find it more valuable to visually see how it can be created/manipulated. The juxtaposition of horror film/television clips, and electronic music (with cosmological and haunting characteristics), and documentary footage from raves/electronic music festivals (that possess qualities of the occult) is experimented in this project. The latter adds an extra layer to this research, paralleling a cultural music phenomenon with the magical representations and rites defined by Mauss. With these media devices combined, I hope to embody this sensory experience that Grosz explains “as the contraction of vibrations...the forces of becoming-other” (Grosz, 80-1). Essentially, how can we experience Hollywood-defined magic and the magic associated with music and rave culture differently? In this video montage, I aim to highlight the three components of magic presented in Mauss’ A General Theory of Magic, in relation to the electronic dance music (EDM) culture. -
Garage House Music Whats up with That
Garage House Music whats up with that Future funk is a sample-based advancement of Nu-disco which formed out of the Vaporwave scene and genre in the early 2010s. It tends to be more energetic than vaporwave, including elements of French Home, Synth Funk, and making use of Vaporwave modifying techniques. A style coming from the mid- 2010s, often explained as a blend of UK garage and deep home with other elements and strategies from EDM, popularized in late 2014 into 2015, typically mixes deep/metallic/sax hooks with heavy drops somewhat like the ones discovered in future garage. One of the very first house categories with origins embeded in New York and New Jersey. It was named after the Paradise Garage bar in New york city that operated from 1977 to 1987 under the prominent resident DJ Larry Levan. Garage house established along with Chicago home and the outcome was home music sharing its resemblances, affecting each other. One contrast from Chicago house was that the vocals in garage house drew stronger impacts from gospel. Noteworthy examples consist of Adeva and Tony Humphries. Kristine W is an example of a musician involved with garage house outside the genre's origin of birth. Also understood as G-house, it includes very little 808 and 909 drum machine-driven tracks and often sexually explicit lyrics. See likewise: ghettotech, juke house, footwork. It integrates components of Chicago's ghetto house with electro, Detroit techno, Miami bass and UK garage. It includes four-on-the-floor rhythms and is normally faster than a lot of other dance music categories, at approximately 145 to 160 BPM.