BLOCKHEAD Funeral Balloons
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MARZO 2020 / Nº 117 DIRECTORIO Un Año Más La Batalla Continúa Por La Equiparación De La En Todo El Mundo
MEV MARZO.qxp_Maquetación 1 25/2/20 17:58 Página 1 MEV MARZO.qxp_Maquetación 1 25/2/20 17:58 Página 2 MEV MARZO.qxp_Maquetación 1 25/2/20 17:58 Página 3 MADRID EN VIVO MARZO 2020 / Nº 117 DIRECTORIO Un año más la batalla continúa por la equiparación de la en todo el mundo. Los más variados y diversos esti- mujer y en Madrid En Vivo no podemos menos que los y formatos están a tu disposición este marzo en sumarnos a la ola que, afortunadamente, está las salas de La Noche En Vivo, porque la cultura es cambiándolo todo a toda pastilla. Porque cada de todas y todos sin exclusión y sonando al mismo mes somos testigos de que el talento musical volumen. de las mujeres se abre paso, dejando arrinco- nados los prejuicios y los malos hábitos de Por eso permítenos que este mes pongamos a tu un pasado que, afortunadamente, va pasan- disposición no uno, sino dos Play List de dos muje- do a la historia. res con responsabilidad de gobierno en nuestra ciudad y en nuestra comunidad: Andrea Levy, Aunque para nosotros marzo es todo el año, Concejal de Cultura del Ayuntamiento, y Marta este mes lo cierto es que tenemos una oferta Rivera, Consejera de Cultura de la Comunidad nos musical de la que podemos sentirnos muy muestran sus gustos musicales, también, como no orgullosos. En este marzo de 2020 nace Mujeres podía ser menos, protagonizadas por mujeres En Vivo, una iniciativa, patrocinada por la artistas. Por un mes de marzo en femenino y con Comunidad de Madrid a través de su Dirección Madrid En Vivo siempre en primera fila. -
MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division -
BLOCKHEAD Funeral Balloons
BLOCKHEAD Funeral Balloons KEY SELLING POINTS • Blockhead has released albums with Ninja Tune and produced for artists such as Aesop Rock, Open Mike Eagle and Billy Woods over the course of his nearly two decade long career • Blockhead’s evolution as a producer is on full display, exploring different avenues and sounds with every new release and continuing to forge his own lane between the worlds of hip-hop and electronic music DESCRIPTION ARTIST: Blockhead Funeral Balloons is the new album from acclaimed producer & NYC TITLE: Funeral Balloons fixture Blockhead [real name; Tony Simon]. Funeral Balloons is as bold CATALOG: l-BWZ747 / cd-BWZ747 and irreverent as the title suggests; from the uplifting and energetic mood LABEL: Backwoodz Studioz of “Bad Case of the Sundays” to the spaced out airy grooves found on GENRE: Hip-Hop/Instrumental BARCODE: 616822028315 / 616892517146 “UFMOG” all the way to the 1970s car chase anthem like “Escape from FORMAT: 2XLP / CD NY”, the songs never stop in one place. HOME MARKET: New York RELEASE: 9/8/2017 While, at its core, Funeral Balloons doesn’t stray far from the kind of LIST PRICE: $25.98 / FA / $13.98 / AM music Blockhead has been making since his debut Music by Cavelight, his evolution as a producer is on full display, exploring different avenues TRACKLISTING (Click Tracks In Blue To Preview Audio) and sounds with every new release and continuing to forge his own lane 1. The Chuckles between the worlds of hip-hop and electronic music. 2. Bad case of the Sundays 3. UFOMG 4. Zip It 5. -
Dossier De Presse Rumble Festival 2013 Arts, Visual & Bass Music Meeting Soirees, Expos, Cartes Blanches ______
DOSSIER DE PRESSE RUMBLE FESTIVAL 2013 ARTS, VISUAL & BASS MUSIC MEETING SOIREES, EXPOS, CARTES BLANCHES __________________________________________________ Contact presse Julien Duclos : [email protected] Port.: 06.62.04.72.28 / Tél.: 09.54.84.74.86 Bureaux : 78 Chemin de la Tour Risler, 69250 POLEYMIEUX AU MONT D’OR Siège social : 8 place Saint Paul, 69005 LYON ----------------------------------------------------- www.rumblefestival.com facebook.com/rumblefestival twitter.com/rumblefestival 1 SOMMAIRE COMMUNIQUE DE PRESSE............................................................................... 3 PROGRAMMATION.......................................................................................... 4 LE PROJET........................................................................................................ 6 DEROULEMENT DE L’EDITION 2013.................................................................. 7 L’ASSOCIATION TOTAAL REZ............................................................................. 8 EXPOSITIONS................................................................................................... 9 VERNISSAGES................................................................................................ 12 AFTERWORKS................................................................................................ 13 BIOGRAPHIE DES ARTISTES CARTE BLANCHE A CLFT ET AIRFLEX LABS........................................................... 14 CARTE BLANCHE A DOLUS & DOLUS ET BEBUP................................................... -
American Music Review the H
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLII, Number 1 Fall 2012 Woody Guthrie and Bob Dylan Hit Manhattan By Sean Wilentz, Princeton University Editors Note: This paper was delivered as the keynote address for the Woody Guthrie Centennial Conference held at Brooklyn College on 22 September, 2012. On February 16, 1940, a freezing blizzardy day, Woody Guthrie—short, intense, and aged twenty-seven—ended a long hitchhiking journey East and debarked in Manhattan, where he would quickly make a name for himself as a per- former and recording artist. Nearly twenty-one years later, on or about January 24, 1961, a cold and post-blizzardy day, Bob Dylan—short, intense, and aged nineteen—ended a briefer auto journey East and debarked in Manhattan, where he would quickly make a name for himself as a performer and recording artist—not as quickly as Guthrie had, but quickly. Dylan had turned himself into what he later described as “a Woody Guthrie jukebox,” and had come to New York in search of his idol. Guthrie had come to look up his friends the actors Will Geer and Herta Ware, who had introduced him to influential left-wing political and artistic circles out in Los Angeles and would do the same in Manhattan. Two different stories, obviously, of two very different young men a generation apart—yet, more than he might have realized, Dylan partly replayed his hero’s entrance to the city where both men would become legends. -
Canibus, Not 4 Play
Canibus, Not 4 Play [Chorus: Kurupt & Canibus] Dont play them games, not for play, not today say what you say, not for play, not to day we horseman man, you fools insane, locked the game we spit flames, not for play, not today [Kurupt:] Each day I dip sometimes I trip this gangsta shit (west gangsta shit) I just don't give a fuck I gallop role I'm in control I like gettin high in G mode with the homeys just lettin all the weed blow fired up, nigga what you thought it was buz cause nigga I don't give a fuck [Canibus:] Niggaz like us don't give a fuck Canibus and Kurupt, choke a nigga up comin through in the four by four truck chromed from the flour up, with ????? white air force ones with the low cut I'm in the back of the jeep gettin ????? me and my dawg Kurupt spark that skunk I know I'm a G cos' my name start with one [Chorus] [Canibus:] We Horseman man the next Wu-Tang you know the name, Killah Priest and Kurupt Ras Kass to you heard of us we go to the club, curse and cus start that buzz, thats wots up spike the punch, fight and fuzz rush that stage for the mic and bus straight up cause I love them guts dont call me unless you invite some sluts 36C cup with big butts I pay big books to get my dick sucked she can spit it up, then lick it back up thank you very much, there you go slut a Benjamin Franklin was more than enough write your number down ill be in touch [Chorus] [Kurupt] A Benjamin Franklin was more than enough bitch give me that cash before I fuck you up genuine banging in the deck same old G, D.P.G show you somethin gangstafied -
NEW MONEY TWINZ Words by Julia Beverly Photo by Ty Watkins
RAW, UNCENSORED WEST COAST RAP SHIT BIG RICH MESSY MARV NEW Young Jeezy MONEY Event: Blueprint 3 Tour Venue: Phillips Arena City: Atlanta, GA Date: February 27th, 2010 Photo: Thaddaeus McAdams TWINZ editor’s note I’M Just Sayin’ ThO bY D-Ray ip Hop is not dead! I’ve seen three incredible shows lately that skate park. If you ever come and see the kids, it would make a huge dif- prove Hip Hop is alive. First, I saw my first Paid Dues concert, ference in at least one of their lives. Hwhich was their fifth annual. Good work, Murs! I love me some underground Hip Hop, I just don’t always make it a point to cover those B.o.B., otherwise known as Bobby Ray, was also on the bill for the show at events. When I do go, it’s mostly to enjoy myself and the surroundings. the Warfield. I’ve been a fan of B.o.B. since 2007. He’s a dope young’n and This time I went and did what I do! an all-around artist. Big ups to you and your success. The #1 single and #1 album in the country. Wow! Research his Billboard stats. You showed us I had just seen Tech N9ne in Petaluma a few days before and he encour- how teamwork can create dreamwork! Keep living your dreams! aged me to go to the Paid Dues show. So I headed to L.A. and linked up with my fam Strong Arm Steady and Planet Asia. It turned out to be Speaking of dreams, yet another great act hit the Bay Area. -
Sept. 7-13, 2017
SEPT. 7-13, 2017 FACEBOOK.COM/WHATZUPFTWAYNE • WWW.WHATZUP.COM • FACEBOOK.COM/WHATZUPFTWAYNE GET THE GEAR YOU WANT TODAY! 48MONTHS 0% INTEREST*** ON 140+ TOP BRANDS | SOME RESTRICTIONS APPLY 36MONTHS 0% INTEREST** ON 100+ TOP BRANDS | SOME RESTRICTIONS APPLY WHEN YOU USE THE SWEETWATER CARD. 36/48 EQUAL MONTHLY PAYMENTS REQUIRED. SEE STORE FOR DETAILS. NOW THROUGH OCTOBER 2 5501 US Hwy 30 W • Fort Wayne, IN Music Store Hours: Mon–Thurs 9–9 • Fri 9–8 Sat 9–7 • Sun 11–5 2 ----------------------------------------------------------------------------------- www.whatzup.com ---------------------------------------------------------- September 7, 2017 whatzup Volume 22, Number 6 e’re calling this our Big Fat Middle Waves issue since our cover features the MAIN STAGE: festival, now in its second year, and we’ve got a 16-page guide to all things • A Dancer’s Legacy – SEP 22 & 23 Middle Waves inside. Check out Steve Penhollow’s feature story on page 4, • The Nutcracker – DEC 1 thru 10 Wread the guide cover to cover and on the weekend of Sept. 15-16 keep whatzup.com pulled up on your mobile phone’s web browser. We’ll be posting Middle Waves updates • Coppélia – MAR 23-25 all day long so you’ll always know what’s happening where. • Academy Showcase – MAY 24 If you’ve checked out whatzup.com lately, you’ve probably noticed the news feed. It’s FAMILY SERIES: the home page on mobile phones and one of the four tabs on the PC version, and it THURSDAY, SEPTEMBER 28 allows our whatzup advertisers to talk directly to whatzup.com users. If you’re one of • Frank E. -
Ev Song Capsules
THE WEATHERMAN LP – SONG CAPSULES "I KNOW" "Go out on my own, something that I gotta do" It’s never easy to start from scratch. I knew this would be the 1st song on my album when I made it early in the recording process. "If you build it they will come"-Field Of Dreams "MR SLOW FLOW" My first single…I really wasn’t trying to fit in when I made this song. Being fresh off Capitol Records where they were trying to mold Dilated Peoples into Pop hit makers, this is my “Fuck You” record. Real dark, clever wordplay and heavy cuts. Basically the original energy of what people were attracted to me for in the first place. Back to square one. "Party Time, Excellent!" -Wayne Cambell "LETYOURSELFGO" feat THE ALCHEMIST & PHONTE This was supposed to be for The Alchemist & Evidence Album (A&E) coming next year. This is one of Al's best beats to date. (Bold statement) My verse is really about starting all over in life and letting myself go, hence the title was born. I just came off tour with Little Brother and had learned that Phonte could really sing, so we sent him the song hoping he would write a hook of that nature, when we got it back it was completely different than we imagined, but was crazy fresh. "It’s A Keeper" -Fat Bastard, Austin Powers "DOWN IN NEW YORK CITY" This is my version of Notorious B.I.G.'s, "Going Back To Cali" I’m born and raised in L.A. -
MUSIDREVIEW Mr
MUSIDREVIEW TEXT BYJOEL MARASIGAN mr >WE HIT HARD...LIKE IKE TURNER THE PLATFORM ry lesson on the "language" of the DJ. "Head 2 Head" mimics a boxing match where Dialated Peoples/Capitol Records Spinbad and Rev exchange battle-dj blows. If that isn’t enough, 13 emcees and six True hip-hop lyrical skills and world-class turntablism are what entitle Evidence, Rakaa ’tablists team up to help assist in eight of the 20 inspiring tracks. This is a must- (Iriscience) and DJ Babu are about, as they explore the surface of hip-POP without have LP. Revolution has caused one. fearing contamination of their years spent accumulating underground credibility. Their NuGruv.com first release—a crowd-rocking, emcee jaw-dropper—"Work the Angles" surprisingly Wakeupshow.com takes second-stage to cuts like "No Retreat," and "The Shape of Things to Come." Courtesy Cheapshot at Score Press Moreover, the inclusion of B Real, Tha Alkaholiks, Aceyalone, Planet Asia, Defari, White E. Ford (Everlast) and Phil Tha’ Agony furnish just enough aural trickery to make you UNDERGROUND RAILROAD believe you bought more than The Platform’s 16 tracks. Open your eyes, Dilated Masterminds/NuGruv Alliance/Ground Control Peoples is like a dime surrounded by pennies—smaller but worth much more. New York’s Oracle, Kimani and Epod, the Masterminds, come to collect with this Dialatedpeoples.com debut LP and with bars from L-Fudge, Mr. Lif, J-Treds, Shabaam Sahdeeq, Mr. Hollywoodandvine.com Complex, J-Live and EL-P combo’d with the production of Mr. Khaliyl (of the Bush Courtesy Cheapshot at Score Press Babees), come packed with explosive beats and sword-sharp lyrics. -
Automatic Recognition of Samples in Musical Audio
Automatic Recognition of Samples in Musical Audio Jan Van Balen MASTER THESIS UPF / 2011 Master in Sound and Music Computing. Supervisors: PhD Joan Serr`a,MSc. Martin Haro Department of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona Acknowledgement I wish to thank my supervisors Joan Serr`aand Martin Haro for their priceless guidance, time and expertise. I would also like to thank Perfecto Herrera for his very helpful feedback, my family and classmates for their support and insightful remarks, and the many friends who were there to provide me with an excessive collection of sampled music. Finally I would like to thank Xavier Serra and the Music Technology Group for making all this possible by accepting me to the master. Abstract Sampling can be described as the reuse of a fragment of another artist's recording in a new musical work. This project aims at developing an algorithm that, given a database of candidate recordings, can detect samples of these in a given query. The problem of sample identification as a music information retrieval task has not been addressed before, it is therefore first defined and situated in the broader context of sampling as a musical phenomenon. The most relevant research to date is brought together and critically reviewed in terms of the requirements that a sample recognition system must meet. The assembly of a ground truth database for evaluation was also part of the work and restricted to hip hop songs, the first and most famous genre to be built on samples. Techniques from audio fingerprinting, remix recognition and cover detection, amongst other research, were used to build a number of systems investigating different strategies for sample recognition. -
Underground Rap Albums 90S Downloads Underground Rap Albums 90S Downloads
underground rap albums 90s downloads Underground rap albums 90s downloads. 24/7Mixtapes was founded by knowledgeable business professionals with the main goal of providing a simple yet powerful website for mixtape enthusiasts from all over the world. Email: [email protected] Latest Mixtapes. Featured Mixtapes. What You Get With Us. Fast and reliable access to our services via our high end servers. Unlimited mixtape downloads/streaming in our members area. Safe and secure payment methods. © 2021 24/7 Mixtapes, Inc. All rights reserved. Mixtape content is provided for promotional use and not for sale. The Top 100 Hip-Hop Albums of the ’90s: 1990-1994. As recently documented by NPR, 1993 proved to be an important — nay, essential — year for hip-hop. It was the year that saw 2Pac become an icon, Biz Markie entangled in a precedent-setting sample lawsuit, and the rise of the Wu-Tang Clan. Indeed, there are few other years in hip- hop history that have borne witness to so many important releases or events, save for 1983, in which rap powerhouse Def Jam was founded in Russell Simmons’ dorm room, or 1988, which saw the release of about a dozen or so game-changing releases. So this got us thinking: Is there really a best year for hip-hop? As Treble’s writers debated and deliberated, we came up with a few different answers, mostly in the forms of blocks of four or five years each. But there was one thing they all had in common: they were all in the 1990s. Now, some of this can be chalked up to age — most of Treble’s staff and contributors were born in the 1980s, and cut their musical teeth in the 1990s.