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Electro House 2015 Download Soundcloud
Electro house 2015 download soundcloud CLICK TO DOWNLOAD TZ Comment by Czerniak Maciek. Lala bon. TZ Comment by Czerniak Maciek. Yeaa sa pette. TZ. Users who like Kemal Coban Electro House Club Mix ; Users who reposted Kemal Coban Electro House Club Mix ; Playlists containing Kemal Coban Electro House Club Mix Electro House by EDM Joy. Part of @edmjoy. Worldwide. 5 Tracks. Followers. Stream Tracks and Playlists from Electro House @ EDM Joy on your desktop or mobile device. An icon used to represent a menu that can be toggled by interacting with this icon. Best EDM Remixes Of Popular Songs - New Electro & House Remix; New Electro & House Best Of EDM Mix; New Electro & House Music Dance Club Party Mix #5; New Dirty Party Electro House Bass Ibiza Dance Mix [ FREE DOWNLOAD -> Click "Buy" ] BASS BOOSTED CAR MUSIC MIX BEST EDM, BOUNCE, ELECTRO HOUSE. FREE tracks! PLEASE follow and i will continue to post songs:) ALL CREDIT GOES TO THE PRODUCERS OF THE SONG, THIS PAGE IS FOR PROMOTIONAL USE ONLY I WILL ONLY POST SONGS THAT ARE PUT UP FOR FREE. 11 Tracks. Followers. Stream Tracks and Playlists from Free Electro House on your desktop or mobile device. Listen to the best DJs and radio presenters in the world for free. Free Download Music & Free Electronic Dance Music Downloads and Free new EDM songs and tracks. Get free Electro, House, Trance, Dubstep, Mixtape downloads. Exclusive download New Electro & House Best of Party Mashup, Bootleg, Remix Dance Mix Click here to download New Electro & House Best of Party Mashup, Bootleg, Remix Dance Mix Maximise Network, Eric Clapman and GANGSTA-HOUSE on Soundcloud Follow +1 entry I've already followed Maximise Music, Repost Media, Maximise Network, Eric. -
Men Muzyki Disco Polo W Kontekście
102 #$%&$'( *+*$%(',( -./0 ,' / (23) :LWROG)LODU )HQR PHQ PX]\NLGLVFRSROR w kontekście pol- skiej kultury po- pularnej lat "#. 567: /..9;.0//;00=20..//-2.0. #$%&'( *$'+, *-.&/-. /0123$ ($45& 6&'& 103 Muzyka disco polo, temat wywołujący wiele dyskusji wśród polskiej opinii :LWROG)LODU publicznej, stała się nieodłącznym elementem polskiej kultury popularnej lat >?., DEVROZHQWVWXGLyZ OLFHQFMDFNLFK NXOWX który odegrał istotną rolę w kształtowaniu się życia społeczno -kulturowego UR]QDZVWZR RUD] tamtego okresu. W analizie tego zjawiska określenie „fenomen” wydaje VWXGHQWSLHUZV]HJRURNX VRFMRORJLLQD8QLZHUV\ się adekwatne z kilku powodów. Disco polo zyskało popularność na skalę WHFLH0LNRáDMD.RSHUQLND ogólnokrajową, a w niektórych przypadkach nawet światową. Zaskakujący Z7RUXQLX(PDLO jest również stosunkowo krótki czas, w jakim to się dokonało: począwszy VRNUDWHV#RSO od niewinnych kaset magnetofonowych po autorskie programy telewizyjne i niebagatelne sumy, jakie udało się zarobić przez lata wykonawcom. Przy- glądając się tym osiągnięciom, należałoby stwierdzić, że disco polo stało się czymś więcej niż tylko gatunkiem muzycznym, bowiem stanowi również cały zespół praktyk kulturowych, które łączą i wyrażają określony sposób bycia, wartości i tożsamości. Początków disco polo, według etnolog Anny Kowalczyk, należy szukać na początku II wieku w podmiejskiej kulturze lat międzywojennych. W miastach dużą popularnością cieszyła się wtedy piosen- ka nazywana brukową, podwórzową czy uliczną. Różne były rodowody przedwojennych miejskich piosenek. Część z nich stanowiła oryginalną twórczość domorosłych poetów i ulicznych śpiewaków. Inne z kolei weszły do publicznego śpiewnika z repertuarów kabaretów, operetek i teatrzyków (O>>Q: S?). Słowa „brukowa” czy też „uliczna” niosą ze sobą wiele konotacji, związanych z ogólnie pojętą kulturą brukową. Lata X?. i Y?. to okres silnego podziału społecznego. Nie należy zapominać, że początkowe podejście do kultury popularnej bazowało na przeciwstawieniu jej kulturze elitarnej (wysokiej). -
Types of Dance Styles
Types of Dance Styles International Standard Ballroom Dances Ballroom Dance: Ballroom dancing is one of the most entertaining and elite styles of dancing. In the earlier days, ballroom dancewas only for the privileged class of people, the socialites if you must. This style of dancing with a partner, originated in Germany, but is now a popular act followed in varied dance styles. Today, the popularity of ballroom dance is evident, given the innumerable shows and competitions worldwide that revere dance, in all its form. This dance includes many other styles sub-categorized under this. There are many dance techniques that have been developed especially in America. The International Standard recognizes around 10 styles that belong to the category of ballroom dancing, whereas the American style has few forms that are different from those included under the International Standard. Tango: It definitely does take two to tango and this dance also belongs to the American Style category. Like all ballroom dancers, the male has to lead the female partner. The choreography of this dance is what sets it apart from other styles, varying between the International Standard, and that which is American. Waltz: The waltz is danced to melodic, slow music and is an equally beautiful dance form. The waltz is a graceful form of dance, that requires fluidity and delicate movement. When danced by the International Standard norms, this dance is performed more closely towards each other as compared to the American Style. Foxtrot: Foxtrot, as a dance style, gives a dancer flexibility to combine slow and fast dance steps together. -
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. -
The Music Industry in the Social Networking Era
THE MUSIC INDUSTRY IN THE SOCIAL NETWORKING ERA By Xi Yue A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Telecommunication, Information Studies and Media 2011 Abstract THE MUSIC INDUSTRY IN THE SOCIAL NETWORKING ERA By Xi Yue Music has long been a pillar of profit in the entertainment industry, and an indispensable part in many people’s daily lives around the world. The emergence of digital music and Internet file sharing, spawned by rapid advancement in information and communication technologies (ICT), has had a huge impact on the industry. Music sales in the U.S., the largest national market in the world, were cut in half over the past decade. After a quick look back at the pre-digital music market, this thesis provides an overview of the music industry in the digital era. The thesis continues with an exploration of three motivating questions that look at social networking sites as a possible major outlet and platform for musical artists and labels. A case study of a new social networking music service is presented and, in conclusion, thoughts on a general strategy for the digital music industry are presented. Table of Contents List of Figures................................................................................................................................ iv List of Tables................................................................................................................................... v Introduction.................................................................................................................................... -
Rap and Feng Shui: on Ass Politics, Cultural Studies, and the Timbaland Sound
Chapter 25 Rap and Feng Shui: On Ass Politics, Cultural Studies, and the Timbaland Sound Jason King ? (body and soul ± a beginning . Buttocks date from remotest antiquity. They appeared when men conceived the idea of standing up on their hind legs and remaining there ± a crucial moment in our evolution since the buttock muscles then underwent considerable development . At the same time their hands were freed and the engagement of the skull on the spinal column was modified, which allowed the brain to develop. Let us remember this interesting idea: man's buttocks were possibly, in some way, responsible for the early emergence of his brain. Jean-Luc Hennig the starting point for this essayis the black ass. (buttocks, behind, rump, arse, derriere ± what you will) like mymother would tell me ± get your black ass in here! The vulgar ass, the sanctified ass. The black ass ± whipped, chained, beaten, punished, set free. territorialized, stolen, sexualized, exercised. the ass ± a marker of racial identity, a stereotype, property, possession. pleasure/terror. liberation/ entrapment.1 the ass ± entrance, exit. revolving door. hottentot venus. abner louima. jiggly, scrawny. protrusion/orifice.2 penetrable/impenetrable. masculine/feminine. waste, shit, excess. the sublime, beautiful. round, circular, (w)hole. The ass (w)hole) ± wholeness, hol(e)y-ness. the seat of the soul. the funky black ass.3 the black ass (is a) (as a) drum. The ass is a highlycontested and deeplyambivalent site/sight . It maybe a nexus, even, for the unfolding of contemporaryculture and politics. It becomes useful to think about the ass in terms of metaphor ± the ass, and the asshole, as the ``dirty'' (open) secret, the entrance and the exit, the back door of cultural and sexual politics. -
Stream-Ripping: Its Role in the UK Music Piracy Landscape Three Years On
Stream-ripping: Its role in the UK music piracy landscape three years on September 2020 PRS for Music Foreword Stream-ripping: its role in the UK music piracy landscape three years on builds on research we published with the Intellectual Property Office three years ago. The initial research, Stream-ripping: How it works and its role in the UK music piracy landscape, came at a time when little work had been done to understand the size of problem posed by stream-ripping. The previous report allowed us to map the landscape of online music piracy and to gain insight into the functioning and the business model of stream-ripping services. We found evidence to support our assumption that stream-ripping was on course to become the dominant mode of online infringement. This second wave of research shows that our expectation is now the reality: stream-ripping services account for more than 80% of the top 50 music specific piracy sites. We can see that the services are becoming more sophisticated, offering better quality downloads, evolving their revenue streams, and becoming more adept at operating beneath the radar, with many using the popular content delivery network Cloudflare to obfuscate the location of their servers. But what we can also see is that concerted efforts by the industry do work: a reduction of more than 50% of BitTorrent sites can be attributed to increased geo-blocking and enforcement efforts over the past three years. Since this research was conducted, the world has changed beyond what anyone could have imagined. Amidst the massive societal changes, the almost global lockdown caused by the COVID-19 pandemic has also accelerated the acculturation of digital services. -
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. -
Witold Filar Fenomen Muzyki Disco Polo W Kontekście Polskiej Kultury Popularnej Lat 90
Witold Filar Fenomen muzyki disco polo w kontekście polskiej kultury popularnej lat 90. Kultura Popularna nr 1 (39), 102-119 2014 102 kultura popularna 2014 nr 1 (39) Witold Filar Feno men muzyki disco polo w kontekście pol- skiej kultury po- pularnej lat 90. DOI: 10.5604/16448340.1123040 Witold Filar F e n o m e n muzyki disco polo 103 Witold Filar (1992) ‑ Muzyka disco polo, temat wywołujący wiele dyskusji wśród polskiej opinii absolwent studiów publicznej, stała się nieodłącznym elementem polskiej kultury popularnej lat 90., licencjackich (kultu‑ który odegrał istotną rolę w kształtowaniu się życia społeczno ‑kulturowego roznawstwo) oraz student pierwszego roku tamtego okresu. W analizie tego zjawiska określenie „fenomen” wydaje socjologii na Uniwersy‑ się adekwatne z kilku powodów. Disco polo zyskało popularność na skalę tecie Mikołaja Kopernika ogólnokrajową, a w niektórych przypadkach nawet światową. Zaskakujący w Toruniu. E‑mail: [email protected]. jest również stosunkowo krótki czas, w jakim to się dokonało: począwszy od niewinnych kaset magnetofonowych po autorskie programy telewizyjne i niebagatelne sumy, jakie udało się zarobić przez lata wykonawcom. Przy‑ glądając się tym osiągnięciom, należałoby stwierdzić, że disco polo stało się czymś więcej niż tylko gatunkiem muzycznym, bowiem stanowi również cały zespół praktyk kulturowych, które łączą i wyrażają określony sposób bycia, wartości i tożsamości. Początków disco polo, według etnolog Anny Kowalczyk, należy szukać na początku XX wieku w podmiejskiej kulturze lat międzywojennych. W miastach dużą popularnością cieszyła się wtedy piosen‑ ka nazywana brukową, podwórzową czy uliczną. Różne były rodowody przedwojennych miejskich piosenek. Część z nich stanowiła oryginalną twórczość domorosłych poetów i ulicznych śpiewaków. Inne z kolei weszły do publicznego śpiewnika z repertuarów kabaretów, operetek i teatrzyków (1997: 50). -
Issue No. 39 September/October 2016 3 Videogames Have Become Bonafide EYE Entertainment Franchises
Press Play LÉON Lewis Del Mar Luna Aura Marshmello NAO and more THE STORM ISSUE NO. 39 REPORT SEPTEMBER/OCTOBER 2016 TABLE OF CONTENTS 4 EYE OF THE STORM Press Play: How videogames could save the music industry 5 STORM TRACKER Roadies Roll Call, Kiira Is Killing It, The Best and the Brightest 6 STORM FORECAST What to look forward to this month. Award Shows, Concert Tours, Album Releases, and more 7 STORM WARNING Our signature countdown of 20 buzzworthy bands and artists on our radar. 19 SOURCES & FOOTNOTES On the Cover: Martin Garrix. Photo provided by management ABOUT A LETTER THE STORM FROM THE REPORT EDITOR STORM = STRATEGIC TRACKING OF RELEVANT MEDIA Hello STORM Readers! The STORM Report is a compilation of up-and-coming bands and Videogames have become a lucrative channel artists who are worth watching. Only those showing the most for musicians seeking incremental revenue promising potential for future commercial success make it onto our as well as exposure to a captive and highly monthly list. engaged audience. Soundtracks for games include a varied combination of original How do we know? music scores, sound effects and licensed tracks. Artists from Journey (yes, Journey) Through correspondence with industry insiders and our own ravenous to Linkin Park have created gamified music media consumption, we spend our month gathering names of artists experiences to bring their songs to visual who are “bubbling under”. We then extensively vet this information, life. In the wake of Spotify announcing an analyzing an artist’s print & digital media coverage, social media entire section of its streaming platform growth, sales chart statistics, and various other checks and balances to dedicated to videogame music, we’ve used ensure that our list represents the cream of the crop. -
IN SEARCH of WARMER CLIMES Following a Move to LA, Bonobo Returns to Ninja Tune with New LP, ‘Migration’
MUSIC ONE STOP SHOP February’s tunes reviewed p.106 THE LONG GAME Albums arriving this month p.128 MIX ‘N’ MATCH Compilations not to miss p.132 IN SEARCH OF WARMER CLIMES Following a move to LA, Bonobo returns to Ninja Tune with new LP, ‘Migration’... p.129 djmag.com 105 HOUSE BEN ARNOLD QUICKIES Roberto Clementi Avesys EP [email protected] Pets Recordings 8.0 Sheer class from Roberto Clementi on Pets. The title track is brooding and brilliant, thick with drama, while 'Landing A Man'’s relentless thump betrays a soft and gentle side. Lovely. Jagwar Ma Give Me A Reason (Michael Mayer Does The Amoeba Remix) Marathon MONEY 8.0 SHOT! Showing that he remains the master (and managing Baba Stiltz to do so in under seven minutes too), Michael Mayer Is Everything smashes this remix of baggy dance-pop dudes Studio Barnhus Jagwar Ma out of the park. 9.5 The unnecessarily young Baba Satori Stiltz (he's 22) is producing Imani's Dress intricate, brilliantly odd house Crosstown Rebels music that bearded weirdos 8.0 twice his age would give their all chopped hardcore loops, and a brilliance from Tact Recordings Crosstown is throwing weight behind the rather mid-life crises for. Think the bouncing bassline. Sublime work. comes courtesy of roadman (the unique sound of Satori this year — there's an album dizzying brilliance of Robag small 'r' is intentional), aka coming — but ignore the understatedly epic Ewan Whrume for a reference point, Dorsia Richard Fletcher. He's also Tact's Pearson mixes of 'Imani's Dress' at your peril. -
2018/19 Hip Hop Rules & Regulations
2018/19 Hip Hop Rules for the New Zealand Schools Hip Hop Competition Presented by the New Zealand Competitive Aerobics Federation 2018/19 Hip Hop Rules, for the New Zealand Schools Hip Hop Championships © New Zealand Competitive Aerobic Federation Page 1 PART 1 – CATEGORIES ........................................................................................................................................................ 3 1.1 NSHHC Categories .............................................................................................................................................. 3 1.2 Hip Hop Unite Categories .................................................................................................................................. 3 1.3 NSHHC Section, Division, Year Group, & Grade Overview ................................................................................ 3 1.3.1 Adult Age Division ........................................................................................................................................ 3 1.3.2 Allowances to Age Divisions (Year Group) for NSHHC ................................................................................ 4 1.4 Participation Limit .............................................................................................................................................. 4 Part 2 – COMPETITION REQUIREMENTS ........................................................................................................................... 5 2.1 Performance Area .............................................................................................................................................