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In the High Court of Justice Claim No Hc13 Fo4688 Chancery Division Intellectual Property Between
IN THE HIGH COURT OF JUSTICE CLAIM NO HC13 FO4688 CHANCERY DIVISION INTELLECTUAL PROPERTY BETWEEN; WARNER RECORDS 90 LIMITED STEPHEN MORRIS GILLIAN GILBERT BERNARD SUMNER DEBORAH WOODRUFF PETER HOOK - and - JULIA ADAMSON D E F E N C E OF JULIA ADAMSON DEFENDANT Clauses 9 (a) and (b), 21, 22, 23, 24 I was an employee at Strawberry Studios from 1984 to 1989. When Strawberry Studios closed down the staff were busy clearing out the building. There were at least 20,000 copy masters from various bands and the artistes or their agents. They were contacted as to whether they wished to buy the tapes from the Strawberry library because they were clearing out. Mostly the artistes already had their own copies and said Strawberry should dispose of them. Some asked for the copy masters and these were handed over. The remaining copy masters were consigned to the skips. A colleague David Drennan was assigned the task of contacting as many of the clients as possible about their tapes. In the case of Factory Records, David Drennan remembers that they only asked for The Happy Mondays tapes and did not want any others. (see copy email ‘Dave Drennan’) Later I discovered that Factory Records had parted company with Joy Division/New Order. I felt that the tapes of Martin Hannett's work i.e. the ones he produced should not be destroyed. That is why I removed them from the skip and rescued them from landfill. When Warners were threatening court action I contacted Nick Turnbull (see copy email ‘Nick Turnbull’) who had been the owner of Strawberry Studios and who closed it down. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
Full Results of Survey of Songs
Existential Songs Full results Supplementary material for Mick Cooper’s Existential psychotherapy and counselling: Contributions to a pluralistic practice (Sage, 2015), Appendix. One of the great strengths of existential philosophy is that it stretches far beyond psychotherapy and counselling; into art, literature and many other forms of popular culture. This means that there are many – including films, novels and songs that convey the key messages of existentialism. These may be useful for trainees of existential therapy, and also as recommendations for clients to deepen an understanding of this way of seeing the world. In order to identify the most helpful resources, an online survey was conducted in the summer of 2014 to identify the key existential films, books and novels. Invites were sent out via email to existential training institutes and societies, and through social media. Participants were invited to nominate up to three of each art media that ‘most strongly communicate the core messages of existentialism’. In total, 119 people took part in the survey (i.e., gave one or more response). Approximately half were female (n = 57) and half were male (n = 56), with one of other gender. The average age was 47 years old (range 26–89). The participants were primarily distributed across the UK (n = 37), continental Europe (n = 34), North America (n = 24), Australia (n = 15) and Asia (n = 6). Around 90% of the respondents were either qualified therapists (n = 78) or in training (n = 26). Of these, around two-thirds (n = 69) considered themselves existential therapists, and one third (n = 32) did not. There were 235 nominations for the key existential song, with enormous variation across the different respondents. -
Joy Division and Cultural Collaborators in Popular Music Briana E
Western University Scholarship@Western Electronic Thesis and Dissertation Repository August 2016 Not In "Isolation": Joy Division and Cultural Collaborators in Popular Music Briana E. Morley The University of Western Ontario Supervisor Dr. Keir Keightley The University of Western Ontario Graduate Program in Popular Music and Culture A thesis submitted in partial fulfillment of the requirements for the degree in Master of Arts © Briana E. Morley 2016 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Music Commons Recommended Citation Morley, Briana E., "Not In "Isolation": Joy Division and Cultural Collaborators in Popular Music" (2016). Electronic Thesis and Dissertation Repository. 3991. https://ir.lib.uwo.ca/etd/3991 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected], [email protected]. Abstract There is a dark mythology surrounding the post-punk band Joy Division that tends to foreground the personal history of lead singer Ian Curtis. However, when evaluating the construction of Joy Division’s public image, the contributions of several other important figures must be addressed. This thesis shifts focus onto the peripheral figures who played key roles in the construction and perpetuation of Joy Division’s image. The roles of graphic designer Peter Saville, of television presenter and Factory Records founder Tony Wilson, and of photographers Kevin Cummins and Anton Corbijn will stand as examples in this discussion of cultural intermediaries and collaborators in popular music. -
Strumenti Per La Didattica E La Ricerca
strumenti per la didattica e la ricerca – 94 – Brand-building: the creative city a critical look at current concepts and practices edited by serena Vicari Haddock Firenze university press 2010 Brand-building : the creative city : a critical look at current concepts and practices / a cura di serena Vicari Haddock. – Firenze : Firenze university press, 2010. (strumenti per la didattica e la ricerca ; 94) http://digital.casalini.it/9788884535405 isBn 978-88-8453-524-5 (print) isBn 978-88-8453-540-5 (online) cover illustration @ phil Haddock, city of Words, detail. the publication of this book was made possible by a financial contribution coming from the eu research training network: Urban Europe between Identity and Change (UrbEurope); contract nr: HPRN-CT-2002-00227 (01-09-2002 - 31-08-06), and from the EU coordina- tion action: Growing Inequality and Social Innovation: Alternative Knowledge and Practice in Overcoming Social Exclusion in Europe (Katarsis); contract nr: cit5-ct-2006-029044 (05-01- 2006 – 30-11-2009). progetto grafico di alberto pizarro Fernández © 2010 Firenze university press università degli studi di Firenze Firenze university press Borgo albizi, 28, 50122 Firenze, italy http://www.fupress.com/ Printed in Italy ContentsCapitolo Foreword 7 introduction 13 M. d’Ovidio, S. Vicari Haddock chapter 1 Branding the creative city 17 S. Vicari Haddock chapter 2 the creative city imaginary 39 A. Vanolo chapter 3 site-specificity and urban icons in the light of the creative city marketing 61 B. Springer chapter 4 creating a creative city: discussing the discourse that is transforming the city 83 J. Kulonpalo chapter 5 the city that Was creative and did not Know: manchester and popular music 1976-1997 95 G. -
Peter Hook L’Haçienda La Meilleure Façon De Couler Un Club
PETER HOOK L’HAÇIENDA LA MEILLEURE FAÇON DE COULER UN CLUB LE MOT ET LE RESTE PETER HOOK L’HAÇIENDA la meilleure façon de couler un club traduction de jean-françois caro le mot et le reste 2020 Ce livre est dédié à ma mère, Irene Hook, avec tout mon amour Reposez en paix : Ian Curtis, Martin Hannett, Rob Gretton, Tony Wilson et Ruth Polsky, sans qui l’Haçienda n’aurait jamais été construite LES COUPABLES Bien sûr que ça me poserait problème. Lorsque Claude Flowers m’a suggéré en 2003 d’écrire mes mémoires sur l’Haçienda, la première chose qui me vint à l’esprit est cette célèbre citation au sujet des années soixante : si vous vous en souvenez, c’est que vous n’y étiez pas. Tel était mon sentiment au sujet de l’Haç. J’allais donc avoir besoin d’un peu d’aide, et ce livre est le fruit d’un effort collectif. Claude a lancé les hostilités et m’a invité à me replonger dans de très nombreux souvenirs que je pensais avoir oubliés, tandis qu’Andrew Holmes m’a fourni ces « interludes » essentielles tout en se chargeant des démarches administratives. Je m’attribue le mérite de tout ce qui vous plaira dans ce livre. Si des passages vous déplaisent, c’est à eux qu’il faudra en vouloir. Avant-propos Nous avons vraiment fait n’importe quoi. Vraiment ? À y repenser aujourd’hui, je me le demande. Nous sommes en 2009 et l’Haçienda n’a jamais été aussi célèbre. En revanche, elle ne rapporte toujours pas d’argent ; rien n’a changé de ce côté-là. -
Omega Auctions Ltd Catalogue 28 Apr 2020
Omega Auctions Ltd Catalogue 28 Apr 2020 1 REGA PLANAR 3 TURNTABLE. A Rega Planar 3 8 ASSORTED INDIE/PUNK MEMORABILIA. turntable with Pro-Ject Phono box. £200.00 - Approximately 140 items to include: a Morrissey £300.00 Suedehead cassette tape (TCPOP 1618), a ticket 2 TECHNICS. Five items to include a Technics for Joe Strummer & Mescaleros at M.E.N. in Graphic Equalizer SH-8038, a Technics Stereo 2000, The Beta Band The Three E.P.'s set of 3 Cassette Deck RS-BX707, a Technics CD Player symbol window stickers, Lou Reed Fan Club SL-PG500A CD Player, a Columbia phonograph promotional sticker, Rock 'N' Roll Comics: R.E.M., player and a Sharp CP-304 speaker. £50.00 - Freak Brothers comic, a Mercenary Skank 1982 £80.00 A4 poster, a set of Kevin Cummins Archive 1: Liverpool postcards, some promo photographs to 3 ROKSAN XERXES TURNTABLE. A Roksan include: The Wedding Present, Teenage Fanclub, Xerxes turntable with Artemis tonearm. Includes The Grids, Flaming Lips, Lemonheads, all composite parts as issued, in original Therapy?The Wildhearts, The Playn Jayn, Ween, packaging and box. £500.00 - £800.00 72 repro Stone Roses/Inspiral Carpets 4 TECHNICS SU-8099K. A Technics Stereo photographs, a Global Underground promo pack Integrated Amplifier with cables. From the (luggage tag, sweets, soap, keyring bottle opener collection of former 10CC manager and music etc.), a Michael Jackson standee, a Universal industry veteran Ric Dixon - this is possibly a Studios Bates Motel promo shower cap, a prototype or one off model, with no information on Radiohead 'Meeting People Is Easy 10 Min Clip this specific serial number available. -
De La Música, Lo Bello Y Las Sombras. La Compleja Relación De Joy Division Con La Estética De Lo Oscuro
149 De la música, lo bello y las sombras. La compleja relación de Joy Division con la estética de lo oscuro Dr. Pompeyo Pérez Díaz Universidad de La Laguna Resumen El papel de Joy Division como uno de los grupos impulsores del rock gótico es difícilmente discutible. Sin embargo, los rasgos sono- ros y estéticos de su propuesta presentan notables diferencias con otras bandas referenciales de dicha corriente, como Siouxsie & The Banshees, The Cure o Bauhaus. Los seguidores de estas, sin embar- go, siempre se mostraron receptivos hacia sus letras, su música y sus austeros conciertos. Hay algo extremo y/o radical en su plantea- miento que es percibido como oscuro por naturaleza. Este vínculo entre Joy Division y una estética gótica más canónica se vio refor- zado por un suceso inesperado, la muerte de Ian Curtis. Su suicidio consolidó el proceso de conversión de Joy Division en una banda de culto al tiempo que otorgó una “credibilidad” excepcional a la carga poética de las letras y al sonido descarnado de su música. I. Shadow at the side of the road Always reminds me of you� Ian Curtis. Komakino (1980) Joy Division 150 151 mentos normalmente asociados a la música de baile), el intercambio de los roles tradicionales del rock entre la guitarra y el bajo, la originalidad en el uso de sintetizadores y cajas de ritmos como un elemento más del sonido del grupo y, claro, la atmósfera global, una producción tan cuidadosa como premeditadamente minimalista, capaz de generar in- sospechados estados anímicos en el oyente1� La emocionalidad contenida a la que me he referido quizá sea una de las señas sonoras del grupo� Hay algo extremo y desesperado en ello, como en el grito que no se oye en el cuadro de Munch, ahí se encuentra parte de la identidad de Joy Division. -
Joy Division, Sessions 1977-1981
PIERRE-FRÉDÉRIC CHARPENTIER JOY DIVISION SESSIONS 1977-1981 LE MOT ET LE RESTE PIERRE-FRÉDÉRIC CHARPENTIER JOY DIVISION sessions 1977-1981 le mot et le reste 2020 En mémoire de Philippe Pascal (1956-2019) Note : Les paroles des chansons ainsi que leur traduction française, ne sont pas repro- duites in extenso dans ces pages, car elles l’ont déjà été à plusieurs reprises auparavant. Le lecteur pourra ainsi se reporter à l’annexe des mémoires de Deborah Curtis, Touching from a Distance (1998), de même qu’aux carnets de Ian Curtis, So This Is Permanence (2014). Traduits ou non, les textes d’origine sont par ailleurs aisément trouvables sur l’Internet. Toutes les traductions dans l’ouvrage sont de l’auteur. « DON’T DIE, PLEASE » « 3, 5, 0, 1, 2, 5, go! » Il y a quarante ans, le 18 mai 1980, Joy Division disparaît en pleine gloire naissante avec le suicide de son chanteur emblé- matique, Ian Curtis. Au terme d’un peu moins de trois années d’existence, le groupe anglais a rassemblé la matière première musicale de deux albums avant-gardistes, Unknown Pleasures (1979) et ’Closer’ (1980, posthume), dont l’influence sur la musique rock s’avère à la fois profonde et durable. Une collec- tion de singles remarqués parus hors album et d’autres morceaux inédits, publiés tour à tour sur les compilations Still (1981), puis Substance (1988), permettent en outre de doubler largement le nombre de ses chansons. Souvent référencées, « Transmission », « She’s Lost Control », « Atmosphere » et plus encore le tube « Love Will Tear Us Apart », sans oublier son titre édité par New Order, « Ceremony », ont propulsé le groupe au firmament du rock international. -
The History of Rock Music: 1976-1989
The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Punk-rock (These are excerpts from my book "A History of Rock and Dance Music") London's burning TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The effervescence of New York's underground scene was contagious and spread to England with a 1976 tour of the Ramones that was artfully manipulated to start a fad (after the "100 Club Festival" of september 1976 that turned British punk-rock into a national phenomenon). In the USA the punk subculture was a combination of subterranean record industry and of teenage angst. In Britain it became a combination of fashion and of unemployment. Music in London had been a component of fashion since the times of the Swinging London (read: Rolling Stones). Punk-rock was first and foremost a fad that took over the Kingdom by storm. However, the social component was even stronger than in the USA: it was not only a generic malaise, it was a specific catastrophe. The iron rule of prime minister Margaret Thatcher had salvaged Britain from sliding into the Third World, but had caused devastation in the social fabric of the industrial cities, where unemployment and poverty reached unprecedented levels and racial tensions were brooding. -
Peter Saville –
S1:E5 “Peter Saville – OUTPUT – Gutta cavat lapidem” vai alla prima parte Playlist per OUTPUT|Saville – parte seconda: Gutta cavat lapidem La necessità di cambiare le carte in tavola nel mondo del rock, da parte di artisti che volevano imporre un nuovo linguaggio creativo, lo hanno fatto con costanza e determinazione, come una goccia che scava la “roccia”.(Valerio Michetti) La Factory di Wilson e Saville risponde all’urgenza di trovare “spiriti affini che potessero capire e reagire” [Post Punk: 1978-1984, Simon Reynolds] Le scelte grafiche permetteranno alla Factory e ai gruppi che rappresentano di fare da confine con l’era post punk, figli di un’eleganza austera, spezzano la prospettiva romantico pre punk e lo stereotipo new wave. Costruiscono il profilo visuale della loro vocazione neo modernista, hanno un catalogo irragionevole e sballato, pieno di idee fasulle e di progetti mai realizzati benedetti da dio Duchamp: Fac 8 era una clessidra mestruale ideata e mai prodotta da Linder Sterling; Fac 99 era il conto del dentista di Robert Gretton, codirettore della Factory. “Per Wilson, questo genere di trovate rientrava nello spirito del situazionismo, lo spirito francese anarco-dadaista degli anni sessanta, le cui idee ammirava particolarmente” [Post Punk: 1978-1984, Simon Reynolds] È una visione dell’arte che butta giù i muri che la separano dallo scenario quotidiano che circonda l’artista, oggetti decontestualizzati prendono vita e sono protagonisti altrove, come il segnale di pericolo rubato dalla residenza universitaria, cui si ispirò per la realizzazione del manifesto della Factory, disegnato nel maggio del 1978: Fac 1, opera classico-modernista che possiamo far rientrare nella corrente dello “sleeve design”. -
Une Discographie De Robert Wyatt
Une discographie de Robert Wyatt Discographie au 1er mars 2021 ARCHIVE 1 Une discographie de Robert Wyatt Ce présent document PDF est une copie au 1er mars 2021 de la rubrique « Discographie » du site dédié à Robert Wyatt disco-robertwyatt.com. Il est mis à la libre disposition de tous ceux qui souhaitent conserver une trace de ce travail sur leur propre ordinateur. Ce fichier sera périodiquement mis à jour pour tenir compte des nouvelles entrées. La rubrique « Interviews et articles » fera également l’objet d’une prochaine archive au format PDF. _________________________________________________________________ La photo de couverture est d’Alessandro Achilli et l’illustration d’Alfreda Benge. HOME INDEX POCHETTES ABECEDAIRE Les années Before | Soft Machine | Matching Mole | Solo | With Friends | Samples | Compilations | V.A. | Bootlegs | Reprises | The Wilde Flowers - Impotence (69) [H. Hopper/R. Wyatt] - Robert Wyatt - drums and - Those Words They Say (66) voice [H. Hopper] - Memories (66) [H. Hopper] - Hugh Hopper - bass guitar - Don't Try To Change Me (65) - Pye Hastings - guitar [H. Hopper + G. Flight & R. Wyatt - Brian Hopper guitar, voice, (words - second and third verses)] alto saxophone - Parchman Farm (65) [B. White] - Richard Coughlan - drums - Almost Grown (65) [C. Berry] - Graham Flight - voice - She's Gone (65) [K. Ayers] - Richard Sinclair - guitar - Slow Walkin' Talk (65) [B. Hopper] - Kevin Ayers - voice - He's Bad For You (65) [R. Wyatt] > Zoom - Dave Lawrence - voice, guitar, - It's What I Feel (A Certain Kind) (65) bass guitar [H. Hopper] - Bob Gilleson - drums - Memories (Instrumental) (66) - Mike Ratledge - piano, organ, [H. Hopper] flute. - Never Leave Me (66) [H.