2016 AGM Report
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Stan Magazynu Caĺ†Oĺıäƒ Lp Cd Sacd Akcesoria.Xls
CENA WYKONAWCA/TYTUŁ BRUTTO NOŚNIK DOSTAWCA ALLMAN BROTHERS BAND - AT FILLMORE EAST 159,99 SACD BERTUS ALLMAN BROTHERS BAND - AT FILLMORE EAST (NUMBERED 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - BROTHERS AND SISTERS (NUMBE 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - EAT A PEACH (NUMBERED LIMIT 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - IDLEWILD SOUTH (GOLD CD) 129,99 CD GOLD MOBILE FIDELITY ALLMAN BROTHERS BAND - THE ALLMAN BROTHERS BAND (N 149,99 SACD MOBILE FIDELITY ASIA - ASIA 179,99 SACD BERTUS BAND - STAGE FRIGHT (HYBRID SACD) 89,99 SACD MOBILE FIDELITY BAND, THE - MUSIC FROM BIG PINK (NUMBERED LIMITED 89,99 SACD MOBILE FIDELITY BAND, THE - THE LAST WALTZ (NUMBERED LIMITED EDITI 179,99 2 SACD MOBILE FIDELITY BASIE, COUNT - LIVE AT THE SANDS: BEFORE FRANK (N 149,99 SACD MOBILE FIDELITY BIBB, ERIC - BLUES, BALLADS & WORK SONGS 89,99 SACD OPUS 3 BIBB, ERIC - JUST LIKE LOVE 89,99 SACD OPUS 3 BIBB, ERIC - RAINBOW PEOPLE 89,99 SACD OPUS 3 BIBB, ERIC & NEEDED TIME - GOOD STUFF 89,99 SACD OPUS 3 BIBB, ERIC & NEEDED TIME - SPIRIT & THE BLUES 89,99 SACD OPUS 3 BLIND FAITH - BLIND FAITH 159,99 SACD BERTUS BOTTLENECK, JOHN - ALL AROUND MAN 89,99 SACD OPUS 3 CAMEL - RAIN DANCES 139,99 SHMCD BERTUS CAMEL - SNOW GOOSE 99,99 SHMCD BERTUS CARAVAN - IN THE LAND OF GREY AND PINK 159,99 SACD BERTUS CARS - HEARTBEAT CITY (NUMBERED LIMITED EDITION HY 149,99 SACD MOBILE FIDELITY CHARLES, RAY - THE GENIUS AFTER HOURS (NUMBERED LI 99,99 SACD MOBILE FIDELITY CHARLES, RAY - THE GENIUS OF RAY CHARLES (NUMBERED 129,99 SACD MOBILE FIDELITY -
A History of Hip Hop in Halifax: 1985 - 1998
HOW THE EAST COAST ROCKS: A HISTORY OF HIP HOP IN HALIFAX: 1985 - 1998 by Michael McGuire Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia August 2011 © Copyright by Michael McGuire, 2011 DALHOUSIE UNIVERSITY DEPARTMENT OF HISTORY The undersigned hereby certify that they have read and recommend to the Faculty of Graduate Studies for acceptance a thesis entitled “HOW THE EAST COAST ROCKS: A HISTORY OF HIP HOP IN HALIFAX: 1985 - 1998” by Michael McGuire in partial fulfilment of the requirements for the degree of Master of Arts. Dated: August 18, 2011 Supervisor: _________________________________ Readers: _________________________________ _________________________________ ii DALHOUSIE UNIVERSITY DATE: August 18, 2011 AUTHOR: Michael McGuire TITLE: How the East Coast Rocks: A History Of Hip Hop In Halifax: 1985 - 1998 DEPARTMENT OR SCHOOL: Department of History DEGREE: MA CONVOCATION: October YEAR: 2011 Permission is herewith granted to Dalhousie University to circulate and to have copied for non-commercial purposes, at its discretion, the above title upon the request of individuals or institutions. I understand that my thesis will be electronically available to the public. The author reserves other publication rights, and neither the thesis nor extensive extracts from it may be printed or otherwise reproduced without the author’s written permission. The author attests that permission has been obtained for the use of any copyrighted material appearing in the -
Boxon Records Press Kit the Amazing Ascension of a Young and Boxon’S Parties Independent Music Label
BOXON RECORDS PRESS KIT THE AMAZING ASCENSION OF A YOUNG AND BOXON’S PARTIES INDEPENDENT MUSIC LABEL SPAAM BOXON045 #404 ~ EP Try Me feat. Aquarius Heaven ; Nightrain ; By Night ; Earthquake ; Error Jack. 16/05/13 // BOXisON #15 STEREOHEROES - DCFTD // I.Boat, Bordeaux 28/03/13 // BOXisON #14 DALCAN - DCFTD // I.Boat, Bordeaux artists : the label is trying to highlight today its 02/02/13 // BOXisON #13 GRS CLUB - FANTASTIC NOBODY // Le Batofar, Bordeaux expertise in the communication domain. 24/01/13 // BOXisON #12 SPAAM - DCFTD // I.Boat, Bordeaux Indeed, Julien Minet, label manager and DJ 21/12/12 // BLOODY FRIDAY #4 SOVNGER - LOIS PLUGGED // Respublica, Bordeaux (a.k.a. DCFTD) has learnt from his studies 16/11/12 // BLOODY FRIDAY #3 BLACKTOYS - MAINGER // Respublica, Bordeaux how to give a new impetus to the latter 08/11/12 // BOXisON #11 GRS CLUB - DCFTD // I.Boat, Bordeaux by developing an event management 19/11/12 // BLOODY FRIDAY #2 SKINLIPS - M.BURNS // Respublica, Bordeaux branch to his label. Its various implications 21/09/12 // BLOODY FRIDAY #1 LUBE - JAH TOVO // Respublica, Bordeaux After five years of unremitting work, Boxon for the Bordeaux area can attest of this : 20/09/12 // BOXisON #10 AERT PROG - DCFTD // I.Boat, Bordeaux Records, independent recording label its BOXisON residencies based in hype 09/08/12 // BOXisON #9 PALLADIUM - DCFTD // I.Boat, Bordeaux managed to make itself a name on the nightclubs, its annual contributions to the 07/06/12 // BOXisON #8 BLACKTOYS - DCFTD // I.Boat, Bordeaux French electro music scene. Created in 2007 Digital Week two consecutive years (2012- 17/05/12 // BOXisON #7 (AEROTRONIC - DCFTD // I.Boat, Bordeaux by Julien Minet, the label can be proud of its 2013), the Boxon Vinyl Show at Carhartt, 15/03/12 // BOXisON #6 (FAR TOO LOUD - DCFTD // I.Boat, Bordeaux accomplishments, in a context where the the afterworks at OK DADDY, or its recent 09/02/12 // BOXisON #5 D.VICE - DCFTD) // I.Boat, Bordeaux musical industry is in total mutation. -
©2017 Renata J. Pasternak-Mazur ALL RIGHTS RESERVED
©2017 Renata J. Pasternak-Mazur ALL RIGHTS RESERVED SILENCING POLO: CONTROVERSIAL MUSIC IN POST-SOCIALIST POLAND By RENATA JANINA PASTERNAK-MAZUR A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Music Written under the direction of Andrew Kirkman And approved by _____________________________________ _____________________________________ _____________________________________ _____________________________________ New Brunswick, New Jersey January 2017 ABSTRACT OF THE DISSERTATION Silencing Polo: Controversial Music in Post-Socialist Poland by RENATA JANINA PASTERNAK-MAZUR Dissertation Director: Andrew Kirkman Although, with the turn in the discipline since the 1980s, musicologists no longer assume their role to be that of arbiters of “good music”, the instruction of Boethius – “Look to the highest of the heights of heaven” – has continued to motivate musicological inquiry. By contrast, music which is popular but perceived as “bad” has generated surprisingly little interest. This dissertation looks at Polish post-socialist music through the lenses of musical phenomena that came to prominence after socialism collapsed but which are perceived as controversial, undesired, shameful, and even dangerous. They run the gamut from the perceived nadir of popular music to some works of the most renowned contemporary classical composers that are associated with the suffix -polo, an expression -
Mexp 2.05 Korekta 3.05.Indd
CAAMA 2020 PRESENTS POLAND MARKET ACCESS GUIDE PREPARED by Music Export Poland for CAAMA The Canadian Association for the Advancement of Music and the Arts Export Opportunities for Canadian Companies www.caama.org CAAMA 2020 PRESENTS POLAND MARKET ACCESS GUIDE PREPARED by Music Export Poland for CAAMA The Canadian Association for the Advancement of Music and the Arts Export Opportunities for Canadian Companies www.caama.org CAAMA 2020 PRESENTS POLAND MARKET ACCESS GUIDE Table of Contents 1. Welcome to Poland 2. The history of popular music in Poland 3. What do Poles listen to? 4. ZAIKS – Presentation of the organization 5. Canadians are invited – An interview with the director of ZAIKS 6. ZPAV – Organizational characteristics and the scope of activities 7. Fryderyk Awards 8. 12th in the world 9. Canadian music artists in Poland 10. The music market – production and distribution 11. We haven’t felt a decline in physical media sales – An interview with Michał Wardzała from Mystic 12. Streaming and digital sales 13. Play it again, live! 14. Take the stage at a showcase event 15. An interview with Tomasz Waśko 16. Where to record, who to record with and what that may look like 17. Growing audience numbers and the strength of the Polish concert market 18. Live in Poland 19. TV 20. Radio 21. Print media 22. Online 23. PR agencies 24. Content marketing 25. You’ll be treated well 26. Music Export Poland Canadian Association for the Advancement of Music and the Arts 3 CAAMA 2020 PRESENTS POLAND MARKET ACCESS GUIDE MESSAGE FROM H.E. -
Avis N° 21-A-08 Du 27 Mai 2021
RÉPUBLIQUE FRANÇAISE AVIS 21-A-08 du 27 mai 2021 relatif à une demande d’avis de la commission des Affaires culturelles et de l’Éducation de l’Assemblée nationale dans le secteur des musiques actuelles RÉPUBLIQUE FRANÇAISE Avis n° 21-A-08 du 27 mai 2021 relatif à une demande d’avis de la commission des Affaires culturelles et de l’Éducation de l’Assemblée nationale dans le secteur des musiques actuelles L’Autorité de la concurrence (commission permanente), Vu la lettre, enregistrée le 4 novembre 2019 sous le numéro 20/0061 A, par laquelle la commission des Affaires culturelles et de l’Éducation de l’Assemblée nationale a saisi l’Autorité de la concurrence d’une demande d’avis dans le secteur des musiques actuelles ; Vu le livre IV du code de commerce relatif à la liberté des prix et de la concurrence ; Vu les questionnaires adressés par l’Autorité de la concurrence aux opérateurs du secteur ; Vu les contributions reçues jusqu’au 26 mars 2021 ; Vu les autres pièces du dossier ; Les représentants de la Direction générale de la création artistique du ministère de la culture, du Centre National de la Musique, de Live Nation, Fimalac Entertainment, Les Vieilles Charrues, du groupe Vivendi, Wagram Music, France Billet ainsi que [confidentiel], entendus lors des auditions des 8 et 15 janvier 2021 ; Les rapporteurs, la rapporteure générale adjointe, le président de la Commission des Affaires culturelles et de l’Éducation de l’Assemblée nationale, entendus lors de la séance du 30 mars 2021, le commissaire du Gouvernement ayant été régulièrement convoqué ; Est d’avis de répondre à la demande présentée dans le sens des observations qui suivent : Résumé Le 4 novembre 2019, la commission des Affaires culturelles et de l’Éducation de l’Assemblée nationale a adressé une demande d’avis à l’Autorité de la concurrence (ci-après « l’Autorité ») sur le secteur des musiques actuelles. -
Drug Use and Nightlife: More Than Just Dance Music Tina Van Havere1*, Wouter Vanderplasschen2, Jan Lammertyn3, Eric Broekaert4 and Mark Bellis5
Van Havere et al. Substance Abuse Treatment, Prevention, and Policy 2011, 6:18 http://www.substanceabusepolicy.com/content/6/1/18 RESEARCH Open Access Drug use and nightlife: More than just dance music Tina Van Havere1*, Wouter Vanderplasschen2, Jan Lammertyn3, Eric Broekaert4 and Mark Bellis5 Abstract Background: Research over the last decade has focused almost exclusively on the association between electronic music and MDMA (3,4-Methylenedioxymethamphetamine or “ecstasy”) or other stimulant drug use in clubs. Less attention has been given to other nightlife venues and music preferences, such as rock music or southern/funky music. This study aims to examine a broader spectrum of nightlife, beyond dance music. It looks at whether certain factors influence the frequency of illegal drug and alcohol use: the frequency of going to certain nightlife venues in the previous month (such as, pubs, clubs or goa parties); listening to rock music, dance music or southern and funky music; or sampling venues (such as, clubs, dance events or rock festivals). The question of how these nightlife variables influence the use of popular drugs like alcohol, MDMA, cannabis, cocaine and amphetamines is addressed. Methods: The study sample consisted of 775 visitors of dance events, clubs and rock festivals in Belgium. Study participants answered a survey on patterns of going out, music preferences and drug use. Odds ratios were used to determine whether the odds of being an illegal substance user are higher for certain nightlife-related variables. Furthermore, five separate ordinal regression analyses were used to investigate drug use in relation to music preference, venues visited during the last month and sampling venue. -
Female:Pressure FACTS 2017
female:pressure FACTS 2017 FACTS 2017 by the female:pressure Trouble Makers Version: 1.1 / Date: August 31, 2017 / Authors: The Trouble Makers female:pressure Table of Contents: FACTS 2017 1. Introduction 3 2. Methods 4 Aims and Objectives Data Collection Data Analysis 3. Results 5 Gender Proportions of Festival Acts Gender Proportions Over Time Gender Proportions for Different Regions Gender Proportions by Country Gender Proportions by Festival Size 4. Discussion 10 Summary of the Results Comparison With Other Studies Strengths and Limitations of the Survey Questions that Remain Unanswered Suggestions for Festival Organisers, Artistic Directors, Artists 5. Acknowledgements 14 6. Appendices 15 Gender Proportions for all Regions Gender Proportions for all Countries Gender Proportions for all Festivals 2 female:pressure 1. INTRODUCTION FACTS 2017 The female:pressure FACTS survey is a biennial project undertaken by volunteer members of the female:pressure network. Starting in 2013 [https://femalepressure.wordpress.com/facts-graphic/], the FACTS survey was initiated to address and quantify the deficit in equal opportunity and visibility for female artists in the electronic music scene. The result of the 2013 FACTS survey indicated that barely 10% of artists listed in festival line-ups worldwide are female--and opened up an international discussion about the state of women in electronic music. In 2015 [https://femalepressure.wordpress.com/facts-survey2015/], we conducted the sur- vey anew. Although the inequities within the industry had become a popular topic of debate since the 2013 edition, the 2015 FACTS survey demonstrated the continued lack of women on music festival line-ups. While this phenomenon is receiving more media coverage today than ever before, we believe that measuring trends through the FACTS survey is necessary to understand the true state of inequity in the electronic music scene and to hold decision-makers accountable within the industry. -
Ursprunge & Urgrunde
P HEFT N 12 MUSIK PUNK IN PolEN Jak Punk To Punk dt. Wenn Punk, dann Punk 5 KSU 1978 gegründet; der Name stammt vom dama- ligen Autokennzeichen für Ustrzyki Dolne, der Stadt, FROM PUNK TO PUNK in der die Band gegründet wurde; spielt bis heute. ODER: JAK PUNK TO PUNKEINE KURZREISE DURCH MEHR ALS 30 JAHRE PUNK olski Punk’s not dead. Aber dass auch er mittlerweile schwer an teten Oldschool-Punk von Deuter oder dem noch immer brachialen Hoch- der Zeit trägt und seine Protagonisten der ersten Stunden ins ge- geschwindigkeits-Hardcore von Moskwa über mit punky Energie groo- hobene Alter kommen, ist unübersehbar. Beispielsweise beim Ju- venden Reggae von Izrael bis zum schwergewichtigen Alternative Rock biläumskonzert der legendären Hardcore-Punkband Armia, die der katholischen Propaganda-Supergroup 2TM2,3, dazwischen diver- ALEXANDER im Frühsommer mit Weggenossen und Vorläufern stolze 25 Jahre se Line ups von Armia, die den Sound vom mythisch-hymnischen Punk stürmischer Existenz feierte. Bei striktem Alkoholverbot und 40 der Mitt-80er bis zu den Metal-Sounds und Psychedelic Art Rock-Anlei- GradP sprangen sich vor der Bühne begeisterte Jungpunks und bierbäu- hen des Jetzt führten. All das in einem wechselseitigen Besetzungsge- chige Althelden in die Seiten, während ein Blick vom oberen Rand des flecht, dessen Erläuterung mit allen Hintergründen Bücher füllen könnte Amphitheaters im Warschauer Sowiński-Park so manche Halbglatze und sollte. PEHLEMANN bei nostalgisch-energischem Kopfnicken offenbarte. Was dem Abend URSPRUNGE keinen Abbruch tat — warum auch? Punk wird historisch, ist längst aus- & IN POLEN differenziert und steht als Stilangebot und Grundgefühl zur freien Verfü- URGRUNDE gung. -
Magisterská Diplomová Práce
Masarykova univerzita Filozofická fakulta Ústav slavistiky Magisterská diplomová práce 2020 Mgr. Pavla Zdařilová Masarykova univerzita Filozofická fakulta Ústav slavistiky Polský jazyk a literatura Mgr. Pavla Zdařilová 2. světová válka a Varšavské povstání v tvorbě Marie Peszek Magisterská diplomová práce Vedoucí práce: Mgr. Małgorzata Balcerzak Brno, 2020 Prohlašuji, že jsem diplomovou práci vypracovala samostatně s využitím uvedených pramenů a literatury. Brno, 31. červenec 2020 ................................................. Mgr. Pavla Zdařilová Zde na tomto místě bych chtěla poděkovat především vedoucí své práce Mgr. Małgorzatě Balcerzak za její neskonalou trpělivost a cenné rady, dále pak své rodině a přátelům, kteří mě celou dobu podporovali a věřili, že má práce má smysl. Obsah Obsah .......................................................................................................................................... 5 Úvod ........................................................................................................................................... 6 1. Zobrazení 2. světové války a Varšavského povstání v polské kultuře................................ 8 1.1. Diskuze o 2. světové válce a Varšavském povstání .................................................... 8 1.2. Zobrazení 2. světové války a Varšavského povstání v umělecké literatuře .............. 15 1.3. Zobrazení 2. světové války a Varšavského povstání v divadelní a dramatické tvorbě . .................................................................................................................................. -
FACTS Survey 2020
By the female:pressure Trouble Makers Version Date 1.7 November 29, 2020 Authors The Trouble Makers 1 SUMMARY Background Methods The female:pressure FACTS survey is a Data was provided by the female:pressure continuous project, undertaken by volunteer Trouble Makers, female:pressure members, and members of the female:pressure network, that festival organisers. Gender proportions for each quantifies the gender distribution of artists festival are assessed for female, male, performing at electronic music festivals non-binary, and mixed acts [non-binary for data worldwide. FACTS 2020 is the fourth edition of starting 2017]. The number of acts are counted the survey, which was first published in 2013, per slot of stage time. “Acts” include musical and updated in 2015 and 2017. and visual artists or bands who appear on stage, as they are listed in the festival’s program line-up. Results Conclusion We collected data for 393 festival editions [of We see a steady rise in female acts in 158 different festivals] from 2017 to 2019. electronic music festivals over the past eight Adding this to the previous survey data, years. However, only 25% of all acts are female:pressure has collected data for 675 female in comparison to 65% male acts. festival editions [238 unique festivals in total] from 2012 to 2019 from 44 countries. The proportion of female acts rose from 9.2% in 2012 to 24.6% in 2019. Larger festivals tend to have lower proportions of female acts. Data for 2017 to 2019 show that publicly funded festivals and festivals with female artistic directors have higher proportions of female acts. -
Strategia Budowania Wizerunku Męskiego Grania Na Przykładzie Wybranych Artystów
UNIWERSYTET JAGIELLOŃSKI W KRAKOWIE WYDZIAŁ ZARZĄDZANIA I KOMUNIKACJI SPOŁECZNEJ INSTYTUT DZIENNIKARSTWA, MEDIÓW I KOMUNIKACJI SPOŁECZNEJ Justyna Rojek Numer albumu: 1150104 Kierunek: Dziennikarstwo i komunikacja społeczna Specjalizacja: Nowe media STRATEGIA BUDOWANIA WIZERUNKU MĘSKIEGO GRANIA NA PRZYKŁADZIE WYBRANYCH ARTYSTÓW Praca dyplomowa licencjacka napisana w Zakładzie Nowych Mediów Promotor: dr Małgorzata Majewska Kraków 2020 Spis treści Wstęp ......................................................................................................................................... 4 Rozdział I. Analiza wizerunku, Męskie Granie, wydarzenie medialne............................... 6 1.1. Wizerunek ........................................................................................................................... 8 1.1.1. Gwiazda a celebryta........................................................................................................ 10 1.1.2. Elementy wizerunku ....................................................................................................... 12 1.2. Historia Męskiego Grania ................................................................................................. 16 1.2.1. Geneza ............................................................................................................................ 16 1.2.2. Wpływ na rynek muzyczny w Polsce ............................................................................. 20 1.3. Wydarzenie medialne .......................................................................................................