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Special Issue
ISSUE 750 / 19 OCTOBER 2017 15 TOP 5 MUST-READ ARTICLES record of the week } Post Malone scored Leave A Light On Billboard Hot 100 No. 1 with “sneaky” Tom Walker YouTube scheme. Relentless Records (Fader) out now Tom Walker is enjoying a meteoric rise. His new single Leave } Spotify moves A Light On, released last Friday, is a brilliant emotional piano to formalise pitch led song which builds to a crescendo of skittering drums and process for slots in pitched-up synths. Co-written and produced by Steve Mac 1 as part of the Brit List. Streaming support is big too, with top CONTENTS its Browse section. (Ed Sheeran, Clean Bandit, P!nk, Rita Ora, Liam Payne), we placement on Spotify, Apple and others helping to generate (MusicAlly) love the deliberate sense of space and depth within the mix over 50 million plays across his repertoire so far. Active on which allows Tom’s powerful vocals to resonate with strength. the road, he is currently supporting The Script in the US and P2 Editorial: Paul Scaife, } Universal Music Support for the Glasgow-born, Manchester-raised singer has will embark on an eight date UK headline tour next month RotD at 15 years announces been building all year with TV performances at Glastonbury including a London show at The Garage on 29 November P8 Special feature: ‘accelerator Treehouse on BBC2 and on the Today Show in the US. before hotfooting across Europe with Hurts. With the quality Happy Birthday engagement network’. Recent press includes Sunday Times Culture “Breaking Act”, of this single, Tom’s on the edge of the big time and we’re Record of the Day! (PRNewswire) The Sun (Bizarre), Pigeons & Planes, Clash, Shortlist and certain to see him in the mix for Brits Critics’ Choice for 2018. -
Ethnicity and Gender Differences of Being Employed in the UK: Policy Implications
En Jaqueline O'Reilly, Youth Employment: STYLE Handbook. Brighton (Reino Unido): CROME, University of Brighton. Ethnicity and gender differences of being employed in the UK: Policy implications. Carolina V. Zuccotti y Jacqueline O'Reilly. Cita: Carolina V. Zuccotti y Jacqueline O'Reilly (2018). Ethnicity and gender differences of being employed in the UK: Policy implications. En Jaqueline O'Reilly Youth Employment: STYLE Handbook. Brighton (Reino Unido): CROME, University of Brighton. Dirección estable: https://www.aacademica.org/carolina.zuccotti/31 Esta obra está bajo una licencia de Creative Commons. Para ver una copia de esta licencia, visite https://creativecommons.org/licenses/by-nc-nd/4.0/deed.es. Acta Académica es un proyecto académico sin fines de lucro enmarcado en la iniciativa de acceso abierto. Acta Académica fue creado para facilitar a investigadores de todo el mundo el compartir su producción académica. Para crear un perfil gratuitamente o acceder a otros trabajos visite: https://www.aacademica.org. This book sets out to examine the effects of the Great Recession on youth employment. employmentYouth Despite considerable variation across Europe, even in better-performing countries significant pockets of youth struggled to make successful and sustainable transitions into employment. The contributions to this volume summarise the findings of a large-scale EU funded project on Strategic Transitions for Youth Labour in Europe (STYLE). The project provides a comprehensive analysis of the causes of youth unemployment and assesses the effectiveness of labour market policies. Authors here discuss the distinctive characteristics of the current phase of youth employment including labour market flexibility, skills mismatch, migration, family legacies, and the increasing role for EU policy learning and transfer. -
The Year's Best Music Marketing Campaigns
DECEMBER 11 2019 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 242 thE year’s best music marketing campaigns SANDBOX 2019 SURVEY thE year’s best music marketing campaigns e received a phenomenal Contents 15 ... THE CINEMATIC ORCHESTRA 28 ... KIDD KEO 41 ... MARK RONSON number of entries this year and 03 ... AFRO B 16 ... DJ SHADOW 29 ... KREPT & KONAN 42 ... RICK ROSS had to increase the shortlist W 17 ... BILLIE EILISH 30 ... LAUV 43 ... SAID THE WHALE 04 ... AMIR to 50 in order to capture the quality 05 ... BASTILLE 18 ... BRIAN ENO 31 ... LD ZEPPELIN 44 ... SKEPTA and breadth of 2019’s best music campaigns. 06 ... BEE GEES 19 ... FEEDER 32 ... SG LEWIS 45 ... SLIPKNOT We had entries from labels of all 07 ... BERET 20 ... DANI FERNANDEZ 33 ... LITTLE SIMZ 46 ... SAM SMITH sizes around the world and across 08 ... BIG K.R.I.T. 21 ... FLOATING POINTS 34 ... MABEL 47 ... SPICE GIRLS a vast array of genres. As always, 09 ... BON IVER 22 ... GIGGS 35 ... NSG 48 ... SUPERM campaigns are listed in alphabetical 10 ... BRIT AWARDS 2019 23 ... HOT CHIP 36 ... OASIS 49 ... THE 1975 order, but there are spot prizes 11 ... BROKEN SOCIAL SCENE 24 ... HOZIER 37 ... ANGEL OLSEN 50 ... TWO DOOR CINEMA CLUB throughout for the ones that we felt 12 ... LEWIS CAPALDI 25 ... ELTON JOHN 38 ... PEARL JAM 51 ... UBBI DUBBI did something extra special. Here are 13 ... CHARLI XCX 26 ... KANO 39 ... REGARD 52 ... SHARON VAN ETTEN 2019’s best in show. 14 ... CHASE & STATUS 27 ... KESHA 40 ... THE ROLLING STONES 2 | sandbox | ISSUE 242 | 11.12.19 SANDBOX 2019 SURVEY AFRO B MARATHON MUSIC GROUP specifically focusing on Sweden, Netherlands, Ghana, Nigeria, the US and France. -
“One Line Flows, Yeah I Got Some of Those”: Genre, Tradition, and the Reception of Rhythmic Regularity in Grime Flow
“ONE LINE FLOWS, YEAH I GOT SOME OF THOSE”: GENRE, TRADITION, AND THE RECEPTION OF RHYTHMIC REGULARITY IN GRIME FLOW Alexander Harvey Marsden A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfilment of the requirements for the degree of Master of Arts in the Department of Music Chapel Hill 2017 Approved by: Jocelyn R. Neal Allen Anderson Mark Katz © 2017 Alexander Harvey Marsden ALL RIGHTS RESERVED ii ABSTRACT Alexander Harvey Marsden: “One Line Flows, Yeah I Got Some of Those”: Genre, Tradition, and the Reception of Rhythmic Regularity in Grime Flow (Under the direction of Jocelyn Neal) In its musical style and performance practices, the British rap genre grime bears the traces of London’s electronic dance music scene, out of which it emerged in the early 2000s. One such trace is grime’s characteristic style of flow—the rhythmic dimensions of a rapper’s delivery of text—and the role that this plays in encouraging grime’s listeners to move. This thesis argues that grime flow exhibits a tendency towards rhythmic regularity, which differentiates it from flow styles that tend toward irregularity. Drawing from music cognition and music-theoretic work on the pleasures of repetition for listeners, particularly in electronic dance music, it asks what listeners find engaging about grime flow’s regularity. It argues, through an analysis of Skepta’s “That’s Not Me,” that grime flow encourages a participatory mode of listening from its audience, which in turn contributes to a broader orientation towards communality in the genre. -
Dubstep - Wikipedia, the Free Encyclopedia Dubstep from Wikipedia, the Free Encyclopedia
6/18/2014 Dubstep - Wikipedia, the free encyclopedia Dubstep From Wikipedia, the free encyclopedia Dubstep /ˈdʌbstɛp/ is a genre of electronic dance music that originated in South London, England. It emerged in the late Dubstep 1990s as a development within a lineage of related styles Stylistic Reggae, dub, grime, 2-step garage, such as 2-step garage, broken beat, drum and bass, jungle, origins drum and bass, breakstep dub and reggae.[1] In the UK the origins of the genre can be Cultural Late 1990s — early 2000s, traced back to the growth of the Jamaican sound system origins London, England, United Kingdom party scene in the early 1980s.[1][2] The music generally features syncopated drum and percussion patterns with bass Typical Sequencer, turntables, sampler, drum lines that contain prominent sub bass frequencies. instruments machine, synthesiser, keyboard, personal computer The earliest dubstep releases date back to 1998, and were Derivative Future garage, post-dubstep, brostep, usually featured as B-sides of 2-step garage single releases. forms trap These tracks were darker, more experimental remixes with less emphasis on vocals, and attempted to incorporate Other topics elements of breakbeat and drum and bass into 2-step. In List of musicians, Drumstep, Dubstyle 2001, this and other strains of dark garage music began to be showcased and promoted at London's night club Plastic People, at the "Forward" night (sometimes stylised as FWD>>), which went on to be considerably influential to the development of dubstep. The term "dubstep" in reference to a genre of music began to be used by around 2002 by labels such as Big Apple, Ammunition, and Tempa, by which time stylistic trends used in creating these remixes started to become more noticeable and distinct from 2-step and grime.[3] A very early supporter of the sound was BBC Radio 1 DJ John Peel, who started playing it from 2003 onwards. -
(IN)VISIBLE ENTREPRENEURS: CREATIVE ENTERPRISE in the URBAN MUSIC ECONOMY Joy White
(IN)VISIBLE ENTREPRENEURS: CREATIVE ENTERPRISE IN THE URBAN MUSIC ECONOMY Joy White A thesis submitted in partial fulfilment of the requirements of the University of Greenwich for the Degree of Doctor of Philosophy June 2014 DECLARATION “I certify that this work has not been accepted in substance for any degree, and is not concurrently being submitted for any degree other than that of Doctor of Philosophy being studied at the University of Greenwich. I also declare that this work is the result of my own investigations except where otherwise identified by references and that I have not plagiarised another’s work”. Signed: Signed: Dated: June 2014 ! "" ACKNOWLEDGEMENTS I would like to acknowledge the unwavering support of my supervisors, Dr Gauti Sigthorsson and Dr Stephen Kennedy. In particular, for letting me know that this research project had value and that it was a worthwhile object of study. Also, Dawn, Maxine, Dean and Alvin who proofread the final drafts - without complaining and resisted the temptation to ask whether I’d finished it yet. Lindsey and Gamze, for their encouragement and support throughout all of the economic and social ups and downs during the life of this project. My mum, Ivaline White whose three-week journey in 1954 from Jamaica to London provided the foundation, and gave me the courage, to start and to finish this. My daughter Karis, who once she had embraced her position as a ‘PhD orphan’, grew up with the project, accompanied me while I presented at an academic conference in Turkey, matured and evolved into an able research assistant, drawing my attention to significant events, music and debates. -
The Digital Subversion of Urban Space: Power, Performance
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Institutional Knowledge at Singapore Management University Singapore Management University Institutional Knowledge at Singapore Management University Research Collection School of Social Sciences School of Social Sciences 7-2018 The digital subversion of urban space: power, performance and grime Orlando WOODS Singapore Management University, [email protected] DOI: https://doi.org/10.1080/14649365.2018.1491617 Follow this and additional works at: https://ink.library.smu.edu.sg/soss_research Part of the Communication Technology and New Media Commons, and the Digital Humanities Commons Citation WOODS, Orlando.(2018). The digital subversion of urban space: power, performance and grime. Social and Cultural Geography, , 1-21. Available at: https://ink.library.smu.edu.sg/soss_research/2506 This Journal Article is brought to you for free and open access by the School of Social Sciences at Institutional Knowledge at Singapore Management University. It has been accepted for inclusion in Research Collection School of Social Sciences by an authorized administrator of Institutional Knowledge at Singapore Management University. For more information, please email [email protected]. Published in Social and Cultural Geography, 2018 July, Pages 1-21 https://doi.org/10.1080/14649365.2018.1491617Social & Cultural Geography ISSN: 1464-9365 (Print) 1470-1197 (Online) Journal homepage: http://www.tandfonline.com/loi/rscg20 The digital subversion of urban space: power, performance and grime Orlando Woods To cite this article: Orlando Woods (2018): The digital subversion of urban space: power, performance and grime, Social & Cultural Geography, DOI: 10.1080/14649365.2018.1491617 To link to this article: https://doi.org/10.1080/14649365.2018.1491617 Published online: 04 Jul 2018. -
Changing Listening Habits in Norway: the Album Format, Vinyl Revival and Transformations in the Music Industry
Olav Dowkes Changing Listening Habits in Norway: The Album Format, Vinyl Revival and Transformations in the Music Industry Master’s Thesis in Musicology Trondheim, May 2018 Norwegian University of Science and Technology Faculty of Humanities Department of Music 1 2 CONTENTS CONTENTS……………………………………….............3 ABSTRACT………………………………………….……5 ACKNOWLEDGEMENTS………………………………7 PART ONE: INTRODUCTION..………………………...9 Historical Background………………………………………..11 Cassettes, CDs and the MP3 with its New Features………….13 Internet Pirates Shake the Industry’s Foundation…………….15 Listening in the Age of Streaming……………………………19 The Vinyl Revival…………………………………………….20 Literature……………………………………………………...21 Questions……………………………………………………...24 PART TWO: METHODOLOGY…………….…………..25 Detailing the Questionnaire…………………………………...29 The Distribution and the Unexpected Advantages of the Digital Survey............................................................................31 In-Depth Description of Questionnaire, and Related Theory…34 PART THREE: Listeners in the Stream………………43 Music Blogs, Issues of Abundance and the Paradox of Choice…………………………………………………………44 Playlists………………………………………………………..47 The Tangibility of Modern Music Formats, or Lack Thereof, and Commodification………………………………………….52 A Shift of Power: from Dinosaurs to Top Dawgs……………..56 Findings From the Questionnaire……………………………...61 Summary……………………………………………………….68 3 PART FOUR: The Vinyl in the Current Musical Environment…………………………………..…………...71 Sources and Informants for this Part of the Thesis……............71 The Record -
De Lacey, Alex. 2020. 'Wot Do U Call It? Doof Doof': Articulations Of
de Lacey, Alex. 2020. ‘Wot do u call it? Doof doof’: Articulations of glocality in Australian grime music. Global Hip Hop Studies, 1(1), pp. 115-141. ISSN 2632-6825 [Article] https://research.gold.ac.uk/id/eprint/29864/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Articles. Received 29/10/19. Accepted 25/11/19. Alex de Lacey. Goldsmiths, University of London. https://orcid.org/0000-0002-4538-4138 Alex de Lacey is an Associate Lecturer at Goldsmiths, specialising in popular music. He teaches Popular Music within the department and his PhD thesis – entitled Level Up: Live Performance and Collective Creativity in Grime Music – was supported by the AHRC’s Consortium for the Humanities and Arts in the South East (CHASE). It was supervised by Professor Tom Perchard and Professor Keith Negus, and was successfully examined in November 2019 by Professor J. Griffith Rollefson and Professor Julian Henriques. In addition to his academic research, Alex writes for publications including Songlines, Red Bull and Complex, and he is an active participant in the London grime scene as a DJ and broadcaster. [email protected] Goldsmiths, University of London, New Cross, London, SE14 6NW, United Kingdom ‘Wot Do U Call It? Doof Doof’ ‘Wot Do U Call It? Doof Doof’: Articulations of glocality in Australian grime music Alex de Lacey Keywords: Grime Music, Mediation, Australia, Media Ecologies, Glocality, Transnational Flow, Hip-Hop, Youth Studies, Performance Practice Abstract: Grime music emerged at the turn of the millennium in the United Kingdom. -
Grime Routes
LUKE THOMAS, ASSIGNMENT 1, PRESENTING WORLD MUSIC ON RADIO, 2019-20 – GRIME ROUTES 1. Luke link Welcome to Grime Routes, with me, Luke Thomas – where we’re taking a pitstop tour through the evolution of grime music. How did sound systems jump from 1960s Jamaica, to a London subculture at the turn of the century, to the grime juggernaut exported around the globe today? Grime is indigenous music in precisely the ways it’s not world music, and vice versa. Certainly, on these shores, grime is the quintessential indigenous sound of the 21st century. But like any music, any art, any-thing, its derivative form protrudes from the roots of its ancestors. And grime is - at minimum – a dual heritage child. On one side, garage. Drawn from Chicago house, which falls along a long lineage of disco, soul, jazz, blues, much more beyond. On the other side, are its predecessors through jungle, drum and bass, and dancehall. Sound system culture imported from the Caribbean. You see; indigenous world music. So naturally we’re kicking things off in Lewisham, south London, 1984… 2. Music Music: MP3 Artists: Papa Levi Track: Mi God Mi King Label: Bad Breed (re-released on Level Vibes) Producer: Maxi Priest & Paul ‘Barry Boom’ Robinson Year: 1984 Riddim: Heavenless Duration of excerpt: 24 seconds 3. Luke link Papa Levi’s Mi God Mi King, 1984 release on Bad Breed. Papa Levi was a first generation British- Caribbean lad who joined the famed Saxon Sound System in Lewisham, south London. Sound system groups popped up across the UK as a result of the mass Jamaican migration through the 60s and 70s, and they brought this set up of DJ, selector, and MC to street parties and warehouses countrywide. -
Subcultures, State and Society: the London Grime Scene's Challenge To
Graduate School of Social Sciences MSc Conflict Resolution and Governance Subcultures, State and Society: A Challenge to the London Grime Scene’s Socio-economic and Socio-political Circumstances A Study of Cultural Practices as Sites of Politics Author: Christy Coulson June 2017 Amsterdam Student ID: 11256923 Supervisor: dr. P.E. Polly Pallister-Wilkins Second Reader: dhr. dr. David Laws Word Count: 23889 1 2 Glossary The Met – Metropolitan Police COLP – City of London Police Scene – London-based community of actors that actively consumes and produces social and behavioural norms associated with grime music and the demographic of people that use grime music as a part of their identity in London. Grime’s socio-economic circumstances – Poverty, violence, drugs, segregation. Grime’s socio-political circumstances – Segregation, racial and aesthetic profiling, societal disregard, the harsh policing of the scene’s events. CCCS – Centre for Contemporary Cultural Studies Locked off – Shut down Acknowledgements This research and thesis would not have been possible without the educated, informative and passionate voices of those within the London grime scene. Their understandings of their own circumstances reinforced the importance of this research for me, as a researcher, and London society. I was genuinely shocked in my interactions with these people about the sophisticated manner in which these people articulated themselves and interacted with me, an outsider. It is with this knowledge that I commend my interviewees for their willingness to speak and their vast knowledge. Finally, I’d like to thank dr. Polly Pallister-Wilkins for her willingness and ability to challenge my thinking, engaging with me in both the complex and seemingly trivial issues of this research project. -
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Issue 06 – 2017 Journal –Peer Reviewed ROB GALLAGHER King’s College London [email protected] “All the Other Players Want to Look at My Pad”: Grime, Gaming, and Digital Identity ABSTRACT A fusion of jungle, garage, hip-hop and Jamaican sound system culture, grime emerged from the housing estates of East London in the early 2000s. The genre has always had strong ties to gaming, from producers who cut their composi- tional teeth on Mario Paint (Nintendo R&D1, 1992) to MCs who incorporate videogame references into their lyrics, album titles and aliases. This article traces grime’s relationship with gaming from the genre’s inception to the present, focusing on two case studies: veteran London MC D Double E’s 2010 track “Street Fighter Riddim” and Senegalese-Kuwaiti musician Fatima Al Qadiri’s 2012 Desert Strike EP, a “soundtrack” to her experiences of the frst Gulf War. Showing how players build videogames into their life stories and identities, these case studies afrm that gaming was never the exclusive preserve of “nerdy” white middle-class males while foregrounding the ludic dimensions of digital musicianship and the musical dimensions of digital play. KEYWORDS: Grime, identity, masculinities, sampling, gamer culture INTRODUCTION A startling new form of bass music characterized by manic energy, angular futurism and seething machismo, grime emerged from the council estates of East London in the early 2000s (Hancox, 2013, p.7). Rooted in jungle, garage, hip-hop and Jamaican sound system culture, the genre also had another key infuence: videogames. This article argues that attending to the trafc between grime music and gaming culture can help us to understand better how players integrate gaming into their routines, relationships, biographies, vocabularies and identities, and to account for the diverse cultural functions videogames perform for diferent audiences in diferent contexts.