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The World's Best Audio System
04.02.2014 SoundStage! Ultra | SoundStageUltra.com (UltraAudio.com) | The Overwhelming March of Technology: Anthem Statement M1 Mono Amplifiers TOP PRODUCTS FACEBOOK TWITTER BUYING GUIDES ADVERTISERS Home Features Equipment TWBAS Letters >> Network Back Cover The World's Best Audio System The Overwhelming March of Technology: Anthem Statement M1 Mono Amplifiers Follow SoundStageNetwork 4h Email @SoundStageNet Created on Tuesday, 15 January 2013 00:00 Written by Jeff Fritz Note: Measurements performed by BHK Labs can be found through this link. SoundStageNetwork 3 Feb @SoundStageNet Bias is a hard thing to overcome. Even admitting that you have biases, let alone identifying precisely what they are, can be difficult. But such an admission is the necessary first step to being able to control them. High-end audio is fraught with biased reviewers, and I’m no SoundStageNetwork 1 Feb @SoundStageNet exception. I’ve gravitated toward specific types The Best of CES 2014: The weather for this of audio products over the years, and lookingyear’s Consumer Electronics Show couldn’t back, the trend lines are clear. My taste in power amplifiers has been for physically large, heavy hardware. There’s something confidence- inspiring about peering through the top vents of a 150-pound amp and seeing a huge transformer -- you just know that the bass that amp will produce will be subterranean, and that the amp will grip your speakers like a vise. I "know" that about the amp before I listen to it -- that’s the definition of bias, and this one is built into my psyche. When I think back on my audiophile life, I can see where my biases were often based in fact, and confirmed by the accumulated experience of many audiophiles (could they all have had the same bias?). -
Daft Punk Collectible Sales Skyrocket After Breakup: 'I Could've Made
BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; BrettENTERTAINMENT Young ‘Catc NEWSh UPDATE’-es Fifth AirplayFEBRUARY 25, 2021 Page 1 of 37 Leader; Travis Denning Makes History INSIDE Daft Punk Collectible Sales Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music Group Nashville), debutsSkyrocket at No. 1 on Billboard’s lion audience After impressions, Breakup: up 16%). Top Country• Spotify Albums Takes onchart dated April 18. In its first week (ending April 9), it earned$1.3B 46,000 in equivalentDebt album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cording• Taylor to Nielsen Swift Music/MRCFiles Data. ‘I Could’veand total Made Country Airplay No.$100,000’ 1 as “Catch” (Big Machine Label Group) ascends SouthsideHer Own marks Lawsuit Hunt’s in second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chartEscalating and fourth Theme top 10. It follows freshman LP BY STEVE KNOPPER Young’s first of six chart entries, “Sleep With- MontevalloPark, which Battle arrived at the summit in No - out You,” reached No. 2 in December 2016. He vember 2014 and reigned for nine weeks. To date, followed with the multiweek No. 1s “In Case You In the 24 hours following Daft Punk’s breakup Thomas, who figured out how to build the helmets Montevallo• Mumford has andearned Sons’ 3.9 million units, with 1.4 Didn’t Know” (two weeks, June 2017), “Like I Loved millionBen in Lovettalbum sales. -
Masaryk University Faculty of Arts
Masaryk University Faculty of Arts Department of English and American Studies Teaching English Language and Literature for Secondary Schools Petr Husseini Nick Cave’s Lyrics in Official and Amateur Czech Translations Master‟s Diploma Thesis Supervisor: Mgr. Renata Kamenická, Ph.D. 2009 Declaration I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. .................................................. Author‟s signature 2 Acknowledgements I would like to thank my supervisor, Mgr. Renata Kamenická, Ph.D., for her kind help, support and valuable advice. 3 Table of Contents Introduction ..................................................................................................................... 5 1. Translation of Lyrics and Poetry .............................................................................. 9 1.1 Introduction ................................................................................................... 9 1.2 General Nature of Lyrics and Poetry ........................................................ 11 1.3 Tradition of Lyrics Translated into Czech ............................................... 17 1.4 Conclusion ................................................................................................... 20 2. Nick Cave’s Lyrics in King Ink and King Ink II ................................................... 22 2.1 Introduction ................................................................................................. 22 -
Slipstream Radio with Dwb on Monday, April 18, 2016
Playlist: SlipStream Radio with dwb on Monday, April 18, 2016 Show Notes: listening to the berkeley and nyc record haul (literally, hauled home) Time Artist Song Title Album Label Year 6:04 am robert fripp & brian eno “evening star” evening star opal 2014 6:14 am john lindberg ensemble “four fathers” a tree frog tonality between the lines 2000 6:23 am umar bin hassan “a.m.” to the last baraka fundation 2001 6:34 am dave douglas & keystone “creature” spark of being greenleaf 2010 6:40 am the tony williams lifetime “to whom it may ConCern: us/them” turn it over (bill laswell mix translation) 6:50 am jack bruce “mektoub” middle passage island 1990 6:58 am john coltrane quintet “intro > the inChworm” 2.16.62 birdland 7:06 am diga rhythm band “magnifiCent sevens” diga rounder 1976 7:17 am sacred system “driftwork” sacred system pan musiC 1998 7:27 am the awakening “jupiter” hear, sense and feel black jazz 1972 7:43 am sleater-kinney “the ballad of a ladyman” all hands on the bad one kill roCk stars 2000 7:44 am gorillaz “re-hash” gorillaz virgin 2001 7:47 am dj shadow “lesson 5” the 4-track era (best of the original reconstruction 2010 productions 1990-1992) 7:52 am bongwater “psyChedeliC sewing room” so muc hsleep shimmy disC 7:54 am tom waits “everything you can think of” alice anti 2002 8:03 am lou reed, laurie anderson, “tr 2” 1.10.08, the stone, nyc is it live or is it john zorn memorex? 8:18 am dave douglas & high risk “let's get one thing straight” dark territory greenleaf 2016 8:26 am henry kaiser “let's drink 100% healthy milk and it's a wonderful life metalanguage 1984 study hard” 8:41 am the out louds (mary “black garliC” the out louds relative pitch 2016 halverson trio) Time Artist Song Title Album Label Year 8:41 am brian eno “little fishes” another green world island 1975 8:46 am matthew shipp & miChael “where is the love?” live in seattle arena musiC 2016 bisio production 8:50 am starvue “body fusion (dj spinna remix)” strange games & funky things vol 5 bbe 8:59 am john zorn's dreamers “onCe upon a time” pellucidar tzadik 2015 . -
Master's Thesis
I Know I Am Someone: Michael Jackson, Thriller, and American Identity by Sara Tenenbaum B.A. in American Studies, May 2006, Brandeis University A Thesis submitted to The Faculty of the Columbian College of Arts and Sciences of George Washington University in partial fulfillment of the degree requirements for the degree of Master of Arts May 15, 2011 Thesis Directed by James A. Miller Professor of English and American Studies © Copyright 2011 by Sara Tenenbaum All rights reserved ii Abstract of Thesis "I Know I Am Someone: Michael Jackson, Thriller, and American Identity" This thesis addresses the cultural phenomenon surrounding Michael Jackson's 1982 album Thriller and uses it as a lens through which to view and analyze the development of a distinct American, primarily youth, identity in 1983 and 1984. It is structured using a three-prong approach that first analyzes the sonic work of the music of Thriller, second explores the characteristics of Michaelmania and the youth identity being constructed within the Michael Jackson pop explosion, and third analyzes the backlash from both the white and African American communities against Jackson in that time to illuminate his subversion and danger to the status quo. I argue that Jackson's act of profound crossover during the Thriller era triggered within the American youth an equally profound act of identity formation that transcended racial stratification in America's past and created a foundational part of our contemporary identity that moves slightly beyond America's troubled racial history. Using both the voices of his fans and his critics to tease out the work his person and his music did in the early 1980's, I advocate we keep Jackson and his work foregrounded in our study of popular culture in the late 20th and early 21st centuries, as his pop explosion fundamentally and permanently effected how Americans understand ourselves and our relations with each other. -
Nightshiftmag.Co.Uk @Nightshiftmag Nightshiftmag Nightshiftmag.Co.Uk Free Every Month NIGHTSHIFT Issue 299 September Oxford’S Music Magazine 2021
[email protected] @NightshiftMag NightshiftMag nightshiftmag.co.uk Free every month NIGHTSHIFT Issue 299 September Oxford’s Music Magazine 2021 Gig, Interrupted Meet the the artists born in lockdown finally coming to a venue near you! Also in this comeback issue: Gigs are back - what now for Oxford music? THE AUGUST LIST return Introducing JODY & THE JERMS What’s my line? - jobs in local music NEWS HELLO EVERYONE, Festival, The O2 Academy, The and welcome to back to the world Bullingdon, Truck Store and Fyrefly of Nightshift. photography. The amount raised You all know what’s been from thousands of people means the happening in the world, so there’s magazine is back and secure for at not much point going over it all least the next couple of years. again but fair to say live music, and So we can get to what we love grassroots live music in particular, most: championing new Oxford has been hit particularly hard by the artists, challenging them to be the Covid pandemic. Gigs were among best they can be, encouraging more the first things to be shut down people to support live music in the back in March 2020 and they’ve city and beyond and making sure been among the very last things to you know exactly what’s going be allowed back, while the festival on where and when with the most WHILE THE COVID PANDEMIC had a widespread impact on circuit has been decimated over the comprehensive local gig guide Oxford’s live music scene, it’s biggest casualty is The Wheatsheaf, last two summers. -
Nick Cave, Un Concerto a Pagamento in Streaming E Senza Repliche LINK
22/07/2020 14:40 Sito Web rep.repubblica.it La proprietà intellettuale è riconducibile alla fonte specificata in testa pagina. Il ritaglio stampa da intendersi per uso privato Nick Cave, un concerto a pagamento in streaming e senza repliche LINK: https://rep.repubblica.it/ws/detail/generale/2020/07/22/news/nick_cave-262623517/ Nick Cave, un concerto a singolare, nel senso pieno altri l'artista australiano non pagamento in streaming e del termine, perché sarà in ha fatto live streaming da senza repliche 22 Luglio scena da solo, casa nelle settimane 2020 L'artista australiano accompagnato dal passate, fino a quando, in protagonista di uno show pianoforte, senza i giugno, non ha registrato registrato senza band e a fedelissimi Bad Seeds, per questa ora e mezza di porte chiuse a Londra che interpretare molte canzoni musica dal vivo. Più che un andrà in onda una sola del suo straordinario concerto è una performance volta: la fruizione sarà repertorio, brani vecchi e artistica, perché non c'è identica a quello di un live nuovi, alcuni eseguiti per la pubblico, perché sembra vero e proprio di ERNESTO prima volta dal vivo, tutto fuori dal tempo e dallo ASSANTE {{MediaVoti}} / compresi brani tratti dai i spazio, come si vede nella 5 Salva Il 23 luglio, alle 21, primi lavori con Bad Seeds clip che ha presentato si potrà assistere on line e Grinderman fino all'ultimo l'evento, perché Cave è sulla app del sito Dice.Fm a album con la band, il completamente solo "Idiot Prayer: Nick Cave bellissimo e drammatico nell'esecuzione di ventidue Alone at Alexandra Palace", Ghosteen. -
Aint Gonna Study War No More / Down by the Riverside
The Danish Peace Academy 1 Holger Terp: Aint gonna study war no more Ain't gonna study war no more By Holger Terp American gospel, workers- and peace song. Author: Text: Unknown, after 1917. Music: John J. Nolan 1902. Alternative titles: “Ain' go'n' to study war no mo'”, “Ain't gonna grieve my Lord no more”, “Ain't Gwine to Study War No More”, “Down by de Ribberside”, “Down by the River”, “Down by the Riverside”, “Going to Pull My War-Clothes” and “Study war no more” A very old spiritual that was originally known as Study War No More. It started out as a song associated with the slaves’ struggle for freedom, but after the American Civil War (1861-65) it became a very high-spirited peace song for people who were fed up with fighting.1 And the folk singer Pete Seeger notes on the record “Waist Deep in the Big Muddy and Other Love Songs”, that: "'Down by the Riverside' is, of course, one of the oldest of the Negro spirituals, coming out of the South in the years following the Civil War."2 But is the song as we know it today really as old as it is claimed without any sources? The earliest printed version of “Ain't gonna study war no more” is from 1918; while the notes to the song were published in 1902 as music to a love song by John J. Nolan.3 1 http://myweb.tiscali.co.uk/grovemusic/spirituals,_hymns,_gospel_songs.htm 2 Thanks to Ulf Sandberg, Sweden, for the Pete Seeger quote. -
View the Program Book for How I Got Over
A conversation with Judith Casselberry, Charrise Barron, Mellonee Burnim, Joyce Marie Jackson, Randal Jacobs, and Matthew D. Morrison Performances by Marcelle Davies-Lashley, Jhetti, and Samuel Guillaume Sunday, December 10, 2017 3:00 p.m. Apollo Theater Front Cover: Mahalia Jackson; March on Washington for Jobs and Freedom 1957 LIVE WIRE: HOW I GOT OVER - THE SPIRIT OF GOSPEL MUSIC In 1963, when Mahalia Jackson sang “How I Got Over” before 250,000 protesters at the March on Washington for Jobs and Freedom, she epitomized the sound and sentiment of Black Americans one hundred years after Emancipation. To sing of looking back to see “how I got over,” while protesting racial violence and social, civic, economic, and political oppression, both celebrated victories won and allowed all to envision current struggles in the past tense. Gospel is the good news. Look how far God has brought us. Look at where God will take us. On its face, the gospel song composed by Clara Ward in 1951, spoke to personal trials and tribulations overcome by the power of Jesus Christ. Black gospel music, however, has always occupied a space between the push to individualistic Christian salvation and community liberation in the context of an unjust society— a declaration of faith by the communal “I”. From its incubation at the turn of the 20th century to its emergence as a genre in the 1930s, gospel was the sound of Black people on the move. People with purpose, vision, and a spirit of experimentation— clear on what they left behind, unsure of what lay ahead. -
Tal Og Perspektiver MUSIKSELSKABERFOTO: WIFOPRO.DK 2016 - TAL OG PERSPEKTIVER S
MUSIK- SELSKABER 2016 tal og perspektiver MUSIKSELSKABERFOTO: WIFOPRO.DK 2016 - TAL OG PERSPEKTIVER S. 2 FORORD I mere end et århundrede har man kunnet høre musik Løsningen ligger imidlertid lige for. Den europæiske i de danske hjem. I starten af 1900-tallet var det dog lovgivning – og særligt den aktuelle reform af ophavs- kun de velbjærgede borgere forundt at opleve grammo- retten – bør understrege, at alle tjenester, der aktivt fonen frembringe lyd i stuen. På daværende tidspunkt udbyder musik, selvfølgelig skal indhente tilladelse fra kostede en grammofon nemlig mere end en månedsløn dem, der leverer musikken, før den kan udbydes. Også for de fleste danskere. amerikanske giganter som YouTube, der baserer de- res succesfulde forretningsmodel på, at brugerne selv Sådan er det heldigvis ikke i dag. Tværtimod kan alle uploader musik til tjenesten. nu få adgang til millioner af musiknumre med en lav månedlig ydelse og få klik på mobilen. Forbruget af Det er bekymrende, at artister, sangskrivere og mu- indspillet musik har således næppe været større, end sikselskaber ikke får en anstændig betaling for deres det er i dag. hårde arbejde fra sådanne tjenester i dag. Mindst lige så bekymrende er det imidlertid, at konkurrencesitua- Derfor er det ikke med udelt begejstring, vi kan konsta- tionen mellem tjenesterne er så grotesk, at den reelt er tere, at musikselskabernes indtægter for salg af ind- en bombe under udviklingen af nye spændende mulig- spillet musik udgør 494 mio. kr. i 2016. For selvom der heder til forbrugerne. er tale om en vækst på 9 % sammenlignet med 2015, burde markedet være markant større, når man ser på For hvor er incitamentet til videreudvikling hos tje- det faktiske forbrug af musik i Danmark. -
Nile Rodgers in New York City, 1991
Nile Rodgers in New York City, 1991 68 MUSICAL EXCELLENCE Nile Rodgers HE CREATES A DISTINCTIVE SOUND ON THE RECORDS HE WRITES, PRODUCES, ARRANGES, AND PLAYS ON. BY ROB BOWMAN Nile Rodgers’ influence on popular music over the past forty years is nearly unfathomable. As a guitarist, songwriter, producer, arranger, and funkster extraordinaire, Rodgers has left his imprint on a stun- ningly wide array of genres including disco, R&B, rock, mainstream pop, hip-hop, and EDM. Looking over the breadth of his career, a case could easily be made that no single individual has had a greater impact on the sound of pop, from the late 1970s to the present day. ¶ Alongside his partner, bass player wunderkind Bernard Edwards, Rodgers wrote and produced hit after hit for Chic, Sister Sledge, and Diana Ross, tearing up both the dance floor and the radio. After Chic broke up and Rodgers and Edwards went their separate ways, Rodgers broke free of the disco moniker and reinvented himself, producing, arranging, and playing guitar on David Bowie’s come- back album, Let’s Dance (1983), and Madonna’s breakout album, 69 Like a Virgin (1984). Along the way he took INXS and Chic in their prime then Duran Duran to new heights with “Original Sin” with Rodgers and and “The Reflex,” respectively, and produced albums by Bernard Edwards Mick Jagger, Jeff Beck, the B-52s, and David Lee Roth. center stage, 1979 He played key guitar parts on Steve Winwood’s “High- er Love” and Michael Jackson’s HIStory. More recent- ly he cowrote and played guitar on Daft Punk’s “Get Lucky,” winning two Grammy Awards in the process. -
<Billno> <Sponsor>
<BillNo> <Sponsor> HOUSE JOINT RESOLUTION 527 By Beck A RESOLUTION to honor and congratulate Grand Ole Opry member Alison Krauss on the celebration of her fiftieth birthday. WHEREAS, it is fitting that the members of this General Assembly pay tribute to those country music legends who are celebrating special occasions in their lives; and WHEREAS, Alison Krauss will celebrate her fiftieth birthday on July 23, 2021, a milestone that will be commemorated as yet another precious souvenir of life's rich pageant; and WHEREAS, a member of the Grand Ole Opry since 1993, Ms. Krauss also marks her twenty-eighth anniversary of being a member of the Opry family this year; and WHEREAS, a native of Champaign, Illinois, Alison Krauss recorded her first album, Too Late to Cry, at the age of fourteen; by age eighteen, she earned a Grammy nomination for her 1989 release Two Highways; the following year, she won the Grammy for Best Bluegrass Recording for "I've Got That Old Feeling"; and WHEREAS, she joined the Opry at twenty-one, becoming the first bluegrass artist in twenty-nine years to be inducted and the youngest cast member at the time; and WHEREAS, Alison Krauss is the second-most award-winning woman in Grammy history, possessing twenty-seven of the coveted trophies; she picked up five of these for the 2008 album Raising Sand, a collaboration with Robert Plant; and WHEREAS, Ms. Krauss was also part of the phenomenally successful old- time/bluegrass soundtrack album for the 2000 film O Brother, Where Art Thou?; and WHEREAS, in addition to performing