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What Questions Should Historians Be Asking About UK Popular Music in the 1970S? John Mullen
What questions should historians be asking about UK popular music in the 1970s? John Mullen To cite this version: John Mullen. What questions should historians be asking about UK popular music in the 1970s?. Bernard Cros; Cornelius Crowley; Thierry Labica. Community in the UK 1970-79, Presses universi- taires de Paris Nanterre, 2017, 978-2-84016-287-2. hal-01817312 HAL Id: hal-01817312 https://hal-normandie-univ.archives-ouvertes.fr/hal-01817312 Submitted on 17 Jun 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. What questions should historians be asking about UK popular music in the 1970s? John Mullen, Université de Rouen Normandie, Equipe ERIAC One of the most important jobs of the historian is to find useful and interesting questions about the past, and the debate about the 1970s has partly been a question of deciding which questions are important. The questions, of course, are not neutral, which is why those numerous commentators for whom the key question is “Did the British people become ungovernable in the 1970s?” might do well to balance this interrogation with other equally non-neutral questions, such as, perhaps, “Did the British elites become unbearable in the 1970s?” My reflection shows, it is true, a preoccupation with “history from below”, but this is the approach most suited to the study of popular music history. -
Michele Mulazzani's Playlist: Le 999 Canzoni Piu' Belle Del XX Secolo
Michele Mulazzani’s Playlist: le 999 canzoni piu' belle del XX secolo (1900 – 1999) 001 - patti smith group - because the night - '78 002 - clash - london calling - '79 003 - rem - losing my religion - '91 004 - doors - light my fire - '67 005 - traffic - john barleycorn - '70 006 - beatles - lucy in the sky with diamonds - '67 007 - nirvana - smells like teen spirit - '91 008 - animals - house of the rising sun - '64 009 - byrds - mr tambourine man - '65 010 - joy division - love will tear us apart - '80 011 - crosby, stills & nash - suite: judy blue eyes - '69 012 - creedence clearwater revival - who'll stop the rain - '70 013 - gaye, marvin - what's going on - '71 014 - cocker, joe - with a little help from my friends - '69 015 - fleshtones - american beat - '84 016 - rolling stones - (i can't get no) satisfaction - '65 017 - joplin, janis - piece of my heart - '68 018 - red hot chili peppers - californication - '99 019 - bowie, david - heroes - '77 020 - led zeppelin - stairway to heaven - '71 021 - smiths - bigmouth strikes again - '86 022 - who - baba o'riley - '71 023 - xtc - making plans for nigel - '79 024 - lennon, john - imagine - '71 025 - dylan, bob - like a rolling stone - '65 026 - mamas and papas - california dreamin' - '65 027 - cure - charlotte sometimes - '81 028 - cranberries - zombie - '94 029 - morrison, van - astral weeks - '68 030 - springsteen, bruce - badlands - '78 031 - velvet underground & nico - sunday morning - '67 032 - modern lovers - roadrunner - '76 033 - talking heads - once in a lifetime - '80 034 -
1980S Retro Playlist
1980s Retro Playlist Instructor Song Name Time Artist BPM Contributor Uses Take A Chance On Me 4:07 Abba 107 Lisa Piquette I love this for an opening song Richard Poison Arrow 3:24 ABC 126 Newman intro song while class is setting up I Saw the Sign 3:12 Ace of Base 97 J Sage fast flat. Great for cadence drills My roommate at UCSB was in love with Adam Ant, so I can't think of the 1980s without thinking of her and this song! It has a great beginning for your cyclists; there's no way to not grab that distinctive drum Goody Two Shoes 3:28 Adam Ant 95 J Sage beat for your higher-cadence flats. Take On Me 3:47 Aha 84 Lisa Piquette Fast Cadence, Hill Back to the 80s 3:43 Aqua Annette Warm up Freeway of Love 5:33 Aretha Franklin 126 Lisa Piquette Cadence Surges Venus 3:37 Bananarama 126 Lisa Piquette Muscular Endurance Richard Take My Breath Away 4:12 Berlin 96 Newman cool down In my Top 5 for sure. I thought this song was so unique at the time—it didn't sound like many of the other typical songs of the era. The Scottish accents and the bagpipes gave it an exotic sound. I use this in almost all of my retro playlists. You can only climb to it, and at 2:28 you power out of the saddle after Big Country 3:55 Big Country 125 J Sage he sings "When every single hope has been shattered" until 2:45. -
WLIR Playlist
I believe this complete list of WLIR/WDRE songs originally appeared on this site, but the full playlist is no longer available. https://wlir.fm/ It now only has the list of “Screamers and Shrieks” of the week—these were songs voted on by listeners as the best new song of the week. I’ve included the chronological list of Screamers and Shrieks after the full alphabetical playlist by artist. 10,000 Maniacs Candy Everybody Wants 10,000 Maniacs Can't Ignore The Train 10,000 Maniacs Eat For Two 10,000 Maniacs Headstrong 10,000 Maniacs Hey Jack Kerouac 10,000 Maniacs Like The Weather (Non-Live version) 10,000 Maniacs Like The Weather (Live) 10,000 Maniacs Peace Train 10,000 Maniacs These Are Days 10,000 Maniacs Trouble Me 10,000 Maniacs What's The Matter Here 10,000 Maniacs Because The Night 12 Drummers Drumming We'll Be The First Ones 2 NU This Is Ponderous 3D Nearer 4 Of Us Drag My Bad Name Down 9 Ways To Win Close To You 999 High Energy Plan 999 Homicide A Bigger Splash I Don’t Believe A Word (Innocent Bystanders) A Certain Ratio Life's A Scream A Flock Of Seagulls Heartbeat Like A Drum A Flock Of Seagulls I Ran A Flock Of Seagulls It's Not Me Talking A Flock Of Seagulls Living In Heaven A Flock Of Seagulls Never Again (The Dancer) A Flock Of Seagulls Nightmares A Flock Of Seagulls Space Age Love Song A Flock Of Seagulls Telecommunication A Flock Of Seagulls The More You Live The More You Love A Flock Of Seagulls What Am I Supposed To Do A Flock Of Seagulls Who's That Girl A Flock Of Seagulls Wishing A Popular History Of Signs The Ladderjack -
The 1987 WNEW-FM Top 1027 Songs
The 1987 WNEW-FM Top 1027 Songs 1 Stairway To Heaven Led Zeppelin 2 Born To Run Bruce Springsteen 3 Layla Derek & The Dominos 4 Baba O'Riley The Who 5 (I Can't Get No) Satisfaction The Rolling Stones 6 Won't Get Fooled Again The Who 7 Hey Jude The Beatles 8 Freebird Lynyrd Skynyrd 9 Every Breath You Take The Police 10 Light My Fire The Doors 11 Whole Lotta Love Led Zeppelin 12 Kashmir Led Zeppelin 13 Thunder Road Bruce Springsteen 14 Nights In White Satin Moody Blues 15 Roxanne The Police 16 Jungleland Bruce Springsteen 17 Imagine John Lennon 18 A Day In The Life The Beatles 19 Suite: Judy Blue Eyes Crosby, Stills & Nash 20 Lola The Kinks 21 Dazed & Confused Led Zeppelin 22 Like A Rolling Stone Bob Dylan 23 Roundabout Yes 24 Jump Van Halen 25 Under My Thumb The Rolling Stones 26 Smoke On The Water Deep Purple 27 Rosalita Bruce Springsteen 28 L. A. Woman The Doors 29 Immigrant Song Led Zeppelin 30 Another Brick In The Wall, Pt. 2 Pink Floyd 31 Over The Hills & Far Away Led Zeppelin 32 Sympathy For The Devil The Rolling Stones 33 Johnny B. Goode Chuck Berry 34 My Generation The Who 35 Money Pink Floyd 36 Good Times Bad Times Led Zeppelin 37 Funeral For A Friend Elton John 38 Love Reign O'er Me The Who 39 Who Are You The Who 40 Brown Sugar The Rolling Stones 41 American Pie Don Mclean 42 Sunshine Of Your Love Cream 43 Purple Haze Jimi Hendrix 44 Hotel California The Eagles 45 Tempted Squeeze 46 I Wanna Hold Your Hand The Beatles 47 You Can't Always Get What You Want The Rolling Stones 48 I Saw Her Standing There The Beatles 49 Communication -
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) British Graffiti (These are excerpts from my book "A History of Rock and Dance Music") Pub-rock 1976-79 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. America had the garages, the basements, the small suburban clubs. Britain had the pubs. Britain's renaissance originated from the musicians who had been playing rhythm and blues and rockabilly in the pubs. The story was not all too different from what happened in the Sixties, when blues clubs kept alive the flame that the "teen idols" and Merseybeat almost killed. In the Seventies something similar happened again. While the charts were ruled by decadent stars like David Bowie and countless mainstream pop singers, the clubs were staging rhythm and blues amateurs who were playing far more exciting music. Punk-rock changed the face of the industry and, indirectly, helped these musicians get out of the pubs. From the punk civilization there emerged a new kind of singer-songwriter, solidly anchored to the roots of rock'n'roll and aware of social issues. Dave Edmunds, Nick Lowe, Graham Parker, Joe Jackson, Elvis Costello, and Tom Robinson, not to mention the demented Ian Dury and the even more demented Wreckless Eric, were the bards who launched a more sincere and vibrant approach to rock and roll. -
UK Popular Music and Society in the 1970S John Mullen
UK Popular Music and Society in the 1970s John Mullen To cite this version: John Mullen. UK Popular Music and Society in the 1970s. Revue française de civilisation britannique, CRECIB - Centre de recherche et d’études en civilisation britannique, 2017, The United Kingdom and the Crisis in the 1970s, XXII (hors-série), 10.4000/rfcb.1695. hal-01766603 HAL Id: hal-01766603 https://hal-normandie-univ.archives-ouvertes.fr/hal-01766603 Submitted on 13 Apr 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License Revue Française de Civilisation Britannique French Journal of British Studies XXII- Hors série | 2017 The United Kingdom and the Crisis in the 1970s UK Popular Music and Society in the 1970s La musique populaire et la société britannique dans les années 1970 John Mullen Electronic version URL: http://journals.openedition.org/rfcb/1695 DOI: 10.4000/rfcb.1695 ISSN: 2429-4373 Publisher CRECIB - Centre de recherche et d'études en civilisation britannique Electronic reference John Mullen, « UK Popular Music and Society in the 1970s », Revue Française de Civilisation Britannique [Online], XXII- Hors série | 2017, Online since 30 December 2017, connection on 02 January 2018. -
1 a Great Friggin' Swindle? Sex Pistols, School Kids and 1979
CORE Metadata, citation and similar papers at core.ac.uk Provided by Middlesex University Research Repository 1 A Great Friggin’ Swindle? Sex Pistols, School Kids and 1979 Richard Osborne This article examines the popularity of the Sex Pistols’ song “Friggin’ in the Riggin’” and its parent album The Great Rock ‘n’ Roll Swindle. It argues that in 1979 the Sex Pistols attracted a new and younger audience, one that has been neglected in previous studies of the band, which tend instead to focus on the years 1976 and 1977 and the band’s original coterie of followers. This article locates the teenage appeal of “Friggin’ in the Riggin’” in its themes of swearing, sex and piracy. It also explores the media infrastructure that enabled young adolescents to access this music. Following on from this, the article charts the triumph of Johnny Rotten’s Sex Pistols’ narrative over that of Malcolm McLaren. The Great Rock ‘n’ Roll Swindle fell prey to notions of authenticity, coherence and the canonical tastes of young adults. It’s time to come clean: I have repackaged my past. True enough, my first exposure to the Sex Pistols’ music came on the day of the Queen’s silver jubilee in 1977. Following a celebratory village fete, one of my brother’s friends called up and played the two of us “God Save the Queen” via the telephone. I have recounted this story on many occasions, suggesting I was synchronized with a significant pop cultural moment. I should now admit that it wasn’t this record or this moment that made me a fan of the band. -
Cash Box Staffer
Enterprises Cameron/Cameron in VOL. Lll, NO. 39, APRIL 8, 1989 STAFF GEORGE ALBERT President and Publisher HARRY LOSK Executive Vice President KEITH ALBERT Vice President/General Manager ROBERT LONG Vice President BUD SCOPPA Editor 8 CAMILLE COMPASIO Director, Coin Machine Operations 9 TOM DE SAVIA Los Angeles Editor LEE JESKE New York Editor THE MUSIC TRADE MAGAZINE CECILIA WALKER Nashville Editor Editorial JOE WILLIAMS, Copy Editor CONTENTS JULIUS ROBINSON, Assoc. Ed 10 KAREN WOODS, Assoc. Ed (N. Y.) LISA JOHNSON, Assoc. Ed MUSIC FEATURES NEIL HARRIS, Assoc. Ed Chart Research L.A. RADIO: IN SEARCH OF THE LOST FORMAT (PART 2) GENE FERRITER J.J. Jackson’s got the Edge. Now what’s he gonna do with it? Coordinator (L.A.) KEVIN COOGAN 11 Bud Scoppa, in Art & Commerce Pop Albums (L.A.) STEVE HESS THE ABCs OF XTC Country (Nash.) TOM CHANG “The Klaatu of the ’90s” unveils its most flavorful album. A chat. Pop Singles (N. Y.) BRAD BUCHSBAUM (LA) Julius Robinson SUE THACKREY (Nash.) SCOn SALISBURY (L.A.) INDIGO GIRLS: ALMOST BLUE DOUG PROBST (L.A.) KEN MICALLEF (N.Y.) Fame comes knocking for this New South folk duo. And they almost say no. STEPHANIE BRAINERD (L.A.) Production Karen Woods JIM GONZALEZ 10 THE DOGS D’AMOUR HOWL Production Manager ELAINE FARRIS A dose of Lord Byron, a shot of Wild Turkey and thou. Production Assistant Publication Offices Janiss Garza NEW YORK 157 W. 57th Street (Suite 1402) TOO MUCH JOY: GREEN EGGS & BAs New York, NY 10019 Phone: (212) 586-2640 These Ivy League smarty-pants almost named themselves after a Cash Box staffer. -
P of Progressive Rock, and from the from the Exclusiveness of Forebears Like the Velvets and Kraftwerk and Roxy and Bowie
POST-PUNK POST-PUNK 1979 | POST-PUNK Post-punk has a lousy name. It’s temporally accurate, mostly; and meaningful in that post-punk music generally benefited from the jolt of energy and attitude that briefly was punk, even when it was often made by musicians who’d been at it for years. But punk was mostly musically and culturally discrete, insular and self-constrained. Post-punk, conversely, represented a flourishing of many sounds, myriad scenes, and many styles, all with roots reaching back (garage rock, krautrock, funk, jazz, musique concrete, ska) and branches reaching out and intertwining (hip-hop, disco, Latin musics, dub), all while leaning eagerly forward into the future. In part post-punk was the liberation of “art rock” from the virtuosic grip of progressive rock, and from the from the exclusiveness of forebears like the Velvets and Kraftwerk and Roxy and Bowie. It was to varying degrees the breaking down of barriers between “rock” and non-white musics, always with the risk of appropriation; but mostly created with a sincere attitude of learning and engagement, rather than theft. Women in post-punk were not an oddity, an opening act, but were instead at the very center of its most creative scenes in a way rock music had rarely seen. Certainly post-punk was a rejection of “disco-sucks” and cock-rock meatheadedness, as even its simplest power pop forms generally rejected brute machismo. Post-punk was revolutionary in that it helped expand rock music’s typical access to means of production, and broadened the circle of who could be at the forefront; but it was also evolutionary of rock music’s best possibilities, no an ex nihilo event, and as such was made to last. -
Aspects of UK Popular Culture in the Nineteen Seventies John Mullen
Aspects of UK Popular Culture in the Nineteen Seventies John Mullen To cite this version: John Mullen. Aspects of UK Popular Culture in the Nineteen Seventies. Le Royaume-Uni à l’épreuve de la crise 1970-1979, Ellipses, 2016, 9 782340 014374. hal-02480723 HAL Id: hal-02480723 https://hal-normandie-univ.archives-ouvertes.fr/hal-02480723 Submitted on 17 Feb 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Aspects of UK Popular Culture in the Nineteen Seventies John Mullen, Université de Rouen, ERIAC In the 1970s, to almost everyone’s surprise, the post-war boom came to a grinding halt, accompanied by a very high level of industrial strife. Yet at the same time, a number of social changes and values continued to work their way through the fabric of the community. The legalization of homosexuality in 1967, as well as making Britain a safer place to live for gays,1 allowed homosexual rights movements to rise and begin a dialogue with (initially reluctant) left wing currents. The women’s rights’ legislative advances, and the examples of the Black and Women’s movements from the USA gave rise to a flourishing and variegated movement against different aspects of women’s oppression. -
Newsletter Mai 2017 05
Galileo Music Communication GmbH - Dachauer Str. 5-7 - 82256 Fürstenfeldbruck - Deutschland Newsletter Mai 2017 05. Mai 2017 Oum mit dem neuen Album "Creology" ab 5.5. live in Deutschland Mit ihrem bislang 7. Studio-Album „Creology“ kommt die von den Kap Verden stammende Sängerin im vom 5. Mai bis zum 12.5. für insgesamt 7 Konzerte nach Deutschland. Zusammen mit ihrem langjährigen musikalischen Partner Theo Pascal präsentiert Carmen Souza ihre Auseinandersetzung mit der kreolischen Musikkultur und deren Entstehungsgeschichte, die auch gleichzeitig eine Geschichte der Sklaverei und Kolonisierung darstellt. In ihren Songs verarbeiten die beiden Künstler ihre kulturelle Prägung und widmen sich musikalisch den portugiesischen Ex-Kolonien Kapverden, Mosambik, Angola und Brasilien ohne in Wehmut zu verfallen. Vielmehr feiern sie mit Lebensfreude die Wurzeln ihrer Heimat Kapverden und Portugal und bauen daraus eine positive, musikalische Gegenwart. Die Termine sind wie folgt: 5.5. Stuttgart, Laboratorium 6.5. Bielefeld, Bunker Ulmenwall 7.5. Münster, Hot Jazz Club 8.5. Freiburg, Jazzhaus 10.5. Göttingen, Apex Pro 11.5. Frankfurt, Brotfabrik 12.5. Lauenau, Kesselhaus Die neuen Steven Wilson Remixe der klassischen YES und XTC Alben jetzt bei Galileo Music Mit „In the Court of the Crimson King” begann Porcupine Tree Frontman Steven Wilson seine Karriere als Remixer klassischer Rockalben. Zwischen 2013 und 2016 widmete er sich nun auch den Klassikern der Symphonic-Rocker Yes und der englischen Post-Punk Popband XTC, wobei bislang nicht auffindbare Mehrspurbändern die Anzahl der neu gemischten Alben auf 5 Yes Alben und 4 XTC Alben reduzierte. Alle Neu-Ausgaben sind mit jeweils neuen Stereo und 5.1 Mixen, den bestmöglichen Originalmastern und umfangreichem Bonusmaterail jeweils in High-Res Audio auf DVD-Audio oder Blu-Ray Disc ausgestattet.