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Nick Cage Direction
craft production just because of what it does with sampling technology and that alone. It’s got quite a conservative form and quite a pop form as well just at the moment, in terms of the clarity of the sonics. When those elements are added to hip-hop tracks it must be difficult to make the vocal stand out. The biggest challenge is always getting the vocal heard on top of the track — the curse of the underground is an ill-defined vocal. When I went to bigger studios and used 1176s and LA2s it was a revelation, chucking one of them on gets the vocal up a bit. That’s how we were able to blag our way through Dizzee’s first album. What do you use in Dizzee’s vocal chain? With the budget we were on when I did Boy In Da Corner I used a Neumann TLM103B. When I bought it, £500 seemed a hell of a lot of money for a microphone. Then it goes to my Drawmer 1960 — I exchanged a couple of my keyboards for that. Certainly with Showtime, the new desk improved the vocal sound. It would be interesting to just step the gear up a notch, now we have the deal with XL, and see what happens. Do you have a label deal for Dirty Stank records with XL? I Love You came out first on Dirty Stank on the underground, plus other tunes like Ho and some beats. XL has licensed the albums from Dirty Stank so it’s not a true label deal in that sense, although with our first signings, it’s starting to move in that Nick Cage direction. -
ウィークエンド サンシャイン Playlist Archive Dj:ピーター・バラカン 2016 年 6 月 4 日放送 01
ウィークエンド サンシャイン PLAYLIST ARCHIVE DJ:ピーター・バラカン 2016 年 6 月 4 日放送 01. James Bond / Roland Alphonso // Intensified 02. Whose Muddy Shoes / Elmore James // Whose Muddy Shoes 03. Be Careful / John Brim // Whose Muddy Shoes 04. Call It Stormy Monday / Elmore James // Whose Muddy Shoes 05. This Strange Effect / Dave Berry // Kinked! Kinks Songs & Sessions 1964-1971 06. I Go To Sleep / Peggy Lee // Kinked! Kinks Songs & Sessions 1964-1971 07. Who'll Be The Next In Line / The Knack // Kinked! Kinks Songs & Sessions 1964-1971 08. All Night Stand / The Thoughts // Kinked! Kinks Songs & Sessions 1964-1971 09. A House In The Country / The Pretty Things // Kinked! Kinks Songs & Sessions 1964-1971 10. Rosy, Won't You Please Come Home / Marianne Faithfull // Kinked! Kinks Songs & Sessions 1964-1971 11. Big Black Smoke / Mick & Malcolm // Kinked! Kinks Songs & Sessions 1964-1971 12. Mister Pleasant / Nicky Hopkins & The Whistling Piano // Kinked! Kinks Songs & Sessions 1964-1971 13. I'm Not Like Everybody Else / The Chocolate Watchband // Kinked! Kinks Songs & Sessions 1964-1971 14. Act Nice And Gentle / Duster Bennett // Kinked! Kinks Songs & Sessions 1964-1971 15. Nobody's Fool / Cold Turkey // Kinked! Kinks Songs & Sessions 1964-1971 16. Compared To What / Les McCann & Eddie Harris // Swiss Movement 17. A Change Is Gonna Come / Sam Cooke // Portrait Of A Legend 1951-1964 18. Shine / Joni Mitchell // Shine 19. Sam Stone / Swamp Dogg // A Soldier's Sad Story: Vietnam Through The Eyes Of Black America 1966-73 20. War / The Temptations // Does Anybody Know I'm Here? 21. Open Letter To The President / Roy C / Does Anybody Know I'm Here? 2016 年 6 月 11 日放送 01. -
Liverpool Philharmonic Announces Winner of Christopher Brooks Composition Prize 2018 in Association with the Rushworth Foundatio
Press Release IMMEDIATE: Thursday 12 October 2018 Liverpool Philharmonic Announces Winner of Christopher Brooks Composition Prize 2018 in association with the Rushworth Foundation and Lancashire Sinfonietta Legacy Fund Liverpool Philharmonic is delighted to announce 22-year-old Carmel Smickersgill as the winner of its annual Christopher Brooks Composition Prize in association with The Rushworth Foundation and Lancashire Sinfonietta Legacy Fund Carmel wins a cash prize of £1,000 made possible through the support of the Lancashire Sinfonietta Legacy Fund and The Rushworth Foundation and a year’s complimentary membership of the British Academy of Songwriters, Composers & Authors (BASCA). All three organisations are supporting the competition for a fourth year running. The Christopher Brooks Composition Prize provides Carmel with a unique opportunity over the next year to develop her talent. Carmel will be supported with a bespoke programme of workshops, masterclasses and mentoring sessions from resident and visiting musicians, conductors, composers, performers and other industry professionals associated with Liverpool Philharmonic. Carmel’s year will culminate in her writing a new work for performance by Ensemble 10/10, the Royal Liverpool Philharmonic Orchestra’s new music group, which will be premiered in autumn 2019. Carmel will also develop her composition and teaching practice through access to Liverpool Philharmonic’s programme for children and young people, including Liverpool Philharmonic Youth Company, Youth Orchestra and Choirs, higher education partnerships and the transformative In Harmony Liverpool programme in Everton. Carmel is a composer based in Manchester having recently finished an undergraduate degree in composition with Gary Carpenter at the RNCM. Her music has been performed on Radio 3. -
Slang in American and British Hip-Hop/Rap Song Lyrics
LEXICON Volume 5, Number 1, April 2018, 84-94 Slang in American and British Hip-Hop/Rap Song Lyrics Tessa Zelyana Hidayat*, Rio Rini Diah Moehkardi Universitas Gadjah Mada, Indonesia *Email: [email protected] ABSTRACT This research examines semantic changes and also the associative patterns of slang, focusing primarily on common topics, i.e., people and drugs. The data were slang terms taken from the lyrics of hip-hop/rap songs sung by four singers, two from the U.S.A and two from the U.K. A total of 105 slang terms were found, 45 of which belong to the people category and 16 to the drugs category in the American hip-hop/rap song lyrics, and in the British hip-hop/rap song lyrics, 26 of which belong to the people category and 18 to the drugs category. Bitch and nigga were found to be the most frequently used slang terms in the people category. In terms of semantic changes, broadening, amelioration, and narrowing were found, and in terms of associative patterns, effect, appearance, way of consuming, constituent, and container associative patterns were found. In addition, a new associative pattern was found, i.e., place of origin. Keywords: associative patterns, people and drugs slang, semantic change, slang. mislead people outside their group. Then, the INTRODUCTION usage of Cant began to slowly develop. Larger “This party is just unreal!” Imagine a person groups started to talk Cant in their daily life. It saying this sentence in the biggest New Year’s Eve was even used for entertainment purposes, such as party in his/her town, with the largest crowd, the in literature. -
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. -
Im Auftrag: Medienagentur Stefan Michel T 040-5149 1467 F 040-5149 1465 [email protected]
im Auftrag: medienAgentur Stefan Michel T 040-5149 1467 F 040-5149 1465 [email protected] The Kinks At The BBC (Box – lim. Import) VÖ: 14. August 2012 CD1 10. I'm A Lover, Not A Fighter - Saturday Club - Piccadilly Studios, 1964 1. Interview: Meet The Kinks ' Saturday Club 11. Interview: Ray Talks About The USA ' -The Playhouse Theatre, 1964 Saturday Club - Piccadilly Studios, 1964 2. Cadillac ' Saturday Club - The Playhouse 12. I've Got That Feeling ' Saturday Club - Theatre, 1964 Piccadilly Studios, 1964 3. Interview: Ray Talks About 'You Really Got 13. All Day And All Of The Night ' Saturday Club Me' ' Saturday Club The Playhouse Theatre, - Piccadilly Studios, 1964 1964 14. You Shouldn't Be Sad ' Saturday Club - 4. You Really Got Me ' Saturday Club - The Maida Vale Studios, 1965 Playhouse Theatre, September 1964 15. Interview: Ray Talks About Records ' 5. Little Queenie ' Saturday Club - The Saturday Club - Maida Vale Studios, 1965 Playhouse Theatre, 1964 16. Tired Of Waiting For You - Saturday Club - 6. I'm A Lover Not A Fighter ' Top Gear - The Maida Vale Studios, 1965 Playhouse Theatre, 1964 17. Everybody's Gonna Be Happy ' Saturday 7. Interview: The Shaggy Set ' Top Gear - The Club -Maida Vale Studios, 1965 Playhouse Theatre, 1964 18. This Strange Effect ' 'You Really Got.' - 8. You Really Got Me ' Top Gear - The Aeolian Hall, 1965 Playhouse Theatre, October 1964 19. Interview: Ray Talks About "See My Friends" 9. All Day And All Of The Night ' Top Gear - The ' 'You Really Got.' Aeolian Hall, 1965 Playhouse Theatre, 1964 20. See My Friends ' 'You Really Got.' Aeolian Hall, 1965 1969 21. -
Britten Connections a Guide for Performers and Programmers
Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman. -
The Bands and Their Tracks*
Pass it on… vol.I A Double Album compilation CD of tracks donated by various bands playing a cover of music Pete Quaife co- founder of the KinKs played on, the bands also donated one of their own tracks,33 amazing tracks. All profits go towards The Pete Quaife Foundation* who in turn support children on dialysis. All tracks copyright reg no. 300335105 owned by PQFMusic*© 2013 All trade marks and logo’s are protected. Warning: All rights reserved. Unauthorised duplication is a violation of applicable laws. The bands and their tracks* CD A Band CD B 17 Sitting on my sofa* The Mynd Set 3 Kaleidoscope 14 Come on Now* The Get-Go 8 No Love inside 3 Gotta Move The Most 1 Scooter Girl 10 Waterloo Sunset* Chris Gray 10 She loves the morning 12 David Watts* The Lemon tops 5 Feeling bad love 11 Autumn Almanac* The Universal 13 The worshippers 13 I’m not like everybody else* Heavy Mod 15 Back out in the street 6 Rosie won’t you please come home* The Loop 14 There’s a fire 16 Tired of waiting* Electric Stars 2 I want you 2 Sunny afternoon* Rant 9 Identity 4 You Really Got Me* Steve Marriott 8 I need you* Create! 7 Love and hope 5 Dead end street* Michael Julin 6 Song to say hello 1 Where have all the good times gone* The Q 11 Diamond July 7 Picture Book* The Vals 4 Mail Box 15 Sunny Afternoon* The Grenadiers 16 Pale white Lilly 9 See my friends* The Spivs Penny for the 12 Not my revolution workhouse *Written and composed by R Davies Published by PQFMusic © 2014 All tracks mastered by Pete Maher Pete Maher is a successful mastering engineer working with the worlds leading artists, producers and labels. -
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960S and 1970S by Kathryn B. C
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960s and 1970s by Kathryn B. Cox A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology: History) in the University of Michigan 2018 Doctoral Committee: Professor Charles Hiroshi Garrett, Chair Professor James M. Borders Professor Walter T. Everett Professor Jane Fair Fulcher Associate Professor Kali A. K. Israel Kathryn B. Cox [email protected] ORCID iD: 0000-0002-6359-1835 © Kathryn B. Cox 2018 DEDICATION For Charles and Bené S. Cox, whose unwavering faith in me has always shone through, even in the hardest times. The world is a better place because you both are in it. And for Laura Ingram Ellis: as much as I wanted this dissertation to spring forth from my head fully formed, like Athena from Zeus’s forehead, it did not happen that way. It happened one sentence at a time, some more excruciatingly wrought than others, and you were there for every single sentence. So these sentences I have written especially for you, Laura, with my deepest and most profound gratitude. ii ACKNOWLEDGMENTS Although it sometimes felt like a solitary process, I wrote this dissertation with the help and support of several different people, all of whom I deeply appreciate. First and foremost on this list is Prof. Charles Hiroshi Garrett, whom I learned so much from and whose patience and wisdom helped shape this project. I am very grateful to committee members Prof. James Borders, Prof. Walter Everett, Prof. -
Waterloo Sunset” Teacher’S Notes Music Has Great Power to Inspire Us and Lift Our Mood
Feelgood Songs 2: A2+ “Waterloo Sunset” Teacher’s Notes Music has great power to inspire us and lift our mood. Which we could all do with a bit of at the moment. We were trying to think of work to set pupils at home that was positive and good for the soul: what better than a little soul music? So here is the first in a series of resources on feelgood songs. In this case, Nina Simone and her version of “Feeling Good”. AXE DU PROGRAMME Biobox Transcript n Le village, le quartier, la ville / Espaces privé et espace public THE YEAR 1967 Discover what happened in the music world OBJECTIFS in 1967. Objectifs linguistiques : Rock music was revolutionised. n Simple present Sophisticated sound effects gave birth to n Preterite and past perfect psychedelic or acid rock! n Wh-words / questions The sounds of the wah-wah pedal on the n Contrast, opposition, concession album White Rabbit hypnotized Jefferson n Superlatives Airplane’s fans. n Feelings The Beatles stopped performing live and n City life recorded two new albums in Abbey Road n Personal opinion Studios in London. The cover of Sergeant Pepper’s Lonely Objectifs culturels : Hearts Club Band featured Albert Einstein, n London Bob Dylan, Marilyn Monroe, Oscar Wilde, Karl n Waterloo Station Marx… n The Thames The Who’s Sell Out album parodied the n The year 1967 in music Radio London DJs made famous by the film Good Morning England (2009). Objectifs méthodologiques : The Doors made their way onto the musical n Comparer deux situations / donner son stage with their first two albums in the opinion same year. -
NMC227-Matthews-Wyastone Booklet-28-04-16.Indd
Colin Matthews Violin Concerto Cortège Cello Concerto No.2 Leila Josefowicz violin BBC Symphony Orchestra Oliver Knussen conductor Anssi Karttunen cello Rumon Gamba conductor Royal Concertgebouw Orchestra Riccardo Chailly conductor 2 Violin Concerto 20’00 1 Movement 1 10’38 Colin 12 Movement 2 9’22 Leila Josefowicz violin Matthews BBC Symphony Orchestra Oliver Knussen conductor Recorded live by BBC Radio 3 for the BBC Proms 3 Cortège 18’35 Royal Concertgebouw Orchestra Riccardo Chailly conductor Cello Concerto No.2 26’40 4 I Declamation. Sostenuto 4’40 5 II Song without text. Molto sostenuto 4’00 6 III Scherzo. Allegro energico 4’40 7 IV Song without text. Sostenuto 4’09 8 V Resolution. Sostenuto - Vigoroso 9’41 Anssi Karttunen cello BBC Symphony Orchestra • Rumon Gamba conductor Total 66’09 Rumon Gamba appears on this recording with the kind permission of Chandos Records Riccardo Chailly appears courtesy of Decca Music Group photo © Fiona Garden The critic Paul Griffiths, as usual, hits at least one nail on the in 2012, the other, from 2015, And there has, of course, been head. Colin Matthews, he writes, is “… the Isambard Kingdom another restrained work exploring more orchestral music. Traces Brunel of contemporary music: master of great time machines, silence, bring the tally to five. For Remain (2012-13) is an ingenious Claire Booth he has set Rilke in the summoning back and re-imagining steamy with energy derived from pulse and from massive, short cycle The Island (composed of discarded or unfinished fragments surging harmony, and openly displaying their structural in 2007-8, exactly a hundred years of others’ work, primarily the Robert engineering, all finished with a craftsman’s care.” after the words were written), Johnson lute song which may be accompanying soprano with seven all that remains of Shakespeare’s Since the inevitable but helpfully composer, made orchestral versions instruments. -
Mayor's Fund for London Impact Report 2020
HELPING YOUNG LONDONERS GROW IMPACT REPORT 2020 Solicitor OUR IMPACT 2020 AT A GLANCE KITCHEN SOCIAL 336,485 22,637 meals children and young provided people engaged COUNT ON US 8,171 95% children took part in of teachers noticed the Maths Challenges an impact on their pupils’ confidence levels ACCESS ASPIRATION 2,400 1,724 young Londoners employer encounters signed up from including work across 32 schools experience and mock interviews CREATIVITY WORKS 150 75% young people took part expected to move in the programme into employment, education or training 2 3 THE MAYOR’S FUND FOR ENGINEER LONDON The Mayor’s Fund for London is an independent charity championing opportunities for young Londoners from low-income and Black, Asian and minority ethnic backgrounds. We use our campaigning, convening and galvanising power to make the case for investment in opportunities for young people across the capital. Our work raises awareness of the barriers OUR THEORY facing young Londoners, promotes the activities OF CHANGE which best increases their opportunities and brings together the partnerships to Underpinning both our campaigning and make a measurable impact on their lives. charitable activities is our Theory of Change. The Mayor of London, Sadiq Khan, is our patron. This identifies four key outcomes to transform the life-chances of young Londoners: Our charitable activities focus on wellbeing, skills and employment and enterprise. ASPIRATION: a sense of ambition, purpose and self-worth We work with young people aged 4 –24 years, with a focus on those from low-income households ABILITY: development of core skills who are struggling or who are from vulnerable underpinning employment groups.