DOCSLIB.ORG

OUTPUT June 2006 Computer Science and Electronic Engineering Research News for Students and Staff Digital Music Accessing Sound Archives

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
OUTPUT June 2006 Computer Science and Electronic Engineering Research News for Students and Staff Digital Music Accessing Sound Archives OUTPUT June 2006 Computer Science and Electronic Engineering Research News for Students and Staff Digital Music Accessing Sound Archives MarMartyntyn WWare:are: FrFromom Pop star to Prof star Martyn Ware: from pop star to Prof star Martyn Ware, former member of the eighties bands Human League and Heaven 17 is joining the Centre for Digital Music (C4DM) in the Department of Electronic Engineering as a visiting professorial fellow. Martyn was born in Sheffield. After leaving school, he worked in computers for three years. In 1978, he signed as a founding member of seminal electronic group The Human League. Subsequently, he signed to Virgin Records the same year, and The Human League became world famous. Martyn formed the production company/label British Electric Foundation in 1980, also producing the multimillion selling act Heaven 17. During Martyn’s 25 year career, he has produced and featured as a performer on records that have had total sales of over 50 million, working with stars including Tina Turner, Terence Trent D’Arby, Chaka Khan, Erasure, Marc Almond and Mavis Staples. Martyn has also written, performed and produced two Human League and nine Heaven 17 albums (with a new album just released) and continues to tour with their live show. In 2001, Martyn set up the Illustrious Co. Ltd with Vince Clarke to exploit the creative and commercial possibilities of their unique ‘Heightened Reality’ 3D sound technology and bespoke musical composition in collaboration with fine artists, the performing arts and corporate clients around the world. As a 3D sound installations specialist, he will provide an invaluable insight into how the Queen Mary Centre’s research developments are viewed by the professional music and sound industries. Martyn will be joining Visiting Professor Simon Davidmann (responsible for commercialisation advice) and Visiting Professorial Fellow Peter Langley (responsible for Intellectual Property advice) in C4DM. Enabling access This is the motivation for the two-and-a-half needs identified previously by the digital year European project, “Enabling Access library community. The tools will also be to sound archives to Sound Archives through Integration, usable by anyone interested in accessing Many digital sound archives suffer from Enrichment and Retrieval” (EASAIER). archived material, both amateur and tremendous access problems. Materials The EASAIER project started on 1 May professional. It will provide a uniquely are often in different formats, with related 2006, and has a total budget of €2.1 enriched, friendly and interactive experience elements in separate collections. Information million, with over €0.5 million awarded accessing materials, allowing people to about the sound files (metadata) is often to the Centre for Digital Music in the experiment with the materials in exciting non-standard, specialist, incomplete or Department of Electronic Engineering. new ways. It will implement recent advances even wrong. This prevents users using in machine learning, music and speech the archived material to the full. Powerful Being able to search by processing, and information retrieval to multimedia mining techniques are needed, increase the effectiveness of sound archive in combination with tools to extract content speech or by musical access. from files, meaningful ways to describe the feature is rare. data, and tools for visualising it. Existing tools The EASAIER Consortium consists of also do not generally take into account the companies and academic institutions from specific kind of media content being The EASAIER system will be designed with Austria, France Hungary, Ireland, Israel and searched: being able to search by speech or libraries, museums, broadcast archives Scotland with strengths in both speech and by musical feature is rare. Existing retrieval and music schools in mind. Rather than music processing and retrieval. For further techniques are restricted and inflexible. ‘guessing’ at demands for new technology, information contact project coordinator Josh this project is focused on addressing the Reiss ([email protected]). Another issue is that of providing appropriate presentation of and interaction with material for those using the archive. Musicians and music students, for example, need to be able to manipulate or modify archive material when played back. Archives of recorded broadcasts need to emphasise appropriate ways to organise the material. Interactive speech recognition features are also critical. Finally, the ability to create tailored collections with customised material is very important. This will require appropriate metadata that can be automatically created without laborious human intervention. 2 First step to a music technology career The Department of Electronic Engineering has launched two new undergraduate degrees in the area of digital music: a BEng Audio Systems Engineering and MEng Digital Audio and Music System Engineering. The programmes are aimed at students who have a passion for music and audio, who wish to understand how technology is applied to them and who The music of the primes want a future career in this field, perhaps designing the next generation of equipment What is mathematics really about? Most people think it is mainly to do with numbers and and tools. that mathematicians are just people who can divide very large numbers in their heads. Most mathematicians would argue that maths is actually about patterns. Numbers are Students will be advised on their final just a way of describing things that can make the patterns more obvious. year project by a researcher from the Department of Electronic Engineering’s What comes next in each of the following four sequences? world leading Centre for Digital Music 2 4 6 8 …. (C4DM). Some projects may also be collaborations with musicians and creative b d f h … artists or one of our industrial partners, 1 3 6 10 15… such as Philips Research, Sun Microsystems or Yahoo. Our state-of-the a c f j o… -art 3D listening and performing space (commissioned in the summer of 2006) Numbers provide a way of spotting the patterns, and equations are just a way of may be used. expressing them. The above letter sequences are the same as the number sequences – mathematically they are equivalent but for most people it is easier to spot that ‘10’ comes The rapid advancements in the technology next in the first sequence than ‘j’ in the second for example. Both can be represented by and commerce of digital music and audio an equation expressing moving on two places, or adding two. means that employment options are broad. They will also be enhanced by the degree’s pending IEE Accreditation. Graduates could We should therefore make sure students learning maths are find jobs in conventional electronics and shown some of the greater works of mathematics to aspire to telecommunications companies or in the creative media industry. If maths was just about learning by rote the rules we spend much of school maths lessons learning, then it wouldn’t have inspired so many great mathematicians over the decades. That is a bit like learning to play the piano without ever doing more than scales and arpeggios or realizing there was more to aspire to than that. Musicians are inspired to spend long hours practicing the basics because they can listen to and imagine being able one day to play greater works. Similarly there is more to maths than the basics. We should therefore make sure students learning maths are shown some of the greater works of mathematics to aspire to, even if all the details are still beyond their skills. That was the argument of Marcus du Sautoy, Professor of Mathematics at the University of Oxford who gave the Inaugural Drapers’ Annual Lecture on Learning and Teaching in March. He is particularly passionate about the prime numbers, numbers that for centuries were thought to contain no patterns at all! His lecture ranged over topics to do with the primes, from why David Beckham chose a prime number for his Real Madrid shirt, to how Gauss managed to see patterns by lateral thinking – asking a different question to everyone else – and from how prime numbers are used in nature by insects, to the reason why every time you buy anything over the Internet you are using the primes… and that last one is of course one reason why the primes are very important to computer scientists too. They provide the basis for encrypting messages sent over the Internet so that others cannot read them. In e-commerce, the messages represent money. The primes provide a way to do it without first having to pass a key to unlock the message being sent. Without this, e-commerce would be impractical. Why? Because it would be virtually impossible to exchange the keys in advance without snoopers having a way to intercept them and so steal the money. This is especially so in e-commerce where you are sending messages about purchases to people you have never met, who are possibly on a different continent. So next time you download an iTune, remember you are only listening thanks to the music of the primes. 3 Groundbreaking Digital sociology, and applies them to the analysis Martin Welton, Lecturer in the Department of interaction in varying contexts from virtual of English and Drama said: “Performance Performance degree chat rooms to video conferences. Students and interaction design share concerns for A new cross-disciplinary MSc that promotes will also be able to take advantage of the means by which technology – from its engagement between technology, social London’s unrivalled position as the leading simplest to its most hi-tech applications – science and the arts has been launched by international centre for live performance to transforms and affects the quality of human the School of English and Drama and the experience, critique and create a range of interactions, our physical and cultural Department of Computer Science.
Load more

Recommended publications
  • The ABC of Sheffield Music Nostalgia - SLIDESHOW - the Star Page 1 of 2
    The ABC of Sheffield music nostalgia - SLIDESHOW - The Star Page 1 of 2 The ABC of Sheffield music nostalgia - SLIDESHOW Video See all the bands in our slideshow Just like old times: Heaven 17’s Glenn Gregory and Martyn Ware, top right ABC’s Martin Fry and, above, Phil Oakey « Previous « Previous Next » Next » ADVERTISEMENT Published Date: 15 December 2008 By John Quinn A MAJOR pop music event took place on Saturday night. But let's ignore The X Factor. Several thousand Sheffielders did, instead opting for a night of not-just-nostalgia with three of the best-known acts ever to hail from around here – The Human League, ABC and Heaven 17. Whatever entertainment Simon Cowell's crew provides, one negative effect is spoiling the suspense and potential surprise of the race for the Christmas number one single. However the crowd at an impressively almost-full Arena preferred to hark back to the days when the festive chart-topper could be made by a weird synthesizer group whose singer had responded to a split in the ranks by recruiting two teenage girls with no musical talent except the ability to dance and sing. Well, sort of... The city's music scene at that time consisted largely of electronic experimentalists, some of whom suddenly discovered they could write pop songs. Very good pop songs at that, which sold by the bucketload until the tide of fashion changed. The acts still exist, albeit after several line-up changes each, and occasionally release albums to diminishing returns, so whoever decided to combine all three pulled off a masterstroke.
    [Show full text]
  • Reed First Pages
    4. Northern England 1. Progress in Hell Northern England was both the center of the European industrial revolution and the birthplace of industrial music. From the early nineteenth century, coal and steel works fueled the economies of cities like Manchester and She!eld and shaped their culture and urban aesthetics. By 1970, the region’s continuous mandate of progress had paved roads and erected buildings that told 150 years of industrial history in their ugly, collisive urban planning—ever new growth amidst the expanding junkyard of old progress. In the BBC documentary Synth Britannia, the narrator declares that “Victorian slums had been torn down and replaced by ultramodern concrete highrises,” but the images on the screen show more brick ruins than clean futurescapes, ceaselessly "ashing dystopian sky- lines of colorless smoke.1 Chris Watson of the She!eld band Cabaret Voltaire recalls in the late 1960s “being taken on school trips round the steelworks . just seeing it as a vision of hell, you know, never ever wanting to do that.”2 #is outdated hell smoldered in spite of the city’s supposed growth and improve- ment; a$er all, She!eld had signi%cantly enlarged its administrative territory in 1967, and a year later the M1 motorway opened easy passage to London 170 miles south, and wasn’t that progress? Institutional modernization neither erased northern England’s nineteenth- century combination of working-class pride and disenfranchisement nor of- fered many genuinely new possibilities within culture and labor, the Open Uni- versity notwithstanding. In literature and the arts, it was a long-acknowledged truism that any municipal attempt at utopia would result in totalitarianism.
    [Show full text]
  • Media Release Tune Into Nature Music Prize Winner
    Media Release Tune Into Nature Music Prize Winner LYDIAH selected as recipient of the inaugural Tune Into Nature Music Prize Yorkshire Sculpture Park is delighted to announce the winner of the Tune Into Nature Music Prize, originated by Professor Miles Richardson from the Nature Connectedness Research Group at the University of Derby and supported by Selfridges, Tileyard London and YSP. The winner LYDIAH says: “Becoming the winner of the Tune Into Nature Music Prize has been such a blessing, I’m so grateful to have been given the opportunity. It’s definitely going to help me progress as an artist. Having Selfridges play my track in store and to be associated with such an incredible movement for Project Earth is something that I am very proud of and excited for. I’m able to use the funding to support my debut EP, which couldn’t have come at a better time! The Prize is such a great project and the message is so important. I can’t thank Miles, Martyn and everyone who supports it enough.” Twenty-one year old LYDIAH, based in Liverpool, has been selected as the winner of the Tune Into Nature Music Prize for her entry I Eden. The composition is written from the point of view of Mother Nature and highlights the dangers of humans becoming increasingly distanced from the natural world. LYDIAH will receive a £1,000 grant to support her work, the opportunity to perform at Timber Festival in 2021 and a remix with Tileyard London produced by Principal Martyn Ware (Heaven 17), who says: “I thoroughly enjoyed helping to judge some exceptional entries for this unique competition.
    [Show full text]
  • Forest of Imagination: Meet the Artists, Including Heaven 17'S Martyn Ware
    ⏲ 06 June 2019, 16:39 (BST) Forest of Imagination: meet the artists Meet five artists who are part of Bath’s pop-up contemporary arts event Forest of Imagination, taking place 20-24 June 2019. Find out the music that most moves Heaven 17’s Martyn Ware; the favourite artworks of renowned paper-cutter Jessica Palmer; and where Tate-exhibitor Bob and Roberta Smith feels happiest. Get to know Bath based artists Clare Day and Perry Harris, and why Forest of Imagination draws them back, year after year. Martyn Ware A founding member of both The Human League and Heaven 17, Martyn is a London based musician, composer, arranger, record producer, and music programmer. In 2001 he co-founded Illustrious Company to exploit the creative possibilities of three-dimensional sound technology. Where do you get your inspiration for new soundscapes? The piece I’m creating for Forest 2019 stems from my fascination with reminiscence and memory. I’m exploring the bond that the very young and the very old have with one another. These people are at the opposite ends of their life but share so many insights about life. I thought I’d reveal this affinity by putting the words of the old in the mouths of the young and vice-versa. What pieces of music most move you? There’s no end to beauty in music. Symphony No. 9 by Gustav Mahler makes me want to cry. Samuel Barber’s ‘Adagio for String’ (the theme music to ‘Platoon’), is another powerful piece. John William’s score for ‘Close Encounters of a Third Kind’ is masterful.
    [Show full text]
  • Pete Mckee Announces Artists Invited to Join Him in New Exhibition Celebrating Working Class
    PRESS RELEASE FOR IMMEDIATE USE 22 May 2018 These Artists Work – Pete McKee announces artists invited to join him in new exhibition celebrating working class DOWNLOAD IMAGES HERE Sheffield artist Pete McKee today announces the nine artists he has invited to share their work alongside his own in the upcoming exhibition This Class Works. Fellow artists, musicians, actors, designers, photographers and poets each contribute their own unique interpretation of the exhibition’s themes, which aim to explore and celebrate the lives of the working class. The featured artists include: Anthony Bennett, JB Barrington, Jo Peel, Jon McClure, Martyn Ware, Maxine Peake, Natasha Bright, Sarah Jane Palmer and Tish Murtha, whose work will be shown alongside Pete’s. In addition to these artists Pete has invited several designers and illustrators to complete a special brief for the exhibition. Those included in this special project are: Cafeteria, Dust, Field, Nick Bax, Jon Cannon, Kid Acne, Patrick Murphy, Nick Deakin and Peter & Paul. Although most of the work will be kept secret until the exhibition opens, we can reveal that the following will be included: live sculpting by Anthony Bennett poetry inspired by Pete’s paintings (& vice versa) by JB Barrington a visual history of Sheffield’s industry pubs by Jo Peel soundscapes that reflect the atmosphere of industrial sites and other places of work by Martyn Ware written accounts of what it means to be working class from Maxine Peak photography exploring both social clubs which still exist to this day by Natasha Bright unemployed youth - an insight into a day in the life on a typical council estate by Tish Murtha Sarah Jane Palmer’s secret hidden messages in everyday items and a special selection of long-lost government propaganda.
    [Show full text]
  • Representation of 1980S Cold War Culture and Politics in Popular Music in the West Alex Robbins
    University of Portland Pilot Scholars History Undergraduate Publications and History Presentations 12-2017 Time Will Crawl: Representation of 1980s Cold War Culture and Politics in Popular Music in the West Alex Robbins Follow this and additional works at: https://pilotscholars.up.edu/hst_studpubs Part of the European History Commons, Music Commons, Political History Commons, and the United States History Commons Citation: Pilot Scholars Version (Modified MLA Style) Robbins, Alex, "Time Will Crawl: Representation of 1980s Cold War Culture and Politics in Popular Music in the West" (2017). History Undergraduate Publications and Presentations. 7. https://pilotscholars.up.edu/hst_studpubs/7 This Thesis is brought to you for free and open access by the History at Pilot Scholars. It has been accepted for inclusion in History Undergraduate Publications and Presentations by an authorized administrator of Pilot Scholars. For more information, please contact [email protected]. Time Will Crawl: Representation of 1980s Cold War Culture and Politics in Popular Music in the West By Alex Robbins Submitted in partial fulfillment of the requirements for the degree of Bachelor of Arts in History University of Portland December 2017 Robbins 1 The Cold War represented more than a power struggle between East and West and the fear of mutually assured destruction. Not only did people fear the loss of life and limb but the very nature of their existence came into question. While deemed the “cold” war due to the lack of a direct military conflict, battle is not all that constitutes a war. A war of ideas took place. Despite the attempt to eliminate outside influence, both East and West felt the impact of each other’s cultural movements.
    [Show full text]
  • Tom Burr Body/Building
    TOM BURR BODY/BUILDING BODY/BUILDING A selection of material to accompany the exhibition Tom Burr / New Haven, an Artist / City project BY ADRIAN GAUT TEXT BY MARK OWENS PHOTOGRAPHY BY ADRIAN GAUT TEXT BY MARK OWENS PHOTOGRAPH YALE ART AND ARCHITECTURE BUILDING, PAUL RUDOLPH (1963). 180 YORK STREET, BRUTAL RECALL NEW HAVEN. A SELECTIVE ROADMAP OF SOME OF NEW HAVEN’S MOST ICONIC CONCRETE LANDMARKS Entering New Haven by car along Interstate 95 offers a tour through one of America’s last remaining Brutalist corridors. Approaching the Oak Street Connector, you can still catch a glimpse of the briskly fenestrated raw-concrete façade of Marcel Breuer’s striking Armstrong Rubber Company Building (1968), which now sits vacant in a vast IKEA parking lot. Heading towards George Street along Martin Luther King Jr. Boulevard, a stoplight just outside the town’s commercial center brings you momen- tarily to rest at the foot of Roche-Dinkeloo’s enigmatic Knights of Columbus Building (1969), whose 23 raw-steel stories are slung between four colossal brick-clad concrete columns. Further along the boulevard on the right rises the distinctive silhouette of Paul Rudolph’s Crawford Manor housing block (1966), whose “heroic and origi- automobile. It’s perhaps ironically fitting, then, that in order to complete this Brutalist nal” striated-cement cladding promenade you’re best off proceeding on foot. Continuing down Temple Street and was famously contrasted with making a left turn onto Chapel Street, you eventually come to the entrance of Louis the “ugly and ordinary” visage Kahn’s Yale University Art Gallery (1951–53), an expressive use of brick, concrete, and of Venturi and Rauch’s Guild curtain wall that was completed a year before the Alison and Peter Smithson’s Hun- House in the pages of Learning stanton School (Norfolk, England, 1949–54), generally considered the opening salvo from Las Vegas.
    [Show full text]
  • Future of Sound to Audio: 3D Sonic Imaging That Challenges Audiences to Embrace a New Take on Goldsmiths Embracing Sound,” Says Ware
    PSNE May P35-45 Live 23/4/09 16:07 Page 40 40 live www.prosoundnewseurope.com G May 2009 UNITED KINGDOM A vision of the future system, called 3D AudioScape. It is capa- 3D AudioScape ble of transforming a conventional room into a sports stadium, or a concert hall helps brings The into a cubicle. “This is the holy grail of Future of Sound to audio: 3D sonic imaging that challenges audiences to embrace a new take on Goldsmiths embracing sound,” says Ware. 3DAudioScape is a Mac-based soft- College, reports ware and hardware surround-sound 3D Audio FX and composition solution Simon Duff aimed at the theatre, design, art and cin- ema industries. Developed by Paul Russian theremin artist Andrey Smirnov was a highlight The Great Hall in London’s Gillieron Acoustic Design, with extensive Goldsmiths College was the input from Ware and Clarke, it allows at a very deep level. The best cinemas Illustrious content which is either in f setting for March’s Future of users to position up to 16 sound sources, only have sound on one plane. They Logic format or rendered as B Format Sound/Future of Light event, designed in real time, anywhere in the three- don’t have a height access. We can move (which plays directly from 3D to showcase the latest in cutting-edge dimensional soundscape created within sound in any direction, including up.” AudioScape). We also take live inputs audiovisual acts and hosted by Martyn an array of at least eight speakers. A com- For Goldsmiths, 12 speaker posi- from the different artists.
    [Show full text]
  • Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996
    SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996 A Dissertation Presented by Jason James Hanley to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philsophy in Music (Music History) Stony Brook University August 2011 Copyright by Jason James Hanley 2011 Stony Brook University The Graduate School Jason James Hanley We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Judith Lochhead – Dissertation Advisor Professor, Department of Music Peter Winkler - Chairperson of Defense Professor, Department of Music Joseph Auner Professor, Department of Music David Brackett Professor, Department of Music McGill University This dissertation is accepted by the Graduate School Lawrence Martin Dean of the Graduate School ii Abstract of the Dissertation Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996 by Jason James Hanley Doctor of Philosophy in Music (Music History) Stony Brook University 2011 The British band Throbbing Gristle first used the term Industrial in the mid-1970s to describe the intense noise of their music while simultaneously tapping into a related set of aesthetics and ideas connected to early twentieth century modernist movements including a strong sense of history and an intense self-consciousness. This model was expanded upon by musicians in England and Germany during the late-1970s who developed the popular music style called Industrial as a fusion of experimental popular music sounds, performance art theatricality, and avant-garde composition.
    [Show full text]
  • Coming : Being : Going Compiled May 2020
    E ST 2 01 2 The Malcolm Garrett Collection Playlist #12 coming : being : going Compiled May 2020 Nine sleeves and nine songs compiled as a Coronavirus The Chauffeur Lockdown playlist for Michael Clark Company during an Duran Duran @michaelclarkco Instagram takeover on 4 and 5 May 2020 . RIO, 1982 This collection of songs explores themes of lonliness, boredom, The final track on the album RIO which has transience, life and death; each musing in its own way on the very what is by far my best known sleeve design. nature of existence. And each of course was originally housed in a I’d already worked with Duran Duran for record sleeve designed by Malcolm Garrett. well over a year when this second album, packed with hits, was released. The track I’ve chosen captures the band at their most beguiling. The RIO sleeve features a specially Love You More commissioned illustration by American artist Patrick Nagel, which Buzzcocks I displayed wrapping from front to back around the open edge 7”, 1978 of the sleeve. The record is literally accessed through the image by the very act of removing it from the sleeve. The photograph on A classic Pete Shelley song of unrequited the reverse is a segment of a photo of Simon Lebon which also love, loneliness and ultimate despair. My featured in the magaxine ‘New Sounds New Styles’, edited by my design for the sleeve, with its depiction of creative partner Kasper de Graaf. empty rooms, only one of which is occupied, aims to capture a feeling of being alone at home, unable to reach Heroes out to the one you love.
    [Show full text]
  • Mag#2 / Aug 2017
    CONFERENCE MAG #2 Photo: Inga Humpe © Astrid Grosser AUGUST 2017 _ REEPERBAHN FESTIVAL CONFERENCE MAG Welcome to the 2nd Edition p. 4 Inga Humpe Post-Hedonism Pop Martyn Ware p. 5 British Electric Pioneer Hartwig Masuch p. 8 10 Songs that Helped Create the New BMG p. 12 Striking the Right Chord Dave Allen Music Journalism – Streaming and Music Culture Prospects and Challenges p. 19 p. 15 Terry McBride Understanding the Value of Music and How to Effectively Monetize It p. 22 Camille Hackney On Music, Brands, Live for (Re)Sale – Data and Storytelling A Sort of Darknet for Tickets p. 28 p. 24 Transatlantic The Reeperbahn Festival’s 2017 New York Edition Imprint p. 31 p. 34 2 _ REEPERBAHN FESTIVAL CONFERENCE MAG 19.–23. SEPT. 2017 MUSIKFILME ÜBER: BOLLYWOOD SOUNDS · COUNTRY · DANCEHALL · DISKURSPOP · DRONE · ELECTRONICA · FIELD RECORDINGS · FOLK · GARAGE · GRINGO ROCK · HEAVY METAL · HIPHOP · IMPROVISED MUSIC · JAZZ · NEUE DEUTSCHE WELLE · POSTROCK · PUNK · REGGAE · TECNOBREGA · UVM. REEPERBAHNFESTIVAL.COM/MUSICFILMCONTEST UNERHOERT-FILMFEST.DE 3 Organiser: UNERHÖRT! - Das internationale Musikfi lmfestival in Hamburg | photo credit: Erik Lieshout / Serious Film 2017 UH-2017_Anz_185x270mm.indd 1 10.07.17 09:40 _ REEPERBAHN FESTIVAL CONFERENCE MAG WELCOME TO THE e were very happy about the praise and Wattention we received for our first issue and hope you enjoy our sophomore effort as 2ND EDITION much as the premiere. With more and more topics for our conference being set and the list of speakers growing daily, we were able OF THE once again to tap into a rich well of ideas for possible articles and hope you like the REEPERBAHN selection we made.
    [Show full text]
  • Private Dancer”—Tina Turner (1984) Added to the National Registry: 2019 Essay by Evelyn Mcdonnell (Guest Post)*
    “Private Dancer”—Tina Turner (1984) Added to the National Registry: 2019 Essay by Evelyn McDonnell (guest post)* Tina Turner There are three definitions of comeback, according to Webster’s: 1. “A return to formerly enjoyed status or prosperity” a.k.a. “a return to popularity.” For Tina Turner’s comeback--she had not had a record in the American charts since 1975--it was not for lack of trying: she had recorded two albums and toured frequently. But she was mostly seen as an oldies act, someone whose fame was a thing of the past. “Private Dancer” made the artist born Anna Mae Bullock more popular and prosperous than ever. 2. “The act of making up a deficit, as in a contest or game.” The first two decades of Turner’s career were defined by her relationship to her husband and bandleader, Ike Turner. When she left him in 1976, with 36 cents in her pocket, she had to reinvent her work, her identity, her life. Meanwhile, Ike was hailed as one of the pioneers of rock ’n’ roll, his 1951 song “Rocket 88” widely credited as the first hit of that genre. With “Private Dancer,” Turner just didn’t reassert her success: she blew her past fame out of the water, topping charts, going multiplatinum in multiple countries, and winning four Grammys. 3. “A reply, especially a quick witty one; a retort.” LL Cool J’s famous lyric “Don’t call it a comeback, I’ve been here for years” was the ultimate comeback about a comeback. While the entire Turner album could be heard as an abuse survivor’s reply to patriarchal oppression, “Private Dancer” can be thematically summarized by one iconic line: “What’s love got to do with it?” “Private Dancer” is a culturally significant work of art not just because its eclectic pop, soul, and rock tracks are threaded together by one of the most iconic voices of late 20th century music, nor because it reasserted and redefined the queen of rock ’n’ roll’s career.
    [Show full text]