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Chart Book Template
Real Chart Page 1 become a problem, since each track can sometimes be released as a separate download. CHART LOG - F However if it is known that a track is being released on 'hard copy' as a AA side, then the tracks will be grouped as one, or as soon as known. Symbol Explanations s j For the above reasons many remixed songs are listed as re-entries, however if the title is Top Ten Hit Number One hit. altered to reflect the remix it will be listed as would a new song by the act. This does not apply ± Indicates that the record probably sold more than 250K. Only used on unsorted charts. to records still in the chart and the sales of the mix would be added to the track in the chart. Unsorted chart hits will have no position, but if they are black in colour than the record made the Real Chart. Green coloured records might not This may push singles back up the chart or keep them around for longer, nevertheless the have made the Real Chart. The same applies to the red coulered hits, these are known to have made the USA charts, so could have been chart is a sales chart and NOT a popularity chart on people’s favourite songs or acts. Due to released in the UK, or imported here. encryption decoding errors some artists/titles may be spelt wrong, I apologise for any inconvenience this may cause. The chart statistics were compiled only from sales of SINGLES each week. Not only that but Date of Entry every single sale no matter where it occurred! Format rules, used by other charts, where unnecessary and therefore ignored, so you will see EP’s that charted and other strange The Charts were produced on a Sunday and the sales were from the previous seven days, with records selling more than other charts. -
Music and the American Civil War
“LIBERTY’S GREAT AUXILIARY”: MUSIC AND THE AMERICAN CIVIL WAR by CHRISTIAN MCWHIRTER A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Christian McWhirter 2009 ALL RIGHTS RESERVED ABSTRACT Music was almost omnipresent during the American Civil War. Soldiers, civilians, and slaves listened to and performed popular songs almost constantly. The heightened political and emotional climate of the war created a need for Americans to express themselves in a variety of ways, and music was one of the best. It did not require a high level of literacy and it could be performed in groups to ensure that the ideas embedded in each song immediately reached a large audience. Previous studies of Civil War music have focused on the music itself. Historians and musicologists have examined the types of songs published during the war and considered how they reflected the popular mood of northerners and southerners. This study utilizes the letters, diaries, memoirs, and newspapers of the 1860s to delve deeper and determine what roles music played in Civil War America. This study begins by examining the explosion of professional and amateur music that accompanied the onset of the Civil War. Of the songs produced by this explosion, the most popular and resonant were those that addressed the political causes of the war and were adopted as the rallying cries of northerners and southerners. All classes of Americans used songs in a variety of ways, and this study specifically examines the role of music on the home-front, in the armies, and among African Americans. -
Inecxxii, ISSUE XVIII SERVING the COLLEGE of WOOSTER SINCE 1883 Tuesday, February 21, 20O6
The College of Wooster Open Works The oV ice: 2001-2011 "The oV ice" Student Newspaper Collection 2-21-2006 The oW oster Voice (Wooster, OH), 2006-02-21 Wooster Voice Editors Follow this and additional works at: https://openworks.wooster.edu/voice2001-2011 Recommended Citation Editors, Wooster Voice, "The oosW ter Voice (Wooster, OH), 2006-02-21" (2006). The Voice: 2001-2011. 405. https://openworks.wooster.edu/voice2001-2011/405 This Book is brought to you for free and open access by the "The oV ice" Student Newspaper Collection at Open Works, a service of The oC llege of Wooster Libraries. It has been accepted for inclusion in The oV ice: 2001-2011 by an authorized administrator of Open Works. For more information, please contact [email protected]. VOL.IneCXXII, ISSUE XVIII SERVING THE COLLEGE OF WOOSTER SINCE 1883 Tuesday, February 21, 20O6 "You can't blame anybody else ... I'm the guy who pulled the trigger and shot my friend. Vice President Dick Cheney in a public comment to Fox News Channel Wooster ; Fees-rise- sUiti Gifts butraoed this Liz Miller Robert Walton said the fee will contin- competitive salaries for faculty and that they paid much, much less ue to rise in 2007-0- 8 "and, most likely as staff members." because the College provided ample Editor-in-Chi- ef with other schools, each year after that." "I think it's ridiculous," said Gillian financial aid to make the cost more com- President R. Stanton Hales sent a let- The comprehensive fee is another Trownson '07. Trownson's aid does not parable to that of other public colleges." Monday, Feb. -
At the Jericho Tavern on Saturday NIGHTSHIFT PHOTOGRAPHER 10Th November
[email protected] nightshift.oxfordmusic.net Free every month NIGHTSHIFT Issue 207 October Oxford’s Music Magazine 2012 Alphabet Backwards photo: Jenny Hardcore photo: Jenny Hardcore Go pop! NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWS Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 email: [email protected] Online: nightshift.oxfordmusic.net DAMO SUZUKI is set to headline The album is available to download this year’s Audioscope festival. The for a bargain £5 at legendary former Can singer will www.musicforagoodhome.com. play a set with The ODC Drumline at the Jericho Tavern on Saturday NIGHTSHIFT PHOTOGRAPHER 10th November. Damo first headlined Johnny Moto officially launches his Audioscope back in 2003 and has new photo exhibition at the Jericho SUPERGRASS will receive a special Performing Rights Society Heritage made occasional return visits to Tavern with a gig at the same venue Award this month. The band, who formed in 1993, will receive the award Oxford since, including a spectacular this month. at The Jericho Tavern, the legendary venue where they signed their record set at Truck Festival in 2009 backed Johnny has been taking photos of deal back in 1994 before going on to release six studio albums and a string by an all-star cast of Oxfordshire local gigs for over 25 years now, of hit singles, helping to put the Oxford music scene on the world map in the musicians. capturing many of the best local and process. Joining Suzuki at Audioscope, which touring acts to pass through the city Gaz Coombes, Mick Quinn and Danny Goffey will receive the award at the raises money for homeless charity in that time and a remains a familiar Tavern on October 3rd. -
Alt-Nation: Joe Moody, Electric Six and Handsome Pete
Alt-Nation: Joe Moody, Electric Six and Handsome Pete When local studio owner Joe Moody passed away earlier this year it left a gaping wound in the heart of the local music community. Through his Danger Studio, Joe recorded hundreds of aspiring musicians across multiple genres. He gave many artists the opportunity to give voice to their dreams by documenting their work on a recording. In Joe’s honor, a motley collection of Providence metal titans will be reuniting to play together for the first time since 1997. Some of these bands — like Shed — have never done a reunion show! Kilgore Smudge vocalist Jay Berndt was kind enough to take some time to answer a few questions on the show, Kilgore and what he is up to now. Marc Clarkin: Can you talk about Joe Moody’s influence on your music career? Jay Berndt: With all the recording studios I’ve been in, Joe was easily the nicest, sweetest guy to work with. He had this immediate way of putting you at ease. And let’s face it: Musicians can be delicate creatures, especially under the microscope in the studio. When we first recorded our Spill demo with Joe in August 1993, we had never been in a recording studio. The whole recording process can be incredibly intimidating and Joe really helped build all of our confidence as songwriters and musicians. He just made the whole process interesting and fun. We recorded, overdubbed and mixed the 10 songs on Spill in 14 hours, which is just unheard of. It also fostered our love of recording because of that amazing first experience with Joe. -
Broadcast Bulletin Issue Number 38
* Ofcom broadcast bulletin Issue number 38 4 July 2005 Ofcom broadcast bulletin 38 4 July 2005 Contents Introduction 3 Standards cases In Breach 4 Resolved 6 Other programmes not in breach/outside remit 11 2 Ofcom broadcast bulletin 38 4 July 2005 Introduction The Communications Act 2003 allows for the codes of the legacy regulators to remain in force until such time as Ofcom developed its own Code. Ofcom consulted in 2004 on its new Code. Ofcom’s Broadcasting Code has now been published and will take effect from 25 July 2005 (with the exception of Rule 10.17 which comes into effect on 1 July 2005). The Broadcasting Code can be found at http://www.ofcom.org.uk/tv/ifi/codes/bcode/ The codes and rules currently in force for broadcast content are: Advertising and Sponsorship Code (Radio Authority) News & Current Affairs Code and Programme Code (Radio Authority) Code on Standards (Broadcasting Standards Commission) Code on Fairness and Privacy (Broadcasting Standards Commission) Programme Code (Independent Television Commission) Programme Sponsorship Code (Independent Television Commission) Rules on the Amount and Scheduling of Advertising From time to time adjudications relating to advertising content may appear in the bulletin in relation to areas of advertising regulation which remain with Ofcom (including the application of formal sanctions by Ofcom). Copies of the full adjudications for Upheld and Not Upheld Fairness and Privacy cases can be found on the Ofcom website: www.ofcom.org.uk 3 Ofcom broadcast bulletin 38 4 July 2005 Standards cases In Breach The Best of James Stannage The Hits,16 March 2005, 03:20 Introduction This programme mixed music with highlights of the presenter’s late night ‘phone-in, originally broadcast on Key 103 FM (Manchester). -
PRESSEMITTEILUNG 17.07.2019 Friendly Fires Spielen Exklusive
FKP Scorpio Konzertproduktionen GmbH Große Elbstr. 277 a ∙ 22767 Hamburg Tel. (040) 853 88 888 ∙ www.fkpscorpio.com PRESSEMITTEILUNG 17.07.2019 Friendly Fires spielen exklusive Show im Berliner Musik & Frieden Acht Jahre sind seit dem letzten Album „Pala“ der Friendly Fires vergangen. Dabei hat das Synthie-Pop-Trio aus Hertfordshire einen Aufstieg sondergleichen hingelegt. Schon das Debütalbum wurde für alles nominiert, was wichtig ist: NME Awards, Brit Award, Mercury Prize, just name it. Ursprünglich kamen Ed Macfarlane, Jack Savidge und Edd Gibson aus dem Hardcore, bevor sie auf ihrem selbstbetitelten Debüt den Beweis antraten, dass Dance, Electro und Disco auf der einen, Indie und Post-Punk auf der anderen Seite gar keine Widersprüche sein müssen. Es folgte mit der erwähnten letzten Platte „Pala“ ein Hybrid aus coolem Sommerbrisen-Sound, Oldschool-Disco und hedonistischer Demo „that sounds more like a ten minute holiday on a white yacht“, wie Friendly Fires es selbst einmal bezeichneten. Umjubelte Auftritte rund um die Welt und auf allen großen Festivals bewiesen, dass solche Aussagen keinesfalls übertrieben sind. Es folgten noch ein, zwei Statements: Man wolle sich neuer Musik zuwenden, hieß es von der Band, keinesfalls ein weiteres Pop-Album wie „Pala“ aufnehmen – danach war Ruhe. Und dann, wie aus dem Nichts, erschienen im vergangenen Jahr die Singles „Love Like Waves“ und „Heaven Let Me In“– co-produziert übrigens mit den alten Helden von Disclosure – und eben erst „Lack Of Love“ und „Silhouettes“. Es folgte ein legendärer Auftritt beim Glastonbury Festival, und alle wussten mit einen Schlag: Friendly Fires sind zurück. Im August erscheint mit „Inflorescent“ die dritte Platte voller cooler Tanzmusik, die abwechselnd wie ein Rücksturz in die 80er daherkommt, um dann wieder mit modernen Beats die Zukunft zu pumpen. -
Steve Smith Steve Smith
• SPEED • POWER • CONTROL • ENDURANCE • SPECIAL TECHNIQUE ISSUE STEVESTEVE SMITHSMITH VVITALITAL TTECHECH TTALKALK BBUILDUILD SSUPERUPER CCHOPSHOPS!! BBOZZIOOZZIO,, PPHILLIPSHILLIPS,, BBISSONETTEISSONETTE,, BBELLSONELLSON,, WWECKLECKL,, AANDND MMOREORE TTHEHE TTECHNICALECHNICAL EEDGEDGE HHUNDREDSUNDREDS OOFF GGREATREAT EEXERCISESXERCISES FFOROR YYOUROUR HHANDSANDS AANDND FFEETEET WIN JJOHNOHN DDOLMAYANOLMAYAN Exciting Sights OOFFFF TTHEHE RRECORDECORD And Sounds From Sabian & Hudson Music TTHEHE MMANYANY KKITSITS OOFF BBILLILL BBRUFORDRUFORD $4.99US $6.99CAN 05 WIN A Drum Lesson With Tico Torres 0 74808 01203 9 Contents ContentsVolume 27, Number 5 Cover photo by Alex Solca STEVE SMITH You can’t expect to be a future drum star if you haven’t studied the past. As a self-proclaimed “US ethnic drummer,” Steve Smith has made it his life’s work to explore the uniquely American drumset— and the way it has shaped our music. by Bill Milkowski 38 Alex Solca BUILDING SUPER CHOPS 54 UPDATE 24 There’s more than one way to look at technique. Just ask Terry Bozzio, Thomas Lang, Kenny Aronoff, Bill Bruford, Dave Weckl, Paul Doucette Gregg Bissonette, Tommy Aldridge, Mike Mangini, Louie Bellson, of Matchbox Twenty Horacio Hernandez, Simon Phillips, David Garibaldi, Virgil Donati, and Carl Palmer. Gavin Harrison by Mike Haid of Porcupine Tree George Rebelo of Hot Water Music THE TECHNICAL EDGE 73 Duduka Da Fonseca An unprecedented gathering of serious chops-increasing exercises, samba sensation MD’s exclusive Technical Edge feature aims to do no less than make you a significantly better drummer. Work out your hands, feet, and around-the-drums chops like you’ve never worked ’em before. A DIFFERENT VIEW 126 TOM SCOTT You’d need a strongman just to lift his com- plete résumé—that’s how invaluable top musicians have found saxophonist Tom Scott’s playing over the past three decades. -
The March in Glasgow
FOit.A · ·BALANCED University of Edinburgh,-Old College South Bridge, Edinburgh 'EHB 9YL vmw Tal: 031-6671011 ext4308 18 November-16 December GET .ALBERT IRVIN Paintings 1959-1989 ~*;£~-- Tues-Sat 10 am-5 pm Admission Free Subsidised by the Scottish Arts Council DAILY G~as~ow Herald _ of the Year y 30rd november 1 RUGBY BACK TO THE. 1st XV FUTUREII s:enttpacking problems of iii Peffenrtill time~ travel~ ·>... page8 .page 1 • I • arc STUDENTS from all over Park just after 2 pm, and con tinued to do so for nearly an hour, the United Kingdom assem with the rally properly beginning bled in Qlasgow on Tuesday around 2.15 pm. to take part in what was prob Three common themes were ably the biggest ever student addressed by the ten public demonstration on the British figures at the rally in the Park: mainland. these were the discriminatory nature of student loans; the com The march organised by the mitment by all to student grants, National Union of Students and the solidarity of support given against the Government's prop by them to students. osed introduction of top-up loans, The first four speakers addres was deemed by Strathclyde Police ·sed the rally from the semi-circu to have attracted around 20,00 lar, covered platform as students people. still marched in through the gates. Certainly, spirits were high All four- Mike Watson , Labour despite the cold and damp dismal MP for Glasgow Central ; Archy weather. It is likely this was a fac Kirkwood, Liberal Demcorat tor in preventing a larger turn MP; Diana Warwick, . -
The Genesis Discography
TTHHEE GGEENNEESSIISS DDIISSCCOOGGRRAAPPHHYY “The scattered pages of a book by the sea…” 1967-1996 Page 2 The Genesis Discography The Genesis Discography January 1998 Edition Copyright © 1998 Scott McMahan, All Rights Reserved The Genesis Discography Page 3 THE EXODUS ENDS “And then there was the time she sang her song, and nobody cried for more…” “I think that in the end, if all else is conqured, Bombadil will fall, Last as he was First, and then Night will come.” … from the Council of Elrond, in Lord of the Rings Indeed, since its beginning in 1993, The Genesis Discography has been a fixture on the Internet much like Tom Bombadil was in Middle Earth. It has endured in the face of the changing times, without itself changing much, isolated off in its own world. Glorfindel had the opinion that Bombadil would be the last to fall, after all else was lost, last as he was first. In Tolkien’s story, that opinion was never tested. Good triumphed over evil, and everyone lived happily ever after. Not true on the Internet. Since 1993, the forces of evil have created a desolation and oppression that Sauron even with the help of his ruling ring could not imagine perpetrating. From the days of the Internet as an academic research network until today’s Internet I have witnessed ruination unbelieveable. The decay, corruption, and runiation of the Internet boggles my mind. Like Tom Bombadil in his carefully demarcated borders, The Genesis Discography has been an island in the storm, surrounded on all sides but never giving in. -
Lovebox2014.Pdf
“There is no greater advert for London as a creative, multicultural, party-loving city than Lovebox” - The Times Overveiw Introduction Lovebox is London’s own festival. Over the past 11 years, it has been embraced by the capital’s most stylish and influential party people and cemented it’s place at the heart of London’s bristling social summer calendar. No festival better captures the inclusiveness and multicultural beauty that London represents or the cultural breadth and depth that makes London first among its worldwide City equals. A dozen summers since it first set sail on Clapham Common, 2014 heralds a new chapter in the ever-evolving story of Lovebox. From Roxy Music to Snoop Dogg, from the music of Manu Chao to the flamboyance of Florence and the Machine, Victoria Park has hosted a decade of sun-drenched shows under the Lovebox banner. This coming July, Lovebox is being joined by Secret Productions (co-organisers of Wilderness and Secret Garden Party 2009-2013). In doing so, a larger family is being built to choreograph a new creative vision for Lovebox 2014. Now spanning two days, an urban revival is once again on its way. Lovebox is returning as a true celebration of festival culture, right in the heart of the City. Demographic Demographic Core - 18–35 Fans of all genres of live music who also enjoy going to clubs, gigs and festivals with friends, highly engaged with technology, media savvy, with an interest in arts and culture ABC1/B2 Male/ Female: 50% / 50% Total attendance 2013 – 70,000 Location Victoria Park boasts a perfect location, set between Bethnal Green, Hackney and Bow, three of the capital’s most socially dynamic and creative quarters. -
Identity, Cosmopolitanism and Education in Extreme Metal Bands: the Case of Finland
Historia y Memoria de la Educación 12 (2020): 303-332 Sociedad Española de Historia de la Educación ISSN: 2444-0043 DOI: 10.5944/hme.12.2020.26507 IDENTITY, COSMOPOLITANISM AND EDUCATION IN EXTREME METAL BANDS: THE CASE OF FINLAND Identidad, cosmopolitismo y educación en las bandas de metal extremo: el caso de Finlandia Eugenio Otero Urtazaα Reception date: 22/01/2020 • Acceptation date: 08/03/2020 Abstract. Music is an art that often defines the education and values of peo- ple. Extreme Metal is a controversial musical genre that at times, in some of its subgenres, has caused episodes of exceptional violence. Metalheads make up a cultural movement that is present on all conti- nents. Metal movements are difficult to dissolve in the magma of social acceptance: they create a consciousness of transnational solidarity, of response to waste and ostentation that destroys the planet, while claim- ing the place in which it is lived. Extreme Metal is not an artistic fashion, it is profoundly changing the mentality of many young people who reject the social organisation of the capitalist and Christian world and try to find alternatives for the future. In this article we ask how their convic- tions are formed and in what way the school’s teachings influence them. One of the ways of studying the phenomenon is by analysing the lyrics of the songs. Not all subgenres can be covered and three Melodic Death Metal bands from Finland have been chosen for study, especially in rela- tion to their feelings about nature and the cosmos. It is evident that their songs are often based on classical and popular poems learned at school, by the legacy left by the great Finnish poets, and even by the literary cre- ations of musicians for that school resonance.