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Surround Sound Auteurs and the Fragmenting of Genre
Alan Williams: Surround Sound Auteurs and the Fragmenting of Genre Proceedings of the 12th Art of Record Production Conference Mono: Stereo: Multi Williams, A. (2019). Surround Sound Auteurs and the Fragmenting of Genre. In J.-O. Gullö (Ed.), Proceedings of the 12th Art of Record Production Conference Mono: Stereo: Multi (pp. 319-328). Stockholm: Royal College of Music (KMH) & Art of Record Production. Alan Williams: Surround Sound Auteurs and the Fragmenting of Genre Abstract Multi-channel sonic experience is derived from a myriad of technological processes, shaped by market forces, configured by creative decision makers and translated through audience taste preferences. From the failed launch of quadrophonic sound in the 1970s, through the currently limited, yet sustained niche market for 5.1 music releases, a select number of mix engineers and producers established paradigms for defining expanded sound stages. Whe- reas stereophonic mix practices in popular music became ever more codified during the 1970s, the relative paucity of multi-channel releases has preserved the individual sonic fingerprint of mixers working in surround sound. More- over, market forces have constricted their work to musical genres that appeal to the audiophile community that supports the format. This study examines the work of Elliot Scheiner, Bob Clearmountain, Giles Martin, and Steven Wilson to not only analyze the sonic signatures of their mixes, but to address how their conceptions of the soundstage become associated with specific genres, and serve to establish micro-genres of their own. I conclude by ar- guing that auteurs such as Steven Wilson have amassed an audience for their mixes, with a catalog that crosses genre boundaries, establishing a mode of listening that in itself represents an emergent genre – surround rock. -
BWTB Nov. 13Th Dukes 2016
1 Playlist Nov. 13th 2016 LIVE! From DUKES in Malibu 9AM / OPEN Three hours non stop uninterrupted Music from JPG&R…as we broadcast LIVE from DUKES in Malibu…. John Lennon – Steel and Glass - Walls And Bridges ‘74 Much like “How Do You Sleep” three years earlier, this is another blistering Lennon track that sets its sights on Allen Klein (who had contributed lyrics to “How Do You Sleep” those few years before). The Beatles - Revolution 1 - The Beatles 2 The first song recorded during the sessions for the “White Album.” At the time of its recording, this slower version was the only version of John Lennon’s “Revolution,” and it carried that titled without a “1” or a “9” in the title. Recording began on May 30, 1968, and 18 takes were recorded. On the final take, the first with a lead vocal, the song continued past the 4 1/2 minute mark and went onto an extended jam. It would end at 10:17 with John shouting to the others and to the control room “OK, I’ve had enough!” The final six minutes were pure chaos with discordant instrumental jamming, plenty of feedback, percussive clicks (which are heard in the song’s introduction as well), and John repeatedly screaming “alright” and moaning along with his girlfriend, Yoko Ono. Ono also spoke random streams of consciousness on the track such as “if you become naked.” This bizarre six-minute section was clipped off the version of what would become “Revolution 1” to form the basis of “Revolution 9.” Yoko’s “naked” line appears in the released version of “Revolution 9” at 7:53. -
Course Outline and Syllabus the Fab Four and the Stones: How America Surrendered to the Advance Guard of the British Invasion
Course Outline and Syllabus The Fab Four and the Stones: How America surrendered to the advance guard of the British Invasion. This six-week course takes a closer look at the music that inspired these bands, their roots-based influences, and their output of inspired work that was created in the 1960’s. Topics include: The early days, 1960-62: London, Liverpool and Hamburg: Importing rhythm and blues and rockabilly from the States…real rock and roll bands—what a concept! Watch out, world! The heady days of 1963: Don’t look now, but these guys just might be more than great cover bands…and they are becoming very popular…Beatlemania takes off. We can write songs; 1964: the rock and roll band as a creative force. John and Paul, their yin and yang-like personal and musical differences fueling their creative tension, discover that two heads are better than one. The Stones, meanwhile, keep cranking out covers, and plot their conquest of America, one riff at a time. The middle periods, 1965-66: For the boys from Liverpool, waves of brilliant albums that will last forever—every cut a memorable, sing-along winner. While for the Londoners, an artistic breakthrough with their first all--original record. Mick and Keith’s tempestuous relationship pushes away band founder Brian Jones; the Stones are established as a force in the music world. Prisoners of their own success, 1967-68: How their popularity drove them to great heights—and lowered them to awful depths. It’s a long way from three chords and a cloud of dust. -
The Old Past Master
The Old Past Master Carl H. Claudy 1924 Originally published in 1924 By The Masonic Service Association Of the United States of America Converted to text by Bro. Carl Johnson Converted to PDF & eBook by Bro. Ron Blaisdell, PM January 28, 2001 AL 6001 PREFACE Masonry teaches the young and untried brother to apply to his elder brethren for instruction in the art and assures him that they will always be as ready to teach as his is ready to learn. The author took this comforting assurance literally and seriously. To many "Old Past Masters" (and not all of them have been through the chairs!) ... he owes anything of Masonic wisdom which may have filtered through his pen to these pages. It is given to few to originate in this world; if to him has come opportunity to report to the many what would otherwise perhaps have been but the learning of the few, he is more than content, even if there be nothing within these pages which he can claim as his own. A guidepost never gets anywhere, but it points the way! Carl H. Claudy CONTENTS Brotherly Love 1 Attendance 5 “In My Heart” 9 The Ideal Mason 14 “Failure” 18 That “Atheist!” 23 Order of DeMolay 28 For Love – Or Money? 32 The Charity Fund 36 Masonic Libraries 40 The Masonry You Make 45 When Laughter is Sad 49 A Mason’s Christmas 54 Understanding 59 The Better Way 63 “Silk Stockings” 67 The Pledge 71 Those Symbols 75 Ancient Landmarks 79 Do You Study Geometry? 83 Work To Do 87 Those Legends 91 When Twice Two is Five 95 Why Symbolism? 99 BROTHERLY LOVE "Brotherly love?" commented the Old Past Master. -
John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums. -
“My Girl”—The Temptations (1964) Added to the National Registry: 2017 Essay by Mark Ribowsky (Guest Post)*
“My Girl”—The Temptations (1964) Added to the National Registry: 2017 Essay by Mark Ribowsky (guest post)* The Temptations, c. 1964 The Temptations’ 1964 recording of “My Girl” came at a critical confluence for the group, the Motown label, and a culture roiling with the first waves of the British invasion of popular music. The five-man cell of disparate souls, later to be codified by black disc jockeys as the “tall, tan, talented, titillating, tempting Temptations,” had been knocking around Motown’s corridors and studio for three years, cutting six failed singles before finally scoring on the charts that year with Smokey Robinson’s cleverly spunky “The Way You Do the Things You Do” that winter. It rose to number 11 on the pop chart and to the top of the R&B chart, an important marker on the music landscape altered by the Beatles’ conquest of America that year. Having Smokey to guide them was incalculably advantageous. Berry Gordy, the former street hustler who had founded Motown as a conduit for Detroit’s inner-city voices in 1959, invested a lot of trust in the baby-faced Robinson, who as front man of the Miracles delivered the company’s seminal number one R&B hit and million-selling single, “Shop Around.” Four years later, in 1964, he wrote and produced Mary Wells’ “My Guy,” Motown’s second number one pop hit. Gordy conquered the black urban market but craved the broader white pop audience. The Temptations were riders on that train. Formed in 1959 by Otis Williams, a leather-jacketed street singer, their original lineup consisted of Williams, Elbridge “Al” Bryant, bass singer Melvin Franklin and tenors Eddie Kendricks and Paul Williams. -
Foreign Rights C a Talogue 2020
FOREIGN RIGHTS CATALOGUE 2020 • Iconic portraits and contact sheets from Goldfinger, Diamonds are Forever, Live and Let Die, Golden Eye and the 1967 Bond spoof, Casino Royale • Contributions from actors including George Lazenby and Jane Seymour • Includes a foreword by Robert Wade and Neal Purvis, screenwriters for the latest Bond film, No Time to Die Bond Photographed by Terry O’Neill The Definitive Collection James Clarke Terry O’Neill was given his first chance to photograph Sean Connery as James Bond in the filmGoldfinger . From that moment, O’Neill’s association with Bond was made: an enduring legacy that has carried through to the era of Daniel Craig. It was O’Neill who captured gritty and roguish pictures of Connery on set, and it was O’Neill who framed the super-suave Roger Moore in Live and Let Die. His images of Honor Blackman as Pussy Galore are also important, celebrating the vital role of women in the James Bond world. But it is Terry O’Neill’s casual, on-set photographs of a mischievous Connery walking around the casinos of Las Vegas or Roger Moore dancing on a bed with co-star Madeline Smith that show the other side of the world’s most recognisable spy. Terry O’Neill opens his archive to give readers - and viewers - the chance to enter the dazzling world of James Bond. Lavish colour and black and white images are complemented by insights from O’Neill, alongside a series of original essays on the world of James Bond by BAFTA-longlisted film writer, James Clarke; and newly-conducted interviews with a number of actors featured in O’Neill’s photographs. -
Lodge Leadership & Management Aka The
Lodge Leadership & Management aka The Masters' & Wardens' Handbook Table of Contents Preface .......................................................................................................................................... 1 Be A Leader ................................................................................................................................... 2 Planning a Great Lodge Year ........................................................................................................ 11 Conducting a Good Lodge Meeting .............................................................................................. 19 Financial Planning and Budgeting ................................................................................................ 24 Lodge Budget Worksheet ......................................................................................................... 28 Examining Visitors ....................................................................................................................... 29 Focus on Fellowship..................................................................................................................... 30 New Member Orientation............................................................................................................ 35 Communications from the Lodge ................................................................................................. 38 Internet Presence – The Electronic Frontier ................................................................................ -
Psaudio Copper
Issue 77 JANUARY 28TH, 2019 Welcome to Copper #77! I hope you had a better view of the much-hyped lunar-eclipse than I did---the combination of clouds and sleep made it a non-event for me. Full moon or no, we're all Bozos on this bus---in the front seat is Larry Schenbeck, who brings us music to counterbalance the blah weather; Dan Schwartz brings us Burritos for lunch; Richard Murison brings us a non-Python Life of Brian; Jay Jay French chats with Giles Martin about the remastered White Album; Roy Hall tells us about an interesting day; Anne E. Johnson looks at lesser-known cuts from Steely Dan's long career; Christian James Hand deconstructs the timeless "Piano Man"; Woody Woodward is back with a piece on seminal blues guitarist Blind Blake; and I consider comfort music, and continue with a Vintage Whine look at Fairchild. Our reviewer friend Vade Forrester brings us his list of guidelines for reviewers. Industry News will return when there's something to write about other than Sears. Copper#77 wraps up with a look at the unthinkable from Charles Rodrigues, and an extraordinary Parting Shot taken in London by new contributor Rich Isaacs. Enjoy, and we’ll see you soon! Cheers, Leebs. Stay Warm TOO MUCH TCHAIKOVSKY Written by Lawrence Schenbeck It’s cold, it’s gray, it’s wet. Time for comfort food: Dvořák and German lieder and tuneful chamber music. No atonal scratching and heaving for a while! No earnest searches after our deepest, darkest emotions. What we need—musically, mind you—is something akin to a Canadian sitcom. -
Yellowsubmarinesongtrack.Pdf
UK Release: 13 September 1999 US Release: 14 September 1999 Running Time: 45.40 Vinyl: Apple 521 4811 CD: Apple 521 4812 Producers: George MartinIPeter Cobbin Vinyl: Side A: Yellow Submarine; Hey Bulldog; Eleanor Rigby; Love You To; All Together Now; ~ucyIn The Sky With Diamonds; Think For Yourself; Sgt. Pepper's Lonely Hearts Club Band; With A Little Help From My Friends Side B: Baby, You're A Rich Man; Only A Northern Song; All You Need Is Love; When I'm Sixty- Four; Nowhere Man; It's All Too Much CD: Yellow Submarine; Hey Bulldog; Eleanor Rigby; Love You To; All Together Now; Lucy In The Sky With Diamonds; Think For Yourself; Sgt. Pepper's Lonely Hearts Club Band; With A Little Help From My Friends; Baby, You're A Rich Man; Only A Northern Song; All You Need Is Love; When I'm Sixty-Four; Nowhere Man; It's All Too Much When Yellow Submarine was first released in January 1969, coinciding with the animated Cartoon film, the only Beatles tracks were on side one. There were just six of them - 'Yellow Submarine', 'Only A Northern Song', 'All Together Now', 'Hey Bulldog', 'It's All Too Much' and 'All You Need Is Love' - and only four of them were new. Side two was devoted entirely to George Martin's musical score for the movie. Thirty years later it was decided to restore the film, digitalising the soundtrack in the process, and the songtrack album is a result of that remastering. Released in 1999, it was the first collection of Beatles songs to get a digital remix, but more significantly it dispensed with the film score that had appeared on side two and included instead most of the other songs featured in the film that hadn't appeared on the earlier LP. -
Hello, and Welcome to Steppenwolf Theater Company's Presentation of the American Clock, a Play by Arthur Miller
Carrie Coon: Hello, and welcome to Steppenwolf Theater Company's presentation of The American Clock, a play by Arthur Miller. This piece is in radio play format, so the image you see won't change. We hope this gives you the opportunity to sit back, divest of screens for a moment, and experience the story in a more intimate way, putting the focus squarely on Miller's writing and the actors' voices. Or, if you prefer, imagine 15 ensemble members on a Zoom call. Carrie Coon: There will be a brief intermission, but if you need to step away for a moment, feel free to pause the recording and begin again at your leisure. Also, please know that any recording or distribution of this presentation is strictly prohibited. Thank you for choosing to be a part of our Steppenwolf community, particularly in this most challenging time. We're so glad you're here, and we hope you enjoy our production of The American Clock, by Arthur Miller. Rose Baum: (singing) Rose Baum: By the summer of 1929- Lee Baum: I think it's fair to say that nearly every American- Moe Baum: Firmly believed that he was going to get- Arthur A. Robertson: Richer and richer. Moe Baum: Every year- Arthur A. Robertson: The country knelt to a golden calf in a blanket of red, white, and blue. Clarence: Shoe shine, shoe shine, get your shoes shined. Arthur A. Robertson: How you making out, Clarence? Clarence: Mr. Robertson, I'd like you to lay another $10 on that General Electric. -
2010 Annual Report
2010 ANNUAL REPORT Table of Contents Letter from the President & CEO ......................................................................................................................5 About The Paley Center for Media ................................................................................................................... 7 Board Lists Board of Trustees ........................................................................................................................................8 Los Angeles Board of Governors ................................................................................................................ 10 Media Council Board of Governors ..............................................................................................................12 Public Programs Media As Community Events ......................................................................................................................14 INSIDEMEDIA Events .................................................................................................................................14 PALEYDOCFEST ......................................................................................................................................20 PALEYFEST: Fall TV Preview Parties ...........................................................................................................21 PALEYFEST: William S. Paley Television Festival ......................................................................................... 22 Robert M.