1.
Beaconsfield
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Beaconsfield is a market town and civil parish within the South Bucks district in Buckinghamshire centred 23.6 miles WNW of London and 17 miles SSE of the countys administrative town, Aylesbury. Four towns are within five miles, Slough, Amersham, Gerrards Cross, the town is adjacent to the Chiltern Hills Area of Outstanding Natural Beauty and has a wide area of Georgian, neo-Georgian and Tudor revival high street architecture, known as the Old Town. It is celebrated for the first model village in the world and, in education, a direction and technical production institute, the parish comprises Beaconsfield town and land mainly given over arable land. Some beech forest remains to supply an established beech furniture industry in High Wycombe, Beaconsfield is recorded in property returns of 1185 where it is spelt Bekenesfeld, literally beechen field which would less archaically be read as clearing in the beeches. Nearby Burnham Beeches is a forest named after the beech genus, the parish church at the crossroads of Old Beaconsfield is dedicated to St Mary, it was rebuilt of flint and bath stone by the Victorians in 1869. The United Reformed Church in Beaconsfield can trace its roots of non-conformist worship in the back to 1704. Old Beaconsfield has a number of old coaching inns along a street of red brick houses. It was the first stopping point on the road between London and Oxford, an annual fair is traditionally held on 10 May. In recent years residents have opposed the fair as a hindrance to the Old Town. In the Victorian era the town was the constituency of Benjamin Disraeli, Prime Minister of the United Kingdom in 1868. In 1876 he was made the 1st Earl of Beaconsfield by Queen Victoria with whom he was very popular and it was due to this, that Beaconsfield became a popular road name in industrial cities across the country in the late Victorian era. It is the place of the author G. K. Chesterton, Edmund Burke. In 1624, Wallers family acquired Wilton Manor and Hall Barn in the town, the Wallers, who came from Speldhurst, Kent, says the Victoria County history of Buckinghamshire, were settled at Beaconsfield as early as the 14th century. Dominic Grieve is the Member of Parliament for Beaconsfield, first elected in 1997, and it is the birthplace of Terry Pratchett, author of the Discworld series of fantasy novels. The exterior of the Royal Saracens Head Inn can be seen in the James Bond film Thunderball, the New Town also features in two other postwar colour films, John & Julie and The Fast Lady. Many other parts of the town have been used in due to the old film studio. More recently it has often used as a location for the TV murder mystery series, Midsomer Murders. The New Town was built 1 mile further to the north, the railway station is on the Chiltern Main Line out of Marylebone towards High Wycombe it then branches to Aylesbury, and Birmingham Snow Hill
2.
House music
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House music is a genre of electronic music created by club DJs and music producers in Chicago in the early 1980s. Early house music was characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals. While house displayed several characteristics similar to music, it was more electronic and minimalistic. House music became popular in Chicago clubs in 1984 and it was pioneered by figures such as Frankie Knuckles, Phuture, Kym Mazelle, and Mr. Fingers, and was associated with African-American and gay subcultures. House music quickly spread to other American cities such as Detroit, New York City, Baltimore, in the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Since the early to mid-1990s, house music has been infused in mainstream pop, in the late 1980s, many local Chicago house music artists suddenly found themselves presented with major label deals. House music proved to be a successful genre and a more mainstream pop-based variation grew increasingly popular. House music has also fused with other genres creating fusion subgenres, such as euro house, tech house, electro house. After enjoying significant success in the early to mid-90s, house music grew even larger during the wave of progressive house. The genre has remained popular and fused into other subgenres, for example, ghetto house, deep house. As of 2016, house music popular in both clubs and in the mainstream pop scene while retaining a foothold on underground scenes across the globe. The song structure of music songs typically involves an intro, a chorus, various verse sections, a midsection. Some songs do not have a verse, taking a part from the chorus. The drum beat is one of the important elements within the genre and is almost always provided by an electronic drum machine rather than by a human drummer playing drumkit. The drum beats of house are four on the floor, with bass drums played on every beat, House music is often based on bass-heavy loops or basslines produced by a synthesizer and/or from samples of disco or funk songs. The tempo of most house songs is between 118 and 135 beats per minute, soul music and disco influenced house music. These artists produced longer, more repetitive, and percussive arrangements of existing disco recordings, early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines. Rachel Cain, co-founder of an influential Trax Records, was involved in the burgeoning punk scene and cites industrial
3.
Techno
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Techno is a form of electronic dance music that emerged in Detroit, Michigan, in the United States during the mid-to-late 1980s. The first recorded use of the word techno in reference to a genre of music was in 1988. Many styles of techno now exist, but Detroit techno is seen as the foundation upon which a number of subgenres have been built. Added to this is the influence of futuristic and fictional themes relevant to life in American late capitalist society, pioneering producer Juan Atkins cites Tofflers phrase techno rebels as inspiring him to use the word techno to describe the musical style he helped to create. This unique blend of influences aligns techno with the referred to as afrofuturism. To producers such as Derrick May, the transference of spirit from the body to the machine is often a central preoccupation, in this manner, techno dance music defeats what Adorno saw as the alienating effect of mechanisation on the modern consciousness. Stylistically, techno is generally repetitive instrumental music, oftentimes produced for use in a continuous DJ set, the tempo tends to vary between approximately 120 to 150 beats per minute, depending on the style of techno. The creative use of production technology, such as drum machines, synthesizers. Many producers use retro electronic musical devices to create what they consider to be an authentic techno sound, drum machines from the 1980s such as Rolands TR-808 and TR-909 are highly prized, and software emulations of such retro technology are popular among techno producers. The Electrifying Mojo was the first radio DJ to play music by the Detroit techno producers Juan Atkins, Derrick May, Mojo refused to follow pre-established radio formats or playlists, and he promoted social and cultural awareness of the African American community. In exploring technos origins writer Kodwo Eshun maintains that Kraftwerk are to Techno what Muddy Waters is to the Rolling Stones, the authentic, the origin, the real. Juan Atkins has acknowledged that he had an enthusiasm for Kraftwerk and Giorgio Moroder, particularly Moroders work with Donna Summer. Atkins also mentions that around 1980 I had a tape of nothing but Kraftwerk, Telex, Devo, Giorgio Moroder and Gary Numan, and Id ride around in my car playing it. Regarding his initial impression of Kraftwerk, Atkins notes that they were clean, Derrick May identified the influence of Kraftwerk and other European synthesizer music in commenting that it was just classy and clean, and to us it was beautiful, like outer space. Living around Detroit, there was so little beauty, everything is an ugly mess in Detroit, and so we were attracted to this music. May has commented that he considered his music a direct continuation of the European synthesizer tradition and he also identified Japanese synthpop act Yellow Magic Orchestra, particularly member Ryuichi Sakamoto, and British band Ultravox, as influences, along with Kraftwerk. In 1980 or 1981 they met with Mojo and proposed that they provide mixes for his show, which they did end up doing the following year. These young promoters developed and nurtured the local music scene by both catering to the tastes of the local audience of young people and by marketing parties with new DJs
4.
Intelligent dance music
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Intelligent dance music is a genre of electronic music that emerged in the early 1990s. Its creation was influenced by developments in dance music such as Detroit techno. Stylistically, IDM tended to rely upon individualistic experimentation rather than adhering to musical characteristics associated with specific genres of dance music, the range of post-techno styles that emerged in the early 1990s were described variously as art techno, ambient techno, intelligent techno, and electronica. In the United States, the latter is used as a catchall term to describe not only downtempo or downbeat/non-dance electronic music. In 2014, music critic Sasha Frere-Jones observed that the term is widely reviled and he regards UK acts Aphex Twin and Autechre as central to the evolution of the genre. In 1992, Warp released Artificial Intelligence, the first album in the Artificial Intelligence series. Subtitled electronic listening music from Warp, the record was a collection of tracks from such as Autechre, B12, The Black Dog, Aphex Twin and The Orb. Steve Beckett, co-owner of Warp, has said the music that the label was releasing then was targeting a post-club. At the same time, the UK market was saturated with increasingly frenetic breakbeat, in 1993, a number of new intelligent techno/electronica record labels emerged, including New Electronica, Mille Plateaux, 100% Pure, and Ferox Records. In November 1991, the phrase intelligent techno appeared on Usenet in reference to Coils The Snow EP. Off the Internet, the phrase appeared in both the U. S. & UK music press in late 1992, in reference to Jam & Spoons Tales from a Danceographic Ocean. Another instance of the phrase appeared on Usenet in April 1993 in reference to The Black Dogs album Bytes, the first message, sent on 1 August 1993, was entitled Can Dumb People Enjoy IDM, Too. Kirk and The Future Sound of London, and even artists like System 7, William Orbit, Sabres of Paradise, Orbital, Plastikman and Björk. By the end of 1996, Boards of Canada and the Schematic Records label were among the topics of discussion, alongside perennial favorites like Aphex Twin. As of 2015, the mailing list is still active, warps second Artificial Intelligence compilation was released in 1994. The album featured fragments of posts from the IDM mailing list incorporated into typographic artwork by The Designers Republic, sleeve notes by David Toop acknowledged the genres multitude of musical and cultural influences and suggested none should be considered more important than any other. Lesser-known artists on the Likemind label and Kirk Degiorgios A. R. T, in the mid-1990s, North American audiences welcomed IDM, and many IDM record labels were founded, including Drop Beat, Isophlux, Suction, Schematic and Cytrax. In Miami, Florida, labels like Schematic, Merck Records, Nophi Recordings and The Beta Bodega Coalition released material by such as Phoenecia, Dino Felipe, Machinedrum
5.
Trip hop
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Trip hop is a musical genre that originated in the early 1990s in the United Kingdom, especially Bristol. Trip hop can be highly experimental and it was pioneered by acts like Massive Attack, Tricky, and Portishead. Trip hop achieved commercial success in the 1990s, and has described as Europes alternative choice in the second half of the 90s. DJs, MCs, b-boys and graffiti artists grouped together into informal soundsystems, Bristols soundsystem DJs, drawing heavily on Jamaican dub music, typically used a laid-back, slow and heavy drum beat. Bristols Wild Bunch crew became one of the soundsystems to put a spin on the international phenomenon, helping to birth Bristols signature sound of trip hop. As the hip hop scene matured in Bristol and musical trends evolved further toward acid jazz and house in the late 1980s, another influence came from Gary Clails Tackhead soundsystem. Clail often worked with former The Pop Group singer Mark Stewart, produced by Adrian Sherwood, the music combined hiphop with experimental rock and dub and sounded like a premature version of what later became trip hop. In 1993, Kirsty MacColl released Angel, one of the first examples of the crossing over to pop. In the 1990s, Janet Jackson brought trip hop into the American charts with the song If, several songs on her Janet. and The Velvet Rope used this genre of music, Songs like Got Til Its Gone and You. Massive Attacks first album Blue Lines was released in 1991 to huge success in the UK, Massive Attack released their second album entitled Protection in 1994. The term trip hop was coined that year, but not in reference to anything on the Massive Attack albums, in 1993, Icelandic musician Björk released Debut, produced by Wild Bunch member Nellee Hooper. The album, although rooted in four-on-the-floor house music, contained elements of trip hop and is credited as one of the first albums to introduce electronic music into mainstream pop. She had been in contact with Londons underground electronic music scene and was involved with trip hop musician Tricky. Björk embraced trip hop even more with her 1995 album Post by collaborating with Tricky, homogenic, her 1997 album, has been described as a pinnacle of trip hop music. 1994 and 1995 saw trip hop near the peak of its popularity, with such as Howie B, Naked Funk. The period also marked the debut of two acts who, along with Massive Attack, would define the Bristol scene for years to come, in 1994 Portishead, a trio comprising singer Beth Gibbons, Geoff Barrow, and Adrian Utley, released their debut album Dummy. Their background differed from Massive Attack in many ways, one of Portisheads primary influences was 1960s and 1970s film soundtrack LPs, nevertheless, Portishead shared the scratchy, jazz-sample-based aesthetic of early Massive Attack, and the sullen, fragile vocals of Gibbons also brought them wide acclaim. In 1995, Dummy was awarded the Mercury Music Prize as the best British album of the year, Tricky also released his debut solo album Maxinquaye in 1995, to great critical acclaim
6.
Creation Records
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Creation Records was a British independent record label headed by Alan McGee. Along with Dick Green and Joe Foster, McGee founded Creation in 1983, the name came from the 1960s band The Creation, whom McGee greatly admired. McGee, Green and Foster were also in the band Biff Bang Pow. which was also the title of a Creation song. The label ceased operations in 1999, although it was revived at one point in 2011 for the release of an album, Upside Down. McGee started the label by putting out the 73 in 83 single by The Legend, after taking out a £1,000 bank loan. Around the same time he started a club called The Living Room in Tottenham Court Road, through which he met people who would go on to record for Creation, including Peter Astor. Distributor Rough Trade soon began funding releases, Creation was among the key labels in the mid-1980s indie movement, with early artists such as The Jesus and Mary Chain and Primal Scream. The Jesus and Mary Chain went to record for Warner Brothers in 1985, with the profits he had made from the band, he was able to release singles by label acts such as Primal Scream, Felt, and The Weather Prophets. McGee had enthusiasm and an ability to attract the weekly music media. In their early days, he was able to project an image of The Jesus and Mary Chain. Following an unsuccessful attempt to run a label for Warner Brothers, McGee regrouped Creation and immersed himself in the burgeoning dance. Those scenes had influenced Creation mainstays such as Primal Scream and Ed Ball, Creation Records releases at this time tended to be critically acclaimed without being major commercial hits. Creation had run up considerable debt that was held off until McGee sold half the company to Sony Music in 1992. After selling to Sony, Creation had signed Oasis, whose debut album Definitely Maybe became a critical and commercial success. The band went on to epitomize the cultural Britpop movement of the mid-90s, the success of Oasis was unprecedented for an act on an independent label. Their second album, Morning Glory. became the biggest selling British album of the decade, in the 1990s, Creation launched the subsidiary, Rev-Ola Records, which was formed by Joe Foster. Rev-Ola is now a part of the PoppyDisc group of labels, the revitalised Labour Party took note of McGees accomplishments with Creation. They got McGee to spearhead a media campaign prior to the 1997 General Election in order to appeal to Britains youth culture, omnibus went on to make a documentary on McGee and Creation in 1998 for BBC One
7.
Virgin Records
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Virgin Records is a British-founded record label originally founded by English entrepreneurs Richard Branson, Simon Draper, Nik Powell, and musician Tom Newman in 1972. It was later sold to Thorn EMI in 1992, today, the operations of Virgin Records America, Inc. are still active and headquartered in Hollywood, California, as it operates exclusively under the Capitol Music Group since 2007. US artists include Knox Hamilton, LTric and Rise Against, in fact the first real store was above a shoe shop at the Tottenham Court Road end of Oxford Street. After making the shop into a success, they turned their business into a fully fledged record label, the name Virgin, according to Branson, arose from Tessa Watts, a colleague of his, when they were brainstorming business ideas. She suggested Virgin – as they were all new to business – like virgins, the original Virgin logo was designed by English artist and illustrator Roger Dean, a young naked woman in mirror image with a large long-tailed serpent and the word Virgin in Deans familiar script. A variation on the logo was used for the spin-off Caroline Records label and this was soon followed by some notable krautrock releases, including electronic breakthrough album Phaedra by Tangerine Dream, and The Faust Tapes and Faust IV by Faust. The Faust Tapes album retailed for 49p and as a result allowed this relatively unknown band to reach number 12 in the album charts, other early albums include Gongs Flying Teapot, which Daevid Allen has been quoted as having never been paid for. Under the guidance of Tessa Watts, Virgins Head of Publicity, shortly afterwards, the Notting Hill record shop was raided by police for having a window display of the Sex Pistols album Never Mind the Bollocks, Heres the Sex Pistols in the window. After modified versions of the label came the red, white and blue design introduced in 1975. The current Virgin logo was created in 1978, commissioned by Simon Draper, brian Cooke of Cooke Key Associates commissioned a graphic designer to produce a stylised signature. In 1983 Virgin purchased Charisma Records, renaming it Charisma/Virgin, then later Virgin/Charisma, before folding the label in 1986, in the process they acquired Genesis and comedy group Monty Python. The Charisma label was reactivated in the US in 1990 and enjoyed success with such as Maxi Priest, Right Said Fred,38 Special. When this Charisma label was retired in 1992, all of its artists were, as before, in 1987, Venture Records was created for new age and modern classical artists including Klaus Schulze, who had been associated with Virgin since the early 1970s. 10 Records Immortal Records Delabel Caroline Records was a label used from 1973 to 1977. The name and logo were used for some American editions of Virgin records in the 1980s and 1990s. Caroline was primarily used for independent distribution until the label was reactivated in 2013, today, Caroline Records acts as an independent label taking the place of EMI Label Services, after Virgins former parent company EMI was purchased by Universal Music Group. Front Line Records was a label for issuing Jamaican and English reggae music from 1978 to approximately 1987, a short-lived associated label, Dindisc, had Orchestral Manoeuvres in the Dark and The Monochrome Set during its brief existence, after which its recordings became part of Virgins catalogue. Noo Trybe Records was a hip hop label that existed from 1994 to 1999
8.
Astralwerks
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Astralwerks is a US-based record label primarily focused on electronic and dance music. A unit of Universal Music Group, its material is distributed via Capitol Music Group, some of the labels most popular recent releases have come from deadmau5, Mat Zo, Porter Robinson, Empire of the Sun, Nervo and Halsey. Below is an overview of the artists that have released material on Astralwerks, a number of the acts listed below are only distributed by Astralwerks, as it licenses a number of European acts for the US market. Astralwerks discography at Discogs Official Web site
9.
Electronic music
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In general, a distinction can be made between sound produced using electromechanical means and that produced using electronic technology. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, purely electronic sound production can be achieved using devices such as the theremin, sound synthesizer, and computer. During the 1920s and 1930s, electronic instruments were introduced and the first compositions for instruments were composed. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds, Music produced solely from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers for the purpose of composing music, algorithmic composition was first demonstrated in Australia in 1951. In America and Europe, live electronics were pioneered in the early 1960s, during the 1970s to early 1980s, the monophonic Minimoog became once the most widely used synthesizer at that time in both popular and electronic art music. In the 1980s, electronic music became dominant in popular music, with a greater reliance on synthesizers, and the adoption of programmable drum machines. Electronically produced music became prevalent in the domain by the 1990s. Contemporary electronic music includes many varieties and ranges from art music to popular forms such as electronic dance music. Today, pop music is most recognizable in its 4/4 form. At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments and these initial inventions were not sold, but were instead used in demonstrations and public performances. The audiences were presented with reproductions of existing music instead of new compositions for the instruments, while some were considered novelties and produced simple tones, the Telharmonium accurately synthesized the sound of orchestral instruments. It achieved viable public interest and made progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments, ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music, futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery. They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises, developments of the vacuum tube led to electronic instruments that were smaller, amplified, and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s, from the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them
10.
Acid house
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Acid house is a subgenre of house music developed around the mid-1980s by DJs from Chicago. The style was defined primarily by the deep basslines and squelching sounds of the Roland TB-303 electronic synthesizer-sequencer, Acid house spread to the United Kingdom and continental Europe, where it was played by DJs in the acid house and later rave scenes. By the late 1980s, acid house had moved into the British mainstream, Acid house brought house music to a worldwide audience. The influence of house can be heard on later styles of dance music including trance, breakbeat hardcore, jungle, big beat, techno. Other elements, such as strings and stabs, were usually minimal. Some acid house fans used a smiley face with a streak on it. The origin of this usage was the bloodied smiley from Watchmen on the label of Beat Dis by Bomb the Bass, there are conflicting accounts about how the term acid came to be used to describe this style of house music. One account ties it to Phutures Acid Tracks, before the song was given a title for commercial release, it was played by DJ Ron Hardy at a nightclub where psychedelic drugs were reportedly used. The clubs patrons called the song Ron Hardys Acid Track, the song was released with the title Acid Trax on Larry Shermans label Trax Records in 1987. Regardless, after the release of Phutures song, the acid house came into common parlance. Some accounts say the reference to acid may be a reference to psychedelic drugs in general, such as LSD. According to Rietveld, it was the house sensibility of Chicago, in a club like Hardys The Music Box, that afforded it its initial meaning. In her view acid connotes the fragmentation of experience and dislocation of meaning due to the effects on thought patterns which the psycho-active drug LSD or Acid can bring about. In the context of the creation of Acid Tracks it indicated a concept rather than the use of drugs in itself. One theory, holding that acid was a reference towards the use of samples in acid house music, was repeated in the press. In this theory, the term came from the slang term acid burning. In 1991, UK Libertarian advocate Paul Staines claimed that he had coined this theory to discourage the government from adopting anti-rave party legislation. Several accounts claim that Genesis P-Orridge coined the term on the 1988 Psychic TV release “Tune In. ”By other accounts, while shopping in Chicago in 1986, P-Orridge came across a bin of records marked acid, indicating a corrosive liquid, and mistook it for a reference to LSD
11.
Cabaret Voltaire (band)
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The early work of Cabaret Voltaire consisted primarily of Dada-influenced performance art and experimentation with tape machines, helping to pioneer industrial music in the mid-1970s. Finding an audience during the era, they integrated their experimentalist sensibilities with dance, new wave. They are often characterized as among the most innovative and influential groups of their era. The band formed in Sheffield in 1973 and experimented widely with sound creation, Some of these early experiments were first documented on the Industrial Records cassette 1974-1976, then later on the triple album CD set Methodology 74/78, The Attic Tapes. The band eventually turned to performance, often sharing the bill with Joy Division. In one incident, Mallinder was hospitalised with a chipped backbone after the band had thrown at them.3. In 1978, Cabaret Voltaire signed to Rough Trade Records, the 27 June 1978 edition of NME had a review by Andy Gill who said I firmly believe Cabaret Voltaire will turn out to be one of the most important new bands to achieve wider recognition this year. And, certainly, years later they were seen as one of the bands that instigated the electronic music scene. Watson left the band in 1981 to work for Tyne Tees Television and went on to found The Hafler Trio with Andrew M. McKenzie before becoming a BBC sound engineer and then a soloist. On 25 June 1981 the band performed on the John Peel show and performed 4 songs recorded by the BBC Black Mask, Greensborough, Walls of jerico, during this time, Cabaret Voltaire toured Europe, Japan and America without major record label support, releasing Hai. A live album recorded in Japan, in 1982, in late 1982, Cabaret Voltaire decided consciously to turn in a more commercial direction. The group enlisted American dance music producer John Robie to remix Yashar, the 12-inch single was released by Factory Records in May 1983, and received extensive play in dance clubs. In August 1983, the album The Crackdown was released on Some Bizzare / Virgin Records, in 1984, the singles Sensoria and James Brown from the album Micro-Phonies charted on the UK Indie Chart, as well as getting play in the underground dance scene. In 1987, the band released Code, on tracks of which Bill Nelson played guitar. This was followed by the house-influenced Groovy, Laidback & Nasty in 1990, a series of completely instrumental works under the Cabaret Voltaire name were released on Instinct Records in 1993 and 1994. The last Cabaret Voltaire release to feature Mallinder on vocals was the Body, Mallinder also helps run his own Offworld Sounds label and contributed to synthesizer and programming on Shaun Ryders solo album Amateur Night at the Big Top. I think those kinds of attitudes become embedded within you, hopes of a Cabaret Voltaire reunion were raised when Kirk dropped hints in the late 1990s, the most significant being in the notes of a reissue of Radiation, but this never happened. In a special Depeche Mode/History of Electro-pop edition of Q magazine, Kirk suggested he is still considering resurrecting the Cabaret name, in 2001, Watson appeared in the documentary film Made in Sheffield, where he discussed the early years of Cabaret Voltaire
12.
Giorgio Moroder
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Giovanni Giorgio Moroder is an Italian singer, songwriter, DJ and record producer. Moroder is frequently credited with pioneering Italo disco and electronic dance music, when in Munich in the 1970s, he started his own record label called Oasis Records, which several years later became a subdivision of Casablanca Records. Moroder also composed the soundtrack for the film Midnight Express, which won an Academy Award, in 1990, he composed Unestate italiana, the official theme song of the 1990 FIFA World Cup. He also created a score of songs for performers including David Bowie, Kylie Minogue, Irene Cara, Janet Jackson, Madleen Kane, Melissa Manchester, Blondie, Japan, Moroder has stated that the work of which he is most proud is Berlins Take My Breath Away. What a Feeling earned him the Academy Award for Best Original Song in 1986 and 1983, Moroder was born Giovanni Giorgio Moroder on 26 April 1940 in Urtijëi in South Tyrol, Italy. He came to prominence in 1969, when his recording Looky Looky and he then made a name for himself in studios around Germany in the early 1970s. That same year he co-wrote and produced the seminal Donna Summer hit single I Feel Love, the following year he released Chase, the theme from the film Midnight Express. Chase is often used on the American syndicated late-night radio show Coast to Coast and was used as an entrance theme for wrestlings group The Midnight Express. These songs achieved some success in the United Kingdom, the United States and across Europe. The full film score for Midnight Express won him his first Academy Award for Best Original Score in 1979, in 1979 Moroder released his album E=MC². Text on the albums cover stated that it was the first electronic live-to-digital album and he also released three albums between 1977–1979 under the name Munich Machine. In 1980, he composed and produced two soundtrack albums, the first for Foxes and the second for American Gigolo. A double album of the Foxes soundtrack was released on the disco label Casablanca Records which includes Donna Summers hit single On the Radio, the Foxes soundtrack also contains a song titled Bad Love, written and performed by the singer-actress Cher and produced by Moroder. The American Gigolo soundtrack featured the Moroder-produced Call Me by Blondie, the combined club play of the albums tracks was number two for five weeks on the disco/dance charts. In 1982 he wrote the soundtrack of the movie Cat People, in 1983, Moroder produced the soundtrack for the film Scarface. During its initial release, the album was available in a few countries. Notable Moroder-produced tracks included Scarface by Paul Engemann, Rush Rush by Debbie Harry, in 1984, Moroder compiled a new restoration and edit of the silent film Metropolis and provided it with a contemporary soundtrack. This soundtrack includes seven pop music tracks from Pat Benatar, Jon Anderson, Adam Ant, Billy Squier, Loverboy, Bonnie Tyler and Freddie Mercury
13.
Blues
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Blues is a genre and musical form originated by African Americans in the Deep South of the United States around the end of the 19th century. The genre developed from roots in African musical traditions, African-American work songs, spirituals, Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads. Blue notes, usually thirds or fifths flattened in pitch, are also a part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove, Blues as a genre is also characterized by its lyrics, bass lines, and instrumentation. Early traditional blues verses consisted of a single line repeated four times, Early blues frequently took the form of a loose narrative, often relating the troubles experienced in African-American society. Many elements, such as the format and the use of blue notes. The origins of the blues are closely related to the religious music of the Afro-American community. The first appearance of the blues is often dated to after the ending of slavery and, later and it is associated with the newly acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th century, the first publication of blues sheet music was in 1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a variety of styles and subgenres. Blues subgenres include country blues, such as Delta blues and Piedmont blues, as well as urban blues styles such as Chicago blues, World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience, especially white listeners. In the 1960s and 1970s, a form called blues rock evolved. The term blues may have come from blue devils, meaning melancholy and sadness, the phrase blue devils may also have been derived from Britain in the 1600s, when the term referred to the intense visual hallucinations that can accompany severe alcohol withdrawal. As time went on, the phrase lost the reference to devils, by the 1800s in the United States, the term blues was associated with drinking alcohol, a meaning which survives in the phrase blue law, which prohibits the sale of alcohol on Sunday. Though the use of the phrase in African-American music may be older, it has been attested to in print since 1912, in lyrics the phrase is often used to describe a depressed mood. The lyrics of traditional blues verses probably often consisted of a single line repeated four times. Two of the first published songs, Dallas Blues and Saint Louis Blues, were 12-bar blues with the AAB lyric structure. Handy wrote that he adopted this convention to avoid the monotony of lines repeated three times, the lines are often sung following a pattern closer to rhythmic talk than to a melody
14.
The Matrix Reloaded
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It was also screened out of competition at the 2003 Cannes Film Festival. The video game Enter the Matrix, which was released on May 15, and a collection of nine animated shorts, The Animatrix, the Matrix Revolutions, which completes the story, was released six months after Reloaded, in November 2003. Six months after the events of the first film, Neo, Morpheus receives a message from Captain Niobe of the Logos calling an emergency meeting of all of Zions ships. Zion has confirmed the last transmission of the Osiris, an army of Sentinels is tunneling towards Zion, commander Lock orders all ships to return to Zion to prepare for the onslaught, but Morpheus asks one ship to remain in order to contact the Oracle. The Caduceus receives a message from the Oracle, and the Nebuchadnezzar ventures out so Neo can contact her, one of the Caduceus crew, Bane, encounters Agent Smith, who takes over Banes avatar. Smith then uses this avatar to leave the Matrix, gaining control of Banes real body, in Zion, Morpheus announces the news of the advancing machines to the people. Neo receives a message from the Oracle and returns to the Matrix to meet her bodyguard Seraph, after realizing that the Oracle is part of the Matrix, Neo asks how he can trust her, she replies that it is his decision. The Oracle instructs Neo to reach the Source of the Matrix by finding the Keymaker, as the Oracle departs, Smith appears, telling Neo that after being defeated, he refused to be deleted, and is now a rogue program. He demonstrates his ability to clone himself using other inhabitants of the Matrix, including other Agents and he then tries to absorb Neo as a host, but fails, prompting a battle between Smiths clones and Neo. Neo manages to defend himself, but is forced to retreat from the overwhelming numbers. Neo, Morpheus, and Trinity visit the Merovingian and ask for the Keymaker and his wife Persephone, seeking revenge on her husband for his infidelity, betrays him and leads the trio to the Keymaker. The Merovingian soon arrives with his men, Morpheus, Trinity and the Keymaker escape, while Neo holds off the Merovingians servants. Morpheus and Trinity try to escape with the Keymaker on the freeway, facing several Agents and the Twins, Morpheus defeats the Twins, Trinity escapes, and Neo flies in to save Morpheus and the Keymaker from Agent Johnson. In the real world, Zions remaining ships prepare to battle the machines, within the Matrix, the crews of the Nebuchadnezzar, Vigilant and Logos help the Keymaker and Neo reach the door to the Source. The crew of the Logos must destroy a power plant to prevent a security system from being triggered, the Logos succeeds, while the Vigilant is bombed by a Sentinel in the real world, killing everyone on board. Although Neo asked Trinity to remain on the Nebuchadnezzar, she enters the Matrix to replace the Vigilant crew, however, her escape is compromised by an Agent, and they fight. As Neo, Morpheus, and the Keymaker try to reach the Source, the Keymaker unlocks the door to the Source, allowing Neo and Morpheus to enter and escape from the Smiths, but the Smiths kill the Keymaker while he tries to close the door to the Source. Neo enters a door and meets a program called the Architect, the Architect explains that Neo is part of the design of the sixth iteration of Matrix, designed to stop the fatal system crash that naturally occurs due to the concept of human choice
15.
Sin City (film)
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Sin City is a 2005 American neo-noir crime anthology film written, produced, and directed by Frank Miller and Robert Rodriguez. It is based on Millers graphic novel of the same name, much of the film is based on the first, third and fourth books in Millers original comic series. The Big Fat Kill focuses on an everyman getting caught in a war between a group of prostitutes and a group of mercenaries, the police and the mob. That Yellow Bastard follows a police officer who protects a young woman from a grotesquely disfigured serial killer. The intro and outro of the film are based on the short story The Customer is Always Right, which is collected in Booze, Broads & Bullets, the sixth book in the comic series. The film was screened at the 2005 Cannes Film Festival in competition and won the Technical Grand Prize for the films visual shaping, the Salesman steps out of an elevator and walks onto a balcony overlooking Basin City, where The Customer awaits. He comforts her, the two talk and share a kiss, and he shoots her, after she dies, he ponders what she was running from before mentioning that he will cash her check in the morning. On the docks of Sin City, aging police officer John Hartigan tries to stop serial child-killer Roark Junior from raping and killing his fourth victim, Junior is the son of Senator Roark, who bribes the police to cover up his sons crimes. Hartigans partner, Bob, tries to convince Hartigan to walk away, fighting off the pain caused by his bad heart, Hartigan confronts Junior, and shoots off his ear, right hand and genitals. Bob then arrives and shoots Hartigan in the back, revealing himself to be on Senator Roarks payroll, as sirens approach, Nancy comforts Hartigan as he passes out, as he reasons that the death of an old man is a fair trade for a young girls life. After a one-night stand, Marv awakens to find that Goldie, realizing he has been set up, he escapes the police that have arrived to arrest him, vowing to avenge her death. Marv interrogates several informants, working his way up to a corrupt priest who reveals that the Roark family was behind the murder, after killing the priest, Marv is attacked by a woman who looks like Goldie. Marv goes to the Roark farm where he is subdued by silent stalker Kevin, Marv and Lucille escape their holding cell, but she is shot by the leader of a squad of corrupt cops. Marv kills the squad, interrogates the leader, and finds out that Cardinal Patrick Henry Roark arranged for Goldies murder and he convinces her that he is not the killer and she resolves to help him avenge Goldie. They return to the farm, where Marv attacks and slowly dismembers Kevin and he brings Kevins head to Cardinal Roark, who confesses to his part in the murders, before Marv brutally murders him too and is immediately captured by Roarks guards. Marv is blackmailed into confessing to the murder of Cardinal Roark and the women Kevin killed, wendy visits him the night before and pretends to be Goldie as a way of thanking him for avenging her sister and the next day, Marv is executed via electric chair. Dwight McCarthy is with his waitress girlfriend Shellie, when her drunken ex-boyfriend, Jackie Boy, after Jackie Boy hits Shellie and goes to the bathroom, Dwight ambushes him and threatens to kill him if he doesnt leave Shellie alone. Angry and embarrassed, Jackie leaves Shellies flat, with Dwight following them to make sure he does not take his anger out on another girl
16.
Need for Speed: Underground
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Need for Speed, Underground is the seventh installment in the Need for Speed series, and was developed by EA Black Box and published by Electronic Arts in 2003. It is the first game in the series to use the THX technology, Underground rebooted the franchise, ignoring the previous Need for Speed games which featured sports cars and exotics. All races take place in a city at night called Olympic City, though the city bears some resemblance to New York City, San Francisco. Rather than exotic cars, Underground featured vehicles associated with the import scene, Underground was commercially successful, and inspired a sequel. The player starts straight into the action, at a race driving a uniquely styled Acura Integra Type R with a Mantis wide body kit. Only to be woken up by Samantha from his daydreaming, Samantha is the players friend in the new environment, she shows the player how the console with the races works, whos who, and makes fun of the players starter car. Eddie, is the leader of the Eastsiders and current top racer of the streets, the player meets other racers, and eventually gathers a small list of nemeses that continually challenge him and are defeated. He is introduced to TJ, who promises unique performance upgrades in exchange of beating time trial challenges, Samantha does the same time to time. The players successive victories do not impress Eddie, first, he mocks the players skill, saying he has a long way to go to roll his streets. Samantha totals her Civics engine trying to beat the player, unsuccessfully, TJ takes the junked car for himself after the event. When the player comes close to reaching #1 in all kinds of races, around the same time, the Player sees TJ in Samanthas recovered car, now working again, but has been vandalized. Both run a race worth the others vehicle, which the player wins. The player returns the car to Samantha to make amends, right after the touching moment, Eddie challenges the player and loses, like everyone else who ever challenged the player so far. Before any victory can be sung, a mysterious, legendary silver Nissan 350Z challenges the player for a last run through the Market Street circuit, a challenger who, after being beaten by the player, is revealed to be Eddies girlfriend, Melissa. That event solidifies the players status as the new best underground racer in the city, Circuit is a standard race that involves racing with up to three opponents cars around a loop track for one lap or more, and is the main mode of the game. For about the last 4 races of underground mode, the number of players decreases to only 1 rival, in the case of Underground, Knockout sessions have a maximum of three laps for four racers. Sprint mode is a variation on the Circuit mode, where the race in a point-to-point track instead of loop tracks. These races are shorter than circuits, so players are required to be more cautious of any mistakes during racing
17.
Wipeout (series)
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Wipeout is a series of futuristic anti-gravity racing video games developed by Sony Studio Liverpool, formerly known as Psygnosis. The series identified itself with a graphical design, mostly provided by The Designers Republic. The concept of Wipeout was first discussed during a pub conversation, some elements of the game were inspired by Matrix Marauders, an Amiga game released by the Liverpudlian studio in 1994. A beta version of Wipeout appeared in the cult film Hackers, the games appearance in the film led to Sony purchasing the studio in the following months after its release. The Wipeout franchise has been received by critics, with Wipeout 2097 in particular being listed as among the PlayStations best games. Wipeout 2048 was the last game to be developed by Studio Liverpool prior to their closure in August 2012, the series was later revived, with Wipeout, Omega Collection to be released in 2017. The Wipeout games are a series of futuristic racers which involve players piloting anti-gravity ships through various forms of races, the series is known for its extreme speed, electronic dance music, and consequential difficulty. Power-ups come in the form of offensive or defensive weaponry, ranging from guns, missiles, rockets, to energy shields, auto pilots. Power-ups are usually collected by flying over different coloured pads on race tracks, speed boost pads also feature prominently on race tracks, once flown over, the player receives a short momentous boost. Every ship featured in a game is owned by a different racing corporation although the number of teams, every ship has different characteristics, for example each ship will vary in handling, thrust, maximum speed and shield strength. Each ship is equipped with a shield which absorbs damage sustained during a race. If the shield runs out, the ship in question will explode, the games campaign modes usually consists of single races, time trials, and tournaments. Tournament modes typically contain of four races in each tournament. Time trials and speed laps features the player obtaining the fastest time on a track in three laps or a single lap, respectively. Zone mode has been featured in every game since Wipeout Fusion, the mode will only end upon the destruction of the players ship. Eliminator mode was introduced in Wipeout 3 and centres around players gaining points for destroying competitors, Wipeout is a futuristic racing video game developed and published by Psygnosis. It is the first game in the series and was released for the PlayStation and PCs running MS-DOS in 1995. It was also a title for the PlayStation in Europe
18.
Video game
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A video game is an electronic game that involves interaction with a user interface to generate visual feedback on a video device such as a TV screen or computer monitor. The word video in video game referred to a raster display device. Some theorists categorize video games as an art form, but this designation is controversial, the electronic systems used to play video games are known as platforms, examples of these are personal computers and video game consoles. These platforms range from large mainframe computers to small handheld computing devices, the input device used for games, the game controller, varies across platforms. Common controllers include gamepads, joysticks, mouse devices, keyboards, the touchscreens of mobile devices, and buttons, or even, with the Kinect sensor, a persons hands and body. Players typically view the game on a screen or television or computer monitor, or sometimes on virtual reality head-mounted display goggles. There are often game sound effects, music and, in the 2010s, some games in the 2000s include haptic, vibration-creating effects, force feedback peripherals and virtual reality headsets. In the 2010s, the game industry is of increasing commercial importance, with growth driven particularly by the emerging Asian markets and mobile games. As of 2015, video games generated sales of USD74 billion annually worldwide, early games used interactive electronic devices with various display formats. The earliest example is from 1947—a Cathode ray tube Amusement Device was filed for a patent on 25 January 1947, by Thomas T. Goldsmith Jr. and Estle Ray Mann, and issued on 14 December 1948, as U. S. Written by MIT students Martin Graetz, Steve Russell, and Wayne Wiitanens on a DEC PDP-1 computer in 1961, and the hit ping pong-style Pong, used the DEC PDP-1s vector display to have two spaceships battle each other. In 1971, Computer Space, created by Nolan Bushnell and Ted Dabney, was the first commercially sold and it used a black-and-white television for its display, and the computer system was made of 74 series TTL chips. The game was featured in the 1973 science fiction film Soylent Green, Computer Space was followed in 1972 by the Magnavox Odyssey, the first home console. Modeled after a late 1960s prototype console developed by Ralph H. Baer called the Brown Box and these were followed by two versions of Ataris Pong, an arcade version in 1972 and a home version in 1975 that dramatically increased video game popularity. The commercial success of Pong led numerous other companies to develop Pong clones and their own systems, the game inspired arcade machines to become prevalent in mainstream locations such as shopping malls, traditional storefronts, restaurants, and convenience stores. The game also became the subject of articles and stories on television and in newspapers and magazines. Space Invaders was soon licensed for the Atari VCS, becoming the first killer app, the term platform refers to the specific combination of electronic components or computer hardware which, in conjunction with software, allows a video game to operate. The term system is commonly used
19.
The Experiment (2010 film)
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The film is a remake of the 2001 German film Das Experiment, which was directed by Oliver Hirschbiegel. Volunteers arrive for a study led by Dr. Archaleta in which participants will be divided into groups acting as prison guards. Among them is Travis, a proud anti-war protestor, and Michael Barris, after interviews measuring responses to various scenes of violence are conducted, a chosen 26 are driven to an isolated building set up as a prison and split into 6 guards and 20 prisoners. Travis is assigned to be a prisoner, Barris as a guard, basic rules are outlined, prisoners must eat, and fully consume,3 meals a day, there will be 30 minutes of rec daily, prisoners must remain within designated areas. The guards in turn must ensure prisoners obey the rules, Archaleta stresses that the experiment will end immediately at the first sign of violence or quitting. If they manage to follow the rules for two weeks, each man will be paid $14,000, Travis shares his cell with Benjy, a graphic novelist, and Nix, a member of the Aryan Brotherhood. Barris, concerned that some of the guards, particularly Chase, may be capable of violence, instead, the guards grow more forceful in order to make prisoners follow the rules. Barris becomes more and more sadistic, despite increasing abuse from the guards, Travis remains defiant. Realizing Travis is influencing prisoner dissent, Barris decides to humiliate him, under Barris lead Travis is abducted, head shaved, and urinated upon. The red light does not come on, and Barris takes this as a sign that his actions were commensurate and he reassures the guards theyre behaving appropriately. When fellow guard Bosch dissents, Barris pressures him by reminding that quitting early will forfeit payment, Travis discovers that Benjy, who is taken ill, had concealed his diabetes, thinking he could manage the condition himself. When Travis pleads for Bosche to intervene, Bosche tries to help by locating Benjys insulin, Barris, to Travis surprise, gives Benjy his insulin, but later takes revenge by massing all other guards to beat Bosche severely, who is then left among the prison population. Barris also orders Travis to clean the prison toilets as punishment for his defiant attitude, Travis taunts Barris, saying he should use his $14,000 for psychological treatment. The guards respond by shoving Travis head into the toilet, nearly drowning him, one morning while being humiliated during roll call, Travis removes his prison shirt as a sign that the experiment should end, and is followed by the other prisoners. Travis jumps up to one of the cameras and demands that the group be let go, but is dragged to the floor by the guards, when Benjy tries to defend Travis, Barris hits Benjy hard on the head with his baton, leaving him twitching on the floor. Guards throw Travis into an old boiler pipe overnight, attack remaining prisoners, while locked in the dark boiler, Travis realizes theres a hidden infrared camera watching him, even there, and as his despondence turns to anger he manages to get out. He interrupts the rape of a prisoner by Chase, knocks him out, upon finding Benjy chained up and left to die, Travis leads an assault against the guards, chasing them through the building. Even as the rest of the try to lift the shutters to escape
20.
Syntax (band)
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Syntax are an English electronic music group originally formed in 2002 by the musicians Jan Burton and Mike Tournier. They are best known for the songs Destiny, Bliss and Pride, after the success of Flukes album Risotto, Mike Tournier wanted to move to a much darker production style. He left Fluke and founded Syntax with Jan Burton in 2002, in 2004, Syntax released their debut album Meccano Mind on Illustrious Records. The Japanese edition included three tracks, entitled Sexograph, Woman, and Love Song. Meccano Mind is a combination of Burton and Tourniers different influences from rock, three singles were issued, Pray, Message and Bliss. Despite the originality of Meccano Mind, the band suffered poor album sales and their music featured on various TV series, film and games like The O. C. Nip/Tuck, The Invisible and DRIV3R, and now the trailer for the 2011 film, many years after the split, Syntax reformed, citing that people were asking for more, and are now working on a series of EPs titled Tripolar. Currently, theyve finished the first episode, titled Tripolar EP and are working on the second, unlike their first album, their second has been released on their own independent label. Meccano Mind Tripolar - EP2 Bit Pie Fluke Official website Syntax,2 Bit Pie and Fluke Resource / Project Page
21.
Punk rock
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Punk rock is a rock music genre that developed in the early to mid-1970s in the United States, United Kingdom, and Australia. Rooted in 1960s garage rock and other forms of what is now known as proto-punk music, Punk bands typically produced short or fast-paced songs, with hard-edged melodies and singing styles, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk embraces a DIY ethic, many bands self-produce recordings and distribute them through informal channels, the term punk was first used in relation to rock music by some American critics in the early 1970s, to describe garage bands and their devotees. The following year saw punk rock spreading around the world, for the most part, punk took root in local scenes that tended to reject association with the mainstream. An associated punk subculture emerged, expressing youthful rebellion and characterized by distinctive styles of clothing and adornment, by the beginning of the 1980s, faster, more aggressive styles such as hardcore and street punk had become the predominant mode of punk rock. Musicians identifying with or inspired by punk also pursued a range of other variations, giving rise to post-punk. At the end of the 20th century, punk rock had been adopted by the mainstream, as pop punk and punk bands such as Green Day. The first wave of rock was aggressively modern, distancing itself from the bombast. According to Ramones drummer Tommy Ramone, In its initial form, unfortunately, what happens is that people who could not hold a candle to the likes of Hendrix started noodling away. Soon you had endless solos that went nowhere, by 1973, I knew that what was needed was some pure, stripped down, no bullshit rock n roll. In critic Robert Christgaus description, It was also a subculture that rejected the political idealism. Technical accessibility and a DIY spirit are prized in punk rock, in the early days of punk rock, this ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and technological demands of many mainstream rock bands. Musical virtuosity was often looked on with suspicion, according to Holmstrom, punk rock was rock and roll by people who didnt have very many skills as musicians but still felt the need to express themselves through music. In December 1976, the English fanzine Sideburns published an illustration of three chords, captioned This is a chord, this is another, this is a third. The title of a 1980 single by the New York punk band Stimulators, inscribed a catchphrase for punks basic musical approach. The previous year, when the rock revolution began in Great Britain, was to be both a musical and a cultural Year Zero. As a Clash associate describes singer Joe Strummers outlook, Punk rock is meant to be our freedom, were meant to be able to do what we want to do. Scholar Daniel S. Traber argues that attaining authenticity in the identity can be difficult, as the punk scene matured, he observes
22.
White label
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White label records are vinyl records with plain white labels attached. There are several variations each with a different purpose, variations include Test Pressings, White Label Promos, and Plain White Labels. Test Pressings, usually with Test Pressing written on the label, with number, artist. They are produced in quantities to evaluate the quality of the disc before mass production begins. Today, white labels discs are used to promote new artists or upcoming albums by veteran artists. In some cases white labels are issued to conceal artist identities, many dance music producers press copies of white labels in order to test crowd response in dance clubs to their own musical productions. Aside from house music and hip-hop plain white label records are not generally distributed to the public, today, white labels are usually produced in small amounts by small record companies or DJs and are most popular with House Music and Hip-Hop music DJs. Steve Beckett of Warp Records recalls that shops would take fifty white labels off you for five pounds each, Dance music was all imports, then people in Britain started doing it for themselves, and their tracks started to get better than the tunes in America. Record labels like Warp and Shut Up and Dance were begun as white-label enterprises, providing cutting-edge dance music to radio stations. Many white labels contain unsolicited remixes and/or tracks that are not yet licensed or released, White labels can be referred to as promos that many top-name DJs receive and play weeks or months prior to the day of general release to the public. As artists using samples pay high fees for the privilege of such, recently, smaller promo services offer record companies a more economical means of distribution although these companies may not have the means to properly protect releases from illegal copying. Some white labels are recalled after the promotional period, white-label product Generic brand The record mastering and pressing process
23.
Joni Mitchell
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Roberta Joan Joni Mitchell, CC is a Canadian singer-songwriter and painter. Drawing from folk, pop, rock and jazz, Mitchells songs often reflect social and environmental ideals as well as her feelings about romance, confusion, disillusionment, Mitchell began singing in small nightclubs in Saskatchewan and western Canada before busking in the streets and shoddy nightclubs of Toronto. In 1965, she moved to the United States and began touring, some of her original songs were covered by folk singers, allowing her to sign with Reprise Records and record her debut album in 1968. Settling in Southern California, Mitchell, with songs like Big Yellow Taxi and Woodstock, helped define an era. Her 1971 recording Blue was rated the 30th best album made in Rolling Stones list of the 500 Greatest Albums of All Time. Mitchell switched labels and began moving toward jazz rhythms by way of lush pop textures on 1974s Court and Spark, her best-selling LP, featuring the radio hits Help Me, around 1975 her vocal range began to shift from mezzo-soprano to more of a wide-ranging contralto. She turned again toward pop, embraced electronic music, and engaged in political protest and she is the sole producer credited on most of her albums, including all her work in the 1970s. A blunt critic of the industry, she quit touring and released her 17th. With roots in art, Mitchell designed her own album covers. She describes herself as a painter derailed by circumstance, Mitchell was born Roberta Joan Anderson on November 7,1943, in Fort Macleod, Alberta, Canada, the daughter of Myrtle Marguerite and William Andrew Anderson. Her mothers ancestors were Scottish and Irish, her father was from a Norwegian family and her father was a Royal Canadian Air Force flight lieutenant who instructed new pilots at RCAF Station Fort Macleod, where the Allied forces were gathering to learn to fly during World War II. During those years, she moved with her parents to various bases in western Canada, after the war, her father began working as a grocer, and his work took the family to Saskatchewan, to the towns of Maidstone and North Battleford. She later sang about her upbringing in Song for Sharon. In Maidstone they lived beside the track, where Mitchell waved at the only train that passed through each day. Many of the residents were First Nations people. Mitchell seemed athletic rather than academic, but still responded to her mothers love of literature and her fathers love of music, at age nine, Mitchell contracted polio in an epidemic, and was hospitalised for weeks. No longer athletic, she turned her thoughts to her creative talent, by nine, she was a smoker, she denies claims that smoking has affected her voice. At 11, she moved with her family to the city of Saskatoon and she responded badly to formal education, preferring a freethinking outlook, and was drawn to art, a pursuit often regarded as peripheral at the time
24.
Big Yellow Taxi
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Big Yellow Taxi is a song written, composed, and originally recorded by Canadian singer-songwriter Joni Mitchell in 1970, and originally released on her album Ladies of the Canyon. It was a hit in her native Canada as well as Australia and it only reached No.67 in the US in 1970, but was later a bigger hit there for her in a live version released in 1974, which peaked at No.24. Charting versions have also recorded by The Neighborhood, Maire Brennan, Amy Grant. Mitchell said this about writing the song to journalist Alan McDougall in the early 1970s, I took a taxi to the hotel and when I woke up the next morning, I threw back the curtains and saw these beautiful green mountains in the distance. Then, I looked down and there was a lot as far as the eye could see. Thats when I sat down and wrote the song, the song is known for its environmental concern – They paved paradise to put up a parking lot and Hey farmer, farmer, put away that DDT now – and sentimental sound. In the songs verse, the political gives way to the personal. Mitchell recounts the departure of her old man in the big yellow taxi, which may refer to the old Metro Toronto Police patrol cars. In many covers the departed one may be interpreted as variously a boyfriend, the literal interpretation is that he is walking out on the singer by taking a taxi, otherwise it is assumed he is being taken away by the authorities. Mitchells original recording was first released as a single and then, as stated above, a later live version was released in 1975 and reached No.24 on the U. S. charts. Mitchells playful closing vocals have made the one of the most identifiable in her repertoire. In 2005, it was voted No.9 on CBCs list of the top 50 essential Canadian tracks, in 2007, Joni Mitchell released the album Shine, which includes a newly recorded, rearranged version of the song. There are various slight alterations of the lyrics from different versions, bob Dylan, instead of singing about the big yellow taxi that took away my old man, sings, A big yellow bulldozer took away the house and land. Similarly, in Mitchells live version of the released on Miles of Aisles in 1974, she sings about a big yellow tractor that pushed around my house. She then repeats the verse, but with the original lyrics. While Amy Grant retains the taxi, her reprise of the line about paved paradise reads steam rolled paradise. An animated music video of Joni Mitchells Big Yellow Taxi was produced by John Wilson of Fine Arts Films as a short for the Sonny. The only commercial release of this music video was in the Video Gems home video release on VHS titled John Wilsons Mini Musicals
25.
Compact disc
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Compact disc is a digital optical disc data storage format released in 1982 and co-developed by Philips and Sony. The format was developed to store and play only sound recordings but was later adapted for storage of data. The first commercially available Audio CD player, the Sony CDP-101, was released October 1982 in Japan, standard CDs have a diameter of 120 millimetres and can hold up to about 80 minutes of uncompressed audio or about 700 MiB of data. The Mini CD has various diameters ranging from 60 to 80 millimetres, they are used for CD singles, storing up to 24 minutes of audio. At the time of the introduction in 1982, a CD could store much more data than a personal computer hard drive. By 2010, hard drives commonly offered as much space as a thousand CDs. In 2004, worldwide sales of audio CDs, CD-ROMs and CD-Rs reached about 30 billion discs, by 2007,200 billion CDs had been sold worldwide. In 2014, revenues from digital music services matched those from physical format sales for the first time. American inventor James T. Russell has been credited with inventing the first system to record information on an optical transparent foil that is lit from behind by a high-power halogen lamp. Russells patent application was first filed in 1966, and he was granted a patent in 1970, following litigation, Sony and Philips licensed Russells patents in the 1980s. The compact disc is an evolution of LaserDisc technology, where a laser beam is used that enables the high information density required for high-quality digital audio signals. Prototypes were developed by Philips and Sony independently in the late 1970s, although originally dismissed by Philips Research management as a trivial pursuit, the CD became the primary focus for Philips as the LaserDisc format struggled. In 1979, Sony and Philips set up a joint task force of engineers to design a new audio disc. After a year of experimentation and discussion, the Red Book CD-DA standard was published in 1980, after their commercial release in 1982, compact discs and their players were extremely popular. Despite costing up to $1,000, over 400,000 CD players were sold in the United States between 1983 and 1984, by 1988 CD sales in the United States surpassed those of vinyl LPs, and by 1992 CD sales surpassed those of prerecorded music cassette tapes. The success of the disc has been credited to the cooperation between Philips and Sony, who came together to agree upon and develop compatible hardware. The unified design of the disc allowed consumers to purchase any disc or player from any company. In 1974, L. However, due to the performance of the analog format
26.
Out (In Essence)
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Out is the live album by British electronica group Fluke, first released in August 1991. The tracks on this all came from Flukes first album. The album was recorded live at Destination Moon, a house party held at the The Rolling Stones’ manor house. At this time it was considered somewhat of a pioneering step for an electronic band to record a live album with band member Jon Fugler commenting. It was a time when you know if the computer would last the whole show. Pan-Am Into Philly Pearls Of Wisdom The Bells Heresy And The Garden Of Blighty Philly
27.
Industrial music
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Industrial music is a genre of experimental/electronic music that draws on transgressive or provocative sounds and themes. In general, the style is harsh and challenging, allMusic defines industrial as the most abrasive and aggressive fusion of rock and electronic music, initially a blend of avant-garde electronics experiments and punk provocation. The first industrial artists experimented with noise and aesthetically controversial topics, musically and visually, such as fascism, serial killers and their production was not limited to music, but included mail art, performance art, installation pieces and other art forms. Prominent industrial musicians include Throbbing Gristle, Monte Cazazza, SPK, Boyd Rice, Cabaret Voltaire, Musicians also cite writers such as William S. Burroughs, and philosophers such as Friedrich Nietzsche as influences. These artists expanded the genre by pushing it into noisier and more electronic directions, over time, its influence spread into and blended with styles including ambient and rock, all of which now fall under the post-industrial music label. Electro-industrial music is a subgenre that developed in the 1980s. These three distinct genres are often referred to as simply industrial, Industrial music drew from a broad range of predecessors. Industrial music was created originally by using mechanical and electric machinery, monroe also argues for Suicide as an influential contemporary of the industrial musicians. Groups cited as inspirational by the founders of industrial music include The Velvet Underground, Joy Division, genesis P-Orridge of Throbbing Gristle had a cassette library including recordings by the Master Musicians of Jajouka, Kraftwerk, Charles Manson, and William S. Burroughs. P-Orridge also credited 1960s rock such as The Doors, Pearls Before Swine, The Fugs, Captain Beefheart, chris Carter also enjoyed and found inspiration in Pink Floyd and Tangerine Dream. Boyd Rice was influenced by the music of 60s girl groups, Cabaret Voltaire cited Roxy Music as their initial forerunners, as well as Kraftwerks Trans-Europe Express. Cabaret Voltaire also recorded pieces reminiscent of musique concrète and composers such as Morton Subotnick, Nurse with Wound cited a long list of obscure free improvisation and Krautrock as recommended listening. 23 Skidoo borrowed from Fela Kuti and Miles Daviss On the Corner, many industrial groups, including Einstürzende Neubauten, took inspiration from world music. Many of the industrial musicians preferred to cite artists or thinkers, rather than musicians. Simon Reynolds declares that Being a Throbbing Gristle fan was like enrolling in a university course of cultural extremism, John Cage was an initial inspiration for Throbbing Gristle. SPK appreciated Jean Dubuffet, Marcel Duchamp, Jean Baudrillard, Michel Foucault, Walter Benjamin, Marshall McLuhan, Friedrich Nietzsche, Cabaret Voltaire took conceptual cues from Burroughs, J. G. Ballard, and Tristan Tzara. Whitehouse and Nurse with Wound dedicated some of their work to the Marquis de Sade, another influence on the industrial aesthetic was Lou Reeds Metal Machine Music. Pitchfork Music cites this album as inspiring, in part, much of the contemporary avant-garde music scene—noise, the album consists entirely of guitar feedback, anticipating industrials use of non-musical sounds
28.
EMI
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EMI was a British multinational conglomerate founded in March 1931 and was based in London. At the time of its break-up in 2012, it was the fourth-largest business group and its EMI Records Ltd. group of record labels included EMI Records, Parlophone, Virgin Records and Capitol Records. EMI also had a publishing arm, EMI Music Publishing—also based in London with offices globally. The company was once a constituent of the FTSE100 Index, other members of the Sony consortium include the Estate of Michael Jackson, The Blackstone Group, and Abu Dhabi–owned investment fund Mubadala Development Company. The new vertically integrated company produced sound recordings as well as recording, the companys gramophone manufacturing led to forty years of success with larger-scale electronics and electrical engineering. He was killed in 1942 whilst conducting flight trials on an experimental H2S radar set, post-war, the company resumed its involvement in making broadcasting equipment, notably providing the BBCs second television transmitter at Sutton Coldfield. It also manufactured broadcast television cameras for British television production companies as well as for the BBC, the commercial television ITV companies also used them alongside cameras made by Pye and Marconi. Exports of this piece of equipment were low, however, the company was also for many years an internationally respected manufacturer of photomultipliers. This part of the business was transferred to Thorn as part of Thorn-EMI, in 1958 the EMIDEC1100, the UKs first commercially available all-transistor computer, was developed at Hayes under the leadership of Godfrey Hounsfield, an electrical engineer at EMI. In 1973 EMI was awarded a prestigious Queens Award for Technological Innovation for what was called the EMI scanner. After brief, but brilliant, success in the imaging field, EMIs manufacturing activities were sold off to other companies. Subsequently, development and manufacturing activities were sold off to companies and work moved to other towns such as Crawley. Emihus Electronics, based in Glenrothes, Scotland, was owned 51% by Hughes Aircraft, of California, US and it manufactured integrated circuits electrolytic capacitors and, for a short period in the mid-1970s, hand-held calculators under the Gemini name. Early in its life, the Gramophone Company established subsidiary operations in a number of countries in the British Commonwealth, including India, Australia. Over 150,000 78-rpm recordings from around the world are held in EMIs temperature-controlled archive in Hayes, in 1931, the year the company was formed, it opened the legendary recording studios at Abbey Road, London. During the 1930s and 1940s, its roster of artists included Arturo Toscanini, Sir Edward Elgar, during this time EMI appointed its first A&R managers. These included George Martin, who brought the Beatles into the EMI fold. When the Gramophone Company merged with the Columbia Graphophone Company in 1931, at this point RCA had a majority shareholding in the new company, giving RCA chair David Sarnoff a seat on the EMI board
29.
Talk Talk
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Talk Talk were an English new wave band, active from 1981 until their breakup in 1992. Their early hit singles include Today, Talk Talk, Its My Life, although the band only experienced moderate success in their native country, they established some international success. Talk Talk moved away from synthpop towards more experimental music in the mid-1980s, friction with the bands label, EMI, resulted in legal action and countersuing. The band switched to Polydor for their album, 1991s Laughing Stock. Singer Mark Hollis released one album in 1998 before retiring from the music industry. Founding bass player and drummer Paul Webb and Lee Harris played in bands together, de facto fourth member Tim Friese-Greene continued in the business as a musician. Talk Talk began as a quartet consisting of Mark Hollis formerly from The Reaction, Lee Harris, Paul Webb, in their early years they were often compared with Duran Duran. In addition to a name consisting of a repeated word. The band also supported Duran Duran on tour in late 1981, the band released their first single, Mirror Man, on EMI in February 1982. The single was not a success, but was quickly followed by their self-titled single in April 1982 which reached No.52 in the UK. The bands first album, titled The Partys Over, was released in July 1982, the band had their first UK Top 40 hits with the singles Today and a re-release of Talk Talk. These singles also were hits in countries including Ireland, South Africa, Australia. The re-release of the Talk Talk single reached the U. S, the album was produced by Colin Thurston, who was Duran Durans in-house EMI producer at the time, but picked by Hollis because of his involvement with David Bowies Heroes. It was a success in the UK reaching No.21. It was a Top 10 hit in New Zealand and they were introduced to a much wider live audience in October 1982 when they supported Genesis at their reunion concert with original lead singer Peter Gabriel at Milton Keynes Bowl, England. Brenner left after the 1983 non-LP hit single My Foolish Friend, at this point, Talk Talk was now a trio, as Brenner was never officially replaced. Although a major contributor to the bands output, Friese-Greene did not regularly play with the touring band. The accompanying single Such a Shame became a Top 10 hit in Austria, France, Germany, Italy, Netherlands and Switzerland during this period
30.
History Revisited
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History Revisited, The Remixes is a 1991 album comprising remixes of hit Talk Talk songs. It followed the successful greatest hits collection Natural History, released the year before, the band itself did not take part in the making of the album and condemned its release, consequently, they sued their former record label EMI for using Talk Talk material without permission. Talk Talk formed in 1981 and released four albums with EMI, around the time of Spirit of Eden, the band attempted to extract themselves from their recording contract with EMI.18 months of litigation followed. Ultimately, Talk Talk won the case on appeal, and in 1990 they left EMI, soon after, EMI released the compilation Natural History, a retrospective of Talk Talks career up until that point. The compilation was successful, it spent 21 weeks on the UK Albums Chart, peaking at #3. To promote Natural History, EMI reissued the singles Its My Life, Lifes What You Make It, Such a Shame, new remixes for the singles 12-inch and CD formats were commissioned and all four reissues peaked within the top 100 of the UK Singles Chart. The new remixes, prepared by relatively unknown musicians outside of the band, the remixes collected on History Revisited modified the source material liberally. According to EMI publicity at the time, they are Talk Talk through the keyhole, taking the diverse sounds of their eighties output. Keith Aspden, the manager, observed, They havent just remixed what is already there. They have practically replaced all the instruments with new poppy dance sounds from other peoples records and he commented, Its a distortion—more like History Reinvented. History Revisited was released throughout the world in March 1991 and it spent two weeks on the UK Albums Chart, peaking at #35. James Neiss of Record Collector thought otherwise, saying, Talk Talk got most of their complex originals right first time around, the songs simply dont work with a different beat slung underneath. Chris Woodstra of Allmusic gave it a rating, saying, A nice companion piece for fans. Talk Talk leader Mark Hollis was very unhappy when he found out about History Revisited and he told Melody Maker, Ive never heard any of this stuff and I dont want to hear it. But to have people putting this out under your name which is not you, yknow. Its always been important to me that Ive got on with the people weve worked with. Peoples attitude has always been important to me. So much of why someone would exist on one of our albums is what they are like as a person, so to find youve got people youve never given the time of day to going out as though its you
sample (help·info)) in 1989 and "Joni/Taxi" in 1990, a song that sampled Joni Mitchell's "Big Yellow Taxi".[4] The attention that these records received gained the band a record deal with Creation Records with whom they released their first CD single "Philly" in the same year.