Deep Shag Records
Deep Shag Records is an American record label started in 2000 by Michael Reed. The label is known for the On the Road With Ellison series of releases by Harlan Ellison and for re-issuing rare 1980's modern rock, new wave and spoken word albums which were unavailable on CD; the founder of Deep Shag Records, Michael Reed, began the label out of a love of records and frustration that certain titles in his personal collection had not been brought into the digital age. Fearing that the cherished music and spoken word releases of his youth would be lost to history, Reed relied upon his 15 years of experience in the music industry to create a new home for these forgotten gems. In 2001, Deep Shag was fortunate enough to secure the rights to the rare 1982 spoken word album On the Road with Ellison Volume 1 by noted author and raconteur Harlan Ellison; the release was a great success and Deep Shag was granted access to the author's vast audio archive. The series resumed in 2005 with On the Road with Ellison Volume 2 some 23 years after the original vinyl release of the first volume.
Deep Shag Records is headquartered in Atlanta and continues on a mission to be a label that "refuses to sit in just one section of your collection." Official website Deep Shag Records on Facebook
OCAD University the Ontario College of Art and Design University, is a public university located in Toronto, Canada. The school is within the Grange Park neighbourhood, adjacent to the Art Gallery of Ontario; the school is Canada's oldest educational institution for art and design. OCAD U offers courses through the Faculties of Art, Liberal Arts and Sciences, alternative programs; the enabling legislation is Ontario College of Art and Design University Act, 2002. The University's beginnings stretch back to the project of the Ontario Society of Artists whose objectives included the development of art education in Ontario; the Ontario Society of Artists passed the motion to "draw up a scheme" for a school of art on 4 April 1876, the first School of Art opened on 30 October 1876, funded by a government grant of $1,000. In 1971 -- 72, Roy Ascott radically challenged the curriculum structure of the College. In 2008, OCAD president Sara Diamond changed the pedagogy, she emphasised academics over studio time and required full-time instructors to hold an advanced degree.
There was some controversy as two faculty members resigned over the changes. In 2010, Tom Traves president of Dalhousie University in Halifax, conducted a confidential review of how OCAD was managed, he found. Diamond adopted most of his 30 recommendations, including increased Decanal autonomy. OCAD University has had a number of names over time. Ontario School of Art, 1876–86 founded by the Ontario Society of Artists to provide professional training in art. Toronto Art School, 1886–90 Central Ontario School of Art and Industrial Design, 1890–1912 Ontario College of Art, 1912–96 Ontario College of Art and Design, 1996–2010 Ontario College of Art and Design University, 2010–present From 1952 to 1957 OCA was located at the Wood Manor at Bayview Avenue and Lawrence Avenue East; the current OCAD campus consists of a south campus. The north campus includes the Main Building and Sharp Centre for Design, the adjacent Butterfield Park, the Annex Building, the Rosalie Sharp Pavilion, the Student Centre, the Inclusive Design Institute, the Continuing Education Centre.
The south campus consists of buildings that are physically situated on Richmond Street West, plus the proposed Mirvish-Gehry development further south on King Street. Buildings at OCAD are referred to by their street addresses; some buildings are assigned a building number, encoded as the first digit in 4-digit room numbers. The Main Building traces its roots to the first building that the school constructed, the first building in Canada specially built for art education. Now known as the George A. Reid Wing, the building was designed by the school’s principal George A. Reid in the Georgian style and opened on 30 September 1921. On 17 January 1957, the first extension, a modernist building known today as the A. J. Casson Wing, was completed and was opened. Two more extensions to the building were subsequently added in 1963 and 1967. In 2000, funding was secured from Ontario’s SuperBuild program to build a fifth extension to the Main Building. Through Rod Robbie of Robbie/Young + Wright Architects, Will Alsop of Alsop Architects was made aware of the project and was selected in 2002.
A joint venture was formed between the two firms and the new extension, now known as the Sharp Centre for Design, was completed in 2004. The design, which came out of a process of participatory design, consists of a box four storeys off the ground supported by a series of multi-coloured pillars at different angles and is described as a tabletop; the $42.5-million expansion and redevelopment has received numerous awards, including the first Royal Institute of British Architects Worldwide Award, the award of excellence in the "Building in Context" category at the Toronto Architecture and Urban Design Awards, was deemed the most outstanding technical project overall in the 2005 Canadian Consulting Engineering Awards. The main library on campus is the Dorothy H. Hoover Library, located in the Annex Building; the Learning Zone located in the Annex Building, houses the OCAD Zine Library, Art & Design Annuals and the Visionnaire periodical collection. A number of galleries or exhibition spaces exist both off-campus.
The existing major exhibition spaces are: Onsite OCAD U. Created in 2007 as the OCAD Professional Gallery before taking on its current name in 2010, Onsite OCAD U is features works by national and international professional artists and designers. Student Gallery; the Student Gallery curates and features works submitted by recent alumni. The Student Gallery used to be located at 76 McCaul Street, it was created in the early 1970s Graduate Gallery. The Graduate Gallery is a gallery for research faculty. Xpace; the OCAD Student Union runs. It aims to provide students and emerging artists a space to exhibit their work in a professional gallery setting, to better respond to "contemporary issues in theory and aesthetics" in the community through the use of shorter time frames in its programming. Open Gallery; the Open Gallery is an exhibition space inside the Inclusive Design Institute building at 49 McCaul Street. OCAD offers a Bachelor of Arts; the school combines a studio-based education with liberal studies, recognised with a Bachelor of Fine Arts, a Bachelor of Desi
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Boot to the Head
Boot to the Head is a comedy album, performed by The Frantics Canadian comedy troupe. Released as an LP in 1987, it was re-issued in 1996 as a CD with the same track listing; the album features a number of skits from their radio show Frantic Times, as well as a few sketches that could not be aired to a general audience. The sketches were recorded over a three-day period in front of a live audience at the Toronto Free Theatre. Paul Chato Rick Green Dan Redican Peter Wildman "A Piece of Pie" – 4:33 "I Shot Bambi's Mother" – 1:20 "Driving Chicks Mad" – 3:23 "A Poem" – 0:35 "Game Show, Game Show" – 2:02 "Bill from Bala" – 4:42 "A Poem" – 3:11 "Architecture Today" – 3:11 "Mrs. G" – 2:24 "Worshippers'R' Us" – 4:05 "You People Are Fat" – 3:32 "Making Love" – 2:14 "A Poem" – 1:12 "Make Up Dirty Words" – 1:58 "You Scare the **** Out Of Me" – 2:53 "Ti Kwan Leep" – 4:52 "Boot to the Head" – 1:36"Ti Kwan Leep" is one of the most famous skits from this album, followed by the title song "Boot to the Head".
These are both played on the Doctor Demento radio show. In the skit, there is a conversation between Ed Gruberman and a martial arts master over the relative merits of harmonious Eastern philosophy versus "trashing bozos"; this soon devolves into an all-out brawl. The song recites a long litany of people doing idiotic things, recommending that we "Give them a boot to the head!" However, their iconic phrase became famous three years earlier in "Last Will and Temperament" from their Frantic Times album. Several of the other skits are considered to be classics, such as "A Piece Of Pie", "You Scare The **** Out Of Me", which have appeared in the troupe's shows after their reunion in 2004 and 2005; the former skit involves a man who confides to his friend that he has just excreted a whole, well-formed piece of pie, the latter is a self-explanatory song. Neither skit could have been aired on their long-running CBC radio show. Despite the resemblance, Frantics member Paul Chato claims the person getting his head booted on the cover is not supposed to be him.
Albums listings on The Frantics official Web site Frantics Discography The full text and MP3 of "Ti Kwan Leep" skit
In a modern sense, comedy refers to any discourse or work intended to be humorous or amusing by inducing laughter in theatre, film, stand-up comedy, or any other medium of entertainment. The origins of the term are found in Ancient Greece. In the Athenian democracy, the public opinion of voters was influenced by the political satire performed by the comic poets at the theaters; the theatrical genre of Greek comedy can be described as a dramatic performance which pits two groups or societies against each other in an amusing agon or conflict. Northrop Frye depicted these two opposing sides as a "Society of Youth" and a "Society of the Old." A revised view characterizes the essential agon of comedy as a struggle between a powerless youth and the societal conventions that pose obstacles to his hopes. In this struggle, the youth is understood to be constrained by his lack of social authority, is left with little choice but to take recourse in ruses which engender dramatic irony which provokes laughter.
Satire and political satire use comedy to portray persons or social institutions as ridiculous or corrupt, thus alienating their audience from the object of their humor. Parody subverts popular genres and forms, critiquing those forms without condemning them. Other forms of comedy include screwball comedy, which derives its humor from bizarre, surprising situations or characters, black comedy, characterized by a form of humor that includes darker aspects of human behavior or human nature. Scatological humor, sexual humor, race humor create comedy by violating social conventions or taboos in comic ways. A comedy of manners takes as its subject a particular part of society and uses humor to parody or satirize the behavior and mannerisms of its members. Romantic comedy is a popular genre that depicts burgeoning romance in humorous terms and focuses on the foibles of those who are falling in love; the word "comedy" is derived from the Classical Greek κωμῳδία kōmōidía, a compound either of κῶμος kômos or κώμη kṓmē and ᾠδή ōidḗ.
The adjective "comic", which means that which relates to comedy is, in modern usage confined to the sense of "laughter-provoking". Of this, the word came into modern usage through the Latin comoedia and Italian commedia and has, over time, passed through various shades of meaning; the Greeks and Romans confined their use of the word "comedy" to descriptions of stage-plays with happy endings. Aristotle defined comedy as an imitation of men worse than the average. However, the characters portrayed in comedies were not worse than average in every way, only insofar as they are Ridiculous, a species of the Ugly; the Ridiculous may be defined as a deformity not productive of pain or harm to others. In the Middle Ages, the term expanded to include narrative poems with happy endings, it is in this sense that Dante used the term in the title of La Commedia. As time progressed, the word came more and more to be associated with any sort of performance intended to cause laughter. During the Middle Ages, the term "comedy" became synonymous with satire, with humour in general.
Aristotle's Poetics was translated into Arabic in the medieval Islamic world, where it was elaborated upon by Arabic writers and Islamic philosophers, such as Abu Bischr, his pupils Al-Farabi and Averroes. They disassociated comedy from Greek dramatic representation and instead identified it with Arabic poetic themes and forms, such as hija, they viewed comedy as the "art of reprehension", made no reference to light and cheerful events, or to the troubling beginnings and happy endings associated with classical Greek comedy. After the Latin translations of the 12th century, the term "comedy" gained a more general meaning in medieval literature. In the late 20th century, many scholars preferred to use the term laughter to refer to the whole gamut of the comic, in order to avoid the use of ambiguous and problematically defined genres such as the grotesque and satire. Starting from 425 BCE, Aristophanes, a comic playwright and satirical author of the Ancient Greek Theater, wrote 40 comedies, 11 of which survive.
Aristophanes developed his type of comedy from the earlier satyr plays, which were highly obscene. The only surviving examples of the satyr plays are by Euripides, which are much examples and not representative of the genre. In ancient Greece, comedy originated in bawdy and ribald songs or recitations apropos of phallic processions and fertility festivals or gatherings. Around 335 BCE, Aristotle, in his work Poetics, stated that comedy originated in phallic processions and the light treatment of the otherwise base and ugly, he adds that the origins of comedy are obscure because it was not treated from its inception. However, comedy had its own Muse: Thalia. Aristotle taught that comedy was positive for society, since it brings forth happiness, which for Aristotle was the ideal state, the final goal in any activity. For Aristotle, a comedy did not need to involve sexual humor. A comedy is about the fortunate rise of a sympathetic character. Aristotle divides comedy into three categories or subgenres: farce, romantic comedy, satire.
On the contrary, Plato taught. He believed that it produces an emotion that overrides ra
Canadian Broadcasting Corporation
The Canadian Broadcasting Corporation, branded as CBC/Radio-Canada, is a Canadian federal Crown corporation that serves as the national public broadcaster for both radio and television. The English- and French-language service units of the corporation are known as CBC and Radio-Canada and both short-form names are commonly used in the applicable language to refer to the corporation as a whole. Although some local stations in Canada predate CBC's founding, CBC is the oldest existing broadcasting network in Canada, first established in its present form on November 2, 1936. Radio services include CBC Radio One, CBC Music, Ici Radio-Canada Première, Ici Musique. Television operations include CBC Television, Ici Radio-Canada Télé, CBC News Network, Ici RDI, Ici Explora, Documentary Channel, Ici ARTV; the CBC operates services for the Canadian Arctic under the names CBC Radio-Canada Nord. The CBC operates digital services including CBC.ca/Ici. Radio-Canada.ca, CBC Radio 3, CBC Music/ICI.mu and Ici.
TOU. TV, owns 20.2% of satellite radio broadcaster Sirius XM Canada, which carries several CBC-produced audio channels. CBC/Radio-Canada offers programming in English and eight aboriginal languages on its domestic radio service, in five languages on its web-based international radio service, Radio Canada International. However, budget cuts in the early 2010s have contributed to the corporation reducing its service via the airwaves, discontinuing RCI's shortwave broadcasts as well as terrestrial television broadcasts in all communities served by network-owned rebroadcast transmitters, including communities not subject to Canada's over-the-air digital television transition. CBC's federal funding is supplemented by revenue from commercial advertising on its television broadcasts; the radio service employed commercials from its inception to 1974, but since its primary radio networks have been commercial-free. In 2013, CBC's secondary radio networks, CBC Music and Ici Musique, introduced limited advertising of up to four minutes an hour, but this was discontinued in 2016.
In 1929, the Aird Commission on public broadcasting recommended the creation of a national radio broadcast network. A major concern was the growing influence of American radio broadcasting as U. S.-based networks began to expand into Canada. Meanwhile, Canadian National Railways was making a radio network to keep its passengers entertained and give it an advantage over its rival, CP. This, the CNR Radio, is the forerunner of the CBC. Graham Spry and Alan Plaunt lobbied intensely for the project on behalf of the Canadian Radio League. In 1932 the government of R. B. Bennett established the CBC's predecessor, the Canadian Radio Broadcasting Commission; the CRBC took over a network of radio stations set up by a federal Crown corporation, the Canadian National Railway. The network was used to broadcast programming to riders aboard its passenger trains, with coverage in central and eastern Canada. On November 2, 1936, the CRBC was reorganized under its present name. While the CRBC was a state-owned company, the CBC was a Crown corporation on the model of the British Broadcasting Corporation, reformed from a private company into a statutory corporation in 1927.
Leonard Brockington was the CBC's first chairman. For the next few decades, the CBC was responsible for all broadcasting innovation in Canada; this was in part because, until 1958, it was not only a broadcaster, but the chief regulator of Canadian broadcasting. It used this dual role to snap up most of the clear-channel licences in Canada, it began a separate French-language radio network in 1937. It introduced FM radio to Canada in 1946, though a distinct FM service wasn't launched until 1960. Television broadcasts from the CBC began on September 6, 1952, with the opening of a station in Montreal, a station in Toronto, Ontario opening two days later; the CBC's first owned affiliate television station, CKSO in Sudbury, launched in October 1953. From 1944 to 1962, the CBC split its English-language radio network into two services known as the Trans-Canada Network and the Dominion Network; the latter, carrying lighter programs including American radio shows, was dissolved in 1962, while the former became known as CBC Radio.
On July 1, 1958, CBC's television signal was extended from coast to coast. The first Canadian television show shot in colour was the CBC's own The Forest Rangers in 1963. Colour television broadcasts began on July 1, 1966, full-colour service began in 1974. In 1978, CBC became the first broadcaster in the world to use an orbiting satellite for television service, linking Canada "from east to west to north". Starting in 1967 and continuing until the mid-1970s, the CBC provided limited television service to remote and northern communities. Transmitters were built in a few locations and carried a four-hour selection of black-and-white videotaped programs each day; the tapes were flown into communities to be shown transported to other communities by the "bicycle" method used in television syndication. Transportation delays ranged from one week for larger centres to a month for small communities; the first FCP station was started in Yellowknife in May 1967, the second in Whitehorse in No