Posh Boy Records
Posh Boy Records was a Hollywood, California-based record label owned by the American-born, British-educated Robbie "Posh Boy" Fields, a sometime high school substitute teacher and former copy boy at the Los Angeles Times who took an interest in the emerging punk rock scene in Orange County, California during the late 1970s. The label's releases enjoyed substantial airplay on Rodney Bingenheimer's show on KROQ-FM, some of them, notably the Fields-produced version of "Amoeba" by the Adolescents and the Stephen Hague-produced electronic rock track "Are You Ready for the Sex Girls" by the Sparks offshoot the Gleaming Spires, made it into regular programming on the station. Social Distortion was one of many bands. One of the label's most successful releases was Agent Orange's debut, Living in Darkness, containing "Bloodstains", an extreme sports anthem covered by many alternative rock groups. Posh Boy continued releasing records into the 2000s, the most recent vinyl release being a 7" by the Willowz of Anaheim, California in 2003.
Subsequently, the label transitioned to being digital only with over 700 recordings released digitally, to subLicense vinyl, compact disc and audio cassette rights to other labels, notably Drastic Plastic and Radiation Records. More the label entered into a licensing agreement with Netflix for use of its extensive back catalog. Stranger Things 2 has used music by Posh Boy acts Ill Repute. Channel 3 were featured in the inaugural season of White Famous on Showtime; the label's most recent signing is Scottish band The Moon Kids. "Discography". Poshboy.com. Hollywood, Los Angeles, California: Posh Boy Records. Retrieved 2011-10-10
Steve Soto was an American musician. Soto was a multi-talented instrumentalist, a founding member of California punk rock band Agent Orange in 1979, a founding member of Adolescents in 1980 performing on bass guitar in both bands. Soto was a member of Legal Weapon, Manic Hispanic and the punk supergroup 22 Jacks. Soto fronted his own band, Steve Soto and the Twisted Hearts and he became a member of Punk Rock Karaoke in 2001. Soto was a founding member of the Placentia, California punk band in 1979, they were one of the first groups to mix punk rock with surf music. Soto left the band after one year to form Adolescents. Adolescents were formed in Fullerton, California in 1980 and were one of main punk acts to emerge from Orange County, along with their peers in Agent Orange and Social Distortion; the band's debut album, 1981's Adolescents was one of the first hardcore punk records to be distributed throughout the United States, became one of the best-selling California hardcore albums behind the Dead Kennedys' 1980 album, Fresh Fruit for Rotting Vegetables, selling over 10,000 copies.
Following the release of their 1981 E. P. Welcome to Reality the band broke up. In 1986, the original Adolescents line-up reunited to perform a concert at Fenders Ballroom in Long Beach, California; the Concert was a major success with fans and critics alike, which lead to the reformation of the original group. Line-up changes including lead singer Tony Brandenburg leaving to join the Flower Leperds caused Rikk Agnew to share vocal duties with Soto. In 1988 Soto was the main vocalist in the band. In 1989 The Adolescents broke up for a second time. In 2001, the blue album lineup of Adolescents reformed to perform at a birthday party for singer Tony Reflex's wife and over the next few years the band played sporadically. Encouraged by the response to their reunion shows, Reflex suggested that the band start writing new material; the Adolescents issued an EP titled Unwrap and Blow Me! in 2003, limited to 100 copies and consisting of six new songs. The band performed a show on October 3, 2003 at the House of Blues at Downtown Disney, filmed and recorded for Kung Fu Records' live series The Show Must Go Off!.
The resulting live album and DVD, titled Live at the House of Blues, was released February 24, 2004. The following year the band released The Complete Demos 1980–1986 which collected all the demo recordings from the Adolescents' early years. Following the departure of Rikk Agnew, The Adolescents decided to continue as a quartet, re-recording the new songs they had done with Rikk and recording several more for their 2005 comeback album, OC Confidential, which took over two years to complete. Founding guitarist Frank Agnew left the band in 2006 leaving Soto and Reflex as the band's sole constant members and primary songwriters from this point forward. A split EP with the band Burning Heads was released in 2009 and in 2011 the band released the studio album The Fastest Kid Alive. In 2012, the Adolescents released the American Dogs in Europe EP in conjunction with a European tour. Soto would release four more albums with the band including Presumed Insolent in 2013, La Vendetta... in 2014, Manifest Density in 2016 and the band's ninth album, Cropduster was released on July 20, 2018, a month after his passing.
When The Adolescents broke up in 1981, together with Frank Agnew, joined the Los Angeles-based band Legal Weapon, performing on bass guitar from 1981–1982. Soto appeared on one album with Legal Weapon, 1982's Death of Innocence Following the 1989 breakup of Adolescents, Soto went on to form the band Joyride with former Adolescent drummer Sandy Hanson, they released Johnny Bravo and Another Month of Mondays, both on Dr. Dream records. Manic Hispanic was formed in 1992 with Mike "Gabby" Gaborno and other members of the Cadillac Tramps and the Grabbers; the band has released four records on BYO Records, The Menudo Incident, The Recline of Mexican Civilization, Mijo goes to Jr. College and Grupo Sexo. In 1995 Soto started the punk rock supergroup 22 Jacks consisting of members of Wax, The Breeders, Royal Crown Revue; the band toured extensively and released three records, Uncle Bob and Going North on the SideOneDummy label. Soto fronted the band Steve Soto and the Twisted Hearts with James Achor, Mike Duffy, Veikko Lepisto, Mike Bolger and performed solo as a singer/songwriter.
Soto released two records with the Twisted Hearts. In late 2009/ early 2010 Soto helped form the Black Diamond Riders. S. Bombs and Die Hunns, saxophonist Vince Hizon, trumpet player Joseph Badaczewski and keyboardist Greg Kuehn from TSOL. In 2001 Soto joined Punk Rock Karaoke with Eric Melvin Greg Darrin Pfeiffer. Soto performed on guitar and bass guitar, as well as adding vocal harmonies on many musical acts such as Jack Grisham's group the Manic Low as well as guitar and backing vocals on CJ Ramone's album American Beauty as well as touring and performing on guitar. Soto was part of a group known as Plan B alongside Nick Oliveri, Troy Van Leeuwen, Joey Castillo. Soto's family is from Mexico. Soto died peacefully in his sleep on June 27, 2018 at the age of 54; the cause of death is unknown. Agent OrangeBloodstains 7" EP Living in Darkness Adolescen
Surf music is a subgenre of rock music associated with surf culture as found in Southern California. It was popular from 1962 to 1964 in two major forms; the first is instrumental surf, distinguished by reverb-drenched electric guitars played to evoke the sound of crashing waves pioneered by Dick Dale and the Del-Tones. The second is vocal surf, which took elements of the original surf sound and added vocal harmonies, a movement led by the Beach Boys. Dick Dale developed the surf sound from instrumental rock, where he added Middle Eastern and Mexican influences, a spring reverb, the rapid alternate picking characteristics, his regional hit "Let's Go Trippin'" launched the surf music craze, inspiring many others to take up the approach. The genre reached national exposure when it was represented by vocal groups such as the Beach Boys and Jan and Dean. Dale is quoted on such groups: "They were surfing sounds surfing lyrics. In other words, the music wasn't surfing music; the words made them surfing songs....
That was the difference... the real surfing music is instrumental."At the height of its popularity, surf music rivaled girl groups and Motown for top American popular music trends. It is sometimes referred to interchangeably with the California Sound. During the stages of the surf music craze, many of its groups started to write songs about cars and girls. Surf music emerged in the late 1950s as instrumental rock and roll music always in straight 4/4 time, with a medium to fast tempo; the sound was dominated by electric guitars which were characterized by the extensive use of the "wet" spring reverb, incorporated into Fender amplifiers from 1961, thought to emulate the sound of the waves. The outboard separate Fender Reverb Unit, developed by Fender in 1961 was the actual first "wet" surf reverb tone; this unit is the reverb effect heard on Dick Dale records, others such as "Pipeline" by the Chantays and "Point Panic" by the Surfaris. It had more of a wet "plucky" tone than the "built in" amp reverb, due to a different circuitry.
Guitarists made use of the vibrato arm on their guitar to bend the pitch of notes downward, electronic tremolo effects and rapid tremolo picking. Guitar models favored included those made by Fender, Teisco, or Danelectro with single coil pickups. Surf music was one of the first genres to universally adopt the electric bass the Fender Precision Bass. Classic surf drum kits tended to be Rogers, Gretsch or Slingerland; some popular songs incorporated a tenor or baritone saxophone, as on The Lively Ones' "Surf Rider" and The Revels' "Comanche". An electric organ or an electric piano featured as backing harmony. By the early 1960s, instrumental rock and roll had been pioneered by performers such as Link Wray, The Ventures and Duane Eddy; this trend was developed by Dick Dale, who added Middle Eastern and Mexican influences, the distinctive reverb, the rapid alternate picking characteristic of the genre. His performances at the Rendezvous Ballroom in Balboa, California during the summer of 1961, his regional hit "Let's Go Trippin'" that year, launched the surf music craze, which he followed up with hits like "Misirlou".
Like Dale and his Del-Tones, most early surf bands were formed in Southern California, with Orange County in particular having a strong surf culture, the Rendezvous Ballroom in Balboa hosted many surf-styled acts. Groups such as The Bel-Airs, The Challengers and Eddie & the Showmen followed Dale to regional success; the Chantays scored a top ten national hit with "Pipeline", reaching number 4 in May 1963. The single-most famous surf tune hit was "Wipe Out" by the Surfaris, with its intro of a wicked laugh; the group had two other global hits, "Surfer Joe" and "Point Panic". The growing popularity of the genre led groups from other areas to try their hand; these included The Astronauts, from Boulder, Colorado. The Atlantics, from Sydney, were not surf musicians, but made a significant contribution to the genre, the most famous example being their hit "Bombora". From Sydney were The Denvermen, whose lyrical instrumental "Surfside" reached number 1 in the Australian charts. Another Australian surf band who were known outside their own country's surf scene was The Joy Boys, backing band for singer Col Joye.
European bands around this time focused more on the style played by British instrumental rock group The Shadows. A notable example of European surf instrumental is Spanish band Los Relámpagos' rendition of "Misirlou"; the Dakotas, who were the British backing band for Merseybeat singer Billy J. Kramer, gained some attention as surf musicians with "Cruel Sea", covered by The Ventures, other instrumenta
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
Skate 3 is a skateboarding video game, the third installment in the Skate series and the sequel to 2009's Skate 2, developed by EA Black Box and published by Electronic Arts. It was released worldwide in May 2010 for PlayStation 3 and Xbox 360. Skate 3 is a skateboarding extreme sports game set in an open world environment and played from a third-person perspective; the game takes place in the fictional city of Port Carverton, which embraces skateboarding, unlike the "skateboarding is a crime" mentality portrayed in the second game. Although the location is a more colorful and friendlier place than Skate 2's de-saturated, grainy streets, the gameplay provides a similar feel to the first and second games. Port Carverton is made up of three districts, the University, Industrial. Although the overall look of the city is clean each district has its own unique designs and monuments. Downtown is full of slick rigid ledges and rails, while the University is full of banks and open areas. Industrial is the most unusual.
Several notable skateboarding professionals appear throughout the game, such as Danny Way, Darren Navarette, Terry Kennedy, Eric Koston, Chris Cole, Pat Duffy and Jason Lee. In contrast with the original Skate, two new difficulty levels have been added: "Easy" and "Hardcore" modes. "Easy Mode" allows the player to perform tricks easier and provides greater control of the character. "Hardcore Mode" attempts a closer simulation of skateboarding and the player must perform tricks precisely. It adds a more realistic feel to the game unlike easy, it would be recommended for players who have more experience. The game features an introductory "Skate School", where Coach Frank teaches players the basics of skateboarding, such as grinding and performing ollies; this feature is optional and the area can be visited for unrestricted skateboarding. Similar to the Tony Hawk games, Skate features a "Skate. Park" mode that allows players to build custom skate parks. EA introduced three new online game modes: "1-Up", "Domination", "Own The Lot".
In "1-Up", players compete in turns to beat the other team's last score in a given time period. In "Domination", teams compete to gain the most points on set spots in an area within a time limit. In "Own The Lot", two or more players try to complete tasks before their time limit ends. Unlike the previous Skate games, Skate 3 has no offline multiplayer game modes on the disc. Players must purchase the "San Van Party Pack" downloadable content in order to access the offline "Party Play" mode; some time after Skate 2, the player character has proven that they are one of the best, now goes by the alias "The Legend". They are attending the Port Carverton University. After a failed attempt to "Jump The Shark", a Thrasher challenge at the stadium, his next goal in life is to be the best skating mogul. By making a team composed of skaters like him, his goal is selling over 1 million boards while doing the same odd jobs around Port Carverton. In the developers diary, it was revealed that characters such as Joey Brezinski, Dan Drehobl, Benny Fairfax, Josh Kalis, Lizard King, Andrew Reynolds, Chris Haslam, Terry Kennedy, Chris Cole, Jason Dill, Rob Dyrdek would be featured in the game.
New tricks were introduced, like the darkslide and dropping into a ramp or bowl. The soundtrack contains 46 licensed tracks. John King of The Dust Brothers composed original score for the game. According to Mutato Muzika's website, Mark Mothersbaugh of Devo and Del the Funky Homosapien were involved with Skate 3's soundtrack, with each composer providing music for a different area in Port Carverton; the game features music by composer Dan Diaz, who continues his work with the franchise after writing for Skate 2 and Skate It. A notable song is "I'm Comin' Home" by Cheeseburger, played during the opening scene of the game. Skate 3 received "generally favorable reviews" from critics on both platforms according to the review aggregator Metacritic. In Japan, where the PlayStation 3 version was ported for release on December 16, 2010, followed by the Xbox 360 version a week Famitsu gave both console versions each a score of three sevens and one eight for a total of 29 out of 40; the A. V. Club gave the Xbox 360 version a B+ and said, "Online play isn't essential, but it would be a shame to continue skating in a vacuum."
411Mania gave the same console version a score of eight out of ten and said it was "a great follow-up to Skate 2 but it might be a bit too close for comfort. The last thing we want is for Skate to start taking a page out of Tony Hawk's book with yearly iterations that bring nothing new to the table." The Daily Telegraph gave the same console version eight out of ten and called it "a difficult, slow burning game that never strays far into the whimsical and overblown. Understanding the mechanics, let alone mastering them, is a slow, painful crawl from gnarly amateur to diamond champion." Wired gave it eight stars out of ten and said that it "doesn't take gamers anywhere as exotic or over-the-top. And that's its charm; the realistic setting and complex control scheme make for an engaging single-player experience, but it's the wide range of online multiplayer options that make Skate gleam the cube." The Escapist gave the same console version four stars out of five and stated: "Fans of the series will find more to love in the third installment.
For newcomers, this is the most accessible and fun skateboarding game there is." Edge gave the PS3 version seven out of ten and said, "While refinement might be the best way to make a good game better, it isn't the best way to justify the cost of a second sequel in as many years."The game has become a popular staple of Let's Play channels, due to i
This Is the Voice
This Is the Voice is the second studio album by American punk rock band Agent Orange, released in 1986 by Enigma Records. A retrospective AllMusic review said, "The long-delayed second Agent Orange album isn't quite Living in Darkness part two, though it's little different from that album in many ways -- same nuclear-strength attack that's equal parts surf and punk intensity and threatening all at once"; this Is the Voice at Discogs
A video game is an electronic game that involves interaction with a user interface to generate visual feedback on a two- or three-dimensional video display device such as a TV screen, virtual reality headset or computer monitor. Since the 1980s, video games have become an important part of the entertainment industry, whether they are a form of art is a matter of dispute; the electronic systems used to play video games are called platforms. Video games are developed and released for one or several platforms and may not be available on others. Specialized platforms such as arcade games, which present the game in a large coin-operated chassis, were common in the 1980s in video arcades, but declined in popularity as other, more affordable platforms became available; these include dedicated devices such as video game consoles, as well as general-purpose computers like a laptop, desktop or handheld computing devices. The input device used for games, the game controller, varies across platforms. Common controllers include gamepads, mouse devices, the touchscreens of mobile devices, or a person's body, using a Kinect sensor.
Players view the game on a display device such as a television or computer monitor or sometimes on virtual reality head-mounted display goggles. There are game sound effects and voice actor lines which come from loudspeakers or headphones; some games in the 2000s include haptic, vibration-creating effects, force feedback peripherals and virtual reality headsets. In the 2010s, the commercial importance of the video game industry is increasing; the emerging Asian markets and mobile games on smartphones in particular are driving the growth of the industry. As of 2015, video games generated sales of US$74 billion annually worldwide, were the third-largest segment in the U. S. entertainment market, behind broadcast and cable TV. 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, issued on 14 December 1948, as U. S.
Patent 2455992. Inspired by radar display technology, it consisted of an analog device that allowed a user to control a vector-drawn dot on the screen to simulate a missile being fired at targets, which were drawings fixed to the screen. Other early examples include: The Nimrod computer at the 1951 Festival of Britain; each game used different means of display: NIMROD used a panel of lights to play the game of Nim, OXO used a graphical display to play tic-tac-toe Tennis for Two used an oscilloscope to display a side view of a tennis court, Spacewar! used the DEC PDP-1's 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, coin-operated video game, it used a black-and-white television for its display, 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 first home console. Modeled after a late 1960s prototype console developed by Ralph H. Baer called the "Brown Box", it used a standard television.
These were followed by two versions of Atari's Pong. The commercial success of Pong led numerous other companies to develop Pong clones and their own systems, spawning the video game industry. A flood of Pong clones led to the video game crash of 1977, which came to an end with the mainstream success of Taito's 1978 shooter game Space Invaders, marking the beginning of the golden age of arcade video games and inspiring dozens of manufacturers to enter the market; the game inspired arcade machines to become prevalent in mainstream locations such as shopping malls, traditional storefronts and convenience stores. The game became the subject of numerous articles and stories on television and in newspapers and magazines, establishing video gaming as a growing mainstream hobby. Space Invaders was soon licensed for the Atari VCS, becoming the first "killer app" and quadrupling the console's sales; this helped Atari recover from their earlier losses, in turn the Atari VCS revived the home video game market during the second generation of consoles, up until the North American video game crash of 1983.
The home video game industry was revitalized shortly afterwards by the widespread success of the Nintendo Entertainment System, which marked a shift in the dominance of the video game industry from the United States to Japan during the third generation of consoles. A number of video game developers emerged in Britain in the early 1980s; 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; the distinctions below are not always clear and there may be games that bridge one or more platforms. In addition to laptop/desktop computers and mobile devices, there are other devices which have the ability to play games but are not video game machines, such as PDAs and graphing calculators. In common use a "PC game" refers to a form of media that involves a player interacting with a personal computer conne