Metro Newspapers known as Metro Publishing is an American newspaper company based in San Jose, California. It publishes four free alternative weekly newspapers in Northern California: Metro Silicon Valley, Good Times, the Pacific Sun and the North Bay Bohemian. Together, the publications reach a weekly audience of about half a million people, according to The Media Audit; the publications are free-distribution, tabloid-sized newspapers emphasizing news and analysis, local coverage and in-depth coverage of arts and entertainment. Its Boulevards affiliate operates city guides on the web internationally, under such URLs as Seattle.com. Founded in 1985, the Metro weekly began celebrating its 25th year starting in March 2009, making it the most established free weekly in the South Bay Area of Northern California, it was one of the first newspapers to publish Matt Groening's Life in Hell and Rob Brezsny's Real Astrology. The company is operated by Dan Pulcrano. Metro Santa Cruz began publishing in 1994.
The same year, Metro Newspapers purchased the Sonoma County Independent, which, in October 2000, expanded its distribution to cover Napa and Marin counties and is now published under the North Bay Bohemian flag. In March 2009, on the publication's 15th anniversary, Metro Santa Cruz was renamed Santa Cruz Weekly. In March 2014, Metro Newspapers acquired Good Times, the Gilroy Dispatch, the Hollister Free Lance and the Morgan Hill Times, merged Good Times and the Santa Cruz Weekly. In 2015, Metro acquired the Pacific Sun. Metro developed a group of weekly community newspapers, including the Los Gatos Weekly-Times, Saratoga News, Campbell Reporter, Willow Glen Resident and Sunnyvale Sun. Under Metro's ownership, the group won numerous awards, including the California Newspaper Publishers Association's "General Excellence" award in its Better Newspapers Contest. On December 17, 2001, David Cohen, a co-founder of Metro, bought the group, which at the time included six publications and left to run Silicon Valley Community Newspapers as an independent company.
Cohen sold it three years to Knight Ridder which sold the group to McClatchy Corp. McClatchy resold SVCN to Dean Singleton's MediaNews Group. In 2014, Bay Area News Group marketing director Erika Brown announced that the newspapers would be distributed to subscribers of the Mercury News, rather than to homes in the community. Metro was an early participant in the online publishing revolution, in 1993 launching the Livewire online service, one of the first online efforts by a non-daily newspaper publisher; the service offered free email accounts, online commerce, posting forums, online articles. Virtual Valley, a similar service with an emphasis on covering Silicon Valley communities, was launched the following year and helped put the city governments of San Jose and Los Gatos online. In 1994, Metro established Boulevards, a network of web sites, each covering a major U. S. metropolitan area, that pre-dated Citysearch and Microsoft's short-lived "Sidewalk" service. In 1995, Metro launched the online version of the newspaper on the Web under the brand Metroactive.
This now includes a downloadable edition in PDF format. Metroactive has received several awards for its work, including: Six papers in the Metro Newspapers group were honored for writing and design at the California Newspaper Publishers Association Better Newspapers Awards, July 1997. Three papers in the Metro Newspapers group won at the National Newspaper Association's 1995 contest, announced September 1996. Five papers in the Metro Newspapers group were honored for writing and design at the California Newspaper Publishers Association Better Newspapers Awards, July 1996. Metro Silicon Valley won two awards at the California Newspaper Publishers Association Better Newspapers Awards, October 2008. Official Web site of Metro Newspapers Metro Silicon Valley Metro Santa Cruz North Bay Bohemian Boulevards City Guide network San Jose Inside SV411 Silicon Valley Newsblog Metro: PDF edition
Start Together is compilation box set containing the entire remastered discography of the American rock band Sleater-Kinney. A digital version of the remastered box set was released on September 2, 2014. 3,000 limited edition physical copies of the box set were released on colored vinyl with a 44-page companion book on October 21, 2014. The box set included a 7" single of the song "Bury Our Friends" from their 2015 album No Cities to Love. Jenn Pelly of Pitchfork Media praised the compilation box set, stating that "Start Together tells the unlikely story of how this band carried the wildfire of'90s Oly-punk to pastures of more ambitious musicality—a decade that moves from caterwauling shrieks to glowing lyricism, from barebones snark to Zep-length improv, from personal-political to outright political." Sleater Kinney Call the Doctor Dig Me Out The Hot Rock All Hands on the Bad One One Beat The Woods Bury Our Friends Sup Pop press release
Punk rock is a rock music genre that developed in the 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 rock bands rejected perceived excesses of mainstream 1970s rock, they produced short, fast-paced songs with hard-edged melodies and singing styles, stripped-down instrumentation, political, anti-establishment lyrics. Punk embraces a DIY ethic; the term "punk rock" was first used by certain American rock critics in the early 1970s to describe 1960s garage bands and subsequent acts perceived as stylistic inheritors. Between 1974 and 1976 the movement now called. By late 1976, bands such as Television and the Ramones in New York City, the Sex Pistols, the Clash, the Damned in London, the Saints in Brisbane were recognized as forming its vanguard; as 1977 approached, punk became a major and controversial cultural phenomenon in the UK. It spawned a punk subculture expressing youthful rebellion through distinctive styles of clothing and adornment and a variety of anti-authoritarian ideologies.
In 1977 the influence of the music and subculture became more pervasive. It took root in a wide range of local scenes that rejected affiliation with the mainstream. In the late 1970s, punk experienced a second wave as new acts that were not active during its formative years adopted the style. By the early 1980s, faster and more aggressive subgenres such as hardcore punk, street punk and anarcho-punk became the predominant modes of punk rock. Musicians identifying with or inspired by punk pursued other musical directions, giving rise to spinoffs such as post-punk, new wave, indie pop, alternative rock, noise rock. By the 1990s, punk re-emerged in the mainstream with the success of punk rock and pop punk bands such as Green Day, The Offspring, Blink-182; the first wave of punk rock was "aggressively modern" and differed from what came before. According to Ramones drummer Tommy Ramone, "In its initial form, a lot of stuff was innovative and exciting. What happens is that people who could not hold a candle to the likes of Hendrix started noodling away.
Soon you had endless solos. By 1973, I knew that what was needed was some pure, stripped down, no bullshit rock'n' roll." John Holmstrom, founding editor of Punk magazine, recalls feeling "punk rock had to come along because the rock scene had become so tame that like Billy Joel and Simon and Garfunkel were being called rock and roll, when to me and other fans and roll meant this wild and rebellious music." In critic Robert Christgau's description, "It was a subculture that scornfully rejected the political idealism and Californian flower-power silliness of hippie myth." Technical accessibility and a Do. UK pub rock from 1972-1975 contributed to the emergence of punk rock by developing a network of small venues, such as pubs, where non-mainstream bands could play. Pub rock introduced the idea of independent record labels, such as Stiff Records, which put out basic, low-cost records. Pub rock bands put out small pressings of their records. In the early days of punk rock, this DIY 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 looked on with suspicion. According to Holmstrom, punk rock was "rock and roll by people who didn't have many skills as musicians but still felt the need to express themselves through music". In December 1976, the English fanzine Sideburns published a now-famous illustration of three chords, captioned "This is a chord, this is another, this is a third. Now form a band"; the title of a 1980 single by the New York punk band Stimulators, "Loud Fast Rules!", inscribed a catchphrase for punk's basic musical approach. Some of British punk rock's leading figures made a show of rejecting not only contemporary mainstream rock and the broader culture it was associated with, but their own most celebrated music predecessors: "No Elvis, Beatles or the Rolling Stones in 1977", declared the Clash song "1977"; the previous year, when the punk rock revolution began in Great Britain, was to be both a musical and a cultural "Year Zero". As nostalgia was discarded, many in the scene adopted a nihilistic attitude summed up by the Sex Pistols slogan "No Future".
While "self-imposed alienation" was common among "drunk punks" and "gutter punks", there was always a tension between their nihilistic outlook and the "radical leftist utopianism" of bands such as Crass, who found positive, liberating meaning in the movement. As a Clash associate describes singer Joe Strummer's outlook, "Punk rock is meant to be our freedom. We're meant to be able to do what we want to do."The issue of authenticity is important in the punk subculture—the pejorative term "poseur" is applied to those who associate with punk and adopt its stylistic attributes but are deemed not to share or understand the underlying values and philosophy. Scholar Daniel S. Traber argues that "attaining authenticity in the punk identity can be difficult".
The Rolling Stone Album Guide
The Rolling Stone Album Guide known as The Rolling Stone Record Guide, is a book that contains professional music reviews written and edited by staff members from Rolling Stone magazine. Its first edition was published in 1979 and its last in 2004; the guide can be seen at Rate Your Music, while a list of albums given a five star rating by the guide can be seen at Rocklist.net. The Rolling Stone Record Guide was the first edition of what would become The Rolling Stone Album Guide, it was edited by Dave Marsh and John Swenson, included contributions from 34 other music critics. It is divided into sections by musical genre and lists artists alphabetically within their respective genres. Albums are listed alphabetically by artist although some of the artists have their careers divided into chronological periods. Dave Marsh, in his Introduction, cites as precedents Leonard Maltin's book TV Movies and Robert Christgau's review column in the Village Voice, he gives Tape Guide as raw sources of information.
The first edition included black and white photographs of many of the covers of albums which received five star reviews. These titles are listed together in the Five-Star Records section, coincidentally five pages in length; the edition included reviews for many comedy artists including Lenny Bruce, Lord Buckley, Bill Cosby, The Firesign Theatre, Spike Jones, Richard Pryor. Comedy artists were listed in the catch-all section "Rock, Soul and Pop", which included the genres of folk, bluegrass and reggae, as well as comedy. Traditional pop performers were not included, with the notable exceptions of Frank Sinatra and Nat King Cole. Included too were some difficult-to-classify artists. Big band jazz was handled selectively, with certain band leaders omitted, while others were included. Many other styles of jazz did appear in the Jazz section; the book was notable for the time in the provocative, "in your face" style of many of its reviews. For example, writing about Neil Young's song, "Down by the River", John Swenson described it both as an "FM radio classic", as a "wimp anthem".
His colleague, Dave Marsh, in reviewing the three albums of the jazz fusion group Chase, gave a one-word review: "Flee.". Introduction Rock, Soul and Pop Blues Jazz Gospel Anthologies and Original Casts Five-Star Records Glossary Selected Bibliography The guide employs a five star rating scale with the following descriptions of those ratings: Indispensable: a record that must be included in any comprehensive collection Excellent: a record of substantial merit, though flawed in some essential way. Good: a record of average worth, but one that might possess considerable appeal for fans of a particular style. Mediocre: a record, artistically insubstantial, though not wretched. Poor: a record where technical competence is at question or it was remarkably ill-conceived. Worthless: a record that need never have been created. Reserved for the most bathetic bathwater; the New Rolling Stone Record Guide was an update of 1979's The Rolling Stone Record Guide. Like the first edition, it was edited by Swenson.
It included contributions from 52 music critics and featured chronological album listings under the name of each artist. In many cases, updates from the first edition consist of short, one-sentence verdicts upon an artist's work. Instead of having separate sections such as Blues and Gospel, this edition compressed all of the genres it reviewed into one section except for Jazz titles which were removed for this edition and were expanded and published in 1985 Rolling Stone Jazz Record Guide. Besides adding reviews for many emerging punk and New Wave bands, this edition added or expanded a significant number of reviews of long-established reggae and ska artists. Since the goal of this guide was to review records that were in print at the time of publication, this edition featured a list of artists who were included in the first edition but were not included in the second edition because all of their material was out of print; this edition dispensed with the album cover photos found in the first edition.
Introduction to the Second Edition Introduction to the First Edition Ratings Reviewers Record Label Abbreviations Rock, Blues, Country and Pop Anthologies and Original Cast Index to Artists in the First Edition The second edition uses the same rating system as the first edition. The only difference is that in addition to a rating, the second edition employs the pilcrow mark to indicate a title, out of print at the time the guide was published; some artists had the ratings for their albums lowered as the book now offered a revisionist slant to rock's history. The Rolling Stone Jazz Record Guide was published in 1985 and incorporated the jazz listings omitted from The New Rolling S
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
The guitar is a fretted musical instrument that has six strings. It is played with both hands by strumming or plucking the strings with either a guitar pick or the finger/fingernails of one hand, while fretting with the fingers of the other hand; the sound of the vibrating strings is projected either acoustically, by means of the hollow chamber of the guitar, or through an electrical amplifier and a speaker. The guitar is a type of chordophone, traditionally constructed from wood and strung with either gut, nylon or steel strings and distinguished from other chordophones by its construction and tuning; the modern guitar was preceded by the gittern, the vihuela, the four-course Renaissance guitar, the five-course baroque guitar, all of which contributed to the development of the modern six-string instrument. There are three main types of modern acoustic guitar: the classical guitar, the steel-string acoustic guitar, the archtop guitar, sometimes called a "jazz guitar"; the tone of an acoustic guitar is produced by the strings' vibration, amplified by the hollow body of the guitar, which acts as a resonating chamber.
The classical guitar is played as a solo instrument using a comprehensive finger-picking technique where each string is plucked individually by the player's fingers, as opposed to being strummed. The term "finger-picking" can refer to a specific tradition of folk, blues and country guitar playing in the United States; the acoustic bass guitar is a low-pitched instrument, one octave below a regular guitar. Electric guitars, introduced in the 1930s, use an amplifier and a loudspeaker that both makes the sound of the instrument loud enough for the performers and audience to hear, given that it produces an electric signal when played, that can electronically manipulate and shape the tone using an equalizer and a huge variety of electronic effects units, the most used ones being distortion and reverb. Early amplified guitars employed a hollow body, but solid wood guitars began to dominate during the 1960s and 1970s, as they are less prone to unwanted acoustic feedback "howls"; as with acoustic guitars, there are a number of types of electric guitars, including hollowbody guitars, archtop guitars and solid-body guitars, which are used in rock music.
The loud, amplified sound and sonic power of the electric guitar played through a guitar amp has played a key role in the development of blues and rock music, both as an accompaniment instrument and performing guitar solos, in many rock subgenres, notably heavy metal music and punk rock. The electric guitar has had a major influence on popular culture; the guitar is used in a wide variety of musical genres worldwide. It is recognized as a primary instrument in genres such as blues, country, folk, jota, metal, reggae, rock and many forms of pop. Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, a flat back, most with incurved sides." The term is used to refer to a number of chordophones that were developed and used across Europe, beginning in the 12th century and in the Americas. A 3,300-year-old stone carving of a Hittite bard playing a stringed instrument is the oldest iconographic representation of a chordophone and clay plaques from Babylonia show people playing an instrument that has a strong resemblance to the guitar, indicating a possible Babylonian origin for the guitar.
The modern word guitar, its antecedents, has been applied to a wide variety of chordophones since classical times and as such causes confusion. The English word guitar, the German Gitarre, the French guitare were all adopted from the Spanish guitarra, which comes from the Andalusian Arabic قيثارة and the Latin cithara, which in turn came from the Ancient Greek κιθάρα. Which comes from the Persian word "sihtar"; this pattern of naming is visible in setar and sitar. The word "tar" at the end of all of these words is a Persian word that means "string". Many influences are cited as antecedents to the modern guitar. Although the development of the earliest "guitars" is lost in the history of medieval Spain, two instruments are cited as their most influential predecessors, the European lute and its cousin, the four-string oud. At least two instruments called "guitars" were in use in Spain by 1200: the guitarra latina and the so-called guitarra morisca; the guitarra morisca had a rounded back, wide fingerboard, several sound holes.
The guitarra Latina had a narrower neck. By the 14th century the qualifiers "moresca" or "morisca" and "latina" had been dropped, these two cordophones were referred to as guitars; the Spanish vihuela, called in Italian the "viola da mano", a guitar-like instrument of the 15th and 16th centuries, is considered to have been the single most important influence in the development of the baroque guitar. It had six courses, lute-like tuning in fourths and a guitar-like body, although early representations reveal an instrument with a cut waist, it was larger than the contemporary four-course guitars. By the 16th century, the vihuela's construction had more in common with the modern guitar, with its curved one-piece ribs, than with the viols, more like a larger version of the contemporary four-course guita
No Cities to Love
No Cities to Love is the eighth studio album by American rock band Sleater-Kinney, released on January 20, 2015, through Sub Pop. It is the first album following the band's 2005 release, The Woods; the album received universal acclaim from music critics and was listed on several "Best Albums of 2015" lists. The album was recorded in secret at Tiny Telephone in San Francisco, with additional sessions at Electrokitty in Seattle and Kung Fu Bakery in Portland, it was produced by John Goodmanson. On December 22, 2014, No Cities to Love was accidentally streamed three weeks early by the band's label, Sub Pop; as of January 30, 2015, the album has sold 28,000 copies in the U. S. according to Nielsen SoundScan. The video for the title track features celebrities singing the song, including Andy Samberg, Vanessa Bayer, Fred Armisen of Saturday Night Live, Sarah Silverman, Norman Reedus, Miranda July, Brie Larson, Natasha Lyonne, Ellen Page, Dinosaur Jr.'s J Mascis, My Chemical Romance's Gerard Way. In support of the album, the band toured North Europe.
Chicago Tribune critic Greg Kot listed the supporting tour as one of the winter's top rock shows. No Cities to Love received widespread acclaim from critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, it received an average score of 90, based on 39 reviews, which indicates "universal acclaim." Los Angeles Times critic Randall Roberts said "the work commands attention", while Jon Pareles from The New York Times said it was "the first great album of 2015", full of "hurtling, densely packed, white-knuckled songs that are all taut construction and raw nerve". Robert Christgau gave the record an "A" and felt it may be Sleater-Kinney's best record, while writing in Cuepoint: "Honed back down to punky three-minute songs because the leisure to stretch out is a luxury they can’t presently afford, the music carries the seed of tumult to come, the sense that something or everything could explode without notice just the way this album did." In The Observer, Kitty Empire said the band had executed "pretty much the most perfect comeback of recent years" and sounded "exactly as taut and emotive as they used to."
Writing with high praise for Exclaim!, Chris Bilton called the record "a raging collection of post-punk anthems that nudges up the powerful perfection of 2005's The Woods at least another notch." Music journalist Graham Reid said it had "all the stabbing energy of Gang of Four, the blazing passion of Siouxsie Sioux and the drama of Hole at their best". In an interview for Rolling Stone, musician St. Vincent said it was her favorite Sleater-Kinney record so far and "a crowning jewel in their legacy". All tracks written by Sleater-Kinney. Credits adapted from AllMusic Sleater-KinneyCorin Tucker — guitar, vocals Carrie Brownstein — guitar, vocals Janet Weiss — drumsTechnical personnelGreg Calbi — mastering John Goodmanson — engineer, production Thea Lorentzen — cover photo, design Mike Mills — art direction, cover photo, design Jay Pellicci — engineer Garrett G. Reynolds — engineer Brigitte Sire — band photo It's official: Sub Pop can keep a secret, Sub Pop, October 20, 2014 Phillips, Amy. New Album No Cities to Love!
2015 Tour! "Bury Our Friends" Lyric Video!", Pitchfork "Sleater-Kinney announce first new album in a decade, No Cities to Love", The Guardian, October 20, 2014 Goodman, Jessica, "Sleater-Kinney Confirms New Album'No Cities To Love' And 2015 Tour", Huffington Post Albertson, Jeff, "Sleater-Kinney adds third Seattle show to'No Cities To Love' tour", The Seattle Times Rettig, James, "Sub Pop Accidentally Streamed Sleater-Kinney's Reunion Album 3 Weeks Early", Stereogum Pareles, Jon, "Sleater-Kinney's Secret Basement Sessions", The New York Times Clark, Anne, "The Best of 2014: Broad City, St. Vincent and More Look Back", Rolling Stone Kot, Greg, "Top rock shows in Chicago this winter", Chicago Tribune Roberts, Randall, "Under-the-radar pop albums to watch for this year", The Los Angeles Times "Sleater-Kinney 2.0: The Band Talks About Its First Album In 10 Years". NPR. November 20, 2014. Sleater-Kinney "ask us anything" about No Cities To Love at reddit.com, December 2, 2014