New Musical Express is a British music journalism website and former magazine, published since 1952. It was the first British paper to include a singles chart, in the edition of 14 November 1952. In the 1970s it became the best-selling British music newspaper. During the period 1972 to 1976, it was associated with gonzo journalism became associated with punk rock through the writings of Julie Burchill, Paul Morley and Tony Parsons, it started as a music newspaper, moved toward a magazine format during the 1980s and 1990s, changing from newsprint in 1998. An online version, NME.com, was launched in 1996. It became the world's biggest standalone music site, with over sixteen million users per month. With newsstand sales falling across the UK magazine sector, the magazine's paid circulation in the first half of 2014 was 15,830. In 2013, the list of NME's The 500 Greatest Albums of All Time and the way it was conceived was criticized by the media; the printed magazine NME was relaunched in September 2015 to be distributed nationally as a free publication.
The first average circulation published in February 2016 of 307,217 copies per week was the highest in the brand's history, beating the previous best of 306,881, recorded in 1964 at the height of the Beatles' fame. By December 2017, according to the Audit Bureau of Circulations, average distribution of NME had fallen to 289,432 copies a week, although its publisher Time Inc. UK claimed to have more than 13m global unique users per month, including 3m in the UK. In March 2018, the publisher announced that the print edition of NME would cease publication after 66 years, leaving it as an online-only title. NME's headquarters are in Southwark, England; the brand's current editor is Charlotte Gunn, replacing Mike Williams, who stepped down in February 2018. The paper was established in 1952; the Accordion Times and Musical Express was bought by London music promoter Maurice Kinn, for the sum of £1,000, just 15 minutes before it was due to be closed. It was relaunched as the New Musical Express, was published in a non-glossy tabloid format on standard newsprint.
On 14 November 1952, taking its cue from the US magazine Billboard, it created the first UK Singles Chart, a list of the Top Twelve best-selling singles. The first of these was, in contrast to more recent charts, a top twelve sourced by the magazine itself from sales in regional stores around the UK; the first number one was "Here in My Heart" by Al Martino. During the 1960s the paper championed the new British groups emerging at the time; the NME circulation peaked under Andy Gray with a figure of 306,881 for the period from January to June 1964. The Beatles and the Rolling Stones were featured on the front cover; these and other artists appeared at the NME Poll Winners' Concert, an awards event that featured artists voted as most popular by the paper's readers. The concert featured a ceremony where the poll winners would collect their awards; the NME Poll Winners' Concerts took place between 1959 and 1972. From 1964 onwards they were filmed and transmitted on British television a few weeks after they had taken place.
In the mid-1960s, the NME was dedicated to pop while its older rival, Melody Maker, was known for its more serious coverage of music. Other competing titles included Record Mirror, which led the way in championing American rhythm and blues, Disc, which focused on chart news; the latter part of the decade saw the paper chart the rise of psychedelia and the continued dominance of British groups of the time. During this period some sections of pop music began to be designated as rock; the paper became engaged in a sometimes tense rivalry with Melody Maker. By the early 1970s, NME had lost ground to Melody Maker, as its coverage of music had failed to keep place with the development of rock music during the early years of psychedelia and progressive rock. In early 1972 the paper found itself on the verge of closure by its owner IPC. According to Nick Kent: After sales had plummeted to 60,000 and a review of guitar instrumentalist Duane Eddy had been printed which began with the immortal words "On this, his 35th album, we find Duane in as good as voice as ever," the NME had been told to rethink its policies or die on the vine.
Alan Smith was made editor in 1972, was told by IPC to turn things around or face closure. To achieve this and his assistant editor Nick Logan raided the underground press for writers such as Charles Shaar Murray and Nick Kent, recruited other writers such as Tony Tyler, Ian MacDonald and Californian Danny Holloway. According to The Economist, the New Musical Express "started to champion underground, up-and-coming music.... NME became the gateway to a more rebellious world. First came glamrock, bands such as T. Rex, came punk....by 1977 it had become the place to keep in touch with a cultural revolution, enthralling the nation's listless youth. Bands such as Sex Pistols, X-Ray Spex and Generation X were regular cover stars, eulogised by writers such as Julie Burchill and Tony Parsons, whose nihilistic tone narrated the punk years perfectly." By the time Smith handed the editor's chair to Logan in mid-1973, the paper was selling nearly 300,000 copies per week and was outstripping Melody Maker, Record Mirror and Sounds.
According to MacDonald: I think all the other papers knew by 1974 that NME had become the best music paper in Britain. We had most of the best writers and photographers, the best layouts
Early Recordings (Quasi album)
Early Recordings is a compilation album by the American indie band Quasi. It was released on March 29, 1996, on Key Op Records, re-released on August 21, 2001 on Touch and Go Records, it includes songs released on the band's self-titled, self-released cassette, as well as unreleased recordings. All tracks by Sam Coomes except. "Two Hounds" – 2:41 "Superficial" – 3:27 "Birds Are Bells" – 1:56 "Lump of Coal" – 3:08 "Time Flies By" – 2:26 "Gaping Holes" – 3:08 "Hui Neng" – 2:28 "Homunculus" – 3:50 "Monkey, Mirror" – 3:52 "Hairs" – 1:04 "The Egg" – 3:37 "Rumpy" – 2:11 "Digital Delay" – 2:09 "Mammon" – 2:55 "Reverse Coagulation" – 0:54 "Op. 7" – 1:29 "Pay Me Now, or Pay Me Later" – 3:45 "Unspeakable Thing" – 4:07 "Deep Sleep" – 5:08 Sam Coomes – vocals, Roxichord, keyboards Janet Weiss – vocals, drums
Featuring "Birds" is the third studio album by American indie rock band Quasi. It was released in 1998 by record label Up in the US and Domino in the UK. Featuring "Birds" was recorded during December 1997 at Jackpot Studio in Oregon. Featuring "Birds" was released on April 21, 1998 by record label Up in the US and Domino in the UK. Featuring "Birds" has been well received by critics. Sean Kennerly of Rolling Stone wrote: " hides gut-wrenching heartache and despair inside sugary vocal harmonies and catchy, succinct songwriting. Bitterness has never sounded so sweet." All tracks written by Sam Coomes, except "Tomorrow", written by Janet Weiss. Sam Coomes – vocals, Roxichord, keyboards Janet Weiss – vocals, drums Charlie Campbell – orchestral guitar on "Tomorrow You'll Hide", executive producer Quasi – production Joanna Bolme – executive producer Larry Crane – recording engineer, executive producer Tony Lash – executive producer, mastering Dave Livingston – executive producer Kathy Malloy – executive producer Chris Slusarenko – executive producer Elliott Smith – executive producer Chris Takino – executive producer Julie Weiss – executive producer
Quasi Self Boot 93–96
Quasi Self Boot 93–96 is a compilation album by the American indie band Quasi. The compilation is self-released, has been sold only at live shows beginning in 2006; the compilation features tracks from the band's self-released cassette from 1993, a few unreleased tracks, the song "Ghidora–The Cat–From Bad to Worse" from their split 7" with Bugskull. Three of the tracks on the compilation are cover songs: "Sound & Vision", "Take Me With U", "Life's a Gas". "Sound & Vision" - 4:26 "Caveman" - 3:37 "Buffalo Crap" - 2:04 "Take Me with U" - 4:00 "Ghidorah–The Cat–From Bad to Worse" - 5:03 "Life's a Gas" - 4:14 "2K's #1" - 1:18 "When I'm Dead v.1" - 2:51
Joanna Bolme is a multi-instrumentalist and recording engineer who works with several indie rock bands and artists in the Pacific Northwest. She has been the bass guitarist for Stephen Malkmus and the Jicks since their formation in 2001. Bolme became interested in playing music after seeing The Pretenders while in high school, she was a fan of the Portland punk scene in the 80s, she learned to play bass when she "got bored with guitar". Over the years she has played in bands including Quasi, The Minders, The Spinanes, Jr. High, Calamity Jane, The Shadow Mortons, Stephen Malkmus and the Jicks. Bolme became one of the founding members of the Jicks after finding out that Malkmus had been playing music with John Moen during a game of scrabble with Stephen Malkmus, she has been the bass player for the Jicks since it began in 2000. She began touring with the indie rock band and long time duo Quasi in 2006, was an official member of the band from 2007 to 2011. Bolme was born in Florida, she has lived there since.
Bolme was a long-time friend of musician Elliott Smith and worked to mix Either/Or and the posthumous album of his work From a Basement on the Hill with the help of Rob Schnapf. Bolme is married to Gary Jarman of UK band The Cribs. "Arches and aisles by the Spinanes. High – bass Golden Street by The Minders – bass Stephen Malkmus by Stephen Malkmus and the Jicks – bass From Burnt Orange to Midnight Blue by Sean Croghan – piano Pig Lib by Stephen Malkmus and the Jicks – bass Face the Truth by Stephen Malkmus – bass Real Emotional Trash by Stephen Malkmus and the Jicks – synthesizer, backing vocals American Gong by Quasi – bass Mirror Traffic by Stephen Malkmus and the Jicks – bass Wig Out at Jagbags by Stephen Malkmus and the Jicks – bass Sparkle Hard by Stephen Malkmus and the Jicks – bass Either/Or by Elliott Smith – mixing Featuring "Birds" by Quasi – executive producer Bella Neurox by Miss Murgatroid & Petra Haden – mixing Live at the Safari Club by The Chimps – engineer Lost Son by Richmond Fontaine – engineer No Memory by No. 2 – engineer Old Man Motel by Fernando – engineer Colonel Jeffery Pumpernickel: A Concept Album by various artists – engineer What Does Good Luck Bring? by No. 2 – engineer Winnemucca by Richmond Fontaine – engineer From a Basement on the Hill by Elliott Smith – mixing It's a Bright Guilty World by The Minders – mixing To Elliott, From Portland by various artists – engineer, mixing
The saxophone is a family of woodwind instruments. Saxophones are made of brass and played with a single-reed mouthpiece similar to that of the clarinet. Although most saxophones are made from brass, they are categorized as woodwind instruments, because sound is produced by an oscillating reed, traditionally made out of woody cane, rather than lips vibrating in a mouthpiece cup as with the brass instrument family; as with the other woodwinds, the pitch of the note being played is controlled by covering holes in the body tube to control the resonant frequency of the air column by changing the effective length of the tube. The saxophone is used in classical music, military bands, marching bands and contemporary music; the saxophone is used as a solo and melody instrument or as a member of a horn section in some styles of rock and roll and popular music. Saxophone players are called saxophonists. Since the first saxophone was invented by the Belgian instrument maker Adolphe Sax in the early 1840s, saxophones have been produced in a variety of series distinguished by transpositions within instrument sets and tuning standard.
Sax patented the saxophone on June 1846, in two groups of seven instruments each. Each series consisted in alternating transposition; the series pitched in B♭ and E♭ soon became dominant and most saxophones encountered today are from this series. Instruments from the series pitched in C and F never gained a foothold and constituted only a small percentage of instruments made by Sax. High Pitch saxophones tuned sharper than the A = 440 Hz standard were produced into the early twentieth century for sonic qualities suited for outdoor uses, but are not playable to modern tuning and are considered obsolete. Low Pitch saxophones are equivalent in tuning to modern instruments. C soprano and C melody saxophones were produced for the casual market as parlor instruments during the early twentieth century. Saxophones in F never gained acceptance; the modern saxophone family consists of instruments in the B♭ - E♭ series and experimental instruments notwithstanding. The saxophones with widest use and availability are the sopranos, altos and baritones.
In the keyed ranges of the various saxophones, the pitch is controlled by keys with shallow cups in which are fastened leather pads that seal toneholes, controlling the resonant length, thereby frequency, of the air column within the body tube. Small holes called vents, located between the toneholes and the mouthpiece, are opened by an octave key to raise the pitch by eliminating the fundamental frequency, leaving the first harmonic as the frequency defining the pitch. Most modern saxophones are keyed to produce a low B♭ with all keys closed; the highest keyed note has traditionally been F two and a half octaves above low B♭, while the keyed range is extended to F♯ on most recent performance-class instruments. A high G key is most common on modern soprano saxophones. Notes above F are considered part of the altissimo register of any saxophone, can be produced using advanced embouchure techniques and fingering combinations. Keywork facilitating altissimo playing is a feature of modern saxophones.
Modern saxophone players have extended the range to over four octaves on alto. Music for most saxophones is notated using treble clef; because all saxophones use the same key arrangement and fingering to produce a given notated pitch, it is not difficult for a competent player to switch among the various sizes when the music has been suitably transposed, many do so. Since the baritone and alto are pitched in E♭, players can read concert pitch music notated in the bass clef by reading it as if it were treble clef and adding three sharps to the key signature; this process, referred to as clef substitution, makes it possible for the Eb instruments to play from parts written for baritone horn, euphonium, string bass, trombone, or tuba. This can be useful if a orchestra lacks one of those instruments; the straight soprano and sopranino saxophones consist of a straight conical tube with a flared bell at the end opposite the mouthpiece. The interior of the tube is called the bore. Alto and larger saxophones include a detachable curved neck above the highest tone hole, directing the mouthpiece to the player's mouth and, with rare exceptions, a U-shaped bow that directs the bell upward and a curve in the throat of the bell directing it forward.
The set of curves near the bell has become a distinctive feature of the saxophone family, to the extent that soprano and sopranino saxes are sometimes made in the curved style. The baritone and contrabass saxophones accommodate the length of the bore with extra bows and right-angle bends between the main body and the mouthpiece; the left hand operates keys from the upper part of the body tube while the right hand operates keys from the lower part. The right thumb sits under a thumb hook and left thumb is placed on a thumb rest to stabilize and balance the saxophone, while the weight of most saxophones is supported by a neckstrap attached to a strap ring on the rear of the body of the instrument; the left thumb operates the octave key. With soprano and smaller saxophones weight tends to be borne by the right thumb while a neckstrap provides security for the instrument. Keys consist of the cups, and
Portland is the largest and most populous city in the U. S. state of Oregon and the seat of Multnomah County. It is a major port in the Willamette Valley region of the Pacific Northwest, at the confluence of the Willamette and Columbia rivers; as of 2017, Portland had an estimated population of 647,805, making it the 26th-largest city in the United States, the second-most populous in the Pacific Northwest. 2.4 million people live in the Portland metropolitan statistical area, making it the 25th most populous MSA in the United States. Its Combined Statistical Area ranks 18th-largest with a population of around 3.2 million. 60% of Oregon's population resides within the Portland metropolitan area. Named after Portland, the Oregon settlement began to be populated in the 1830s near the end of the Oregon Trail, its water access provided convenient transportation of goods, the timber industry was a major force in the city's early economy. At the turn of the 20th century, the city had a reputation as one of the most dangerous port cities in the world, a hub for organized crime and racketeering.
After the city's economy experienced an industrial boom during World War II, its hard-edged reputation began to dissipate. Beginning in the 1960s, Portland became noted for its growing progressive political values, earning it a reputation as a bastion of counterculture; the city operates with a commission-based government guided by a mayor and four commissioners as well as Metro, the only directly elected metropolitan planning organization in the United States. The city government is notable for its land-use investment in public transportation. Portland is recognized as one of the world's most environmentally conscious cities because of its high walkability, large community of bicyclists, farm-to-table dining, expansive network of public transportation options, over 10,000 acres of public parks, its climate is marked by cool, rainy winters. This climate is ideal for growing roses, Portland has been called the "City of Roses" for over a century. During the prehistoric period, the land that would become Portland was flooded after the collapse of glacial dams from Lake Missoula, in what would become Montana.
These massive floods occurred during the last ice age and filled the Willamette Valley with 300 to 400 feet of water. Before American pioneers began arriving in the 1800s, the land was inhabited for many centuries by two bands of indigenous Chinook people—the Multnomah and the Clackamas; the Chinook people occupying the land were first documented in 1805 by Meriwether Lewis and William Clark. Before its European settlement, the Portland Basin of the lower Columbia River and Willamette River valleys had been one of the most densely populated regions on the Pacific Coast. Large numbers of pioneer settlers began arriving in the Willamette Valley in the 1830s via the Oregon Trail, though life was centered in nearby Oregon City. In the early 1840s a new settlement emerged ten miles from the mouth of the Willamette River halfway between Oregon City and Fort Vancouver; this community was referred to as "Stumptown" and "The Clearing" because of the many trees cut down to allow for its growth. In 1843 William Overton saw potential in the new settlement but lacked the funds to file an official land claim.
For 25 cents, Overton agreed to share half of the 640-acre site with Asa Lovejoy of Boston. In 1845 Overton sold his remaining half of the claim to Francis W. Pettygrove of Maine. Both Pettygrove and Lovejoy wished to rename "The Clearing" after their respective hometowns; this controversy was settled with a coin toss that Pettygrove won in a series of two out of three tosses, thereby providing Portland with its namesake. The coin used for this decision, now known as the Portland Penny, is on display in the headquarters of the Oregon Historical Society. At the time of its incorporation on February 8, 1851, Portland had over 800 inhabitants, a steam sawmill, a log cabin hotel, a newspaper, the Weekly Oregonian. A major fire swept through downtown in August 1873, destroying twenty blocks on the west side of the Willamette along Yamhill and Morrison Streets, causing $1.3 million in damage. By 1879, the population had grown to 17,500 and by 1890 it had grown to 46,385. In 1888, the city built the first steel bridge built on the West Coast.
Portland's access to the Pacific Ocean via the Willamette and Columbia rivers, as well as its easy access to the agricultural Tualatin Valley via the "Great Plank Road", provided the pioneer city with an advantage over other nearby ports, it grew quickly. Portland remained the major port in the Pacific Northwest for much of the 19th century, until the 1890s, when Seattle's deepwater harbor was connected to the rest of the mainland by rail, affording an inland route without the treacherous navigation of the Columbia River; the city had its own Japantown, for one, the lumber industry became a prominent economic presence, due to the area's large population of Douglas Firs, Western Hemlocks, Red Cedars, Big Leaf Maple trees. Portland developed a reputation early in its history as a gritty port town; some historians have described the city's early establishment as being a "scion of New England. In 1889, The Oregonian called Portland "the most filthy city in the Northern States", due to the unsanitary sewers and gutters, and, at the turn of the 20th century, it was considered one of the most dangerous port cities in the world.
The city housed a large number of saloons