Dr. Martens- music generation

My playlist is:
The clash - London calling
The Who - Baba O'Riley
The Sex Pistols - Pretty Vacant
Buzzcocks - Ever Fallen in love with
Joy Division - Atmosphere
Happy Mondays - Loose fit
New Order - Blue Monday
The Damned - Smash It Up
White lies - Strangers
The Specials - Ghost town
The red skins - Lean on me.

T-mobile advert

I saw this and couldnt help but think about the Intertexuality refrences throughout the whole thing, this up to date, shows the links throughout variuous refrences such as the dog; shoiws that they have researched into most common things on YouTube. This stood out to me, also the Irnoic "british" steroytypes made me think of the Kromers thoughts on Ironicness.

Postmodern music

Postmodernism in music is not a distinct musical style, but rather refers to music of the postmodern era. Postmodernist music, on the other hand, shares characteristics with postmodernist art—that is, art that comes after and reacts against modernism (see Modernism in Music).

Fredric Jameson, the major figure in the thinking on postmodernism and culture, calls postmodernism "the cultural dominant of the logic of late capitalism" (Jameson 1991, 46), meaning that, through globalization, postmodern culture is tied inextricably with capitalism (Mark Fisher, writing 20 years later, goes further, essentially calling it the sole cultural possibility (Fisher 2009, 4)). Drawing from Jameson and other theorists, David Beard and Kenneth Gloag argue that, in music, postmodernism is not just an attitude but also an inevitability in the current cultural climate of fragmentation (Beard and Gloag 2005, 141–45). As early as 1938, Theodor Adorno had already identified a trend toward the dissolution of "a culturally dominant set of values" (Beard and Gloag 2005, 141), citing the commodification of all genres as beginning of the end of genre or value distinctions in music (Adorno 2002, 293–95).

In some respects, Postmodern music could be categorized as simply the music of the postmodern era, or music that follows aesthetic and philosophical trends of postmodernism, but with Jameson in mind, it is clear these definitions are inadequate. As the name suggests, the postmodernist movement formed partly in reaction to the ideals of modernism, but in fact postmodern music is more to do with functionality and the effect of globalization than it is with a specific reaction, movement, or attitude (Beard and Gloag 2005, 142). In the face of capitalism, Jameson says, "It is safest to grasp the concept of the postmodern as an attempt to think the present historically in an age that has forgotten how to think historically in the first place" (Jameson 1991, ix).

Jonathan Kramer posits the idea (following Umberto Eco and Jean-François Lyotard) that postmodernism (including musical postmodernism) is less a surface style or historical period (i.e., condition) than an attitude. Kramer enumerates 16 (arguably subjective) "characteristics of postmodern music, by which I mean music that is understood in a postmodern manner, or that calls forth postmodern listening strategies, or that provides postmodern listening experiences, or that exhibits postmodern compositional practices." According to Kramer (Kramer 2002, 16–17), postmodern music:

1. is not simply a repudiation of modernism or its continuation, but has aspects of both a break and an extension
2. is, on some level and in some way, ironic
3. does not respect boundaries between sonorities and procedures of the past and of the present
4. challenges barriers between 'high' and 'low' styles
5. shows disdain for the often unquestioned value of structural unity
6. questions the mutual exclusivity of elitist and populist values
7. avoids totalizing forms (e.g., does not want entire pieces to be tonal or serial or cast in a prescribed formal mold)
8. considers music not as autonomous but as relevant to cultural, social, and political contexts
9. includes quotations of or references to music of many traditions and cultures
10. considers technology not only as a way to preserve and transmit music but also as deeply implicated in the production and essence of music
11. embraces contradictions
12. distrusts binary oppositions
13. includes fragmentations and discontinuities
14. encompasses pluralism and eclecticism
15. presents multiple meanings and multiple temporalities
16. locates meaning and even structure in listeners, more than in scores, performances, or composers

It should be noted here that Kramer is again referencing work in the Western art music tradition, and does not seem to be addressing music from the "popular" end of the spectrum^{[original research?]}; this kind of intentionality is not unheard-of in popular music, but it is quite unusual.^{[citation needed]}

Eliza Doolittle

Eliza Doolittle on Prezi

Inception

Inception on Prezi

Florence and the Machiene

After alot of thinking and hair pulling in trying to decide upon a modern artist that I like that do have Post modern elements was a tricky thing to do. Eventually I deccided my Post-modern artist is florence and the machiene. After seeing her at Glasto in 2010 with the Lungs album I saw her in Coventry and she was sensational, she has alot of influences from Funk and Folk music.

The Iron Door Club

Derby band The Iron Door Club look like they have an exciting future ahead of them. Having played with some well known bands such as Twisted Wheel, Turin Brakes and The Crookes, they are set to release their debut EP - 'The Conductor of the Brass Band'. We caught up with them after what has been an amazing 2010 for them...

After what has been a pretty good twelve months for you, what are your aims for 2011?
We’ve been going for just under two years now and we’ve been really lucky to have hit the ground running, and getting more or less straight on the road around the UK within months with some really good bands. We’ve been on numerous record labels, had a few managers and agents and we’re really grateful for all their work; and its only really now we’ve managed to take a step back and take stock and re-think our aims. We’ve done all the obvious ones bands think of in a really short space of time, so I guess really there’s only two things left for us to do. The first being more touring, which we have planned for next year with some really good bands. The second is to find some celebrity girlfriends! Get some WAGS involved in our van and on our adventures. All the greats have them and hopefully it’ll get us on the front page of OK! Magazine.
 Who is the best band you have had the privilege  of playing with?
We’ve played with bands all over the UK and supported some really big names. My personal favourite gig was this year, being personally asked to play alongside Turin Brakes - they got in contact after we both played the Y Not Festival and we got talking to them. They asked us if we would support them in Crewe, so we did. It was amazing the crowd were really good, a bit more timid than ones we’ve had in previous gigs supporting Twisted Wheel and The Rascals, but none the less the gig was great. We sat in our huge dressing room all night, drinking wine and eating cheese and crackers… we’re very civilised and cultured you know. Having said that, we’ve played with some lesser known, up and coming bands who we absolutely love! Big or small we always get the banter on.
Who are your musical inspirations and why?
Although we are all only young, ranging from 20 – 23 , we are re all into 50s and 60s music. I personally love the innocence of all the songs, even if some have subliminal crude sub context. I like the fact it’s all derived from early Rhythm & Blues, two musical features any band should have prominent in their sound. It absolutely kills us when we see bands singing about the ‘naughties norm’ (a term we have pioneered), which is singing about pubs, clubs, fights, fags, spilt beer and kebabs. All the best songs are about love and heartbreak, surely! We just try and recreate the innocence of the music both musically and lyrically. And most songs are only 2 or 3 chords - so it’s easy on our minds!
What is you opinion of the Derby music scene?
It’s tough I would say. There’s no real great musical heritage or legacy here, not like, for example, Manchester where they’ve had loads. With there being no nostalgic legacy in Derby, people don’t go out to watch bands to catch ‘The Next Big Thing’, because there has never been one; with the exception of WhiteTown, but they were one hit wonders weren’t they? Derby has some great people and bands. On most nights of the week the city hosts gigs in pubs, clubs and venues showcasing local bands, but the crowd is always scarse. I think bands need to do a bit more to get people into their music; we hammered it with loads of people and when they came to see us, we always came up with the goods. We know that there is a crowd of music lovers in Derby, we sell out 200 plus every time we play in Derby, so it can be done. Nottingham is also great, but the only time we play in Notts is usually on tour with a big name, but the bands in Notts are really good.
Is there a particular event or venue that you guys would love to play?
Glastombuty is definitely one of the gigs on our radar. We’ve done Y Not Festival two years on the bounce, so we can handle festivals. I think Kendal Calling is pencilled in for next year. We are not picky, we’d play anywhere that will have us. It’s a bit far off, but if we could fill Pride Park one day, that would be superb.

When will you be releasing your debut album and what can we expect from it?
We’ve got a fair amount of songs now and we are always writing, trying out new ideas all the time. In 2011 we are releasing an EP, called ‘The Conductor of the Brass Band’ with a selection of songs on it. I think an album is planned for the not too distant future. We are going to keep touring up and down the UK this year, so when we do release it, it will sell well hopefully. The album will most likely appear in 2012 - that’s if the world doesn’t end then! What you can expect from our music is a very 50s/60s sounding melodic pop 3 minute wonder. Apparently, we take people back to a place where lyricism and melody were king. Not our words, but we shall take them thank you very much.
Last of all, me being a Ram do you support Derby?
We are all Super Rams fans. We have been lucky enough to have our songs belted out before the Rams come out at Pride Park. We’ve also been lucky enough to get the support of a few players who have come down to see us play.