115 Sentences With "music paper" | Random Sentence Generator

When all that is done, though, you're still staring at a lot of blank music paper.

After a midday meal, Beethoven embarked on a long, vigorous walk, carrying a pencil and sheets of music paper to record chance musical thoughts.

Mr. Millrose worked from sheet music of lyrics and chords written by a teenage Mr. Gari with help from his mother, who unlike Mr. Gari, had the musical training to write the melodies on music paper.

IN 1988 a publication launched in London that was not quite a comic, not quite a style magazine, not quite an art periodical and not quite a music paper, but a curious hybrid of all these things.

"Beat the Machine". The Music Paper. November 1994. The duo's current backing band consists of Marty Beller, Dan Miller, and Danny Weinkauf.

They said it's > about God, Satan, Jesus, Satan, both, it's religious, it isn't religious ... > The truth is, it's just me.Nicholson, Kris. "Angry Young Men". The Music > Paper.

In 1984, when British tabloids started bingo competitions, Record Mirror became the first music paper to experiment with something similar. Record Mirror was the only magazine during the 1980s to print the weekly US singles and album charts, with analysis by chart statistician Alan Jones.

He has also been featured in artists in Sound On Sound, The Music Paper, Mix Magazine, EQ Magazine, among others. Recent musical productions by Owsinski include SNEW and Adrianna Marie and Her Groovecutters, with her album Double Crossing Blues reaching #2 on the Billboard Blues Charts.

Stiff Records would match his office wages and gave him a record advance of £150, an amp, and a tape recorder. Three weeks after its release, Costello was on the cover of a music paper. He described this situation as being "an overnight success after seven years".

The Act formed under the name Wham Bam! in February 1983, after Bjørn Kulseth (b. 1962) had moved to the capital Oslo and advertised in the music paper Nye Takter for other players into late 1970s new wave and classic 1960s pop and rock. Kulseth and Rune Krogseth (b.

"Poe: Never Underestimate The Unpredictable Path Of Creativity" The Music Paper. May 1998. Hits Magazine called "Hello" an "Over-the-top PoMo Masterpiece." Not long after the album's release, Poe's debut single, "Trigger Happy Jack (Drive By a Go-Go)," broke into the top 20 on the Billboard's Alternative and Modern Rock Charts.

Eisen and Keefe, p. 322 The notebook originally contained 48 bound pages of music paper, but only 36 pages remain, with some of the missing 12 pages identified in other collections. Because of the simplcity of the pieces it contains, the book is often used to provide instruction to beginning piano players.

Heavy Metal Albums He was never a full member of the band. In 1985 he answered an ad in "The Music Paper" and became the lead vocalist for the band Hittman. They released two albums through SPV/Steamhammer records "Hittman" in 1989 and "Vivas Machina" in 1993. Both albums were critically acclaimed.

With the help of Czech police officers he managed to obtain music paper and scores needed for arranging jazz compositions.Kuna (1990), p. 288 ("... Bylo to hlavně zásluhou českých četníků v Libochovicích, kteří hlídali terezínské vězně a zprostředkovávali tajný styk ghetta s okolím.") He later secretly sent his arrangements out of the camp.

Christopher Dawes (born 26 February 1961) is a British journalist and author. He works as a music journalist using the pseudonym Push. As Push, he wrote for the weekly music paper Melody Maker for 10 years. He was also the editor of the seminal London music magazine The Buzz from 1987 until its demise.

East's status as assignee is explained by the fact that the composer held a monopoly for the printing of music and ruled music paper. The monopoly had been granted to Byrd and Thomas Tallis by Elizabeth I in 1575 for 21 years. In 1585, on the death of Thomas Tallis, Byrd had acquired the monopoly.

Lines (also known as licks) are pre-planned ideas the artist plays over and over during an improvised solo. Lines can be obtained by listening to jazz records and transcribing what the professionals play during their solos. Transcribing is putting what you hear in a record onto music paper. Cells are short musical ideas.

By both headlining shows around the country and supporting likeminded, visiting bands like Green on Red and R.E.M., the Act built a reputation as an exciting new live band. In December 1984, they were voted "Best Unsigned Band" in the annual readers poll in the music paper Nye Takter. Wannskræk, soon to become DumDum Boys, came in fourth.

Joy Press (born 1966) is an American writer and editor. In the 1980s she was a music critic for American magazines and for the English weekly music paper Melody Maker. In 1996 she became the editor of the Village Voice literary supplement, VLS. Press later became the chief book critic and TV critic for the Village Voice.

Marshall amps and new instruments. Roundabout moved into Deeves Hall, a rented old farmhouse near the village of South Mimms, Hertfordshire in late February 1968.Robinson: p.5 There, while waiting for the arrival of new musical instruments and equipment, they continued the search for a singer through an advertisement in the British music paper Melody Maker.

The album was nominated for a Grammy Award for Best Rock Album in 1995. Superunknown has been certified five times Platinum in the United States and remains Soundgarden's most successful album. The band began touring in January 1994 in Oceania and Japan, areas where the record came out early"Soundgarden: No Hype Allowed". The Music Paper.

"Paper Planes" is a downtempo alternative hip-hop song that lasts for a duration of three minutes and twenty-four seconds. The song takes a musical approach which incorporates elements of hip hop and African folk music. "Paper Planes" follows what M.I.A. characterised as the "nu world" music style of Kala. It contains an interpolation of Clash's song "Straight to Hell".

His interest in gossip from TV, radio, stage and screen was not well received. On 22 January 1955 Record Mirror became the second music paper after NME to publish a singles chart. The chart was a Top 10, from postal returns from 24 stores. On 8 October the chart expanded to Top 20, and by 1956 more than 60 stores were being sampled.

D. 103. This fragment is two bifolia taken from an early seventheenth-century binding. The fragment from the Bodleian Library indicates that the scribe used music paper ruled with seven staves. As this fragment shows the full height of the page, it is the proof that it could not be cut in two in order to be used as the pastedowns for the Drexel manuscript.

JEO achieved fame in the 1970s with a long-running strip in the UK music paper Disc (and Music Echo), later Record Mirror. The strip had many fans including John Lennon. It included characters from TV, film and music, with a large section for readers' contributions (Win a Plastic Warthog). Jack provided other material, including a pop-based strip called The Nose, stories and numerous graphics.

On 13 September 1964, Epstein approached Harry to create a national music paper, so Harry coined the name Music Echo, and gradually merged Mersey Beat into it. Epstein had promised Harry full editorial control, but then hired a female press officer in London to write a fashion column and a D.J. to write a gossip column, without informing Harry of his intentions, and Harry resigned as a result.

A day in the life of - Bryn & Sally Haworth Haworth has his own website and is featured in the current Crossrythms artists catalogue. A sample of Haworth's music, together with a list of forthcoming concert dates, may be found on his MySpace Music page. A 2003 review of The Gap album concluded: "He's largely unknown, but those who follow virtuosos know about this guy". John Ingham, for Sounds music paper, wrote: > . . .

In 2006, other musical collaborations included ex-Shakespear's Sister/Bananarama singer Siobhan Fahey on two songs, "Bad Blood" and "Pulsatron" which Julia remixed as well as No Bra's underground hit song "Munchausen" and Readers Wifes'[sic] single "Nostalgia". She has also collaborated with dance acts such as Punx Souncheck, Larry Tee, Kinky Roland and Riton. She co-published music paper/fanzine The P.i.X and regularly contributes to fashion website KCTV.co.

Timecode is a 90-minute experimental film, performed live and filmed on four time-synchronized, hand-held digital cameras. Combining music composition techniques with film-making, the script was developed during single-take rehearsal performances by writer/director Figgis and the actors themselves. Each actor recorded personal script notes on blank, four octave, music paper, with each octave representing a camera view and vertical separations representing each minute of camera time capacity.

The dynasty had a vast imperial household, staffed with thousands of eunuchs, who were headed by the Directorate of Palace Attendants. The eunuchs were divided into different directorates in charge of staff surveillance, ceremonial rites, food, utensils, documents, stables, seals, apparel, and so on. The offices were in charge of providing fuel, music, paper, and baths. The bureaus were in charge of weapons, silverwork, laundering, headgear, bronze work, textile manufacture, wineries, and gardens.

Grand staff. Some manuscript paper is pre-printed with notational elements such as system brackets, braces, clefs, bar lines, and instrumental designations. Manuscript paper (sometimes staff paper in U.S. English, or just music paper) is paper preprinted with staffs ready for musical notation. Manuscript paper is also available for drum notation and guitar tabulatureSainsbury, Christopher. “Bi-tone Techniques and Notation in Contemporary Guitar Music Composition”. Master’s thesis, NSW Conservatorium of Music, 2001-2002..

Spaun studied law from 1806 to 1809 at Vienna University and entered the civil service. At the Vienna seminary he met Franz Schubert, eight years younger than himself, and they developed a lifelong friendship. Spaun supported Schubert financially, enabling the young composer to attend the opera and theater, and providing him with a supply of music paper. The patronage lasted to the end of Schubert's life, and Spaun hosted the very last Schubertiade on January 28, 1828.

In 1964, he began publishing his writings (e.g., the novel Belle que jamais, published in Strates, one of Dotremont’s journals) while continuing his musical activities . His 1959 composition Quadrangles was performed on 24 January 1965 at the Wallraf-Richartz Museum in Cologne, in the concert series of the second Cologne Courses for New Music . In 1971, he created the first of his ink-on-music-paper works and published sixteen lithographs, with the title "Muettes", in the Daily Bul.

Chapman first joined UFO in 1974 as a second guitarist to augment their live sound having answered an advert in UK's music paper, Melody Maker. He auditioned at the Unity Theatre in London. Although Chapman did not record an album during this period, he did join in time to tour and promote the Phenomenon album. However, he can be heard with the band on several tracks on the BBC live sessions album that was released retrospectively.

The Killers are an American rock band from Las Vegas, Nevada. After forming in late 2001 when Dave Keuning's advertisement in a music paper was answered by Brandon Flowers, Mark Stoermer and Ronnie Vannucci Jr., a Warner Bros. employee recommended them to Lizard King Records, who signed them. The band consequently went to England to record their 2004 debut album Hot Fuss, which earned them five nominations at the Grammy Awards and has sold over 5,000,000 copies.

Bernard John Taupin (born 22 May 1950) is an English lyricist, poet, singer and artist. He is best known for his long-term collaboration with Elton John, having written the lyrics for most of John's songs. In 1967, Taupin answered an advertisement placed in the UK music paper New Musical Express by Liberty Records, a company that was seeking new songwriters. John responded to the same advertisement and they were brought together, collaborating on many projects since.

Smitty on Hot 93 in 2005 While growing up in Little Haiti, Varick came home one day to see a friend fatally shot due to involvement in a drug conflict.Miami - Music - Paper Chaser The incident made him more aware of his future. In 1997 he decided to enroll at Florida A&M; University to major in journalism. However, his aspiration to become a full-fledged artist led him to switch coasts after only two and half years of school.

C81 was a cassette compiled for the British music paper NME in 1981 (hence (C)assette 81) and released in conjunction with the record label Rough Trade. Featuring a number of contemporary musical acts and performers, it was intended to mark the first five years of the independent label movement in the UK record industry and Rough Trade itself. It was the first in a series of many cassette releases from the paper, including the C86 compilation of 1986.

Jones was about 18 years old when he was in a band called Red Edge with his brother and some friends, but the band needed a singer. Jones put an advertisement in the local Brisbane music paper, Time Off, looking for a suitable singer. Darren Hayes responded to the ad and became their singer. Hayes got tired of performing other people's songs and he was ready to quit Red Edge, whereas Jones wanted to create his own music.

The pair rapidly became champions of the punk scene and created a new tone for the paper. Parsons' time at NME is reflected in his 2005 novel Stories We Could Tell, about the misadventures of three young music-paper journalists on the night of 16 August 1977 – the night Elvis Presley died. The logo that has been used with slight variation since 1978. In 1978, Logan moved on, and his deputy Neil Spencer was made editor.

In 1978, he began writing for British music paper Record Mirror, then freelanced for ZigZag magazine, later becoming its editor until the magazine folded in 1986. During the 1980s, he wrote regularly for the British music weekly Melody Maker, and edited Siren magazine in the 1990s. He has written five books on gothic music, and self-published over 100 books, available through his website. He continues to publish weekly reviews of records, visible on his Facebook pages.

Harry arranged for the future Beatles' manager, Brian Epstein, to see them perform a lunchtime concert at the Cavern Club on 9 November 1961. Epstein subsequently asked Harry to create a national music paper, the Music Echo, but after disagreements with Epstein about editorial control, he decided to become a P.R. agent; working for many solo artistes and groups, including Pink Floyd, Jethro Tull, Procol Harum, David Bowie, Led Zeppelin and the Beach Boys, as well as many others.

The paper's first issue was published in Cologne in 1980 by a small group of writers who decided to found their own music paper: they were Gerald Hündgen, Clara Drechsler, Dirk Scheuring, Wilfried Rütten and Peter Bömmels. They first considered naming it 555 but finally pitched on Spex – which means "glasses" in English slang. The name Spex reminds of the then very famous punk band X-Ray Spex. The magazine was initially distributed in record stores and railway stations.

The Sounds Obscurist Chart was a music chart that run for about a year in the weekly UK music paper Sounds, first appearing on the 5th September of 1981 issue, as an alternative to the main, sales-driven record charts, allowing bands and music outside the mainstream to be recognised. The chart was started by Paul Platypus, who played with Mark Perry in The Reflections and compiled the first nine charts. The last chart appeared in the 11th December 1982 issue.

Steven James Adams is an English musician who co-founded Broken Family Band and Singing Adams. In 2014 he released his first solo album, House Music, with contributions from Dan Mangan, Justin Young from The Vaccines, Martin Green from Lau and Emily Barker. Adams's second solo album, Old Magick, which was produced by Dan Michaelson, was released in March 2016 on Fortuna Pop!. Adams has also written for The Guardian, and The Times newspapers, as well as for The Stool Pigeon music paper.

The title of the album, Fuzztone Fizzadelic, comes from a review of The first single by The Now called Development Corporations / Why? (Ultimate Records, ULT401, 1977), in Sounds (music paper available in '77) written by Jon Savage. The review simply said: 'A primitive but wonderful single from a criminally underrated D.I.Y. Punk band from Peterborough. This sounds like the Desperate Bicycles, and is a very simple, but effective protest song about a subject that should be dear to your hearts.

I don't think there has ever been a better song written than 'Eleanor Rigby'." Ray Davies of the Kinks offered a contrary view in July 1966 when invited to give a song-by-song rundown of Revolver in the music paper Disc and Music Echo. He dismissed "Eleanor Rigby" as a song designed "to please music teachers in primary schools", adding that "I can imagine John saying, 'I'm going to write this for my old schoolmistress.' Still it's very commercial.

Krissi refers her to D&ME;, a London music paper seeking a rock critic, and Johanna submits a review of the Annie soundtrack. She is invited to interview at the D&ME; offices, but arrives to learn the staff assumed her submission was a joke. Undeterred, she convinces them to give her a chance, and is assigned to cover the Manic Street Preachers in Birmingham. Eager to reinvent herself, Johanna adopts a new style, bright red hair, and the pen name "Dolly Wilde".

Malcolm McLaren and the Fab Mobile The band were better known by their hype than their music. Never out of the music paper gossip columns, they made tabloid headlines by being banned from nearly every venue on their debut UK tour. "Fabulous bad boys banned" splashed The Sun after an infamous stage-wrecking performance at Kingston Polytechnic that was also reviewed by the NME. Further publicity came via an association with American actor Keanu Reeves chronicled by The Daily Star, Smash Hits and The Face.

In 2014 he released his first solo album, House Music, with contributions from Dan Mangan, Justin Young from The Vaccines, Martin Green from Lau and Emily Barker. Adams' second solo album, Old Magick, which was produced by Dan Michaelson, was released in March 2016 on Fortuna Pop!. Adams has also written for The Guardian and The Times newspapers, as well as for The Stool Pigeon music paper. In 2006, he was commissioned by The Today Programme to write a song commemorating the show broadcasting from Glastonbury Festival.

Drummer Alex Napier (born 1947 in Glasgow, Strathclyde, Scotland) joined, having answered a music paper ad; bassist Paul Newton of the Gods completed the line-up. From the very beginning, Spice avoided playing covers and, according to Box, always strove "...to do something original." Managed initially by Newton's father, the band climbed their way up to The Marquee level, then got signed by Gerry Bron (the Hit Record Productions Ltd.'s boss) who saw the band at the Blues Loft club in High Wycombe.

The album began as Ultra Soundtrack, a soundtrack for a radical San Francisco strip show, but was rejected for being too radical. During recording, Chrome, aided by Creed's input, largely abandoned conventional rock compositions, instead employing cut-up and collage techniques and heavily processed sound to create a kind of sci-fi punk style. The album was given 4 out of 5 stars in the UK music paper Sounds, and Chrome began gradually to gain a cult reputation in the UK and in Europe.

In the 1980s, the NME became the most important music paper in the country. It released the influential C81 in 1981, in conjunction with Rough Trade Records, available to readers by mail order at a low price. The tape featured a number of then up-and-coming bands, including Aztec Camera, Orange Juice, Linx, and Scritti Politti, as well as a number of more established artists such as Robert Wyatt, Pere Ubu, the Buzzcocks and Ian Dury. A second tape titled C86 was released in 1986.

Elliott collaborated with Campbell between 1984 and 1986 on various comic strips that ran in the music paper Sounds and drew the first issue of Campbell's Lucifer. Elliott was also responsible for colouring many of the covers of Campbell's comics for Harrier Comics. Elliott also formed a strong creative partnership with Glenn Dakin, which resulted in comics such as Greenhouse Warriors, Mr Night and The Man from Cancer. Elliott was a regular contributor to the influential UK comic magazine Escape, and in 1985 Escape published his Doc Chaos comic.

The recording was co-produced by Jon Kelly and de Paul. While the song was not immediately as commercial as many of her other hits, it had a laid back feel ahead of its time that grows on repeated listening. The British DJ and music journalist James Hamilton wrote in the music paper Record Mirror, "MCA’s mystery Fleetwood Mac-sounding ‘Strange Changes’ white label teaser turns out to be by Lynsey De Paul – oh, goodie!",Record Mirror, 2 May, 1981 with other sources also noting a similarity to Stevie Nicks.

In November that year Michael Parisi, later head of Warner Music Australia and Mushroom Records, described it as a "satisfactory cross between anything Kiwi and XTC". The band were assisted by former Skyhooks bass player Greg Macainsh to record its 1993 four-track extended play, Fly Monica Fly. The Melbourne Age noted its "sure-handed guitar pop" and "pleasingly bitter-sweet lyrics" and music paper Inpress noted its "magnificent bright catchy pop songs". The title track, "Fly Monica Fly", was written by Peter Heazlewood for a girlfriend in distress.

He entered the Conservatoire de Paris at an unusually early age, and studied both piano and organ. The records of his auditions survive in the Archives Nationales in Paris. At his solfège audition on 3 July 1819, when he was just over 5 years 7 months, the examiners noted Alkan (who is referred to even at this early date as "Alkan (Valentin)", and whose age is given incorrectly as six-and-a-half) as "having a pretty little voice". The profession of Alkan Morhange is given as "music-paper ruler".

Banks and Rutherford were particularly keen to write and record new material so that critics and fans would accept Gabriel's departure. The group began rehearsals in a basement studio in Acton, and quickly wrote material they were happy with, but had not yet found a replacement lead singer. They placed an anonymous advertisement in the music paper Melody Maker for "a singer for a Genesis-type group", which received around 400 replies. Some applicants sent photographs of themselves in costume and wearing masks, as Gabriel had done on stage.

Audio recordings were distributed in the UK by the use of covermounts in the 1960s by the fortnightly satirical magazine Private Eye though the term "covermount" was not in usage at that time. The Private Eye recordings were pressed onto 7" floppy vinyl (known as "flexi- discs" and "flimsies") and mounted on to the front of the magazine. The weekly pop music paper NME issued audio recordings of rock music on similar 7" flexi- discs as covermounts in the 1970s. The covermount practice continued with computer magazines in the early era of home computers.

Bob Sinclar was interviewed, as well as Air (a non-house act) and Cassius. This news special later aired on all the MTV local variations worldwide, spreading the term and introducing the "French house" sound to the mainstream. Prior to that (1996–2000), "French house" had been referred to among Europeans as "nu disco", "disco house" and "new disco". However, the term "French touch" was first used by music journalist Martin James in his 1996 review of the first Super Discount EP in the now defunct weekly music paper Melody Maker.

His mother was a hat designer. Her father had worked for the Société des Bains de Mer (the casino operator) in Monte Carlo, a popular resort for the British, and so she spoke English and became an anglophile, with a particular love of English literature. Thus her employer, Claude Saint-Cyr of Paris, sent her to run her atelier in London. She would send her Swiss schoolboy son the English music paper Melody Maker on a weekly basis, from which Giorgio learned English and also became familiar with the British jazz scene.

Bauhaus's fanbase extends beyond music; the American novelist Chuck Palahniuk was influenced by the Bauhaus song "Bela Lugosi's Dead" when writing his 2005 novel Haunted. In James O'Barr's 1989 comic book The Crow, the facial features of Eric Draven were based on those of Peter Murphy. In Neil Gaiman's series The Sandman, Dream's face and appearance were also based on Murphy. Additionally, comic book writer Alan Moore wrote the sleeve notes of Mask and contributed an anonymous Bauhaus review called "Phantoms of the Teenage Opera" to the UK music paper Sounds.

Various musicians were guests on his show, including Fletcher Henderson, Benny Carter, and Art Tatum. When the station transferred from the Broadway Central Hotel to the Claridge Hotel, the new venue would not allow the black musicians to use the main elevator. For this reason, Hammond quit his work with WEVD. By 1932–33, through his involvement in the UK music paper Melody Maker, Hammond arranged for the faltering US Columbia label to provide recordings for the UK Columbia label, mostly using the specially created Columbia W-265000 matrix series.

During 1963 Decca Records' chairman Edward Lewis sold a substantial share of Decca's interest to John Junor, editor of the Sunday Express. Junor was looking for a paper to print by four-colour printing developed by Woodrow Wyatt in Banbury, before printing the Sunday Express in colour. Junor moved Sunday Express production to Shaftesbury Avenue and New Record Mirror became more mainstream. In November 1963, the paper returned to the name Record Mirror, and featured a colour picture of the Beatles on the cover, the first music paper in full colour.

Sounds with the caption "New musick: The cold wave", issue 26 November 1977: it is a picture of Ralf Hütter and Florian Schneider of Kraftwerk. The term "cold wave" appeared in the 26 November 1977 issue of UK weekly music paper Sounds: The caption of its cover picture, showing Kraftwerk's Ralf Hütter and Florian Schneider was "New musick: The cold wave". That year, Kraftwerk released Trans-Europe Express. The term was repeated the following week in Sounds by journalist Vivien Goldman, in an article about Siouxsie and the Banshees.

Livi chose to quit school and took business classes in the day and played with the Moods at night. By 1966, restrictive laws in Australia, such as the rule requiring bars to close at 6:00 pm, were relaxed, and the old British monetary system was converted from pence, shillings, and pounds, to a modern decimal system. In February a new music paper, Melbourne, was premiered to great fanfare, and the Moods' manager, Peter Raphael, was the head of its advertising department. Rahael used his position to provide publicity for the group.

The Rolling Stones gig soon proved to be the first of many false dawns for Shakin' Stevens and the Sunsets. After a few low key dates around Cardiff, 1970 saw the band returning to the Northcote Arms in London. Among the crowd during one of these gigs was the Radio 1 DJ John Peel, who wrote a generous review of the experience for his column in the weekly music paper Disc. He was so impressed with the Sunsets that he even offered the group a record deal with his Dandelion label.

The Elephant Table Album: a compilation of difficult music was a 1983 compilation album, released on Xtract Records. The double album was compiled by music journalist Dave Henderson following a series of articles by him in Sounds, the British music paper. It was reissued on CD by the same label in 1989, but with the tracks sourced from the vinyl release rather than the master tape,Listeners to the CD version have reported vinyl noise; they presume that the CD has been mastered from a vinyl copy. and the number of tracks reduced from 21 to 17.

For the next two years Quaife played on albums such as Something Else by the Kinks and The Kinks Are the Village Green Preservation Society, and helped rehearse some songs on the album Arthur (Or the Decline and Fall of the British Empire). Quaife left the Kinks permanently in April 1969, but the others did not at first believe him, and only realised his intention when they saw an article in a music paper revealing Quaife's new band. Ray Davies asked him to change his mind and stay, but without success. He was again replaced on bass, this time permanently, by Dalton.

Buck grew up in the Toronto suburb of Etobicoke where his father, George Buck worked for Kodak Canada, giving him an early connection to photography. He attended Ryerson University where he majored in Photographic Arts. During this time he was a photo editor for Nerve, a Toronto monthly music paper, released 3 compilation cassettes of original music with Canadian and American bands with Materials + Processes, and briefly managed experimental rock group Violence & The Sacred. Buck studied at Ryerson under noted street photographer Dave Heath and media critic Murray Pomerance, both of whom continued as mentors in the years after his graduation.

Scott 4 was released late in 1969, the same year as Scott 3. It was credited as being by Noel Scott Engel. It failed to chart and as a result, the album was deleted soon after release. In July 1972, the British music paper, Melody Maker, reported that a cutprice LP issued by Virgin Records was facing deletion because, ironically, it was too popular. Faust's The Faust Tapes, then at number 18 in Melody Makers chart, actually cost more to produce than its selling price (49p) and so Virgin lost supposedly £2,000 on sales of 60,000.

Spencer was assistant editor of the NME until November 1978, when he took over as editor from Nick Logan. By the early 1980s, it was the most influential music paper in the country. Writing in The Observer in 2005, Spencer selected his tenure as editor as the magazine's "so-called Golden Age", for its positioning of music within "a wider oppositional culture in which politics, books, movies, illustration and photography all had a major role". He cited the magazine's opposition to Thatcherism and the rise of the National Front in the UK, and the US policies under Ronald Reagan.

The three main characters work at a music paper called The Paper and in the one night the story takes place they all grow up in one way or another. Terry Warboys returns from an interview with veteran musician Dag Wood in Berlin who is coming for a visit to London to meet Terry and his girlfriend Misty. She disappears with Dag Wood for the night and because of that Terry does lots of drugs, sleeps with another woman and wants to kill himself. In the end it turns out that Misty and Dag just talked and Misty is pregnant from Terry.

Duffty was a founding member of the British Punk band Sordid Details with Martin Beard (Drums), Jonathan Cameron (vocals) and Dave Huzzard (Bass). Formed in 1978 in the North of England Sordid Details were influenced by the Sex Pistols, for whom Duffty would later design stage clothes. In 1980, Duffty formed Wonder Stories, a New Romantic group which gained support from Radio 1 DJ Peter Powell and reviews in the Sounds music paper. Wonder Stories performed live in 1980 and 1981, however by 1982 Duffty moved to London to study fashion design at St Martin's School of Art.

In 1967, Jacobus tenBroek, who was president of the National Federation of the Blind and the International Federation of the Blind, asked Grant to travel to Africa to report on education of blind children in Africa and the overall acceptance of blind people in society, as well as their options for independence. For this trip, The American Action Fund for Blind Children provided Grant with a $2,000 stipend for her travel and expenses. After her trip ended, she continued her humanitarian efforts from California. She would collect Braille books, typewriters, music, paper, watches, and folding canes.

In 1973, after playing the northern pub rock circuit that included venues in Manchester, Harrogate, Leeds and Bradford, they entered a New Act competition organised by the music paper Melody Maker making it to the finals at London's Roundhouse. They did not win – that honour went to Druid – but they caught the eye of one of the judges, "Whispering" Bob Harris. Their "runners-up" prize was the chance to record a session for Harris's BBC radio show, The Monday Program. He took the band under his wing and set up a recording contract with Atlantic Records.

Despite much publicity in the local music paper, Go-Set, the series was cancelled after its principal sponsor, Ford Motor Company, withdrew its backing. Orr subsequently performed in a new production of Shakespeare's All's Well that Ends Well, directed by Sir Tyrone Guthrie, which opened at Melbourne's Princess Theatre. On 21 October 1970, for a limited three-week season."All's well that ends well" [advertisement], The Age, 12 October 1970, p 104. By the early 1970s, Madeline Orr had settled permanently in London, where she appeared in two episodes of Crossroads (1973) and the TV mini-series adaptation of David Copperfield (1974).

In Elizabethan England, music printing was regulated by two royal patents issued by the queen: one for metrical psalters (psalms set to music) and one for all other types of music and music paper. The patent-holders thus held a monopoly—only they or their assignees could legally print music.Smith 77 After printer John Day's death in 1584, the patent for metrical psalters transferred to his son Richard Day and was administered by his assignees, who were members of the Stationers' Company. The more general one was awarded to composers Thomas Tallis and William Byrd in January 1575.

Drummond and Cauty have appeared frequently in British broadsheets and music papers since the KLF's retirement, most often in connection with the K Foundation and their burning of one million pounds. The NME called them "masters of manipulating media and perceptions of themselves". In 1992, NME referred to the KLF as "Britain's greatest pop group" and "the two most brilliant minds in pop today", and in 2002 listed the duo in their "Top 50 Icons" at number 48. The British music paper also listed the KLF's 1992 BRIT Awards appearance at number 4 in their "top 100 rock moments of all time".

"Hey Scenesters!" was the first single from English post-punk revival band The Cribs second album The New Fellas. The single charted at number 27 in April 2005, becoming their first Top 40 single. In its year of release, the song was voted the 3rd best song of the year by the NME, Track of the Year by the Metro newspaper, and finished in the top 100 tracks of the year in Rolling Stone in the USA. In May 2007, the song placed 42nd in the influential music paper NME's "Top Indie Anthems of All Time", one of the only contemporary bands included in the list.

In any case, the additional comment on the title page of the Berlin copy was definitely not written by Baermann. The dating merely suggests that whomever the autograph was dedicated to, had it copied in 1824 (perhaps at the request of Mendelssohn); the composition was probably written not much earlier. Although the autograph is now available again in the Pierpont Morgan Library, New York (from the Mary Flagler Cary Music Collection), it does not help to solve the problem concerning the Berlin copy. It consists of 10 sheets of 16-stave music paper, 17 pages of which have been written on (the bottom staff of each page was left blank).

In 1998, he erroneously announced Ian Dury's death from cancer, possibly due to hoax information from a listener who was disgruntled at the station's change of ownership. The event caused music paper NME (who had been involved in a running feud with Geldof since his Boomtown Rats days—primarily due to his disparagement of The Clash) to call Geldof "the world's worst DJ". Along with U2's Bono, he has devoted much time since 2000 to campaigning for debt relief for developing countries. His commitments in this field, including the organisation of the Live 8 concerts, kept Geldof from producing any more musical output since 2001's Sex, Age & Death album.

Record Mirror was a British weekly music newspaper between 1954 and 1991 for pop fans and record collectors. Launched two years after the NME, it never attained the circulation of its rival. The first UK album chart was published in Record Mirror in 1956, and during the 1980s it was the only consumer music paper to carry the official UK singles and UK albums charts used by the BBC for Radio 1 and Top of the Pops, as well as the US Billboard charts. The title ceased in April 1991 when United Newspapers closed or sold most of their consumer magazines, including Record Mirror and Sounds, to concentrate on newspapers.

The Moment were among the leading bands of the 1980s UK mod revival, described retrospectively by Paul Moody of the NME as "English pop music's greatest ever secret". Formed in Haverhill, Suffolk, in 1983, The Moment were fronted by the singer-songwriter, Adrian Holder, releasing a series of singles, including "In This Town" (1984), "One, Two They Fly" (1985) and "Ready To Fall" (1988). They released one album, The Work Gets Done, in 1985. "Sticks And Stones", a track released on the Countdown compilation album in 1986, saw The Moment described by British music paper Melody Maker as sounding "like The Jam wanting to be The Clash".

Stereo Review, 1976, Volume 36, page 78, Ziff-Davis Publishing Company UK weekly music paper Record Mirror stated "In a field of music where mediocrity is rife, Lynsey shows in no uncertain terms how things should be done properly".Record Mirror, 13 December 1975, p. 44 The album is held by the US Library of Congress Washington, DC 20540 United States. It is also rated as one of the top albums released in 1975 by online site "Best ever albums", as well as one of the top 1000 albums released in the 1970s, a listing that also includes de Paul's previous albums Taste Me... Don't Waste Me and debut album Surprise.

"My Man and Me" is a song written, recorded and produced by the British female singer-songwriter Lynsey de Paul for her second album, Taste Me... Don't Waste Me, and released as a single on 21 February 1975. It reached the UK top 40 in March 1975 and was de Paul's seventh UK Singles Chart hit. It was listed as one of the best singles of 1975 in the UK music paper Record Mirror. The song also reached No. 23 on the Radio Capital Countdown on 29 March 1975, No. 27 on the Radio Luxembourg singles chart on 1 April 1975 and No. 35 on the NME singles chart.

Sheriden as the co-writer defended the song as an innocent children's pop song.Fanzine interview with Lee Sheriden, 1999 Member Martin Lee has stated that "The Circus Came to Town" is his favourite of their own songs. The album received a favourable review in the now defunct music paper Superpop, stating: "The group are at their best on the bouncier numbers and "Willie", "Got a Funny Feeling" and "Andy McDougal" are the pick of this platter. The only criticism I have of Singing a Song is that on several numbers the group sound stilted - a fault that is not evident in their very entertaining live show or any of their past single smashes".

Other key co-founders include Jack Gladden, who helped find the money to publish the first edition of the paper; Karen Gerrity and Kurt Buss, who helped to write and edited the early editions; and Jeff Worman, the paper's art director, who penned the science- fictionHourly Why column as well produced the Zeal at Zero cartoons along with illustrations and spoofs. In 1987 the Shepherd Express was formed in a merger with the Express, a monthly music paper founded in 1979 by Kevn Kinney and David Luhrssen. Kinney went on to form the rock band Drivin’ N’ Cryin’ in Atlanta. Luhrssen returned to the Shepherd Express in late 1994 as arts and entertainment editor, a position he still holds.

Dave Brock, 1982, Cornwall In 1969, Slattery and Brock continued jamming together and with whoever else was around. The genesis of Hawkwind was in their meeting with bass player John A Harrison (born 28 May 1942 died 26 May 2012), who was also taking an interest in experimental music after stints in more conventional bands such as the Joe Loss Band. A music paper advert brought in teenage drummer Terry Ollis, while friends Nik Turner and Dik Mik were invited to join the band on saxophone and electronics respectively after the pair had originally offered their services as roadcrew. From the outset, Brock's intentions for the band was to marry simple three-chord rock music with experimental electronic music.

Towards the end of the year, the group released the out-takes album Odds & Sods, which featured several songs from the aborted Lifehouse project. In 1975, Daltrey and Townshend disagreed about the band's future and criticised each other via interviews in the music paper New Musical Express. Daltrey was grateful that the Who had saved him from a career as a sheet-metal worker and was unhappy at Townshend not playing well; Townshend felt the commitment of the group prevented him from releasing solo material. The next album, The Who by Numbers, had introspective songs from Townshend that dealt with disillusionment such as "However Much I Booze" and "How Many Friends"; they resembled his later solo work.

Green briefly took a managerial interest in Boilerhouse, but Stevens and Terrey were not prepared to turn professional, so an advertisement was placed in the weekly music paper Melody Maker to find another rhythm section to back Kirwan. Over 300 hopefuls were said to have applied but none was deemed good enough, so another solution was found. Fleetwood Mac had been constituted as a quartet, but Green had been looking for another guitarist to share some of the workload because slide guitarist Jeremy Spencer did not contribute to his songs. The band's drummer Mick Fleetwood, previously a member of John Mayall and the Bluesbreakers (as were Peter Green and bass player John McVie), suggested that Kirwan could join Fleetwood Mac.

The reception in December 1984 to the original single from the UK music press was mixed. Under a caption of "TURKEY" (a double meaning referring both to the traditional British Christmas meal and an artistic failure), the biggest selling music paper NME dismissed the song with the single line, "Millions of Dead Stars write and perform rotten record for the right reasons". The other two major music papers looked upon the record more favourably, recognising that while musically the song was flawed, its intentions were admirable. Sounds said, "It's far from brilliant (if not quite the Bland Aid some have predicted) but you can have fun playing Spot the Star on the vocals, and it deserves to sell by the truckload".

Although known for his musical compositions and musicianship, Townshend has been extensively involved in the literary world for more than three decades, writing newspaper and magazine articles, book reviews, essays, books, and scripts. An early example of Townshend's writing came in August 1970 with the first of nine instalments of "The Pete Townshend Page", a monthly column written by Townshend for the British music paper Melody Maker. The column provided Townshend's perspective on an array of subjects, such as the media and the state of US concert halls and public address systems, as well as providing valuable insight into Townshend's mindset during the evolution of his Lifehouse project. Townshend also wrote three sizeable essays for Rolling Stone magazine, the first of which appeared in November 1970.

On 13 September 1964, Epstein approached Harry to create a national music paper, so Harry coined the name Music Echo, and gradually merged Mersey Beat into it. Epstein had promised Harry full editorial control, but then hired a female press officer in London to write a fashion column and a D.J. to write a gossip column, without informing Harry of his intentions, leaving Harry with no other option but to resign. The paper subsequently ran into financial problems, and Epstein had to merge it with another paper, becoming the Disc & Music Echo. When Harry and his wife moved to London in 1966, he was already contributing a column for the magazine Weekend and also for the teen magazines Marilyn and Valentine.

In July 1947, Henri Betti was in Nice and on his way to join his father to play a game of bridge. Passing under the arcades of the avenue Jean Médecin he stopped in front of the window of a Scandale lingerie shop and it was there that the first nine musical notes of the song came into his head: F, E, Eb, F, G, A, G, F, D. He wrote the notes on a sheet of music paper so that he would remember them. Once back home he composed the melody in less than ten minutes. He then went up to Paris and made an appointment with the lyricist André Hornez at the Hôtel Powers to find a title for his song.

During that same period, Neal also managed a large studio complex in South London called Samurai Studios, where he also learned the art of live sound engineering. Also in the 90s, he went on tour to Japan with elements of Praying Mantis, ex-Iron Maiden and The Sweet. Whilst there he arranged with Japanese label Pony Canyon to record in London a new compilation LP called, "Metal For Muthas 92", which was released in 1993 in Japan and Far Eastern territories. In fact, some time in the late 1970s, the Japanese music paper Ongu Senka approached Kay to write the story of the Bandwagon in 3 episodes, which, in turn helped to bring to the attention of young Japanese fans, the legend of The Soundhouse.

Shortly afterwards Byrd and Tallis were jointly granted a patent for the printing of music and ruled music paper for 21 years, one of a number of patents issued by the Crown for the printing of books on various subjects. The two musicians used the services of the French Huguenot printer Thomas Vautrollier, who had settled in England and previously produced an edition of a collection of Lassus chansons in London (Receuil du mellange, 1570). The two monopolists took advantage of the patent to produce a grandiose joint publication under the title Cantiones quae ab argumento sacrae vocantur. It was a collection of 34 Latin motets dedicated to the Queen herself, accompanied by elaborate prefatory matter including poems in Latin elegiacs by the schoolmaster Richard Mulcaster and the young courtier Ferdinand Heybourne (aka Richardson).

Corbijn began his career as a music photographer when he saw the Dutch musician Herman Brood playing in a café in Groningen around 1975. He took a lot of photographs of the band Herman Brood & His Wild Romance and these led to a rise in fame for Brood and in exposure for Corbijn. Corbijn's official portrait of Beatrix of the Netherlands in 2008 From the late 1970s the London-based New Musical Express (NME), a weekly music paper, featured his work on a regular basis and would often have a photograph by him on the front page. One such occasion was a portrait of David Bowie wearing a loincloth backstage in New York when starring in The Elephant Man.. In the early years of London-based The Face, a glossy monthly post-punk life style / music magazine, Corbijn was a regular contributor.

Sounds magazine reported on 20 February 1986 that "a new 12-inch EP called 'This Corrosion' will soon be in the shops, featuring the same line-up but with the addition of a mysterious and so far undisclosed American vocalist." Neil Spencer, Martyn Strickland: "The Eldritch Story" (Sounds magazine 22 February 1986) This 12 inch single even appeared in German music paper adverts as "available soon".SPEX magazine (April 1986, page 43) (May 1986, page 43) James Ray: "So during the recording of ['Mexico Sundown Blues'] we made and released 'Giving Ground'. We then spent weeks on what was to be the Sisterhood's second single, 'This Corrosion', but Eldritch decided he was going to use it to kickstart the Sisters Mk II." "Interview [1]: James Ray" (Glasperlenspiel 06 fanzine June 2003, page 6) Recording took place at Fairview Studios near Hull with in-house engineer John Spence.

At this time the weekly music paper was at the centre of the punk explosion under the editorship of Neil Spencer; Crowley was at the NME alongside writers Julie Burchill, Tony Parsons, Nick Kent, Charles Shaar Murray. Crowley's knowledge of music attracted the attention of broadcasters and in 1980 he was hired by London's independent commercial station Capital Radio, and aged 19 became the youngest radio DJ in the UK. Throughout the 1980s, Crowley became a prolific broadcaster / promoter, hosting regular club night at the Wag Club London (1981-1986) and at Bogarts Harrow, where he showcased many prominent chart acts at early points in their career, including The Style Council, Bananarama, Wham! and others. TV presenting followed, as Crowley was hired to front Fun Factory ITV on Saturday mornings and game shows including Runaround spin-off Poparound which ran through the late 1980s.

The start of 1996 saw Klimczak and Lotesto paired up for what would be the true beginning of Ion Vein as a band. Lotesto already had most of the songs written for what would become the debut album, Beyond Tomorrow, when he and Klimczak started working together, so when he answered an ad for a drummer in a local music paper in March, Scott Lang entered the fold and the three were off to find the remaining pieces of the puzzle. A year-long search briefly brought Klimczak's old band mates, rhythm guitarist John Malufka, and bassist, Brian Rossin, into the fold, at the start of 1997, to record the Promo Sampler 1997 limited release containing the songs "Reflections Unclear" and "The Bridge of Dawn". The timing wasn't right for Malufka and Rossin to remain in the band and so the search for a permanent bassist and second guitarist continued.

In general, techno is very DJ-friendly, being mainly instrumental (commercial varieties being an exception) and is produced with the intention of its being heard in the context of a continuous DJ set, wherein the DJ progresses from one record to the next via a synchronized segue or "mix."Butler 2006:12–13,94 Much of the instrumentation in techno emphasizes the role of rhythm over other musical parameters, but the design of synthetic timbres, and the creative use of music production technology in general, are important aspects of the overall aesthetic practice. Unlike other forms of electronic dance music that tend to be produced with synthesizer keyboards, techno does not always strictly adhere to the harmonic practice of Western music and such strictures are often ignored in favor of timbral manipulation alone.Fikentscher, K. (1991), The Decline of Functional Harmony in Contemporary Dance Music, Paper presented at the 6th International Conference On Popular Music Studies, Berlin, Germany, July 15–20, 1991.

1998: All the UK schools examinations and vocational qualifications of the UCLES Group were transferred to OCR. Subsequent Physics syllabuses released by OCR included the fictional units the "Ocrawatt" and "Ocrajoule" due to overzealous find-and-replace on MEG's part[1] (in previous and later syllabuses, the units were correctly written as "Megawatt" and "Megajoule".) 2008: The answer to one question in a GCSE Music paper was given away by accident in the copyright declaration printed on the back of the question paper. 2011: OCR set an impossible maths question.[2] In addition, there were errors in Section B of the Latin Literature paper, confusing names of both authors and characters. 2011 also saw the start of, by now regular, social media protests against the content in exam papers. An A2 Biology paper on Control, Genomes and Environment (F215) had a large emphasis on Ecology, deemed by many students to be ‘unfair’.

The controversy culminated on 2 May 1976, shortly before the tour completed, in the so-called 'Victoria Station incident' in London, when Bowie arrived in an open-top Mercedes convertible and apparently gave a Nazi salute to the crowd that was captured on film and published in NME. Bowie claimed that the photographer simply caught him in mid-wave, a contention backed by a young Gary Numan who was among the crowd that day: "Think about it. If a photographer takes a whole motor-driven film of someone doing a wave, you will get a Nazi salute at the end of each arm-sweep=All you need is some dickhead at a music paper or whatever to make an issue out it ..." The stigma remained, however, to the extent that the lines "To be insulted by these fascists/It's so degrading" from Scary Monsters' opening track "It's No Game", four years later, were interpreted as an attempt to bury the incident once and for all.

Some years later Armatrading sued Mike Stone, who subsequently returned to America,Mayes, pp. 127–128. and although she did not use Dudgeon as a producer again, she later dedicated her 2003 album Lovers Speak to him and his wife Sheila after the pair were killed in a road accident in 2002. The record label seemed determined at the time to erase Nestor from the picture, despite the contributions, lyrically, musically and entrepreneurial, she had made not just to the debut album but to the development of Armatrading as an artist. They took out a full-page advert in New Musical Express in late 1972, using the photograph from the rear of the album Whatever's for Us, and completely airbrushed out the shot of Pam Nestor, thus misleadingly portraying the album as solely the work of Armatrading while another promotional advert placed in the music paper Sounds in December 1976 on the reissue of the album, omitted any mention of Nestor's contribution.

Killerhertz performing at Dingwalls in 1981 First launched as the newly developed Camden Lock's flagship venue in the summer of 1973. The Natural Acoustic Band performed five times between July and November 1973 Dingwalls Dancehall was open to all - "reasonably priced at half a bar for entry", providing the longest bar in London (at the time), near-pub price drinks and New York-style burgers and chickpeas. It wasn't a club, yet stayed open till 2am, hosting acts such as funk band Gonzalez, and pub rockers Kilburn and the High Roads. Reviewed in one music paper the first summer, it was immediately recognised as plugging the "vast gap in the social and financial standings of various venues", where you can "eat, drink, boogie and listen to a live set during an evening which lasts till two"... "late enough for most people" (those were the days!) - and "excellent bands are to be found there".

Fat and Frantic were a London-based pop music group who wrote all their own material, playing a wide variety of musical styles ranging from manic skiffle through rock 'n roll to a cappella which they sometimes described as "piffle" – a mix of punk and skiffle. Formed in 1985, Fat and Frantic was a particular favourite on the UK live venues and University circuit playing some 300 gigs between 1989 and 1992, as well as playing frequently at the Greenbelt Festival and at Reading Festival. Its best-known song was "Last Night My Wife Hoovered My Head", one chorus of which was sung in French. The group were also somewhat notorious for once receiving a particularly bad live review from Damon Wise in the music paper Sounds, which closed with the line "Fat and Frantic ruined my weekend and I hate them for it", a line which they went on to use extensively in their publicity.

Massey soon secured a recording contract with the independent label One Little Indian. During this period, the band received highly positive UK music media support (including more Singles Of The Week in Melody Maker, Sounds and Irish music paper, Hot Press) and had 2 indie top 20 hits ("Days In The Trees" and "Ocean Song") plus a Billboard Top 40 dance hit (the US only single, "Taking It Like A Man", at No. 34). No-Man’s debut mini- album (a compilation of EP tracks called Lovesighs - An Entertainment) was released in April 1992, and in October of the same year the band toured England with a six-piece line-up including three ex-members of the band Japan – Mick Karn, Steve Jansen and (most significantly) keyboardist Richard Barbieri, who had been recruited by Massey. The band's first full-length album (the more pop-oriented Loveblows & Lovecries - A Confession) followed in May 1993.

Although Mozart had the piano part securely in his head, he did not give himself enough time to write it out, and thus it was performed with a sheet of blank music paper in front of him in order to fool the audience. According to a story told by his widow Constanze Mozart, the Emperor Joseph II saw the empty sheet music through his opera glasses and sent for the composer with his manuscript, at which time Mozart had to confess the truth, although that is likely to have amused the monarch rather than cause his irritation. The work consists of three movements: #Largo – Allegro #Andante #Allegretto The sonata opens with an exceptionally slow introduction, in which emphasis is put on the equality of the two instruments, kept throughout the entire work. The opening theme was later echoed by Haydn Op. 50 No. 1 String Quartet and Beethoven's String Quartet No. 1.

Burstow's repertoire contained many folksongs as understood by the collectors of the time, but also much unwanted material from known and published composers and from relatively recent broadside ballads. Broadwood's account of folksong collecting gives a picture of this poor fit: > We must listen with becoming reverence to "Silver Threads amongst the > Golden," to Eliza Cook's "Old Armchair," or to "Sweet Alice, Ben Bolt"; we > must wag our pencil hypocritically over our music-paper should we wish later > to hear the ballad of "Long Lamkin," "Lord Thomas and Fair Eleanor," "Death > and the Lady," or the like. And we must never take for granted that a dirge > on Napoleon, or the lamentation of a convict hanged a few years ago, can be > skipped, for modern doggerel is often wedded to the oldest tunes. For comparison, Burstow's list begins with five ballads on Napoleon and includes "John Lawrence" (presumably the "Last Dying Confession" of John Lawrence, hanged at Horsham in 1844),Burstow (1911), 64-6 gives the text and tells of pedlars "singing and selling printed copies" of it on the execution day.

Mach One are a British neo-progressive rock band, founded in 1980 by a group of students attending Burlington Danes High School in West London. After a series of studio demos, school gigs and lineup changes, the band attracted the attention of Keith Goodwin (notable as publicist for Yes, Rod Argent, Black Sabbath, in the 1970s, and Marillion in the 1980s) who represented them through 1983-85. During this time Mach One embarked on a series of live shows at pubs and clubs around London, and universities across England, while releasing two albums Six of One and Lost for Words that featured prominently in underground progressive rock fanzines (such as the Genesis Fanzine called Afterglow) and specialist progressive rock catalogues. However, in the more mainstream press they received mixed reviews for their second album, including a humorous 1-star review by Mary Anne Hobbs in Sounds (a British music paper), although their live show was given a positive write-up in the same paper a few weeks thereafter by journalist Gareth Thompson.

O'Brien was born in Catford, London and grew up in Southampton. In 1979, whilst attending a convent school in Southampton, she formed a punk band aptly named "the Catholic Girls".O'Brien, Lucy, A kiss in the dreamhouse, in Aizelwood, John, Love Is The Drug, London: Penguin, 1994, pp86-91 She left the band in 1980 to attend University in Leeds, and The Catholic Girls continued for a while under the name Almost Cruelty before splitting up.O'Brien, Lucy – Prologue in She Bop: The definitive history of women in rock, pop, and soul, London: Penguin, 1995, pxii At university she played with a number of bands before giving up performing to write instead.O'Brien, Lucy, Prologue in She Bop: The definitive history of women in rock, pop, and soul, London: Penguin, 1995, pxiii She became music editor of the University of Leeds magazine, Leeds Student, and after graduating in 1983, she submitted gig articles to the music paper the New Musical Express (NME), which then published Charles Shaar Murray and Nick Kent.

By 1982 or 1983, Pecorino and Meola had left the group, and were replaced by two new musical collaborators: Joe Papa, a "300-pound scat-singing eccentric", and Chris Moriarty, a neighbor of Paul who originally filled in on drums. Paul Lemos met Joe Papa after putting an ad in a local music paper in search of a singer. From late 1983 until Moriarty's departure in 1994, all Controlled Bleeding releases featured at least Papa or Moriarty, and usually both. The next four years of Controlled Bleeding's output strayed from the previous trio's art rock leanings into more experimental areas. During 1983 and 1984, the band released a series of live-to-two-track cassettes via labels like Inner-X- Musick, Broken Flag, and Ladd-Frith which featured layered, harsh industrial noise, sometimes mixed with guitar and Joe Papa's vocal work. In February 1985, the band's first full-length LP, Knees and Bones, was released by Hans Fahlberg on his Sweden-based record label Psychout Productions, featuring a particularly harsh wall of sound similar to the work of other American and Japanese harsh noise artists.

Oz number 31 cover Oz magazine was first published as a satirical humour magazine between 1963 and 1969 in Sydney, Australia, and, in its second and better known incarnation, became a "psychedelic hippy" magazine from 1967 to 1973 in London. Strongly identified as part of the underground press, it was the subject of two celebrated obscenity trials, one in Australia in 1964 and the other in the United Kingdom in 1971. The Digger was published monthly between 1972 and 1975 and served as a national outlet for many movements within Australia's counterculture with notable contributors—including second-wave feminists Anne Summers and Helen Garner, Californian cartoonist Ron Cobb's observations during a year-long stay in the country, Aboriginal activist Cheryl Buchanan, radical scientist Alan Roberts on global warming—and ongoing coverage of cultural trailblazers such as the Australian Performing Group (aka Pram Factory), and emerging Australian filmmakers. The Digger was produced by an evolving collective, many of whom had previously produced counterculture newspapers Revolution and High Times, and all three of these magazines were co-founded by publisher/editor Phillip Frazer who launched Australia's legendary pop music paper Go-Set in 1966, when he was himself a teenager.

The two had met in early 1980, with an initial live performance together in May 1982 under the name Six Hip Princes,According to Sudden, "A local music paper reviewed the show and wrote, 'There were only four of them, they weren't hip and they certainly weren't princes...' Well, some people are hard to please." but it was not until 1984, after Sudden had already issued two solo releases, that the duo adopted the name Jacobites (after the rebel movement to restore the Stuart line to the British thrones) and completed the lineup by adding Nikki's brother Epic Soundtracks, also formerly of the Swell Maps, and bassist Mark Lemon. The Jacobites were a more traditional, song-oriented outfit than the Swell Maps had been. Sudden and Kusworth were both strongly influenced by The Faces, Bob Dylan, glam rock, and, most vitally, The Rolling Stones. Band- member Sudden called the Stones "the best band there has ever been" and was working on a Ronnie Wood bio at the time of his death, combined with their velvet-and-scarves style of dressing and their girls-and-drugs style of living, made for a natural comparison with Mick Jagger and Keith Richards.