Pengalaman Komunikasi Kelompok KLa Project dan Eksistensinya Selama 32 Tahun

The 1990s are considered a major force on fashion, music and screens. At that time, in Indonesia various bands were born, developed and reached a golden age. One of them is the KLa Project, which is still surviving until the age of 32. This study aims to determine the experience of group communication in the KLa Project band in an effort to maintain their existence for 32 years in the Indonesian Music scene. The method used is qualitative with a phenomenological approach. The research subjects consisted of the main research subjects, namely KLa Project personnel, namely Ignatius Bagaskoro Katon, Romulo Radjadin, Adi Adrian and Ahmad Ari Suharto. Supporting research subjects were also taken in this study, namely the crew and management of the KLa Project, as well as several other fellow musicians who are related to the KLa Project. The results show that communication between personnel in the KLa Project music group or band is the most important and fundamental thing. The group communication is also dynamic and there is a change in communication patterns during the early formation and journey of the KLa Project, namely from 1986-1987 to 2000, with the communication situation between personnel in 2001.

The Last Remaining Virgin in London

Lulu was fourteen when she released her first single, a virtuosic cover of the gospel-inspired “Shout.” This chapter connects Lulu’s use of vocal techniques with Black American origins to public perceptions of her youthfulness and to conversations about her sexuality. Lulu was barely out of childhood when she began her career and her youthful performances of respectability responded to racial anxiety. First, the chapter discusses Lulu’s rise in the Glasgow music scene; then, it examines media representation of Lulu’s virginal persona. This is followed by discussion of her voice in the context of anxiety over race, drawing examples from her performances in the films Gonks Go Beat and To Sir with Love. The chapter then explores Lulu’s efforts to reinvent herself in the late 1960s and closes with a postscript on Lulu’s recent concert performances.

Race, Self-Invention, and Dusty Springfield’s Voice

In the 1960s, Dusty Springfield’s voice earned her frequent comparisons to African American vocalists. This chapter argues that Springfield’s vocal sound reveals how racialized listening processes operate. It shows how the historical reception of Black singers in Britain, assumptions about how white women sounded, and a pop music scene that cultivated excitement through engagement with racial otherness moved listeners to hear her voice in racialized terms. The chapter begins with discussion of how Springfield’s story of vocal transformation has been told by her biographers. Then, it consider two key collaborations between Springfield and Black artists: the “Sound of Motown,” a special episode of the TV program Ready Steady Go!, and her 1969 album, Dusty in Memphis. Although separated only by five years, the two performances in question construct Springfield’s relationship to race and identity much differently, responding, in part, to political, cultural, and musical changes that occurred during the intervening years.

Tomorrowland Around the World 2020: A Virtual Pilgrimage

The year 2020 was devastating to electronic music festivals and their attendees as the COVID-19 pandemic forced most festivals to cancel their events. Because attendance at these festivals is a sacred experience for many of their participants, this manifested as a loss for participants. Tomorrowland, however, created a virtual festival through filming DJ performances and working with visual effects teams. Tomorrowland Around the World functioned to constitute a global public. This paper will situate the electronic music scene in a spiritual context that promotes the well-being of its participants. Next, the paper will explain how the DJ performances worked with the visual production teams to create a sacred virtual space that promoted unity, love, life, and a general sense of well-being.

Louth Contemporary Music Society, ‘We Sing for the Future’, 14–18 April 2021, online

The Louth Contemporary Music Society festival, based in Dundalk, only six miles from the border with Northern Ireland, is now an established presence on the contemporary music scene. Thanks to its founder, Eamonn Quinn, it attracts both local musicians and major international figures and also issues CDs. This year, the programme featured a strong Irish connection and a lot of music that is quiet, meditative and minimal. Music for guitar formed another theme, with new work by the Norwegian guitarist/composer Fredrik Rasten and the Cuban Leo Brouwer.