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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
Kiss-Guitar-April-2016.Pdf
APRIL 1996 • VOLUME 13 • NO. 6 FEATURES 24 The Best Guitarists You've Never Heard Of We could name them here, but you've never heard of them. So read on 28 Kiss The rock circus rolls back into town 28 Riffology Classic riffs and solos, plus a Kiss history 42 Alive Again Little Deuce Scoop: Exclusive interviews with Ace, Gene and Bruce on the family reunion and future plans 48 Rhythm Displacement by Jon Finn Professor Finn gets funky 56 Studio Guitarists byWolfMarsha/1 Session great Steve Lukather takes us on a walk behind the glass PROFILE 21 Bert Jansch byHPNewquist COLUMNS 70 Mike Stern OVER THE TOP Bop 'n' Roll, Part 2 72 Alex Skolnick THE METAL EDGE 74 Reeves Gabrels BEYOND GUITAR 76 Tony Franklin BASS NOTES 78 Steve Morse OPEN EARS 152 HookinQ Up Your Pedals SOUND F/X 158 The Recording Guitarist Oat's What I ua About DAT DEPARTMENTS 6 Opening Act 8 Input 10 Groundwire 68 Contest WinaB.C. Rich guitar 69 Toy Box Knowyourtubetypes 156 Guitar Picks 164 Tracks 172 Advertiser Index ENCORE 176 Musical Definitions by Charles H. Chapman and Jon Chappell GUITAR & BASS SHEET MUSIC 81 Performance Notes by Jon Chappell 82 Explaining Tab 83 MY JEKYLL DOESN'T HIDE Ozzy Osbourne 95 BETH Kiss 105 AFTERSHOCK Van Halen 129 SATELLITE Dave Matthews Band 140 INTO THE GREAT WIDE OPEN Tom Petty ssues ofyo rou decide t :again. easure to se Malmsteen th this yea as speechles e to feel tha IG nally realize vrite for thos n [Riffolog ative bits an It's about tim ndwagon. -
Mise En Page 1
NANCY , ville d’échange, dynamique, jeune, première ville universitaire du grand Est, s’impose frustrée. Comme jadis au CMCN et maintenant à Music Academy International, nous sommes des comme un des pôles culturels et artistiques européens. Point chaud du rock, capitale du jazz, européens convaincus. La vocation internationale de notre école n’est pas uniquement dictée par la haut-lieu de la musique classique, Nancy a le goût de la scène. Du club de jazz intimiste à “l’Autre situation géographique de Nancy (dans un rayon de 350 km nous touchons Paris et 6 pays, dans un Canal”, scène de Rock, chanson & électro ultra-équipée, en passant par la salle de concerts rayon de 950 km nous touchons Brest et 11 pays), mais également par l’enrichissement culturel et majestueuse jusqu’au Zénith imposant, Nancy accueille à bras ouverts les musiciens de tous économique qui se présente à l’artiste qui profite de l’ouverture des frontières. horizons. Music Academy International est implantée à proximité de trois parcs, à deux pas de la célèbre place Stanislas, en plein centre ville dans un quartier sympathique et sécurisant. Pour cette raison Music Academy International entre autres, accueille nombre d’artistes étrangers réputés. Music Academy se félicite également d’un partenariat privilégié avec une vingtaine des INTERNATIONAL : Le caractère universel de la musique et plus particulièrement les qualités de plus grandes écoles du monde entier. Mais ne nous y trompons pas, même si à Music Academy le brassage et d’intégration des courants actuels, interdit de délimiter son champ d’action, de rester mot “International” prend toute sa mesure, même si les accents sont multiples, même si tous les replié sur son territoire national. -
Eric Singer: Road Warrior
EXCLUSIVE! KISS DRUMMERS TIMELINE KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISSTHE WORLD’SKISS KISS #1 DRUMKISS RESOURCEKISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS ERICKISS KISS KISSSINGER: KISS KISS KISS ROADKISS KISS KISS WARRIOR KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS2020 KISS KISSMD KISS READERS KISS KISS KISS KISSPOLL KISS KISS KISS KISS KISSSS KISSKIS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISSSS KISSKIS KISS KISS KISSBALLOT’S KISS KISS KISS KISSOPEN! KISS KISS KISS KISS KISS KISS KISSSS KISS KIS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISSREMO KISS SUBKISS MUFF’LKISS KISS REVIEWED KISS KISS KISS KISS KISS KISS KISS KISSJANUARY KISS 2020 KISS KISS2019 KISS CHICAGO KISS KISS DRUM KISS KISS SHOW KISS KISS KISS KISS KISS KISS KISS KISS KISS KISSCREATIVE KISS KISS PRACTICE KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISSSTANTON KISS KISS MOORE KISS KISS GEARS KISS UPKISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS What’s Old is New Again. -
CASH BOX TOD100 SI\GEES July 23, 1977
CASH BOX TOD100 SI\GEES July 23, 1977 Weeks Weeks Weeks On On Chart On 7/16 7/16 Chart 7/16 Chart 1 I'M IN YOU 32 HOW MUCH LOVE 64 SUNFLOWER PETER FRAMPTON (A&M 1941) 4 6 LEO SAYER (Warner Bros. WBS 8319) 44 70 3 GLEN CAMPBELL (Capitol 4445) 68 79 4 2 UNDERCOVER ANGEL 33 GOT TO GIVE IT UP (PART 65 SO YOU WIN AGAIN HOT CHOCOLATE (Big Tree/Atlantic BT 16096) 70 3 ALAN O'DAY (Pacific/Atlantic PC-001) 2 2 17 82 1) 66 ROCK AND ROLL NEVER MARVIN GAYE (Tamla/Motown T54280F) 20 15 3 LOOKS LIKE WE MADE IT 31 FORGETS BARRY MANILOW (Arista 244) 3 5 12 34 FEELS LIKE THE FIRST BOB SEGER (Capitol 4449) 71 83 3 TIME 67 A REAL MOTHER 4 I JUST WANT TO BE YOUR FOREIGNER (Atlantic 3394) 33 30 18 JOHNNY GUITAR WATSON EVERYTHING (DJM/Amherst DJUS 1024) 78 88 4 ANDY GIBB (RSO/Polydor 872) 6 8 14 35 LOVE'S GROWN DEEP KENNY NOLAN (20th Century TC -2331) 34 32 16 68 PLATINUM HEROES BRUCE FOSTER (Millennium/Casablanca 602) 73 77 5 5 DA DORONRON 36 DREAMS THE DOODLE FLEETWOOD MAC (Warner Bros. WBS 8731) 35 34 15 69 SONG SHAUN CASSIDY (Curb/WB WBS 8365) 1 1 11 FRANKIE MILLER (Chrysalis 2145) 69 71 5 37 DON'T STOP STRAWBERRY FLEETWOOD MAC (WB WBS 8413) 53 75 3 70 LETTER 23 6 JET AIRLINER BROTHERS JOHNSON (A&M 1949) 83 2 STEVE MILLER BAND (Capitol 3424) 5 3 13 38 THE KILLING OF GEORGIE 71 STAR WARS ROD STEWART (WBS 8396) 39 41 8 7 MY HEART BELONGS TO LONDON SYMPHONY ORCHESTRA 39 SLIDE (20th Century TC 2345) 92 2 ME SLAVE (Cotillion/Atlantic 44218) 51 59 7 72 WALK RIGHT IN BARBRA STREISAND (Columbia 3-10555) 8 10 10 40 HEARD IT IN A LOVE SONG DR. -
Metal Obs' Numéro 32
Metal Obs’ numéro 32 - juillet-Août 2009 Metal Obs’ n°32 - Juillet/Août 2009 MENSUEL METAL GRATUIT DISTRIBUÉ EXCLUSIVEMENT DANS LES Juillet / août, le temps des maillots de bain, de la plage, des MAGASINS FNAC crustacés, des bibines fraîches... et surtout des voyages, histoire de voir si l’herbe est plus verte ailleurs ! Mais même si nous RÉDACTEUR EN CHEF Geoffrey PAUFERT (Fnac Valenciennes)SEC RÉTAIRE DE RÉDAC- allons faire un break bien mérité pendant 2 ou 3 semaines, après TION Will «Of Death» HIEN RÉDACTION Will Of Death, Yazan «Yath» El Safadi, Gaetan une nouvelle clôture dans la douleur, nous allons quand même Soleil, Olivier «Breizhjoker» Le Pan, Regis «min cousin» Vandenbussche, Lucie, Looner, profiter de nos congés pour écouter Megadeth ou Immortal, deux Luna , Gilles «Der Kaiser» Kaeser, Jonathan Deladerrière MAQUETTE: Geoffrey Paufert exemples de grosse sortie de la rentrée, qui s’annonce une nouvelle fois exaltante en termes de WEBMASTER : Jean-Noël Bonnaillie disques à paraître... Bref, les vacances seront studieuses. REMERCIEMENTS aux labels, à la FNAC et à tous les vendeurs metal, les chargés de Cette saison 2008/2009 s’est terminée en beauté par un terrible Hellfest qui a su rassembler plus de communication FNAC, Mathieu Barville, Jean-Luc Muller, Daniel d’UNDERCLASS, Char- 60.000 rednecks venus de partout, en proposant une affiche éclectique unique en Europe ! Quelle les-Henry Provost, Virginie Binard, Karine «Blackberry forever» S. réussite et quel plaisir pour les fans ! Pour fêter ça, en plus de nos rubriques traditionnelles, on vous REMERCIEMENTS ETERNELS Michel S. propose ce mois-ci un report completoilà, dans avec ce photos, tableau qui idyllique, sera complété il y a une par ombre, beaucoup Hcelleellfest d’autres des aupr culs-bénisès clichés, des sur notre site Noiseweb. -
59Th Annual Critics Poll
Paul Maria Abbey Lincoln Rudresh Ambrose Schneider Chambers Akinmusire Hall of Fame Poll Winners Paul Motian Craig Taborn Mahanthappa 66 Album Picks £3.50 £3.50 .K. U 59th Annual Critics Poll Critics Annual 59th The Critics’ Pick Critics’ The Artist, Jazz for Album Jazz and Piano UGUST 2011 MORAN Jason DOWNBEAT.COM A DOWNBEAT 59TH ANNUAL CRITICS POLL // ABBEY LINCOLN // PAUL CHAMBERS // JASON MORAN // AMBROSE AKINMUSIRE AU G U S T 2011 AUGUST 2011 VOLUme 78 – NUMBER 8 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed Associate Editor Aaron Cohen Contributing Editor Ed Enright Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
“Punk Rock Is My Religion”
“Punk Rock Is My Religion” An Exploration of Straight Edge punk as a Surrogate of Religion. Francis Elizabeth Stewart 1622049 Submitted in fulfilment of the doctoral dissertation requirements of the School of Language, Culture and Religion at the University of Stirling. 2011 Supervisors: Dr Andrew Hass Dr Alison Jasper 1 Acknowledgements A debt of acknowledgement is owned to a number of individuals and companies within both of the two fields of study – academia and the hardcore punk and Straight Edge scenes. Supervisory acknowledgement: Dr Andrew Hass, Dr Alison Jasper. In addition staff and others who read chapters, pieces of work and papers, and commented, discussed or made suggestions: Dr Timothy Fitzgerald, Dr Michael Marten, Dr Ward Blanton and Dr Janet Wordley. Financial acknowledgement: Dr William Marshall and the SLCR, The Panacea Society, AHRC, BSA and SOCREL. J & C Wordley, I & K Stewart, J & E Stewart. Research acknowledgement: Emily Buningham @ ‘England’s Dreaming’ archive, Liverpool John Moore University. Philip Leach @ Media archive for central England. AHRC funded ‘Using Moving Archives in Academic Research’ course 2008 – 2009. The 924 Gilman Street Project in Berkeley CA. Interview acknowledgement: Lauren Stewart, Chloe Erdmann, Nathan Cohen, Shane Becker, Philip Johnston, Alan Stewart, N8xxx, and xEricx for all your help in finding willing participants and arranging interviews. A huge acknowledgement of gratitude to all who took part in interviews, giving of their time, ideas and self so willingly, it will not be forgotten. Acknowledgement and thanks are also given to Judy and Loanne for their welcome in a new country, providing me with a home and showing me around the Bay Area. -
Pacad286-All Access#7
“It was never my goal to become technical. I just wanted to play the cool stuff I heard in my head.” Billy Sheehan may be the most influential rock bassist of the last 20 years. And throughout those years, he’s favored the signature instruments he co-designed with Yamaha’s custom shop. Unlike many of the players who mimic his fretboard pyrotechnics, Sheehan has always balanced virtuosity with solid songwriting and supportive rhythm-section playing. Evidence: his work with Talas, the David Lee Roth Band and on solo albums like his most recent, Cosmic Troubadour , which also highlighted Billy’s guitar and vocal skills. Sheehan recently called from Sofia, Bulgaria, where he was on tour with another David Lee Roth Band vet, guitarist Steve Vai. What first inspired you to expand the technical boundaries they made superbly crafted instruments. The first bass we came up with was of electric bass? part of the BB Series, and later we developed the Attitude series. We’ve made It was never my goal to become technical. I just wanted to play the cool stuff I several other models, but I still gravitate most toward the ATT LTDII. It’s a heard in my head. I’d hear a string of notes played on some instrument and try P-style bass, but with some unique features, like a more solid neck joint than to figure out how to do them on bass. I don’t read music. I don’t know theory. I the one on vintage basses. I often bend the neck for vibrato, and I always used just have an intense, ongoing love of playing. -
Western Herald – SATURDAY: Jeremy Porter & the Tucos Bring
Western Herald – SATURDAY: Jeremy Porter & the Tucos bring unique genre blend to Kalamazoo http://www.westernherald.com/arts-and-entertainment/saturday-jeremy-porter-the-tucos-bring-unique-genre-blend-to- kalamaz oo/ March 16, 2013 Craig Manning A&E Editor Growing up in Marquette, Mich., Jeremy Porter was probably one of those guys who spent as much time listening to the radio and spinning records on the turntable as he did hitting the books. At 16, he helped launch one of the Upper Peninsula’s first punk bands —called The Regulars—and instead of making curfew on Thursday nights, he spent them hanging out in ‘juice joints,’ cranking the amplifiers to capacity and, as his bio says, learning “what a rock bar smells like.” But while Porter’s educators probably frowned on that sort of behavior, clearly Porter is getting the last laugh. The singer/songwriter—who transplanted to the Detroit area back in the 80s—built a new trio called the Tucos in 2010, recruiting Jason Bowes (bass) and Gabriel Doman (drums) as his back-up. Almost three years later, the trio has supported nationally-recognized acts like Jesse Malin & the St. Mark’s Social and Whitey Morgan & The 78’s and brought their unique blend of 70s power pop, 80s punk rock and 90s alt-country to bars and clubs all over the midwest. On Saturday night, the Tucos will hit the stage at Louie’s Trophy House in Kalamazoo to support their excellent new full-length, Partner in Crime. Porter’s influences are rich and varied, all manifesting themselves at some point during Partner in Crime’s 46-minute runtime. -
The History of Rock Music - the 2000S
The History of Rock Music - The 2000s The History of Rock Music: The 2000s History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2006 Piero Scaruffi) Bards and Dreamers (These are excerpts from my book "A History of Rock and Dance Music") Bards of the old world order TM, ®, Copyright © 2008 Piero Scaruffi All rights reserved. Traditionally, the purposefulness and relevance of a singer-songwriter were defined by something unique in their lyrical acumen, vocal skills and/or guitar or piano accompaniment. In the 1990s this paradigm was tested by the trend towards larger orchestrastion and towards electronic orchestration. In the 2000s it became harder and harder to give purpose and meaning to a body of work mostly relying on the message. Many singer-songwriters of the 2000s belonged to "Generation X" but sang and wrote for members of "Generation Y". Since "Generation Y" was inherently different from all the generations that had preceeded it, it was no surprise that the audience for these singer-songwriters declined. Since the members of "Generation X" were generally desperate to talk about themselves, it was not surprising that the number of such singer- songwriters increased. The net result was an odd disconnect between the musician and her or his target audience. The singer-songwriters of the 2000s generally sounded more "adult" because... they were. -
Music Globally Protected Marks List (GPML) Music Brands & Music Artists
Music Globally Protected Marks List (GPML) Music Brands & Music Artists © 2012 - DotMusic Limited (.MUSIC™). All Rights Reserved. DotMusic reserves the right to modify this Document .This Document cannot be distributed, modified or reproduced in whole or in part without the prior expressed permission of DotMusic. 1 Disclaimer: This GPML Document is subject to change. Only artists exceeding 1 million units in sales of global digital and physical units are eligible for inclusion in the GPML. Brands are eligible if they are globally-recognized and have been mentioned in established music trade publications. Please provide DotMusic with evidence that such criteria is met at [email protected] if you would like your artist name of brand name to be included in the DotMusic GPML. GLOBALLY PROTECTED MARKS LIST (GPML) - MUSIC ARTISTS DOTMUSIC (.MUSIC) ? and the Mysterians 10 Years 10,000 Maniacs © 2012 - DotMusic Limited (.MUSIC™). All Rights Reserved. DotMusic reserves the right to modify this Document .This Document 10cc can not be distributed, modified or reproduced in whole or in part 12 Stones without the prior expressed permission of DotMusic. Visit 13th Floor Elevators www.music.us 1910 Fruitgum Co. 2 Unlimited Disclaimer: This GPML Document is subject to change. Only artists exceeding 1 million units in sales of global digital and physical units are eligible for inclusion in the GPML. 3 Doors Down Brands are eligible if they are globally-recognized and have been mentioned in 30 Seconds to Mars established music trade publications. Please