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Marketing Lessons I Learned from Working with Kiss
MARKETING LESSONS I LEARNED FROM WORKING WITH KISS BY: MICHAEL BRANDVOLD Copyright 2011 Michael Brandvold Marketing • www.MichaelBrandvold.com "Quite eloquent. You're a powerful and attractive man." Gene Simmons Copyright 2011 Michael Brandvold Marketing • www.MichaelBrandvold.com CONTENTS • About • Acknowledgements • Testimonials • No Denying the Influence • All Press is Good Press • Love Me or Hate Me, Just Spell My Name Right • Wait for the Right Time • It’s All Branding • Everything You Do Will Not Succeed • Treat the Media with Respect • Listen to Your Fans You Work for Them • The Secret to Success is to Offend the Greatest Number of People • If You Don’t Ask For It You Won’t Get It • Separate Business and Pleasure • They Aren’t Afraid to Change Their Minds • The Takeaway • Contact Copyright 2011 Michael Brandvold Marketing • www.MichaelBrandvold.com ABOUT In both mainstream and adult entertainment, Michael Brandvold’s marketing talents, skills and savvy are vital assets that numerous companies rely upon to expand, prosper and operate effectively, efficiently and profitably in the online economy. Upon graduating from Mankato State University in 1987, Michael accepted the position of Director of Marketing with DKP Productions, an artist management firm in Chicago, before joining Red Light Records 1990, as National Radio Promotions manager. A self-taught master of HTML, Michael launched websites for Perris Records, Creative Communications, Sportmart, and Montgomery Ward. But it was KISS Otaku – his KISS fan site launched in 1995 – that would change his fortunes forever. In 1998, Gene Simmons of KISS discovered KISS Otaku and personally tapped Michael as the Director of Web Services at Signatures Network, a Sony/CMGi company, where he built-from-scratch, managed and grew KISSonline into a multi-million dollar enterprise with over of a half million visitors a month. -
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. -
The Cult of Old Believers' Domestic Icons and the Beginning of Old
religions Article The Cult of Old Believers’ Domestic Icons and the Beginning of Old Belief in Russia in the 17th-18th Centuries Aleksandra Sulikowska-Bełczowska Institute of Art History, University of Warsaw, Krakowskie Przedmie´scie26/28, 00-927 Warszawa, Poland; [email protected] Received: 23 August 2019; Accepted: 11 October 2019; Published: 14 October 2019 Abstract: The aim of this paper is to present the cult of icons in the Old Believer communities from the perspective of private devotion. For the Old Believers, from the beginning of the movement, in the middle of the 17th century, icons were at the center of their religious life. They were also at the center of religious conflict between Muscovite Patriarch Nikon, who initiated the reforms of the Russian Orthodox Church, and the Old Believers and their proponent, archpriest Avvakum Petrov. Some sources and documents from the 16th and 18th centuries make it possible to analyze the reasons for the popularity of small-sized icons among priested (popovtsy) and priestless (bespopovtsy) Old Believers, not only in their private houses but also in their prayer houses (molennas). The article also shows the role of domestic icons from the middle of the 17th century as a material foundation of the identity of the Old Believers movement. Keywords: icons; private devotion; Old Believers; Patriarch Nikon; archpriest Avvakum 1. Introduction When I visited an Old Believers’ prayer house i.e., molenna for the first time I was amazed by the uncommon organization of the space. It was in 1997, in Vidzy—a village in northwestern Belarus (Sulikowska 1998, pp. -
Český Metalový Videoklip Po Roce 2002
Masarykova universita Filosofická fakulta Ústav filmu a audiovizuální kultury Viktor Palák (FAV – AJ, magisterské prezenční) Český metalový videoklip po roce 2002 (magisterská diplomová práce) Vedoucí práce: Mgr. Petr Szczepanik, Ph.D. Brno 2007 Za pedagogickévedení bych rád poděkoval Mgr. Petru Szczepanikovi, Ph.D., za faktografickéinformacea výpomoc při kompletaci videoklipů Ladislavu Olivovi, za asistenci při kontaktování kapel Michalu Husákovi a za poskytnutí informací všem skupinám i jednotlivcům, kteří byli ochotni méhovýzkumu seúčastnit. Prohlašuji, žejsem pracoval samostatněa použil jen uvedených pramenů. V Brně, 25. června 2007 2 Obsah 1.0 Uvedení doproblematiky ______________________________________________________________________________ 4 1.1 Zdroje_____________________________________________________ 5 1.11 Metal _______________________________________________ 5 1.12 Videoklipy __________________________________________ 8 1.13 České zdroje________________________________________ 8 1.2 Selekceklipů dle doby vzniku a hudebníhožánru ___________ 9 1.3 Kapitoly ___________________________________________________ 11 222.02.0 Metalovéklipy v českých televizích ____________________________ 13 2.1 Volání pometalovéhitparádě_______________________________ 14 2.2 Nástup TV Óčko ____________________________________________ 17 333.03.0 Podoba metalových klipů _______________________________________ 22 3.1 Souhra s hudbou – otázka hlasitosti ________________________ 22 3.2 Základy metalovétypologie: diverzita a její porozumění ______ 24 -