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Gender Role Construction in the Beatles' Lyrics
“SHE LOVES YOU, YEAH, YEAH, YEAH!”: GENDER ROLE CONSTRUCTION IN THE BEATLES’ LYRICS Diplomarbeit zur Erlangung des akademischen Grades eines Magister der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Mario Kienzl am Institut für: Anglistik Begutachter: Ao.Univ.-Prof. Mag. Dr.phil. Hugo Keiper Graz, April 2009 Danke Mama. Danke Papa. Danke Connie. Danke Werner. Danke Jenna. Danke Hugo. 2 TABLE OF CONTENTS 1. Introduction .......................................................................................................................... 4 2. The Beatles: 1962 – 1970...................................................................................................... 6 3. The Beatles’ Rock and Roll Roots .................................................................................... 18 4. Love Me Do: A Roller Coaster of Adolescence and Love............................................... 26 5. Please Please Me: The Beatles Get the Girl ..................................................................... 31 6. The Beatles enter the Domestic Sphere............................................................................ 39 7. The Beatles Step Out.......................................................................................................... 52 8. Beatles on the Rocks........................................................................................................... 57 9. Do not Touch the Beatles.................................................................................................. -
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Brown, A.R. (2015) ‘Explaining the naming of heavy metal from rock’s “Back Pages”: a dialogue with Deena Weinstein’. Metal Music Studies, 1 (2): 233-261. Online at: http://dx.doi.org/10.1386/mms.1.2.233_1 ResearchSPAce http://researchspace.bathspa.ac.uk/ This version is made available in accordance with publisher policies. Please cite only the published version using the reference above. Your access and use of this document is based on your acceptance of the ResearchSPAce Metadata and Data Policies, as well as applicable law:- https://researchspace.bathspa.ac.uk/policies.html Unless you accept the terms of these Policies in full, you do not have permission to download this document. This cover sheet may not be removed from the document. Please scroll down to view the document. Author’s note: This is the final draft version of the article accepted for publication by Metal Music Studies on the 2nd December 2014. The final copy-edited article is due to be published as: Brown, A.R. (2015) ‘Explaining the Naming of Heavy Metal from Rock’s “Back Pages”: A dialogue with Deena Weinstein’, Metal Music Studies, I (2): 233-261 (April). Explaining the Naming of Heavy Metal From Rock’s “Back Pages”: A Dialogue with Deena Weinstein The origins of the term heavy metal or when the genre was first named is a perennial topic of debate and conjecture among fans, popular music historians, academic-fans and fan-academics. Such debates and refutations can also be found across the web, on metal-blogs, net-cyclopedias, discographies and fan forums. -
The Development of the Beatles' Programmatic Music
TCNJ JOURNAL OF STUDENT SCHOLARSHIP VOLUME XXII APRIL 2020 THE DEVELOPMENT OF THE BEATLES’ PROGRAMMATIC MUSIC Author: Marisa Blackman Faculty Sponsor: David Venturo, Department of English ABSTRACT The 1960s, as well as being the time during which The Beatles existed as a band, was a time marked by rapid social change. Because of this, The Beatles also underwent rapid change at this time as each individual member branched off into their own section of ‘60s counterculture. George was interested in eastern influences, John (along with the rest of The Beatles) became involved with drugs, and Paul began listening to avant-garde music. These influences are all visible on their album Sgt. Pepper’s Lonely Hearts Club Band in their songs “Within You Without You,” “Lucy in the Sky With Diamonds,” and “A Day in the Life.” The styles of each of these songs radically differ from the others and radically differ from the beginning music of The Beatles from the early 60s. This marked difference elucidates the fact that The Beatles were in the midst of a transition. This transition had many components, but the most important is the change in their music. By the time of the release of Sgt. Pepper’s Lonely Hearts Club Band, the sound of the Beatles is irreconcilable with the sound of their first album Please Please Me. Whereas their first album followed most conventional norms of rock ‘n’ roll, the later Beatles albums questioned and held little regard for the traditions of the genre. In the following paper I argue that the most relevant mean by which The Beatles challenged tradition was the way they changed the form, lyrics, and sound of rock ‘n’ roll. -
Steve Marriott Had It in Spades
WhereWhere thethe actionactionis!is! DFQCD009 CMFCD684 2-CD, DFQDD005 3-CD,CMETD1078 The Mod Generation Immediate Mod Gary Crowley’s Le Beat Bespoké Clean Living Under Box Set Where The Action Is! 24 Tailor Made Cuts Difficult Circumstances CMRCD1105 2-CD, NEMCD973 2-CD, CMDDD697 2-CD, TDSAN004 Small Faces Brian Auger Geno Washington Jimmy James & Ultimate Collection This Wheel’s On Fire My Bombers, My Dexys, My Highs The Vagabonds (The 60’s Studio Sessions) Sock It To ’Em J.J. CFMCD688 CMEDD744 CMDDD604 2-CD CMDDD679 Mods Mayday ’79 The Mod Revival Secret Affair The Lambrettas Various Artists Generation Time For Action Da-a-a-ance The Anthology NEMCD479 CMRCD283 CMRCD535 CMRCD757 CMRCD097 The Go-Go Train Jump And Dance Maximum R&B Ready Steady Stop! That Driving Beat Doin’ the Mod Doin’ the Mod Doin’ the Mod Doin’ the Mod Doin’ the Mod Vol. 1 Vo l . 2 Vo l . 3 Vo l . 4 Vo l . 5 www.sanctuaryrecords.co.uk FOREWORD Ian McLagan SMALL FACES “To tell the truth I’d never been on a Lambretta until a couple of years ago. Kenney Jones and I did a photoshoot on one and laughed about the fact, but I vividly recall what that era meant and what being a mod meant. “Originally it stood for modernist as opposed to trad. I went to art school and you were one or the other. I decided I was mod. I wanted to be part of what was happening. The clothes started coming together and I defi nitely wanted to be part of that. -
The Shadow Man Cometh: Flannery O'connor's Influence on U2's
9/11/2020 The Shadow Man Cometh: Flannery O’Connor’s Influence on U2’s The Joshua Tree @U2 Home Page - U2 News, Lyrics, Tour Dates & more https://www.atu2.com SOUNDBYTE: "I don't believe in wishful thinking. You know, 'Imagine,' that John Lennon song, it's my least favorite of his songs. And he's the man for me, but it's like I don't believe that imagining is enough." — Bono THE SHADOW MAN COMETH: FLANNERY O’CONNOR’S INFLUENCE ON U2’S THE JOSHUA TREE @U2 September 12, 2017by Scott Calhoun Oh, Shadow Man … you’ve haunted me all summer long since I saw you there on the stage and screen on The Joshua Tree Tour 2017. Bono created you this year to help him perform “Exit.” You certainly rose to the occasion, Shadow Man, joining the ranks of MacPhisto, Mirror Ball Man and The Fly. Geoff Wilson was so impressed by how you helped U2 deliver the song that he’s saying “‘Exit’ Is The New ‘Bullet.’” You were the solution to a performance problem. As Bono told Andy Greene of Rolling Stone, he was looking for a way to not hurt himself: I had a lot of self-harm over the years playing that song. I was very glad not to play it for many years. I broke my shoulder. I got into some very dark places on the stage. I'd rather not step back into that song, but I found a way by thinking of where it came from and going back to the books I was reading at the time. -
Press.Com/Media Krista Carnet, Broadcast Publicity, at 800.843.4587 Ext
Engineering Thrills in Culture Today Although there have always been forms of popular culture, diversions and amusements for the masses, the technological developments that have taken place in the twentieth and twenty-first centuries have meant an increased capability for maximizing sensation. In just over one hundred years we have gone from saucy Mutascope machines to hardcore online pornography in HD, from silent black-and-white films to 3D color movies and computer- generated imagery, from kaleidoscopes to video games. The roller coaster, carousel and Ferris wheel have given way to amusement park rides that push human fear to an extreme. Brendan Walker, the world’s first “thrill engineer,” believes that the future of these rides exists in psychological stimulation: “The human body is a limiting factor,” he admits. “There are only so many Gs it can take before it blacks out. So, to make rides scarier, we’re having to Popcultured: Thinking move towards mental stimulation, playing on real human fears.” Christianly About Style, Media and Entertainment When I first saw a rock band, the musicians had two small speakers and no stage lighting. Available July 2013 One of the last times I saw a band play, the stage set was 167 foot tall, contained 200 tons of equipment, including a cylindrical video screen of 411,000 pixels onto which film of the band $17, 256 pages, paperback was projected. The show was streamed live on YouTube. Sound levels at rock concerts 978-0-8308-3768-7 regularly peak at around 115 decibels, higher than the recommended level to avoid hearing loss and only ten decibels below the pain threshold. -
MTO 6.2: Heinonen, Review of Everett
Volume 6, Number 2, May 2000 Copyright © 2000 Society for Music Theory Yrjo Heinonen KEYWORDS: Everett, Beatles, songwriting, recording, analysis ABSTRACT: The Beatles as Musicians offers an historical survey of the second part of the Beatles’ career. It includes analyses of every song that members of the Beatles wrote and released during 1966–70, as well as a brief review of the Beatles Anthology releases of 1995–96. Each song is discussed in terms of songwriting, recording, and musical expression. Though some of the musical analyses may likely be too demanding for readers without, or with only a little, training in music theory, the book will nevertheless be fascinating for anyone interested in the Beatles. The book’s focus is clearly on music, but it also offers much to readers more interested in the cultural life of the 1960s. This is a splendid book and surely a milestone in Beatles research. [1.1] Walter Everett has published numerous articles on the music of the Beatles. He has approached the topic from the point of view of voice leading and has developed a method of applying voice-leading analysis to answer questions about the expressive content of individual works or songs. The culmination of that program of research is The Beatles as Musicians, which, when completed, will be a two-volume compendium covering the Beatles’ entire career. The second of these volumes, Revolver Through the Anthology, has appeared first and forms the subject of this review. I consider Everett’s book to be well researched and thought provoking. Despite of some critical comments presented below, I generally agree with his point of view. -
Morality in the Music Press, 1967-1983 by Patrick Michael John
Sometimes Good Guys Don’t Wear White: Morality in the Music Press, 1967-1983 by Patrick Michael John Glen A thesis submitted for the degree of Doctor of Philosophy Department of History November 2012 Abstract Sometimes Good Guys Don’t Wear White: Morality in the Music Press, 1967- 1983 This thesis argues that between 1967 and 1983 the music press became increasingly embroiled in extra-musical, social and cultural issues. The music press provided an arena for editors, journalists, musicians and readers to debate social mores. This has gone unnoticed in the existing historiography. The music press – which was conventionally assumed to favour ‘permissiveness’ – hosted a variety of different moral viewpoints that challenge our understanding of conversations on social mores from 1967-1983. Bringing the music press to the fore of historical analysis in this period illustrates that British moral discourse was complex, fragmented and drew from a variety of narratives from the conservative to the radical. The thesis examines how moral debates emerged in the late-1960s’ music press and then investigates the most salient themes that elicited discussions. These themes include youthful rebellion and generational divisions, sex, sexuality, drug use, gender, anti-racism, violent transgression, urban decay and alienation. The thesis analyses how these themes were narrated in the music press and identifies multiple viewpoints were articulated in reference to other tensions that affected moral conversations, such as the music press’s commercial concerns and journalistic styles. It recognises that the music press gave journalists, musicians and readers considerable scope to express their views. Thus the music press is a unique source for gauging the sentiments and proclivities of youth, music subcultures, the press and music industry. -
U2's Creative Process
U2’S CREATIVE PROCESS: SKETCHING IN SOUND K. Paul Harris A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music Chapel Hill 2006 Approved by : Advisor: John Covach Reader: Allen Anderson Reader: David Garcia Reader: Jocelyn Neal Reader: Severine Neff © 2006 K. Paul Harris ALL RIGHTS RES ERVED ii ABSTRACT K. PAUL HARRIS: U2’s Creative Process: Sketching in Sound (Under the direction of John Covach) The music of Irish rock band, U2, evinces a compositional process developed by musicians of exceptional inexperience who underwent an equally exceptional insular development, to become one of the most critically acclaimed rock bands of all time. This dissertation uses a variety of resources —principally demos of mature songs from U2’s seventh studio album, Achtung Baby (1991), recordings of earl y performances surrounding the recording of their debut album, Boy (1980), and video documentary sources chronicling the recording of songs from The Unforgettable Fire (1984) and The Joshua Tree (1987) —as a comparative basis for an assessment of U2’s signa ture musical style, their aesthetic of song, and their use of the recording studio in the realization and development of that aesthetic. U2 arose from the post -punk milieu of the late 1970s, that took its lead from the slightly older punks, (the Sex Pisto ls and t he Clash ), to forge a style distinct from mainstream pop. The members of U2 had widely divergent musical tastes and abilities (some bordering on no ability at all) which compelled them to begin writing their own music from the outset, typically th rough interminable rehearsal —a form of live sketching. -
The Stories Behind Every Beatles Song Ebook, Epub
A HARD DAYS WRITE: THE STORIES BEHIND EVERY BEATLES SONG PDF, EPUB, EBOOK Steve Turner | 224 pages | 18 Oct 2005 | HarperCollins Publishers Inc | 9780060844097 | English | New York, NY, United States A Hard Days Write: The Stories Behind Every Beatles Song PDF Book There are no reviews yet. But there was enough to hold my attention from cover to cover To see what your friends thought of this book, please sign up. Earn up to 5x points when you use your eBay Mastercard. He adds songs written that were not released until after the band split up, most of which showed up on the Anthology albums of the mids. For most of my life I was a fan of the Beatles. Buy only this item Close this window. You might be explaining some things you don't want to explain just yet. Web icon An illustration of a computer application window Wayback Machine Texts icon An illustration of an open book. Excellent excellent excellent. Most of these inaccuracies relate to release dates and timelines for events that are well established Beatles canon. Select a valid country. Sign up Log in. Internet Archive Books. In a landscape of many Beatles books this stands out as one of the most important, since it is a place to find reliable accounts of the varying stories of how the songs came to be. I confess I'd read just about anything about the Beatles and savor it unless its purpose was to tear them down, for some mixed-up reason and rate it highly. Add to Watchlist. -
Genre and Parody in the Music of the Beatles
GENRE AND PARODY IN THE MUSIC OF THE BEATLES by Michael Connolly B. Mus., The University of Toronto, 2013 A THESIS SUBMIITED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate and Postdoctoral Studies (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2015 © Michael Connolly, 2015 Abstract From the earliest outbreak of “Beatlemania” in 1963 to the announcement of their breakup in 1970, The Beatles fulfilled, exceeded, and reformed our conceptions of popular music. They have enjoyed an enduring popularity with critics and audiences and have cemented their position as one of the most celebrated acts in popular culture. Although it would be difficult to attribute their success to a single factor, it could be argued that their eclectic sound ensured their mass appeal. As their careers progressed, The Beatles effortlessly combined and moved between different genres. Many of these genres were atypical for popular music of the 1960s and can be regarded as parody. This thesis approaches parody as an important stylistic trait of The Beatles’ music. Parody is a broad concept that can be found in a number of forms of art and entertainment. By drawing from literary criticism and musicological discourse, this study develops a broader understanding of parody in which popular musicians evoke the music of another genre through borrowing and create a critical distance between their work and the preexisting one. Further investigation reveals how The Beatles applied parody to their music and how it was used by the band to connect with their listeners. In such songs as “Back In The U.S.S.R.” and “Happiness Is A Warm Gun,” The Beatles parody different musical genres in order to evoke social commentary. -
Eric Clapton 1 Eric Clapton
Eric Clapton 1 Eric Clapton Eric Clapton Clapton on stage, Munich, Germany on 5 June 2010 Background information Birth name Eric Patrick Clapton Also known as Slowhand Born 30 March 1945 Ripley, Surrey, England Genres Rock, blues-rock, blues, psychedelic rock, hard rock Occupations Musician, songwriter, producer, artist Instruments Vocals, guitar Years active 1962–present [1] Labels Warner Bros., Reprise, Polydor, RSO, Atco, Apple, Deram Associated acts The Yardbirds, John Mayall & the Bluesbreakers, Powerhouse, Cream, Free Creek, The Dirty Mac, Blind Faith, J.J. Cale, The Plastic Ono Band, Delaney, Bonnie & Friends, Derek and the Dominos, The Beatles, Phil Collins, The Rolling Stones, Luciano Pavarotti, The Band, Freddie King, B.B. King, Mark Knopfler [2] Website Official website Notable instruments See: Guitars section "Blackie": Fender Stratocaster "Brownie": Fender Stratocaster Gibson SG Gibson ES-335 Gibson Les Paul Eric Patrick Clapton, CBE (born 30 March 1945) is an English guitarist, vocalist, and songwriter. Clapton is the only three-time inductee to the Rock and Roll Hall of Fame: once as a solo artist, and separately as a member of The Yardbirds and Cream. Clapton has been referred to as one of the most important and influential guitarists of all time.[3] Clapton ranked fourth in Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time"[4] and fourth in Gibson's Top 50 Guitarists of All Time.[5] In the mid sixties, Clapton left the Yardbirds to play blues with John Mayall & the Bluesbreakers. In his one-year stay with Mayall, Clapton gained the nickname "Slowhand", and graffiti in London declared "Clapton is God." Immediately after leaving Mayall, Clapton formed with drummer Ginger Baker and bassist Jack Bruce, the power trio, Cream, in which Clapton played sustained blues improvisations and "arty, blues-based psychedelic pop." For most of the seventies, Clapton's output bore the influence of the mellow style of J.J.