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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. -
SST Defies Industry, Defines New Music
Page 1 The San Diego Union-Tribune October 1, 1995 Sunday SST Defies Industry, Defines New Music By Daniel de Vise KNIGHT-RIDDER NEWSPAPERS DATELINE: LOS ALAMITOS, CALIF. Ten years ago, when SST Records spun at the creative center of rock music, founder Greg Ginn was living with six other people in a one-room rehearsal studio. SST music was whipping like a sonic cyclone through every college campus in the country. SST bands criss-crossed the nation, luring young people away from arenas and corporate rock like no other force since the dawn of punk. But Greg Ginn had no shower and no car. He lived on a few thousand dollars a year, and relied on public transportation. "The reality is not only different, it's extremely, shockingly different than what people imagine," Ginn said. "We basically had one place where we rehearsed and lived and worked." SST, based in the Los Angeles suburb of Los Alamitos, is the quintessential in- dependent record label. For 17 years it has existed squarely outside the corporate rock industry, releasing music and spoken-word performances by artists who are not much interested in making money. When an SST band grows restless for earnings or for broader success, it simply leaves the label. Founded in 1978 in Hermosa Beach, Calif., SST Records has arguably produced more great rock bands than any other label of its era. Black Flag, fast, loud and socially aware, was probably the world's first hardcore punk band. Sonic Youth, a blend of white noise and pop, is a contender for best alternative-rock band ever. -
It's Not a Fashion Statement
Gielis /1 MASTER THESIS NORTH AMERICAN STUDIES IT’S NOT A FASHION STATEMENT. AN EXPLORATION OF MASCULINITY AND FEMININITY IN CONTEMPORARY EMO MUSIC. Name of student: Claudia Gielis MA Thesis Advisor: Dr. M. Roza MA Thesis 2nd reader: Prof. Dr. F. Mehring Gielis /2 ENGELSE TAAL EN CULTUUR Teacher who will receive this document: Dr. M. Roza and Prof. Dr. F. Mehring Title of document: It’s Not a Fashion Statement. An exploration of Masculinity and Femininity in Contemporary Emo Music. Name of course: MA Thesis North American Studies Date of submission: 15 August 2018 The work submitted here is the sole responsibility of the undersigned, who has neither committed plagiarism nor colluded in its production. Signed Name of student: Claudia Gielis Gielis /3 Abstract Masculinity and femininity can be performed in many ways. The emo genre explores a variety of ways in which gender can be performed. Theories on gender, masculinity and femininity will be used to analyze both the lyrics and the music videos of these two bands, indicating how they perform gender lyrically and visually. Likewise a short introduction on emo music will be given, to gain a better understanding of the genre and the subculture. It will become clear that the emo subculture allows for men and women to explore their own identity. This is reflected in the music associated to the emo genre as well as their visual representation in their music videos. This essay will explore how both a male fronted band, My Chemical Romance, and a female fronted band, Paramore, perform gender. All studio albums and official music videos will be used to investigate how they have performed gender throughout their career. -
Documenting Destruction: an Examination of the Nashville Hardcore Punk Scene
Documenting Destruction: An Examination of the Nashville Hardcore Punk Scene by Nicholas R. Cummings A thesis presented to the Honors College of Middle Tennessee State University in partial fulfillment of the requirements for graduation from the University Honors College Fall 2019 Documenting Destruction: An Examination of the Nashville Hardcore Punk Scene by Nicholas R. Cummings Approved: _______________________________ Dr. John Dougan Department of Recording Industry _______________________________ Beverly Keel Department of Recording Industry _______________________________ Dr. Philip E. Philips, Associate Dean University Honors College i Table of Contents: I. Introduction Pg. 1 II. Background Pg. 2 III. Nashville Pg. 7 IV. Venues Pg. 8 V. Labels Pg. 10 VI. Producers Pg. 12 VII. Bands Pg. 13 VIII. Conclusion Pg. 17 IX. Appendix Pg. 18 ii Abstract: While known mainly for country music, Nashville house a thriving hardcore punk scene. This thesis serves as an exploration of both hardcore as a genre and the Nashville scene itself. It explores the venues, record labels, producers, and some of the most important bands of the Nashville scene. It is the sister work to a photo book created by the author. The photos were taken over the course of a year, from October 2018 to October 2019, utilizing both film and digital photography as well as a variety of techniques. It is meant to document the current state of Nashville’s hardcore scene, with its reader base consisting mainly of members of the scene. I. Introduction: Nashville is known around the world as a Mecca for country music, but if one ventures a few miles away from the bright lights of Broadway one will find an entirely different type of music; hidden in dive bars and dingy basements is one of the most thriving hardcore punk scenes in the country. -
1995 Fall Program Guide
~Dnfs@@ ~© @®K§ ®@@ @®@@§o ®@@ OO©K@ o o o hJ I ~ @ ~ p [§s I @J @ ~ ~ ~ @J c:::::, \C ro=-. ~ ~ @ \C ~o Fl Ul ~ Ci@ ~ ~ ~ ~ @8 (1 ~o 0~ -e ~ ~ =~ 00 I ~o=-· z ro CIQ ~ c:::::, e ~ ~ ~ @'j) ~ &J I 1 =e, @ = 1 @ I = e, ~ ~ 9 ~ ~ '< ~o 0~ @ &J ~ @) ~ L7@c2®~111 ~@~®cir ®LQ]~ L7Jlc2@~@®~ Lhlh~~ LQ]~ 100 • ', WM C N. ·')~·,.:'. .. 91. 7 FM Clc1-,:-p . :: .. Ct.. o.. FF. • .. ::... ~••s:. '1-·· ··' C....,KrE . .· .. ·.,.· · 1'\.,::) WMCN Executive Staff Fall 1995 General Manager Promotions Director New Music Directors Chris Herrington Pete Bayard Joanna Curtis Eric Hausken News/PSA Directors Assistant Promotions Directors Kara Fiegenschuh Jenni Undis Michelle Hayes Hip Hop Director Curtis Stauffer Jenny Ahern MattArlyck Style Consultant/Live Bands World/Reggae Director Jazz/Blues Director Peter "Tigger" Lunney Kyan Thornton Abe Wheeler Production Assistant Metal Director Country Director Mike Storey Mike Hourigan Nate Sparks Office Manager Engineer Cory Walker Ethan Torrey ~ ~ cqi ll11 (9 ~ 1t IL fl Iffi (9 Macalester College (Q)~(O)=(O)] li 2 1600 Grand Ave. (Q)ffn~t9 IL1tiffit9 St. Paul, MN, 55105 Co)~ (0) = (0) (0) ~2 2 Who we are and what we do: a listener's guide i. I'm Chris Herrington, the general manager Our other special block is World/R&B from 6-8 of WMCN, and I'd like to welcome you to p.m. weekdays. From Dancehall to African to H another great year of broadcasting at the best, Caribbean to Ska to R&B, it's all here. Kyan Thornton's if least recognized, radio station in the Twin Cities. -
MUTANT POP Big Catalog
It’s the incredible free! MutantMutant PopPop Y Mailorder Catalog Hi again! Don’t forget to bookmark the web page: http://members.aol.com/mutantpop/index.html This month’s dose of joy is MP-30 VARIOUS ARTISTS “No Band Photo, Vol.1.” Yes, you read that right, no leather jacket boys on the sleeve, just a cool cartoon by Jeff Wilson, author of Sap. It looks swell and you get four little band photos inside along with my typical yeoman’s output of typos, so dry your little traditionalist eyes. Four bands for five bucks on two slabs of wonderful blue wax. THE FRATELLI’S are on side F, this is their first release ever. They’re four guys from Michigan and they deliver two uptempo, peppy, happy sounding cuts. “Nobody Likes Me Again” is the hit, an anthem for unpopular kids everywhere. THE FRATELLI’S fit into the puzzle next to bands like CARTER PEACE MISSION and THE KLOPECS, combining buzzing guitars and a warm, fuzzy ambiance with enough guitar grit to slide into the pages of Maximum Rocknroll. An excellent pop-punk band, I hope this is just the first of a series of FRATELLI’S stuff. Backing side F is side S. The big S stands for SPODIE and you certainly must know them by now. Their self-released “Pop Punk-a-Go Go” EP blows the doors off, their new split EP with PINCUSHION adds to their growing legacy. SPODIE is definitely the hardest of the four bands involved in this project, chas- ing it with two true-to-life relationship songs. -
2020 Andrew Gregory Page 1 of 13 RECORDINGS Hard
This report covers the period of July 1st to Scavengers - "Riddle of Steel" (single) September 30th, 2020. I inadvertently [hardcore metal crust punk] Albany missed a few before that time period, which were brought to my attention by Scum Couch - "rvw lvnd todvy | John fans, bands & others. The missing is listed Mongonia" [doom hardcore punk] Albany at the end, along with an End Note. Sinking - "Only Echoes" [alternative emo rock] Pittsfield MA Smiles - "Machiavellian" [deathcore metalcore hardcore queercore] Albany STATE CHAMPS - "Unplugged" (EP) [acoustic pop punk] Thank you to Nippertown.com for being a partner with Albany WEXT Radio in getting this report out to the people! The Erotics - "Let's Kill Rock N Roll" [sleazy hard rock] RECORDINGS Albany Hard Rock / Metal / Punk The Mighty Atom - "Crashing Through My Beers After the Fall - "Resignation" [hardcore skate punk] [Single]" (2-track) [power pop punk] North Adams MA Albany Wet Specimens - "Serpent Circle" (lathe cut 7-inch) Alex Roumanidakis - "Control" (single) [metal] Albany [punk hardcore] Albany Banshee - "Events Occur in Real Time" (EP) [hardcore Rock / Pop metal] Schenectady Aaron Rhoades - "Going Somewhere" (single track) [alternative electronic synthpop] Albany Christopher Peifer - "Suicide Mission" [garage power pop punk rock] Albany/NYC Alex Hitrick - "Ice Cream" (single) [electro dance pop] Schenectady Concrete - "Free Us From Existence" [hardcore thrash metal] Albany BVLCONY - "On Your Mind" (single) [alternative pop] Saratoga Springs FACED - "II COMING" [thrash metal] -
Excesss Mar-June 2021 ARTIST
Excesss Mar-June 2021 ARTIST Artist Song Title Artist Song Title 1975, The It's Not Living (If It's Not Black Crowes, The Sometimes Salvation With You Black Light Burns Lie 3 Inches of Blood Battles and Brotherhood Black Sabbath The Devil Cried Adele Someone Like You The Sign of the Southern Affiance Call To The Warrior Cross AJR Way Less Sad Blackguard This Round's On My Way Less Sad Blakk, Forest If You Love Her Way Less Sad (Inst) If You Love Her (Inst) Alice In Chains Brother (Unplugged) Blind Melon Tones of Home God Smack Blue Oyster Cult Transmaniacon MC Heaven Beside You Blur Moroccan Peoples Low Ceiling Revolutionary Bowls Club Sea of Sorrow Bouncing Souls, The Gasoline Stone Bowen, Wade Hold My Beer All That Remains Days Without Bowie, David Starman Forever In Your Hands BRELAND Cross Country This Calling Cross Country (Inst) Allie X Super Duper Party People Bronx, The Knifeman Amberian Dawn My Only Star Young Bloods Willow Of Tears Bryan, Luke Drink A Little Whiskey Arcade Fire My Body Is A Cage Drink A Little Whiskey Arctic Monkeys 505 (Inst) Ashnikko Deal With It (feat Kelis) Waves Slumber Party (feat Waves (Inst) Princess Nokia) Calm Down Ace 8-10 (Parody of 9-5 by At The Drive-In Napoleon Solo Dolly Parton) Audioslave What You Are Cantor, Rob Shia LeBeouf (Live) AURORA Runaway Cardin, Charlotte Anyone Who Loves Me Avenged Sevenfold Unholy Confession Anyone Who Loves Me (Inst) Bad Religion Better Off Dead Cetera, Peter Glory of Love Band of Horses Is There A Ghost Chesney, Kenny Knowing You No One's Gonna Love You Knowing -
"Rock Against Reagan": the Punk Movement, Cultural Hegemony, and Reaganism in the Eighties
University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2016 "Rock against Reagan": The punk movement, cultural hegemony, and Reaganism in the eighties Johnathan Kyle Williams University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2016 Johnathan Kyle Williams Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Cultural History Commons Recommended Citation Williams, Johnathan Kyle, ""Rock against Reagan": The punk movement, cultural hegemony, and Reaganism in the eighties" (2016). Dissertations and Theses @ UNI. 239. https://scholarworks.uni.edu/etd/239 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. Copyright by JOHNATHAN KYLE WILLIAMS 2015 All Rights Reserved “ROCK AGAINST REAGAN”: THE PUNK MOVEMENT, CULTURAL HEGEMONY, AND REAGANISM IN THE EIGHTIES An Abstract of a Thesis Submitted in Partial Fulfillment of the Requirements for the Degree Master of Arts Johnathan Kyle Williams University of Northern Iowa May, 2016 ABSTRACT Despite scholars’ growing interest in the cultural movement known as punk, there has been a lack of focus on the movement’s relationship to its historical context. Punk meant rebellion, and this research looks at how the rebellion of the American punk movement during the eighties [1978 to 1992], was aimed at the president Ronald Reagan. Their dissent, however, was not only directed towards Reagan, but the culture that he encompassed. -
American Roots Music Legacy in the Songs of Bruce Springsteen Undergraduate Thesis
ZÁPADOČESKÁ UNIVERZITA V PLZNI FAKULTA PEDAGOGICKÁ KATEDRA ANGLICKÉHO JAZYKA ODKAZ AMERICKÉ TRADIČNÍ HUDBY V PÍSNÍCH BRUCE SPRINGSTEENA BAKALÁŘSKÁ PRÁCE Jakub Toman Plzeň 2014 UNIVERSITY OF WEST BOHEMIA FACULTY OF EDUCATION DEPARTMENT OF ENGLISH AMERICAN ROOTS MUSIC LEGACY IN THE SONGS OF BRUCE SPRINGSTEEN UNDERGRADUATE THESIS Jakub Toman Plzeň 2014 Prohlašuji, že jsem bakalářskou práci vypracoval samostatně s použitím uvedené literatury a zdrojů informací. Plzeň, ……………… 2014 .................................................................. vlastnoruční podpis ACKNOWLEDGMENTS I would like to thank the supervisor of my thesis, William Bradley Vice, Ph.D., for he was there for me when I was lost in the darkness on the edge of town. Furthermore, I would like to express my gratitude to Bruce Springsteen for providing me with something to face the world with. ABSTRACT Toman, Jakub. University of West Bohemia. April, 2014. American Roots Music Legacy in the Songs of Bruce Springsteen. Supervisor: William Bradley Vice, Ph.D. This thesis deals with Bruce Springsteen’s use of American roots music. It shows how exactly he fits in the framework of this tradition, and what are the main connections. Springsteen’s life is briefly outlined prior to the release of his break-through album Born to Run to provide a personal context. This thesis is divided into two chapters. The first one is concerned with the mentioned biography. The second one is further divided into two subchapters that shortly discuss what exactly the term “American roots music” means, and then there are analysis of the two selected trilogies. The first trilogy is his formative one where he had explored the distance between American Dream and reality. -
The Local 518 Music
2020 Quarter 2 Report 2020 Quarter 2 Report Report covers the time period of April 1st to JJ Savage - "Junkyard Dogs / State of Mind" June 30th, 2020. I inadvertently missed a few (single) [hard rock] Albany/LA before that time period, which were brought to my attention by fans, bands & others. The Jo - "Live at QE2 - May 13, 1992" [emo punk missing is listed at the end, along with an End Note… metal] Scotia RECORDINGS Lame Dude - "Getting Tired, Getting Over It" (EP) [alt grunge emo punk rock] Troy Hard Rock / Metal / Punk 1313 Mockingbird Lane - "Unfinished Business (The Mike Vitali - "Homegrown Session: Vol 2" | Toilet Tapes)" [garage punk rock horror] Albany "Homegrown Session: Vol 1" [heavy stoner rock blues] Voorheesville Banshee - "Sunflower" (single) [hardcore metal] Schenectady Mind Reader - "Mortality Obsession" (3-tracks) [heavy metal trash] Troy Bendt - "Bendt Acoustic Sessions: Vol. 1" [alternative modern hard rock] Albany Moriah Formica - "Better Off Alone" (single) [hard rock] Albany Black Electric - "Utopian Hymns" [heavy stoner blues rock] Voorheesville Nice Try Kid - "Attics" [alt pop punk rock] Adams MA Broken Field Runner - "Broken" [electronic emo pop No More Death Stars - "Fear Song" (single) [pop punk punk] Albany / LA rock] Glens Falls Crafter - "No Renaissance" (single) [melodic hardcore] Postage / Mikey Erg - "Paranoia / Self Addressed Pittsfield MA Stamped Envelope" (split single [hardcore poer punk] Albany/NJ Concrete - "World Tomb" (single) [hardcore thrash metal] Albany Reprise - "Blackout" (single) [heavy -
DUANE ALLMAN and AMERICAN MUSIC by Bob Beatty A
“YOU WANNA PLAY IN MY BAND, YOU’D BETTER COME TO PICK”: DUANE ALLMAN AND AMERICAN MUSIC by Bob Beatty A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Public History Department of History Middle Tennessee State University August 2018 Doctoral Committee: Carroll Van West, Ph.D., Chair John Dougan, Ph.D. C. Brendan Martin, Ph.D. Kristine M. McCusker, Ph.D. Dedicated to Suzi and Pat Beatty. Thank you, Mom and Dad, for the unwavering support of all of my various interests and in my pursuit of my life and career goals. I am sorry you aren't here to celebrate this moment with me. ii ACKNOWLEDGMENTS All acknowledgments begin with my family: my wife Candy and daughters Ryan and Tyler, who lived this journey with me. Thanks to each of you for the role you play in my life and my life's work. Thank you to Dr. Carroll Van West, whose careful shepherding of this project and this phase of my graduate career is so appreciated. Thank you also to my dissertation committee, Drs. John Dougan, C. Brendan Martin, and Kristine M. McCusker, whose insights into this process were invaluable. To Troy Wilson, Brandon Munson, and Steve Marshall: a man is blessed to have one friend as good as each of you, my cup overflows that I have three. The same is true of my first best friend, my cousin Brad Beatty. I am forever grateful to my friends in the Allman Brothers Band world who encouraged and inspired me to dig deeper into this band and its meaning: most notably: Andy Beichler; Jules Fothergill; Gary Barrett;