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												  PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the GraduatePERFORMED 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.
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												  Wickenden Wonderland, Dec 21, Rings in Holiday Spirit,H.R. FromWickenden Wonderland, Dec 21, Rings In Holiday Spirit Caroling is part of the Christmas tradition. Ordinary folks gracing their neighborhood with their own style of holiday cheer is commonplace in many cities. Fox Point on the PVD East Side, one of the city’s neighborhoods with an artistic temperament, is putting their own spin on it. Wickenden Wonderland – Thursday, Dec 21, 6-8pm – is a celebration put together by the Fox Point Neighborhood Association, and it is for a great cause. Raising money for the homeless with Amos House, this wonderland provides a glimpse of beauty in the human spirit. It also looks like a damned good time. The start is the Point Tavern 6-7pm with drinks and plans for merrymaking. The kitchen will be occupied by Great Northern Barbeque, so it’s an opportunity to enjoy delicious food among friends. There will be drink specials at the Point, and their beverages are a great way to lubricate your singing voice – and no one should be caroling on an empty stomach. Revenue from food and drink sales will go toward Amos House. This all makes for a stellar reason to join in on the fun. At 7pm, the party moves to George M. Cohan Plaza (the intersection of Wickenden and Governor Streets) for what the event Facebook page describes as “great musical accompaniment of the Mighty Good Boys. There will be hot chocolate and cookies for everyone!” If you find yourself on PVD’s East Side or you’re in the city looking for something to do on a Thursday night, then celebrate the holiday season with a caroling crowd.
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												  Bad Rhetoric: Towards a Punk Rock Pedagogy Michael Utley Clemson University, [email protected]Clemson University TigerPrints All Theses Theses 8-2012 Bad Rhetoric: Towards A Punk Rock Pedagogy Michael Utley Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Rhetoric and Composition Commons Recommended Citation Utley, Michael, "Bad Rhetoric: Towards A Punk Rock Pedagogy" (2012). All Theses. 1465. https://tigerprints.clemson.edu/all_theses/1465 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. BAD RHETORIC: TOWARDS A PUNK ROCK PEDAGOGY A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts Professional Communication by Michael M. Utley August 2012 Accepted by: Dr. Jan Rune Holmevik, Committee Chair Dr. Cynthia Haynes Dr. Scot Barnett TABLE OF CONTENTS Page Introduction ..........................................................................................................................4 Theory ................................................................................................................................32 The Bad Brains: Rhetoric, Rage & Rastafarianism in Early 1980s Hardcore Punk ..........67 Rise Above: Black Flag and the Foundation of Punk Rock’s DIY Ethos .........................93 Conclusion .......................................................................................................................109
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												  Contemporary Christian Music & ThePLAYING THE MARKET: CONTEMPORARY CHRISTIAN MUSIC & THE THEORY OF RELIGIOUS ECONOMY by Jamie Carrick B.A., The University of Calgary, 2007 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Religious Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) October 2012 © Jamie Carrick, 2012 Abstract Contemporary Christian music (CCM) is a fascinating and understudied part of the religious vitality of modern American religion. In this dissertation the theory of religious economy is proposed as a valuable and highly serviceable methodological approach for the scholarly study of CCM. The theory of religious economy, or the marketplace approach, incorporates economic concepts and terminology in order to better explain American religion in its distinctly American context. In this study, I propose three ways in which this method can be applied. Firstly, I propose that CCM artists can be identified as religious firms operating on the “supply-side” of the religio-economic dynamic; it is their music, specifically the diverse brands of Christianity espoused there within, that can allow CCM artists to be interpreted in such a way. Secondly, the diversity within the public religious expressions of CCM artists can be recognized as being comparable to religious pluralism in a free marketplace of religion. Finally, it is suggested that the relationship between supply-side firms is determined, primarily, by the competitive reality of a free market religious economy. ii Table of Contents Abstract . ii Table of Contents . iii List of Figures . iv Acknowledgements . v 1 Introduction . 1 1.1 Introduction . 1 1.2 Religion & Popular Culture .
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												  Cedars, February 9, 2006 Cedarville UniversityMasthead Logo Cedarville University DigitalCommons@Cedarville Cedars 2-9-2006 Cedars, February 9, 2006 Cedarville University Follow this and additional works at: https://digitalcommons.cedarville.edu/cedars Part of the Journalism Studies Commons, and the Organizational Communication Commons DigitalCommons@Cedarville provides a platform for archiving the scholarly, creative, and historical record of Cedarville University. The views, opinions, and sentiments expressed in the articles published in the university’s student newspaper, Cedars (formerly Whispering Cedars), do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The uthora s of, and those interviewed for, the articles in this paper are solely responsible for the content of those articles. Please address questions to [email protected]. Recommended Citation Cedarville University, "Cedars, February 9, 2006" (2006). Cedars. 74. https://digitalcommons.cedarville.edu/cedars/74 This Issue is brought to you for free and open access by Footer Logo DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in Cedars by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. VValentine’salentine’s DayDay — FebruaryFebruary tthh The Student Newspaper of Cedarville University THHURSDAYURSDAY, FEEBRUARYBRUARY 99,, 22006006 CE ARS VVOLOL. 5544 IISSSS. 8 Weekend Weather Friday NEW TRADING ROOM UNVEILED 35˚/24˚ AM Snow National News 9/11 Would-Be Goes on Trial Saturday 34/19˚ · Meghan Bates · Snow Showers tion, to murder U.S. Govern- Domestic News Beat ment employees, and several Sunday In the fi rst U.S. Trial con- others. He pleaded guilty to six nected to the September 11, counts in total, which made him 27˚/21˚ Snow Shower 2001 terrorist attacks, Zacarias eligible for the death penalty.
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												  Native Elements (Reggae)Native Elements (Reggae) Driven by tireless passion and their mission to reach as many people as possible Native Elements on average clocks-in 50-80 shows a year crossing continents, borders and city limits from Oregon to San Diego to Baja California, Mexico, France, Belgium, and Hawaii. They have toured with Steel Pulse, Midnite and Bunny Wailer while also sharing bills with reggae royalty, Third World, Black Uhuru, Don Carlos, and Alpha Blondy among dozens of others. As a back up band, Native Elements has supported Hawaii’s own Humble Soul, Marty Dread, J Boog and Jamaica’s own Luciano. Formed in the bedroom of drummer Chris Cortez in Daly City, CA the band grew from a seed planted by lead singer Jose Pangan after his first trip to Jamaica in 1994. He soon traded his Bad Brains records for early Black Uhuru and Mighty Diamond mix tapes which provided a perfect soundtrack to their favorite past time, skateboarding. Cortez, who was also transitioning out of his punk rock days, had just disbanded his high school thrash band, “Demented” taking along with him Jaime Duran (bass) and Peter Hadden (keys) to soon form the early incarnation of Native Elements. They later enlisted the keyboard/trumpet and trombone talents of Benjamin Thompson and Mike Heuser who both came from playing funk, soul and jazz with the funky Motivators. Saxophonist, Mike Baz entered the picture in the year 2000 opening a new level of excitement and improvisation to their live shows. Together, the band has developed their own innovative style of soulful, energetic, roots reggae incorporating smooth lovers rock and hard hitting original rockers rhythms all fostered by the fearless San Francisco Bay Area community.
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												  Ferenc FricsayMERRY CHRISTMAS MERRY CHRISTMAS Il primo riff del mio primo concerto nel lontano 1983 era un potentissimo “LA/SOL/FA” con ritorno di “FA/SOL/LA”. Questi erano gli accordi di una canzone che potrebbe suonare chiunque e che con la mia band (ebbene sì, anche io ho militato in una Cover-Band; n.d.a.) potevamo permetterci, senza grosse difficoltà, di proporre ad un pubblico di amici, conoscenti e soprattutto parenti. Ricordo che era un sabato sera di inizio inverno e la location l’oratorio “prestato” per il grande evento parrocchiale: il Rock Concert dei Casual Connection Crew (questo il nome creato da Gigi, il bassista dell’allora quartetto rock; alle tastiere Alex, alla batteria mio fratello Alberto e, ahimè alla voce e alla chitarra – perfetta imitazione di una Fender Stratocaster – il sottoscritto). Il prete si raccomandò di non esagerare con il baccano e di terminare lo show entro le ore 22.00, evidentemente non andò così! Don Antonio era un amante del Rock Sudista e, per rabbonirlo, mentivamo spudoratamente circa la scaletta proposta: Allman Brothers Band, Lynyrd Skynyrd, The Marshall Tucker Band (sicuramente buon rock ma nulla a che vedere con quel che avevamo in realtà in mente! N.d.a.). Quando don Antonio si trovò di fronte al “muro del suono” di “God Save The Queen dei Sex Pistols, Live Wire degli AC/DC, Smoke On The Water dei Deep Purple, I Can’t Explain degli Who e Chasing Shadows degli Uriah Heep iniziò a sbracciarsi dall’ultima fila minacciando inizialmente di staccare la spina dell’impianto voci e arrivando infine a garantire la scomunica per tutti i componenti dei “Casual Connection Crew”.
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												  UNIVERSITY of CALIFORNIA Santa Barbara Bordering Faith: SpiritualUNIVERSITY OF CALIFORNIA Santa Barbara Bordering Faith: spiritual transformation, cultural change, and Chicana/o youth at the border A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Chicana and Chicano Studies by Francisco Javier Fuentes Jr. Committee in charge: Professor Ralph Armbruster-Sandoval, Chair Professor Dolores Inés Casillas Professor Rudy Busto December 2016 The dissertation of Francisco Javier Fuentes Jr. is approved. _____________________________________________ Dolores Inés Casillas _____________________________________________ Rudy Busto _____________________________________________ Ralph Armbruster-Sandoval, Committee Chair December 2016 Bordering Faith: spiritual transformation, cultural change, and Chicana/o youth at the border Copyright © 2016 by Francisco Javier Fuentes Jr. iii ACKNOWLEDGEMENTS A work like this is no small feat and there are many people I would like to thank for walking with me on this journey. I owe my first thanks to my Dissertation Committee and all the faculty associated with the Department of Chicana and Chicano Studies, Sociology, and Religious Studies. I cannot express enough thanks to Dr. Ralph Armbruster-Sandoval who served as the chairman of my committee and was the first to provide me unyielding support in a cutting-edge program. I am also truly grateful for Dr. Inés Casillas and Dr. Rudy Busto who continued to make themselves available for feedback, conversations, and encouragement throughout the years. I could not have finished had it not been for their guidance and keen observations. I am also appreciative of Dr. Mario T. Garcia, Dr. Gerardo Aldana, and Dr. Peter J. Garcia who first taught me the power of scholarship as a Chicano. I have the work and instruction of Dr.
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												  The History of Rock Music: 1976-1989The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore 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 © 2009 Piero Scaruffi) The Golden Age of Heavy Metal (These are excerpts from my book "A History of Rock and Dance Music") The pioneers 1976-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Heavy-metal in the 1970s was Blue Oyster Cult, Aerosmith, Kiss, AC/DC, Journey, Boston, Rush, and it was the most theatrical and brutal of rock genres. It was not easy to reconcile this genre with the anti-heroic ethos of the punk era. It could have seemed almost impossible to revive that genre, that was slowly dying, in an era that valued the exact opposite of machoism, and that was producing a louder and noisier genre, hardcore. Instead, heavy metal began its renaissance in the same years of the new wave, capitalizing on the same phenomenon of independent labels. Credit goes largely to a British contingent of bands, that realized how they could launch a "new wave of British heavy metal" during the new wave of rock music. Motorhead (1), formed by ex-Hawkwind bassist Ian "Lemmy" Kilminster, were the natural bridge between heavy metal, Stooges/MC5 and punk-rock. They played demonic, relentless rock'n'roll at supersonic speed: Iron Horse (1977), Metropolis (1979), Bomber (1979), Jailbait (1980), Iron Fist (1982), etc.
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												  America's Hardcore.Indd 278-279 5/20/10 9:28:57 PM Our First Show at an Amherst Youth Centerour first show at an Amherst youth center. Scott Helland’s brother Eric’s band Mace played; they became The Outpatients. Our first Boston show was with DYS, The Mighty COs and The AMERICA’S HARDCORE FU’s. It was very intense for us. We were so intimidated. Future generations will fuck up again THE OUTPATIENTS got started in 1982 by Deep Wound bassist Scott Helland At least we can try and change the one we’re in and his older brother Eric “Vis” Helland, guitarist/vocalist of Mace — a 1980-82 — Deep Wound, “Deep Wound” Metal group that played like Motörhead but dug Black Flag (a rare blend back then). The Outpatients opened for bands like EAST COAST Black Flag, Hüsker Dü and SSD. Flipside called ’em “one of the most brutalizing live bands In 1980, over-with small cities and run-down mill towns across the Northeast from the period.” 1983’s gnarly Basement Tape teemed with bored kids with nothing to do. Punk of any kind earned a cultural demo included credits that read: “Play loud in death sentence in the land of stiff upper-lipped Yanks. That cultural isolation math class.” became the impetus for a few notable local Hardcore scenes. CANCEROUS GROWTH started in 1982 in drummer Charlie Infection’s Burlington, WESTERN MASSACHUSETTS MA bedroom, and quickly spread across New had an active early-80s scene of England. They played on a few comps then 100 or so inspired kids. Western made 1985’s Late For The Grave LP in late 1984 Mass bands — Deep Wound, at Boston’s Radiobeat Studios (with producer The Outpatients, Pajama Slave Steve Barry).
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												  Hardcore! Reggae! Pma! Bad Brains!3DOGWYMSHQPJ ~ eBook » Punk! Hardcore! Reggae! Pma! Bad Brains! Punk! Hardcore! Reggae! Pma! Bad Brains! Filesize: 4.99 MB Reviews Certainly, this is actually the best job by any article writer. It can be loaded with knowledge and wisdom I realized this pdf from my i and dad advised this book to discover. (Ms. Verlie Goyette) DISCLAIMER | DMCA JIK9FGIBW6T7 > PDF Punk! Hardcore! Reggae! Pma! Bad Brains! PUNK! HARDCORE! REGGAE! PMA! BAD BRAINS! To read Punk! Hardcore! Reggae! Pma! Bad Brains! PDF, remember to access the web link below and save the file or have accessibility to additional information that are related to PUNK! HARDCORE! REGGAE! PMA! BAD BRAINS! ebook. Createspace Independent Publishing Platform, United States, 2014. Paperback. Book Condition: New. 214 x 149 mm. Language: English . Brand New Book ***** Print on Demand *****.On par with only a select few rock bands, the Bad Brains influenced numerous artists over the years - covering a wide range of styles. This is understandable, as the Bad Brains themselves oered up a variety of sounds since forming in the late 70s (punk, hardcore, reggae, metal, funk, etc.), and in the process, penned some of rock s all-time great tunes ( Pay to Cum, Sailin On, Re-Ignition, Sacred Love ) and classic albums ( Bad Brains, Rock for Light, I Against I, Quickness ). But somehow, someway, the Bad Brains never managed to truly break through to the mainstream - while many of the bands they influenced (Beastie Boys, Living Colour, Nirvana) did. At last, there is a book that tells the story of the band, Punk! Hardcore! Reggae! PMA! Bad Brains! Interviews include Charlie Benante (Anthrax), Max Cavalera (Soulfly/ex-Sepultura), Chad Channing (Nirvana), Bobby Hackney (Death), Jamey Jasta (Hatebreed), Curt Kirkwood (Meat Puppets), Mitts (Madball), Keith Morris (Circle Jerks/ex-Black Flag), Chuck Mosley (ex-Faith No More/ex-Bad Brains), Greg Puciato (Dillinger Escape Plan), Travis Stever (Coheed and Cambria), Kim Thayil (Soundgarden), Tesco Vee (Meatmen), and Tim Williams (Vision of Disorder), among many others.
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												  October 1994Features AARON COMESS Album number two sees Spin Doctors drummer Aaron Comess laying down that slippery funky thing yet again. Not that Aaron has cut down on his extracurricular jazz work. Does this guy ever stop? • Teri Saccone 20 BOB MOSES The eccentric but unarguably gifted drummer who powered the first jazz-rock band is still breaking barriers. With a brand- new album and ever-probing style, Bob Moses explains why his "Simul-Circular Loopology" might be too dangerous in live doses. • Ken Micallef 26 HIGHLIGHTS OF MD's FESTIVAL WEEKEND '94 Where should we start? Simon Phillips? Perhaps "J.R." Robinson? Say, Rod Morgenstein? How about Marvin "Smitty" Smith...or David Garibaldi...maybe Chad Smith, Clayton Cameron, or Matt Sorum.... Two days, one stage, a couple thousand drummers, mega-prizes: No matter how you slice it, it's the mother of all drum shows, and we've got the photos to prove it! 30 Volume 18, Number 9 Cover Photo By Ebet Roberts Columns EDUCATION NEWS EQUIPMENT 52 DRUM SOLOIST 8 UPDATE Max Roach: Bill Bruford, "Blues For Big Sid" David Garibaldi, TRANSCRIBED BY Dave Mancini, CRAIG SCOTT and Ray Farrugia of Junkhouse, plus News 76 HEALTH & SCIENCE 119 INDUSTRY Focal Dystonia: HAPPENINGS A Personal Experience BY CHARLIE PERRY WITH JACK MAKER DEPARTMENTS 42 PRODUCT CLOSE-UP 80 JAZZ 4 EDITOR'S Tama Iron Cobra DRUMMERS' OVERVIEW Bass Drum Pedals WORKSHOP BY ADAM BUDOFSKY Expanding The 6 READERS' 43 Tama Tension Watch Learning Process PLATFORM Drum Tuner BY JOHN RILEY BY ADAM BUDOFSKY 12 ASK A PRO 84 Rock 'N' 44 Vic Firth Ed Shaughnessy, American Concept Sticks JAZZ CLINIC Stephen Perkins, and BY WILLIAM F.