DOCSLIB.ORG

Everett Rock's Bands "K-L"

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Everett Rock's Bands Everett Rock Band/Musician List "K-L" Last Update: 1/21/2021 "K-L" List for Bands/Musicians Genre* From & Genre (k)nathan ryan R C Seattle Alternative / Country / Folk Rock K Millz H P RB Seattle Hip Hop / Pop / R&B and Mainstream K’annibal Woman R M Gn Local rock, metal, grunge and punk Ka' Dunk Al J Fk Seattle Alternative / jazz funk world lounge Kacie Swierk SS F I Bloomington, IN Singer Songwriter / Folk / Indie Kader Sundy B W Seattle Blues / World Kaedyn Kashmir R P Seattle Rock, Pop Kaffeine B S RB Seattle Blues / Soul/R&B / Rock Kairos Al I R P Seattle alternative dance eclectic indie rock pop Kaitie Wade C P Seattle Country/Pop Kaiya On The Mountain F R Portland Folk-Rock Kaki King A I Ex New York, NY Other / Shoegaze / Experimental Kalan Wolfe and The Shift F R Port Townsend Folk Rock Kalimba (Earth, Wind & Fire Tribute) P RB Seattle Pop / R&B Kammy Yedor J Seattle Jazz Cincinnati, OH & Long Beach, CA Hip-Hop, Rap, Kaotic-Solutions H Rp Instrumental, New School Kap'n Crunch & the Cereal Killers R CR Al Tacoma Rock / Classic Rock / Alternative Rock Kara Hanley A Bellingham A'cappella / Acoustic Kara Hesse P R S Seattle Pop / Rock / Soul Karci A I Seattle Acoustic / Indie Kareem Kandi J Fk S B Tacoma saxophonist performing jazz, funk, soul, and blues Karen Knapp F A Snohomish Folk / Acoustic Karen Lovely B Portland Blues KARI THACH MUSIC A I Local Acoustic / Indie / Jungle Kari Zimmerman J CR Seattle Jazz / Classic Rock Karin Blaine A P Whidbey Island Acoustic / Pop Karin Comes Killing M T Boise, Idaho Metal / Thrash Karin Kajita J Karin Kajita Jazz Quintet Seattle Jazz Karin Park Al E P Oslo, No Alternative / Electro / Pop Karl Blau F Anacortes's Folk / New Music / Garage Karl Haug R A F Seattle Rock / Electroacoustic / Folk Rock Karlos Marz Band Al R West Palm Beach, FL Alternative / Rock Karma Bomb E Ex B Seattle Electroacoustic / Experimental / Blues Karma Taxi R J BG Bellingham Rock n Roll with flavors of Jazz and Bluegrass Karma's Playbook R Marysville Rock karōshi Pk Seattle Punk karyn michaelson SS B S Seattle Singer Songwriter / blues, soul Kasey Anderson and The Honkies R Portland Rock Kat Bula BG C Seattle bluegrass, country, indie rock, jazz/swing Kat Eggleston F Ce Seattle Folk / Celtic Katchafire Ra Aotearoa / New Zealand Reggae Kate Lynne Logan F Am P Seattle Folk / Americana / Pop Kate Mann Am A Portland Americana / Roots Music / Acoustic Kate Phillips A F P Duvall Acoustic / Folk / Pop Kate Reid F A I Vancouver, BC Folk / Acoustic / Indie Kate Schuman C RB J Friday Harbor Country / R&B / Jazz Kate Voss and The Big Boss Band J Seattle Jazz Katherine Beck Music A Moscow, Idaho Acoustic Katherine Moore R I The Katherine Moore Situation Seattle's Rock / Indie Katherine's Broadcast R Al I Everett Rock / Alternative / Indie Kathi McDonald Band B Seattle Blues Kathleen Parrish Al R Seattle Alternative rock Kathryn Claire F Portland Original and traditional orchestral folk Bands/Musicians that have played in Page 1 of 18 *Click on Genre at the top of page for list Everett WA and/or surrounding areas https://everettrock.com/Disclaimer.txt All Info: https://everettrock.com Everett Rock Band/Musician List "K-L" Last Update: 1/21/2021 "K-L" List for Bands/Musicians Genre* From & Genre Hollywood California Blues, Jazz and Country to Rock, Kathryn Grimm B J C R Gospel and Acoustic. Kathy Mattea C F BG Nashville, TN Country / Folk / Bluegrass Kathy Morris A Seattle Acoustic Katie Alina A Augusta, Georgia acoustic Sugar Land, Texas & Nashville, Tennessee Acoustic / Blues / Katie Armiger A B C Country Katie Davi J Seattle Jazz Katie Garibaldi Am A R San Francisco Americana / Acoustic Rock Katie Gill P J F B New Mexico pop, jazz, folk, blues Katie Hoag A Mount Vernon Acoustic Katie Jacobson F J RB Seattle Folk / Jazz / R&B Katie Kate H P Seatttle Hip Hop / Pop Katie King J Seattle Jazz Katie Kuffel A Seattle Acoustic Katie Rose I C R Toledo, WA Indie / Country / Rock Katrina Kope J RB P Seattle Jazz / R&B / Pop Katy Bourne J B Seattle Jazz Blues Kaycee Cole C B R Seattle Country / Blues / Rock Kaylan Ramos E Lake Stevens Electra KAYMAK R A RB Seattle/Renton & CA Rock / Acoustic / R&B Kayos Theory R Marysville Rock K-Dub J A F R Seattle Jazz / Acoustic / Folk Rock keaton collective I R Moorpark CA Indie / Rock / Punk Keefe R Bellingham rock Keegan Smith B P Ra Portland Blues / Pop / Reggae Keely Whitney RB R B Seattle R&B / motown / rock-n-roll blues / jazz / latin Keenen Magik H Rp J R Seattle Hip Hop / Rap / Jazz, Rock Keep The Faith "Bon Jovi Tribute Unplugged" CR Local Classic Rock Keeping Secrets Hc Re Seattle Christian / Hardcore / Screamo Keeping the Gates Al M Covington Alternative / Metal KeepSweet B San Francisco Blues / Americana / Roots Music Keg Pk R Glam / Punk / Rock Keif Urban E H RB Tacoma electronic, hip-hop, R&B, & Funk Keira Verlee A R Seattle Acoustic Rock Keith (The Swamie) Nordquist J B Fk Pr Kent blues / jazz / funk / progressive Keith Cook R Pk E Seattle Rock / punk / Electroacoustic Keith Livingston P I R Everett Pop / Indie Rock Keith Lowe A B J Seattle Bass player Acoustic / Blues/ Jazz Keith Scott B Chicago, Illinois Blues Keith Wright A Local Acoustic Kellee Bradley P A F Seattle Pop / Acoustic / Folk Rock Kelley Johnson J Seattle Jazz Kelli Schaefer S I R Portland rock, soul Kellie Rose I P R Seattle Indie/Pop/Rock Kelly Ash J RB P Seattle Jazz / R & B / Pop Kelly Blanchard SS R F Seattle singer songwriter Rock Folk Kelly Brightwell Band Am Portland Americana Kelly Carpenter J Am R Woodinville Jazz, Americana and Post-Rock Kelly Harland Band B RB Seatle Blues / R&B Kelly Hunt F Am Memphis, TN Folk/Americana Kelly Joe Phelps J Rt NW Jazz / Roots Kelly McGuire C Am League City, TX Country / Americana / Trop Rock Kelly Reed Band B J R Kirkland Blues / Jazz / Rock Bands/Musicians that have played in Page 2 of 18 *Click on Genre at the top of page for list Everett WA and/or surrounding areas https://everettrock.com/Disclaimer.txt All Info: https://everettrock.com Everett Rock Band/Musician List "K-L" Last Update: 1/21/2021 "K-L" List for Bands/Musicians Genre* From & Genre Kelly Shirey & Co A R F Seattle Acoustic / Rock / Folk Kellye Gray B J Austin TX Blues / Jazz / Nu-Jazz Kelsey Alina A I S Seattle & Vashon Acoustic / Indie / Soul Kelsey Hopkins A Lake Stevens Acoustic Ken Ainsworth F Everett's Christian / Acoustic / Folk Ken Elia A P Cl R Seattle acoustic pop, rock, jazz, and classical Ken Emerson Hw B R CA Hawaiian / Blues / Rock Kena Edawna RB S Seattle R&B/Soul Kenan Kelley R Edmonds Rock (Johnny Rockstar) Kendal Sasso Am F R Seattle Americana / Folk / Rock Kendl Winter C Am F Olympia Country / Americana / Folk Kendrick Griffin A Redmond Acoustic The Kenmore & District Pipe Band Scottish piping and Kenmore Pipe F drumming band from Snohomish county Kenneth Makuakane Hw A F Hawaii Hawaiian / Acoustic / Folk Kenny Cetera's Chicago Experience P A R Los Angeles, CA Pop / Adult Contemporary / Acoustic Rock Kenny Hess C Country songwriting and performer Kenny James Miller Band R B Kalispell, MT Rock / Blues Kenny Ray Horton C R Point of Rocks, MD Country / Country / Country Rock . Kenny Stinson & Perfect Tym’n BG A Re Auburn KY Bluegrass / Acoustic / Gospel Kenny Wayne Gunner B R J Seattle Blues / Rock / Smooth Jazz Kenron DM Seattle Tropical / Death Metal Kentucky Rain Band (Elvis Tribute) R Seattle Elvis Tribute Kept See/ Junya League H Lo Puyallup Hip Hop / Lounge / Tru school Keroscenery I R J Olympia Indie / Rock / Jazz Kerr Ring M Seattle Metal Kerry and the Keepers Am B C R Seattle americana blues country rock Kevin and Makia Oaks A P R Seattle acoustic folk rock Kevin Barker R Olalla, WA Rock also known as Chewbarker Kevin Buster J Sw B Seattle Jazz / Swing / Blues Kevin Guitron A Bellevue Acoustic Kevin James Hoffman CR Tacoma classic rock Kevin John Adams bassist RANDY HANSEN BAND Seattle Kevin John Adams CR based Kevin Jones Rt A R Seattle Roots Electric/Acoustic Rock Kevin Kieneker A Darrington acoustic Kevin Koutnik and The Protectors Am F R Helena, Montana Americana / Folk / Folk Rock Kevin Larson & Markus Hoyer Seattle Acoustic / Jam Band / Kevin Larson/Markus Hoyer A JB Alternative Kevin Lint R I Am Seattle's Indie / Americana / Rock Kevin McCarthy J A Seattle Jazz / Acoustic Kevin Scott Hughes SS Al P Seattle Singer Songwriter / Alternative / Pop Kevin Sutton B Ry R Snohomish Blues / Rockabilly / vintage rock n roll Kevin Woods J Bellingham's Trumpeter plays Jazz / Latin / Salsa Kevin/Wonder Years I F R Kevin & The Wonder Years Spokane Indie / Folk Rock kEVLAR fASHION sHOW R Al I Seattle Rock / Alternative / Indie Key Note Speaker I R Seattle Crunk / Indie / Rock Keylin Mayfield I E A Everett Indie / Electronic / Acoustic Keyser Soze Ra S Reno Ska / Reggae / Soul KG3 CR P Greater Seattle Classic/modern rock covers, Originals KGHB P Ex Kids Get Hit By Buses Seattle Electronica / Pop / Experimental Khris Royal J Fk H New Orleans, LA Jazz / Funk / Hip Hop Kickin Dust C Seattle Country Bands/Musicians that have played in Page 3 of 18 *Click on Genre at the top of page for list Everett WA and/or surrounding areas https://everettrock.com/Disclaimer.txt All Info: https://everettrock.com Everett Rock Band/Musician List "K-L" Last Update: 1/21/2021 "K-L" List for Bands/Musicians Genre* From & Genre Kickin Names F Pk Am Skagit Valley Folk Punk Americana Rock'n'Roll KICKSTART BAND R Seattle Rock Kid Chocolate J B New Orleans, LA Jazz / Blues Kid Dynamite H Albany, OR Hip Hop Kid Dynamite Hc Pk Philadelphia-based hardcore punk Kid Hops Ra Cb Seattle Seattle Drum & Bass / Reggae /
Load more

Recommended publications
  • Williams, Hipness, Hybridity, and Neo-Bohemian Hip-Hop
    HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Maxwell Lewis Williams August 2020 © 2020 Maxwell Lewis Williams HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA Maxwell Lewis Williams Cornell University 2020 This dissertation theorizes a contemporary hip-hop genre that I call “neo-bohemian,” typified by rapper Kendrick Lamar and his collective, Black Hippy. I argue that, by reclaiming the origins of hipness as a set of hybridizing Black cultural responses to the experience of modernity, neo- bohemian rappers imagine and live out liberating ways of being beyond the West’s objectification and dehumanization of Blackness. In turn, I situate neo-bohemian hip-hop within a history of Black musical expression in the United States, Senegal, Mali, and South Africa to locate an “aesthetics of existence” in the African diaspora. By centering this aesthetics as a unifying component of these musical practices, I challenge top-down models of essential diasporic interconnection. Instead, I present diaspora as emerging primarily through comparable responses to experiences of paradigmatic racial violence, through which to imagine radical alternatives to our anti-Black global society. Overall, by rethinking the heuristic value of hipness as a musical and lived Black aesthetic, the project develops an innovative method for connecting the aesthetic and the social in music studies and Black studies, while offering original historical and musicological insights into Black metaphysics and studies of the African diaspora.
    [Show full text]
  • Distinguished Artists Concert Series
    Supervisor JOSEPH SALADINO presents 2018 - 2019 Distinguished Artists Concert Series Co-Sponsoring Libraries Bethpage • Farmingdale • Hicksville • Jericho • Locust Valley Massapequa • Plainview-Old Bethpage • Syosset A Message from Joseph Saladino Town Supervisor Dear Neighbor, The Town of Oyster Bay2018-2019 Distinguished Artists Concert series will, once again, offer a diverse season of musical programs, which will kick off in October. Whatever your musical taste, Opera, Pop, Jazz, Classical or anything in between, there is something for everyone. The concert season begins on Sunday, October 7, 2018 at the Locust Valley Library with Mambo Loco performing Old-School Latin & Latin Jazz and continues through Sunday, May 19, 2019 culminating with a performance by Just Sixties - a multi-media retrospective of the 1960’s. This season’s lineup also includes The Hambones - Country/Rockabilly, River of Dreams - a tribute to the music of Billy Joel, The Tribunes - authentic Street Corner Harmony, New Vintage Orchestra performing Swing & Jazz Hits of a Lifetime, and Sasha Papernik & Her Band - an homage to Burt Bacharach & Hal David, just to name a few. My fellow Town Board members and I are proud to provide residents with some of the very finest cultural and performing arts entertainment available. All concerts are free of charge and are held at conveniently-located local libraries throughout the Town. Please take a few moments to glance through the brochure and begin planning your entertainment schedule. We look forward to seeing you at the
    [Show full text]
  • ENG 350 Summer12
    ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog.
    [Show full text]
  • Lemos, Ronaldo. "To Kill an MC: Brazil's New Music and Its
    Lemos, Ronaldo. "To Kill an MC: Brazil’s New Music and its Discontents." Postcolonial Piracy: Media Distribution and Cultural Production in the Global South. Ed. Lars Eckstein and Anja Schwarz. London: Bloomsbury Academic, 2014. 195–214. Bloomsbury Collections. Web. 23 Sep. 2021. <http://dx.doi.org/10.5040/9781472519450.ch-009>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 23 September 2021, 16:35 UTC. Copyright © Lars Eckstein and Anja Schwarz 2014. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 9 To Kill an MC Brazil’s New Music and its Discontents Ronaldo Lemos Introduction On 6 July 2013, the Brazilian ‘funk carioca’ musician Daniel Pellegrine, known as MC Daleste, was killed on stage while performing in front of 5,000 people in the city of Campinas. Daleste was first shot in the armpit. Not knowing what was going on, he shouted at the audience. A second fatal shot hit him in the abdomen. All was instantly caught on video by his fans, some of whom later posted the killing on YouTube. The police concluded that Daleste was shot from a distance of 40 metres, indicating that he was probably hit by a sharpshooter. Daleste (his name is a contraction of ‘from the East’, in reference to the ‘East Zone’, the largest metropolitan area in Sao Paulo) was 20 years old. Even though virtually unknown by the upper economic classes, Daleste was one of the most popular artists in Brazil.
    [Show full text]
  • Songwriter Mike O'reilly
    Interviews with: Melissa Sherman Lynn Russwurm Mike O’Reilly, Are You A Bluegrass Songwriter? Volume 8 Issue 3 July 2014 www.bluegrasscanada.ca TABLE OF CONTENTS BMAC EXECUTIVE President’s Message 1 President Denis 705-776-7754 Chadbourn Editor’s Message 2 Vice Dave Porter 613-721-0535 Canadian Songwriters/US Bands 3 President Interview with Lynn Russworm 13 Secretary Leann Music on the East Coast by Jerry Murphy 16 Chadbourn Ode To Bill Monroe 17 Treasurer Rolly Aucoin 905-635-1818 Open Mike 18 Interview with Mike O’Reilly 19 Interview with Melissa Sherman 21 Songwriting Rant 24 Music “Biz” by Gary Hubbard 25 DIRECTORS Political Correctness Rant - Bob Cherry 26 R.I.P. John Renne 27 Elaine Bouchard (MOBS) Organizational Member Listing 29 Gord Devries 519-668-0418 Advertising Rates 30 Murray Hale 705-472-2217 Mike Kirley 519-613-4975 Sue Malcom 604-215-276 Wilson Moore 902-667-9629 Jerry Murphy 902-883-7189 Advertising Manager: BMAC has an immediate requirement for a volunteer to help us to contact and present advertising op- portunities to potential clients. The job would entail approximately 5 hours per month and would consist of compiling a list of potential clients from among the bluegrass community, such as event-producers, bluegrass businesses, music stores, radio stations, bluegrass bands, music manufacturers and other interested parties. You would then set up a systematic and organized methodology for making contact and presenting the BMAC program. Please contact Mike Kirley or Gord Devries if you are interested in becoming part of the team. PRESIDENT’S MESSAGE Call us or visit our website Martha white brand is due to the www.bluegrassmusic.ca.
    [Show full text]
  • (Sound Off Live 2013 Winner) Indie Soul Meets Jazzy Blues
    Artscape Entertainment Resource Guide 2013 Band Name Genre Website Email Phone Number Allie & The Cats (Sound Off Live 2013 Winner) Indie Soul meets Jazzy Blues http://www.alliemariemusic.com [email protected] 4109916973 Balti Mare Balkan Gypsy Brass http://www.facebook.com/baltimare [email protected] 4109633799 Basement Instinct (Sound Off Live 2013 Winner) Alternative Rock https://www.facebook.com/basementinstinctband [email protected] 4437038941 Bearstronaut pop http://bearstronaut.com [email protected] 8609124857 Big Sur Alternative Melodic Rock http://www.bigsurrock.com [email protected] 3015931778 Billy Wilkins Jazz/Rock https://soundcloud.com/billy-wilkins-1 [email protected] 4103696360 Blizz Hip Hop http://www.hulkshare.com/Blizz [email protected] 4439860731 Boozey R&B and Hip Hop http://Boozeyonline.com [email protected] Braunsy Brooks & Worship Kulture Christian http://www.bbworshipkulture.com [email protected] 8284554010 Brittanie Thomas Music Soul/R&B http://www.brittaniethomas.com [email protected] 4433608985 Brothers Kardell Experimental electronic pop metal hip-hop http://www.soundcloud.com/brotherskardell [email protected] 2022862623 Buddah Bass Hip-Hop/Pop http://Buddahbass.bandcamp.com [email protected] 3365779559 Bumpin Uglies Reggae/Ska http://www.bumpinugliesmusic.com [email protected] 4102793613 Children of a Vivid Eden Alternative rock http://www.facebook.com/c.o.v.e.rock [email protected] 4436324130 Chris Reynolds and
    [Show full text]
  • Hip-Hop's Diversity and Misperceptions
    The University of Maine DigitalCommons@UMaine Honors College Summer 8-2020 Hip-Hop's Diversity and Misperceptions Andrew Cashman Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Music Commons, and the Social and Cultural Anthropology Commons This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. HIP-HOP’S DIVERSITY AND MISPERCEPTIONS by Andrew Cashman A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Anthropology) The Honors College University of Maine August 2020 Advisory Committee: Joline Blais, Associate Professor of New Media, Advisor Kreg Ettenger, Associate Professor of Anthropology Christine Beitl, Associate Professor of Anthropology Sharon Tisher, Lecturer, School of Economics and Honors Stuart Marrs, Professor of Music 2020 Andrew Cashman All Rights Reserved ABSTRACT The misperception that hip-hop is a single entity that glorifies wealth and the selling of drugs, and promotes misogynistic attitudes towards women, as well as advocating gang violence is one that supports a mainstream perspective towards the marginalized.1 The prevalence of drug dealing and drug use is not a picture of inherent actions of members in the hip-hop community, but a reflection of economic opportunities that those in poverty see as a means towards living well. Some artists may glorify that, but other artists either decry it or offer it as a tragic reality. In hip-hop trends build off of music and music builds off of trends in a cyclical manner.
    [Show full text]
  • Garage House Music Whats up with That
    Garage House Music whats up with that Future funk is a sample-based advancement of Nu-disco which formed out of the Vaporwave scene and genre in the early 2010s. It tends to be more energetic than vaporwave, including elements of French Home, Synth Funk, and making use of Vaporwave modifying techniques. A style coming from the mid- 2010s, often explained as a blend of UK garage and deep home with other elements and strategies from EDM, popularized in late 2014 into 2015, typically mixes deep/metallic/sax hooks with heavy drops somewhat like the ones discovered in future garage. One of the very first house categories with origins embeded in New York and New Jersey. It was named after the Paradise Garage bar in New york city that operated from 1977 to 1987 under the prominent resident DJ Larry Levan. Garage house established along with Chicago home and the outcome was home music sharing its resemblances, affecting each other. One contrast from Chicago house was that the vocals in garage house drew stronger impacts from gospel. Noteworthy examples consist of Adeva and Tony Humphries. Kristine W is an example of a musician involved with garage house outside the genre's origin of birth. Also understood as G-house, it includes very little 808 and 909 drum machine-driven tracks and often sexually explicit lyrics. See likewise: ghettotech, juke house, footwork. It integrates components of Chicago's ghetto house with electro, Detroit techno, Miami bass and UK garage. It includes four-on-the-floor rhythms and is normally faster than a lot of other dance music categories, at approximately 145 to 160 BPM.
    [Show full text]
  • “Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in Partial Fulfillment Of
    “Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Dana DeVlieger, B.A., M.A. Graduate Program in Music The Ohio State University 2016 Thesis Committee: Graeme M. Boone, Advisor Johanna Devaney Anna Gawboy Copyright by Dana Lauren DeVlieger 2016 Abstract “Whiskey in the Jar” is a traditional Irish song that is performed by musicians from many different musical genres. However, because there are influential recordings of the song performed in different styles, from folk to punk to metal, one begins to wonder what the role of the song’s Irish heritage is and whether or not it retains a sense of Irish identity in different iterations. The current project examines a corpus of 398 recordings of “Whiskey in the Jar” by artists from all over the world. By analyzing acoustic markers of Irishness, for example an Irish accent, as well as markers of other musical traditions, this study aims explores the different ways that the song has been performed and discusses the possible presence of an “Irish feel” on recordings that do not sound overtly Irish. ii Dedication Dedicated to my grandfather, Edward Blake, for instilling in our family a love of Irish music and a pride in our heritage iii Acknowledgments I would like to thank my advisor, Graeme Boone, for showing great and enthusiasm for this project and for offering advice and support throughout the process. I would also like to thank Johanna Devaney and Anna Gawboy for their valuable insight and ideas for future directions and ways to improve.
    [Show full text]
  • “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.
    [Show full text]
  • INFORMATION to USERS This Manuscript Has Been Reproduced
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. •>- I The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrougb, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
    [Show full text]
  • THE COUNTRY DANCER Is Published Twice a Year
    The magazine of Calendar of Events THE COUNTRY DANCE SOCIETY OF AMERICA EDITOR March 25, 1961 SQUARE DANCE - DICK FORSCHER & CLIFF BULLARD THE May Gadd (in cooperation with the McBurney YMCA), New York C.D.S. ASSISTANT EDITORS April or May C.D.S. THEATER BENEFIT, New York. Details counTRY A.C. King Diana Lockard Maxwell Reiskind to be announced. DAnCER CONTRIBUTING EDITORS April 6 - 8 26th ANNUAL MOUNTAIN FOLK FESTIVAL, Berea, Penn Elizabeth Schrader Evelyn K. Wells Ky. The Festival is affiliated with the J. Donnell Tilghman Roberta Yerkes Country Dance Society o! America. April 14 - 16 C.D.S. SPRING HOUSE PARTY WEEKEND, Hudson ART EDITOR Guild Farm, Andover, New Jersey. Genevieve Shimer April 29 tentative C.D.S. SPRING FrnTIVAL in New York THE COUNTRY DANCER is published twice a year. Subscription is June 2.3 - 26 DANCE WEEKEND at PII{E)iOODS, Boston C.D.S. by membership in the Country Dance Society of America (annual Centre. dues $5, educational institutions and libraries $3.) Inquiries and subscriptions should be sent to the Secretary, Country Dance August 6 - 20 PllmUOODS CAMP: 'lWO DANCE WEEKS, National Society of America, 55 Christopher Street, New York 14, N.Y. C.D.S., Buzzards Bay, Mass. Tel: ALgonquin 5-8895. August 20 - 27 PIN»>OODS CAMP: FOLK MUSIC AND ~ORDER WEEK, Copyright 1961 by the Country Dance Society Inc. National C.D.S., Buzzards Bay, Mass. , Table of Contents lll@llll§lll§lll§lll§lll§lll§lll§ lll§lll§lll§lll§lll§lll§ Page PICTURE CREDITS By Gloria Berchielli, New York: Jack-in-the­ Calendar of Events •••••••••••••••••••••••••••• 3 Green, p.8.
    [Show full text]