Crime on Campus Page 2 Honesty
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Conference Program Book
2020 FMEA Professional Development Conference Guide 1 Hit all the high notes Booth #4001 Inspire them to new musical heights! See for Yourself Breezin’ Thru Theory makes learning to read and understand music faster Hands-on Workshop: and easier. And, it’s motivating, so your students quickly build mastery, Fri., Jan. 10 at 11:45 am as well as self-confi dence! Accessed seamlessly online – on any device, (Room TCC 18 & 19) anytime, anywhere – it’s fun and interactive. Kids love it… and so do teachers. With at-a-glance student tracking and automated assessments, it frees up valuable class and marking time, so you can do what you love most – getting kids excited about learning music. BreezinThruTheory.com 1-855-265-3805 [email protected] Grades 4-12 2 2020 FMEA Professional Development Conference Guide 2020 FMEA PROFESSIONAL DEVELOPMENT CONFERENCE Index of Advertisers & ALL-STATE CONCERTS Breezin’ Thru, Inc. ......................IFC Brightspark Travel .......................... 64 DePaul University School of Music ............................... 62 Florida Atlantic University ........................................ 10 Florida Gulf Coast University ........................................ 67 Florida State University ............... 32 Florida State University Summer Camps .............................. 24 LungTrainers, LLC ..................... IBC Manhattan Concert Contents Productions ...................................... 46 Mercer University President’s Message ................................. 5 Concerts ..............................................26-29 -
The Globalization of K-Pop: the Interplay of External and Internal Forces
THE GLOBALIZATION OF K-POP: THE INTERPLAY OF EXTERNAL AND INTERNAL FORCES Master Thesis presented by Hiu Yan Kong Furtwangen University MBA WS14/16 Matriculation Number 249536 May, 2016 Sworn Statement I hereby solemnly declare on my oath that the work presented has been carried out by me alone without any form of illicit assistance. All sources used have been fully quoted. (Signature, Date) Abstract This thesis aims to provide a comprehensive and systematic analysis about the growing popularity of Korean pop music (K-pop) worldwide in recent years. On one hand, the international expansion of K-pop can be understood as a result of the strategic planning and business execution that are created and carried out by the entertainment agencies. On the other hand, external circumstances such as the rise of social media also create a wide array of opportunities for K-pop to broaden its global appeal. The research explores the ways how the interplay between external circumstances and organizational strategies has jointly contributed to the global circulation of K-pop. The research starts with providing a general descriptive overview of K-pop. Following that, quantitative methods are applied to measure and assess the international recognition and global spread of K-pop. Next, a systematic approach is used to identify and analyze factors and forces that have important influences and implications on K-pop’s globalization. The analysis is carried out based on three levels of business environment which are macro, operating, and internal level. PEST analysis is applied to identify critical macro-environmental factors including political, economic, socio-cultural, and technological. -
At a Glance Concert Schedule
At A Glance Concert Schedule SC- Supper Club CH- Concert Hall MB- Music Box Full Venue RT- Rooftop Deck RF- Riverfront Porch PDR- Private Dining Room Sun 4/23 CH Turning Point Church Presented by NEO Church Planting network Weekly Worship Service (View Page) Sun 4/23 SC BB King Brunch With Travis "The Moonchild" Haddix (View Page) Sun 4/23 CH Bob Mould Solo Electric Show with Hüsker Dü Frontman (Tickets) Wed 4/26 SC Topic: Cleveland Starts Here: History of Western Reserve Historical Society Storytellers: Kelly Falcone-Hall & Dennis Barrie Cleveland Stories Dinner Parties (View Page) Thu 4/27 SC Motown Night with Nitebridge Enjoy the jumpin' sounds of your favorite classic hits! (View Page) Thu 4/27 CH Dan Fogelberg Night with The Don Campbell Band (Tickets) Sun 4/30 CH Turning Point Church Presented by NEO Church Planting network Weekly Worship Service (View Page) Sun 4/30 SC Beatles Brunch With The Sunrise Jones (Tickets) Sun 4/30 SC Cleveland Songwriters Showcase Raymond Arthur Flanagan, Rebekah Jean, & Austin Stambaugh (View Page) Wed 5/3 SC Topic: Plans Made, Plans Changed: CLE’s Urban Design Storyteller: Chris Ronayne Cleveland Stories Dinner Parties (View Page) Thu 5/4 SC Rebels Without Applause One of Cleveland's Longtime Favorite Cover Bands Celebrating 35 Years! (View Page) Fri 5/5 CH Martin Barre of Jethro Tull Award-Winning Legendary Guitarist (Tickets) Fri 5/5 SC Tequila! Cinco de Mayo Party with Cats on Holiday Tequila Flights, Taco Features and more! (Tickets) Sat 5/6 SC Hey Mavis Northeast Ohio’s Favorite Americana Folk -
Jethro Tull's Ian Anderson
FOR IMMEDIATE RELEASE Contact: Lacey Leffler August 26, 2013 Marketing Director 253.573.2360 [email protected] Jethro Tull’s Ian Anderson Plays Thick as a Brick 1 & 2 October 27 at Tacoma’s Pantages Theater Media sponsor: Capitol City Press Tacoma, WA – Broadway Center for the Performing Arts presents Jethro Tull’s Ian Anderson on October 27, in an evening of rock at the historic Pantages Theater. Known throughout the world as the voice and flute behind legendary rock group Jethro Tull, Ian Anderson will expertly bring audiences back to rock’s heyday with his performance of THICK AS A BRICK in its entirety for the first time since 1972, then bring the evening full circle with his new album, THICK AS A BRICK 2. Jethro Tull’s progressive rock era peaked with 1972’s THICK AS A BRICK, a revolutionary 45-minute continuous piece of music charting the difficulties of a child growing up and confronting a frightening and unfair world. The album was a worldwide success, including a #1 spot on the Billboard chart. Forty years later, Ian’s new sequel has very deliberately echoed the feel of the 1972 album by using many of the same instruments - including acoustic guitar and Hammond organ - by recording the continuous 53-minute piece of music to a large extent with the band all playing live together. In Ian’s words, “The theme of this anniversary ‘part two’ album is to examine the possible different paths that the precocious young schoolboy, Gerald Bostock, might have taken later in life.” After 45 years of leading Jethro Tull through 54 countries and over 60 million albums sold, Ian Anderson celebrates true progressive rock classics with old and new fans alike. -
47955 the Musician's Lifeline INT01-192 PRINT REV INT03 08.06.19.Indd
181 Our Contributors Carl Allen: jazz drummer, educator Brian Andres: drummer, educator David Arnay: jazz pianist, composer, educator at University of Southern California Kenny Aronoff: live and studio rock drummer, author Rosa Avila: drummer Jim Babor: percussionist, Los Angeles Philharmonic, educator at University of Southern California Jennifer Barnes: vocalist, arranger, educator at University of North Texas Bob Barry: (jazz) photographer John Beasley: jazz pianist, studio musician, composer, music director John Beck: percussionist, educator (Eastman School of Music, now retired) Bob Becker: xylophone virtuoso, percussionist, composer Shelly Berg: jazz pianist, dean of Frost Music School at University of Miami Chuck Berghofer: jazz bassist, studio musician Julie Berghofer: harpist Charles Bernstein: film composer Ignacio Berroa: Cuban drummer, educator, author Charlie Bisharat: violinist, studio musician Gregg Bissonette: drummer, author, voice-over actor Hal Blaine: legendary studio drummer (Wrecking Crew fame) Bob Breithaupt: drummer, percussionist, educator at Capital University Bruce Broughton: composer, EMMY Chris Brubeck: bassist, bass trombonist, composer Gary Burton: vibes player, educator (Berklee College of Music, now retired), GRAMMY 182 THE MUSICIAN’S LIFELINE Jorge Calandrelli: composer, arranger, GRAMMY Dan Carlin: award-winning engineer, educator at University of Southern California Terri Lyne Carrington: drummer, educator at Berklee College of Music, GRAMMY Ed Carroll: trumpeter, educator at California Institute of -
Jon Allen Christian Bland & the Revelators Gulp Ben
OCTOBER 2014 SEPTEMBER 2014 Magic Teapot presents... Magic Teapot presents... Wed 8 Wed 3 GULP CATE LE BON £6.50adv • plus Maia £9.50adv £12otd • plus H. Hawkline Gulp is Guto Pryce (Super Furry Animals) and Lindsey Leven, Cate Le Bon is an artist hailing from Carmarthenshire, rural West with Gid Goundrey providing guitar and Gwion Llewelyn (Race Wales and is currently a resident of Highland Park, Los Angeles, Horses) on drums. Fuzzed-up bass, dream-folk vocals, acoustic and having relocated across the Pacific to record her latest album ‘Mug electronic drums and synths…their cinematic and ethereal sound Museum’. Sweet Baboo and Lawrence Arabia members feature in is a musical manifestation of the road trip; the landscape and her band. Equal parts Nico, Bobbie Gentry and her own emotional events along the way, filmic scenes and melodies – from the sun- observations. “Imagine PJ Harvey’s rawness tangling with Super squinting, flickering saturation and lens flare of the Californian Furry Animals’ prog, and a vocalist who forgoes folk’s softer sides desert to the gloamin of rural Scottish and Welsh homescapes. for delicious black humour.” - Word Magazine. catelebon.com gulpgulp.co.uk Doktor Dyper Promotions presents... Mon 8 Thu 9 MARTIN BARRE BAND BEN POOLE £16adv £18otd £10adv £12otd Martin Barre has been the guitarist of Jethro Tull for 43 years, his When you hear comments such as the above from some of sound and playing having been a major factor in their success. the worlds’ greatest guitar players and one of the leading UK Martin’s guitar playing has earned him a high level of respect roots magazines you just know they have heard something and recognition; he was voted 25th best solo ever in the USA and very special. -
JETHRO TULL Minstrel in the Gallery
im Auftrag: medienAgentur Stefan Michel T 040-5149 1467 F 040-5149 1465 [email protected] JETHRO TULL Minstrel In The Gallery The 40th Anniversary La Grandé Edition Der Klassiker von 1975 mit bisher unveröffentlichten Tracks, neuen Abmischungen von Steven Wilson und einem raren Video von 1975. Erhältlich als 2CD/2DVD, 1 CD und zum Download VÖ: 01. Mai 2015 Ihr achtes Studio-Album war ihr sechster Gold-Erfolg: 1975 veröffentlichten JETHRO TULL den Meilenstein Minstrel In The Gallery, der mit seiner elaborierten Produktion an den 1972er Klassiker Thick As A Brick erinnert und mit einigen der rockigsten Songs in der langen Geschichte der Band aufwartet. Den 40. Jahrestag des Erscheinens dieses herausstechenden Albums feiert Parlophone mit der 40th Anniversary La Grandé Edition von Minstrel In The Gallery! Anfang Mai erscheint das Album in einer Limited Edition als Doppel-CD + 2 DVD-Version. Die Highlights des spektakulären Packages: - Das Original-Album mit sieben Bonustracks, davon sechs bisher unveröffentlicht, zwei Songs im 5.1-Mix und sämtliche Songs als Stereomixe von Steven Wilson - 1:1-Übertragung des Original-LP-Mixes plus B-Seite Summerday Sands in 96/24 - 1:1-Übertragung des Original-Quadrophonie-Mixes des Albums plus Summerday Sands - Ein achteinhalb-minütiger Film mit der Live-Performance von Minstrel In The Gallery in Paris aus dem Jahr 1975 - Präsentation in einem gebundenen DVD-Buch mit einem 80-seitigen Booklet, das neben der Entstehungsgeschichte des Albums auch Track-by-Track-Anmerkungen von Ian Anderson sowie Erinnerungen des Band-Roadies Kenny Wylie, des Toningenieurs im Maison Rouge, Pete Smith, und des Streicher-Ensemble-Mitglieds Liz Edwards enthält. -
Boston Symphony Orchestra Concert Programs, Summer, 1995
osfon i^j^ny wksW Tangtew@» 5 NOW AT FILENE'S... FROM TOMMY H i The tommy collection i Cologne spray, 3.4-oz.,$42 Cologne spray, 1.7-oz.,$28 After-shave balmB mm 3.4-oz., $32 m After-shave, 3.4-oz., $32 Seiji Ozawa, Music Director One Hundred and Fourteenth Season, 1994-95 Trustees of the Boston Symphony Orchestra, Inc. J. P. Barger, Chairman Nicholas T. Zervas, President Mrs. Edith L. Dabney, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Mrs. John H. Fitzpatrick, Vice-Chairman Harlan E. Anderson Nader F. Darehshori Edna S. Kalman Mrs. August R. Meyer Peter A. Brooke Deborah B. Davis Allen Z. Kluchman Mrs. Robert B. Newman James F. Cleary Nina L. Doggett Harvey Chet Peter C. Read John F. Cogan, Jr. Dean W. Freed Krentzman Carol Scheifele-Holmes Julian Cohen AvramJ. Goldberg George Krupp Richard A. Smith William F. Connell Thelma E. Goldberg R. Willis Leith, Jr. Ray Stata William M. Crozier, Jr. Julian T. Houston Trustees Emeriti Vernon R. Alden Archie C. Epps Mrs. George I. Mrs. George Lee Philip K. Allen Mrs. Harris Kaplan Sargent David B. Arnold, Jr. Fahnestock George H. Kidder Sidney Stoneman Leo L. Beranek Mrs. John L. Thomas D. Perry, Jr. John Hoyt Stookey Abram T. Collier Grandin Irving W. Rabb John L. Thorndike Nelson J. Darling, Jr. Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk Board of Overseers of the Boston Symphony Orchestra, Inc. Thelma E. Goldberg, Chairman Robert P. O'Block, Vice-Chairman Jordan L. -
2011 Catalog
Acoustic Amplification 2011 CATALOG Sonny Louvin Ned Luberecki Claire Lynch Colin Lyndon Jason Mallory Maroon 5 Vic Mastrianni Dave Matthews Will Matthews Jimmy Mat- tingly John Mayer Peter Mayer Paul McCartney Country Joe McDonald Michael McKean John McLaughlin Lori McKenna Sarah McLachlan John Mellencamp Victor Mendoza Eric Messerschmidt Buddy Miller Steve Miller Keb’ Mo’ Andra Moran James Morrison Stephen Mougin Jason Mraz Peter Mulvey Isato Nakagawa Graham Nash Bebo Norman Northern Lights The Oak Ridge Boys John Oates Tim O’Brien Mark O’Connor Old Crow Medicine Show Braxton Olita Florian Opahle Brad Paisley Charles Parente Mario Parga Jeff Paris Ellis Paul Tom Paxton Alice Peacock Joe Perry Paul Pesco John Petrucci Jeff Pevar Todd Phillips Glen Phillips Gary Pihl Monte Pittman Steve Poltz Lorenza Ponce Diane Ponzio Willy Porter Don Potter Grace Potter and The Nocturnals Jon Pousette-Dart The Pretenders Chris Proctor Puddle of Mudd Joe Pug Pure Prairie League Ra Ra Riot Radiohead Rage Against The Machine Missy Raines Bonnie Raitt Kevin Rapillo Jon Rauhouse Harvey Reid REO Speedwagon Tim Reynolds Jonathan Richman The Rolling Stones Gavin Rossdale Darius Rucker Robin Ruddy Tom Rush Rick Salazar Les Sampou Brett Scallions Matt Scannell Mark Schatz Marty Schiff Lincoln Schliefer Mike Scott Kristin Scott-Benson Derick Sebastian John Sebastian Charlie Sexton Shankar & Gingger Harry Shearer Duncan Sheik Jake Shimabukuro Todd Sickafoose Paul Simon Rickie Simpkins Ronnie Simpkins Martin Simpson Ricky Skaggs Slash Patti Smith Tim Smith Matt Sorum -
JETHRO TULL BIOGRAPHIE Ende 1967 Versammelten Sich Vier
JETHRO TULL BIOGRAPHIE Ende 1967 versammelten sich vier struppige Möchtegern in der südenglischen Stadt Luton, Bedfordshire. Die naiven, unverbildeten Talente von Ian Anderson, Mick Abrahams, Glenn Cornick und Clive Bunker verbinden sich versuchsweise um das originale „Jethro Tull“Line-up zu formieren. Die Gruppe etablierte sich als die neue ,feste Band in Londons berühmtem Marquee Club, wenn auch nach einigen fatalen Startidentitäten. („ Navy Blue“, „Ian Henderson´s Bag ò Blues“, „Jethro Toe“ und der bestimmt selbstmörderischen “ Candy Coloured Rain”) Im März 1968 gelang es ihnen, als Nachfolge für das neue Gesicht der blues-based britischen Underground Szene zu gelten. Warteschlangen bildeten sich vor den Häusern , Donnerstagnacht, wenn sie im Marquee auftraten. Es folgten Auftritte im Hyde Park und im Sunbury Jazz und Blues Festival im Sommer ´68 , die Band bekam einen immer höher steigenden Wiedererkennungswert mit der Veröffentlichung des Albums This Was, welches … zunächst als Hommage von allen an die Erbschaft des Blues…, schon auf den breiteren Einfluß hinwies, der offensichtlich in die post-Mick Abrahams Zeit floss. Nach personellen und musikalischen Differenzen verließ der Original-Guitarist, Mick Abrahams die Band und die Tull boys nahmen den noch unbekannten Martin Barre als Ersatz mit „an Bord“ und produzierten das Landmark Album „Stand UP“ Anfang Januar 1969. Glücklicherweise wurde die neue Platte „Stand UP“ ein großer Erfolg und ebnete den Weg zu neuen Möglichkeiten in Europa und den USA. Ian Andersons Einfluß von klassischen, jazz-,folk- und ethnischen Musikformen machten das eklektische Resultat zum frühen Markenzeichen der Band und erreichte Nummer eins in den UK Album- Charts. TULL zunächst im Schatten von Led Zeppelin und anderen begann den explosiven Aufstieg in die schwindelerregenden Höhen des US – Starrummels, gipfelnd , während der nächsten drei Jahre auf den Titelseiten der Time und Rolling Stone Magazine, fünf Nächte im Los Angeles Forum und drei Nächte im Madison Square Garden, New York. -
Hi Marc, This Is Ian Anderson from Jethro Tull. Q
IA: Hello, Marc Allan please. Q: This is Marc. IA: Hi Marc, this is Ian Anderson from Jethro Tull. Q: Hi Ian, how are you? IA: I'm very well, I've just been speaking repeatedly to a young lady, I mean quite a young lady from apparently on a phone number that's calling for the last 10 minutes. (laughs) Q: Oh wow. IA: And finally had to explain what I was trying to do and that her mom looked up your telephone number and I'd got the, well, whoever gave me the phone number had got it wrong. So somewhere out there in a suburb not too far from you is a young lady who is very bemused by the fact that some strange English person from a rock band called Jethro Tull, which she'd obviously never heard, (laughs) trying to reach her to talk to her about our forthcoming tour. Q: Gee, would've been kind of exciting if you had reached a fan, you know, and then somebody was really thrilled and kept you on the phone. IA: Actually, I think the girl had heard of us, but when she said to her mom, she said, "What's that, a delivery service?" (laughs) 'Cause I thought it was gonna be like she was gonna get through to her mom, I said mom, Mom said, "What, let me speak to him." But no, Mom hadn't heard of us but little girly had, maybe little girly wasn't so little but she was, you know, we're talking teenage.