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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. -
The Importance of Providing Legal Protections for Child Models
New York’s Modeling Crisis: The Importance of Providing Legal Protections for Child Models June 2013 Introduction The fashion industry is one of the most well-known and celebrated features of New York City. What often goes unrecognized is that it is also a central pillar of our state’s economy. In 2011, the industry employed 165,000, generated $1.7 billion in tax revenue, and brought in $55 billion in sales.1 At the center of this industry are the fashion models themselves who market the latest clothing and accessories created by designers. Unbeknownst to much of the public is that a great number of models walking down the runway are under the age of 18. This is not a problem in itself as New York, and indeed the world, are accustomed to children and teens performing for a host of reasons. These include performing on the stage, acting in a film, or promoting products in commercials. Unlike these performers, however, child models shockingly receive few protections under New York State law. Concerned with this finding the Independent Democratic Conference (IDC) began an investigation into this legal loophole. Upon closer examination of the industry, the IDC found that countless models are routinely mistreated, and in the worst cases, sexually abused. This white paper will examine the discrepancy in our state law, and describe the troubles that child models are confronted with in New York. Finally, we will offer up our solution that will fully incorporate these children into our legal framework. An Unprotected Industry Article 4-A of the New York State Labor Law concerns the employment and education of child performers. -
Model Commodities: Gender and Value in Contemporary Couture
Model Commodities: Gender and Value in Contemporary Couture By Xiaoyu Elena Wang A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Political Science in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Wendy L. Brown, Chair Professor Shannon C. Stimson Professor Ramona Naddaff Professor Julia Q. Bryan-Wilson Spring 2015 Abstract Model Commodities: Gender and Value in Contemporary Couture by Xiaoyu Elena Wang Doctor of Philosophy in Political Science University of California, Berkeley Professor Wendy L. Brown, Chair Every January and June, the most exclusive and influential sector of the global apparel industry stages a series of runway shows in the high fashion, or, couture capitals of New York, Milan, London and Paris. This dissertation explores the production of material goods and cultural ideals in contemporary couture, drawing on scholarly and anecdotal accounts of the business of couture clothes as well as the business of couture models to understand the disquieting success of marketing luxury goods through bodies that appear to signify both extreme wealth and extreme privation. This dissertation argues that the contemporary couture industry idealizes a mode of violence that is unique in couture’s history. The industry’s shift of emphasis toward the mass market in the late 20th-century entailed divestments in the integrity of garment production and modeling employment. Contemporary couture clothes and models are promoted as high-value objects, belying however a material impoverishment that can be read from the models’ physiques and miens. 1 Table of Contents I. The enigma of couture…………………………………………………………………………..1 1. -
Krist Novoselic, Dave Grohl, and Kurt Cobain
f Krist Novoselic, Dave Grohl, and Kurt Cobain (from top) N irvana By David Fricke The Seattle band led and defined the early-nineties alternative-rock uprising, unleashing a generation s pent-up energy and changing the sound and future of rock. THIS IS WHAT NIRVANA SINGER-GUITARIST KURT Cobain thought of institutional honors in rock & roll: When his band was photographed for the cover of Rolling Stone for the first time, in early 1992, he arrived wearing a white T-shirt on which he’d written, c o r p o r a t e m a g a z i n e s s t i l l s u c k in black marker. The slogan was his twist on one coined by the punk-rock label SST: “Corporate Rock Still Sucks.” The hastily arranged photo session, held by the side of a road during a manic tour of Australia, was later recalled by photogra pher Mark Seliger: “I said to Kurt, T think that’s a great shirt... but let’s shoot a couple with and without it.’ Kurt said, ‘No, I’m not going to take my shirt off.’” Rolling Stone ran his Fuck You un-retouched. ^ Cobain was also mocking his own success. At that moment, Nirvana - Cobain, bassist Krist Novoselic, and drummer Dave Grohl - was rock’s biggest new rock band, propelled out of a long-simmering postpunk scene in Seattle by its incendiary second album, N everm ind, and an improbable Top Ten single, “Smells Like Teen Spirit.” Right after New Year’s Day 1992, Nevermind - Nirvana’s first major-label release and a perfect monster of feral-punk challenge and classic-rock magne tism, issued to underground ecstacy just months before - had shoved Michael Jackson’s D angerous out of the Number One spot in B illboard. -
IMPORTING the FLAWLESS GIRL Kit Johnson*
IMPORTING THE FLAWLESS GIRL Kit Johnson* ABSTRACT ......................................................... 831 I. THE NEED FOR FOREIGN MODELS ............................ 832 II. HOW THE MODELING INDUSTRY WORKS ...................... 835 A. The Place of Fashion Models within Modeling ........... 835 B. How Fashion Models are Booked and Paid .............. 836 C. How Foreign Models Differ from U.S. Models ............ 839 III. FASHION MODEL VISAS TODAY .............................. 840 A. H1B History ........................................... 841 B. When Models Re-Joined the Picture ..................... 843 C. Distinguished Merit and Ability.......................... 845 1. The Models ........................................ 845 2. The Work .......................................... 846 3. The Agencies ....................................... 847 4. Duration ........................................... 848 IV. BEAUTY AND THE GEEK ..................................... 848 V. THE UGLY AMERICAN BILL .................................. 850 A. A New Classification for Models......................... 851 B. The High Heeled and the Well Heeled ................... 854 1. Value .............................................. 854 2. Interchangeability .................................. 856 VI. CHANGING THE FACE OF THE FLAWLESS GIRL ................. 857 A. The P(x) Visa for Models of the Moment ................. 858 B. An H1(x) Visa for Artisan Models ....................... 858 1. Size ............................................... 859 2. Age............................................... -
Business Ethics
Business Ethics v. 1.0 This is the book Business Ethics (v. 1.0). This book is licensed under a Creative Commons by-nc-sa 3.0 (http://creativecommons.org/licenses/by-nc-sa/ 3.0/) license. See the license for more details, but that basically means you can share this book as long as you credit the author (but see below), don't make money from it, and do make it available to everyone else under the same terms. This book was accessible as of December 29, 2012, and it was downloaded then by Andy Schmitz (http://lardbucket.org) in an effort to preserve the availability of this book. Normally, the author and publisher would be credited here. However, the publisher has asked for the customary Creative Commons attribution to the original publisher, authors, title, and book URI to be removed. Additionally, per the publisher's request, their name has been removed in some passages. More information is available on this project's attribution page (http://2012books.lardbucket.org/attribution.html?utm_source=header). For more information on the source of this book, or why it is available for free, please see the project's home page (http://2012books.lardbucket.org/). You can browse or download additional books there. ii Table of Contents About the Author .................................................................................................................. 1 Acknowledgements............................................................................................................... 2 Dedication.............................................................................................................................. -
Die Millionenschweren Verweigerer. Anti-Starkult
Publizistik- und Kommunikationswissenschaft Die millionenschweren Verweigerer. Anti-Starkult in der Darstellung ausgesuchter Printmedien. Eine exemplarische Inhaltsanalyse. Hausarbeit zur Erlangung des Magistergrades der PHILOSOPHISCHEN FAKULTÄT der Westfälischen Wilhelms-Universität zu Münster (Westf.) vorgelegt von Christoph Jacke aus Bad Pyrmont 1996 Inhaltsverzeichnis Inhaltsverzeichnis 1 Einleitung.............................................................................................................. 1 2 Theoretischer Bezugsrahmen................................................................................. 5 2.1 Definitionsgerüst.......................................................................................... 5 2.1.1 Öffentlichkeit und Publikum ............................................................. 5 2.1.2 Zu den Begriffen Kultur und Subkultur ............................................. 7 2.1.2.1 Kultur als Programm ............................................................ 7 2.1.2.2 Subkultur: Abgrenzung versus Eingrenzung....................... 11 2.1.3 Stars, Anti-Stars und Anti-Star-Stars ............................................... 13 2.1.3.1 Stars: etabliert und gesellschaftskonform............................ 13 2.1.3.2 Anti-Stars: eine Hilfskategorie ........................................... 16 2.1.3.3 Anti-Star-Stars: erfolgreiche Verweigerer........................... 17 2.1.4 Starkult und Anti-Star-Starkult........................................................ 19 2.2 Medienmechanismen: -
Kurt Cobain: Montage of Heck Free
FREE KURT COBAIN: MONTAGE OF HECK PDF Brett Morgen | 160 pages | 05 May 2015 | Insight Editions, Div of Palace Publishing Group, LP | 9781608875498 | English | San Rafael, United States Cobain: Montage of Heck - As IMDb celebrates its 30th birthday, we have six shows to get you ready for those pivotal years of your life Get some streaming picks. Title: Cobain: Montage of Heck An authorized documentary on the late musician Kurt Cobainfrom his early days in Aberdeen, Washington to his success and downfall with the grunge band Nirvana. I was hoping for this film to be great. As a Nirvana fan most people who claim to like Nirvana have no idea what 'Incesticide' or even 'Bleach' isI was looking forward to a thorough insight into this beloved figure who is still shrouded in a fog of misrepresentation and false hero worship. Unfortunately the film did not live up to expectations as it seemed the Director, "Brett Morgan" was more concerned in making the film aesthetically pleasing than emotionally interesting. First off, a few positives about the film. The way it portrays Courtney Love: She is despised by most music fans who believe she ruined Nirvana, but it's pretty clear that Kurt's self destruction was mostly his Kurt Cobain: Montage of Heck and his natural tendencies which add an appropriate sense of melancholy to the movie. Some of the montages were nice when not excruciatingly overdone. The music of course was good, it had a wide range from their b-sides Divetheir first album Mr. Moustache and their popular stuff Territorial Pissings Including some fascinating covers of the Velvet Underground and the Beatles. -
Bruises on the Fruit
ruises onon thethe fruitfruit B A BRIEF HISTORY OF NIRVANA & THE EVOLUTION OF THEIR MUSIC by Gary Vehar From the moment Nirvana’s landmark CD Nevermind was released, the world of rock music has never been the same. I for one will always be thankful that that album came out when it did, slightly over a week before my eighteenth birthday. I was a still-wet-behind-the-ears college freshman, away from home for the first time. Just as my life was changing drastically, so was the culture. Music, politics, fashion and art underwent an enormous change as the 90’s sloughed off the last vestiges of the 80’s. Concealed as I was in the quiet town of Ellensburg, Washington, within the tiny confines of my third-floor door room, it was the change in musical guard that first caught my attention. Friends from Seattle regularly brought over dubbed tapes to share with those of us here in college, and among one batch was an advance tape for a band called Nirvana. Nevermind was already causing excitement before its official release of September 24th, 1991. Leaving my friends for the night, I couldn’t get the songs, the sounds, out of my head. About a week later I was in yet another dorm room, listening to a brutish lout rave about the same album. Even at this early date it was obvious Nirvana was crossing all boundaries, even if the fellow who owned this copy (the real CD, this time) made fun of the over-the-top screams that so captivated me. -
CLASS of 2015 MEET the SCHOLARS Click on a Scholar to View Their Story
CLASS OF 2015 MEET THE SCHOLARS Click on a scholar to view their story. Class of 2015 Architecture History ★ John Pasciak University of South Florida, Doctor of Pharmacology ★ Dallas Gray ★ Jason Everman ★ University of Oregon, M.Arch. Norwich University, MMH, Military History Mark Sakai University of Texas Southwestern Medical School, MD Business & Economics International Affairs ★ Fabian Suchy ★ Paul Cusack Stanford University, Ph.D, Stem Cell Biology, Regenerative ★ Ron Bucca Medicine Columbia University, MBA Columbia University, M.A., International Affairs ★ Annie Kleiman ★ Michael Weipert ★ Mary Conroy Texas A&M University, MD University of South Florida, MBA Tufts University, M.A.L.D., International Affairs ★ Anthony Lena ★ Daniel Ybarra ★ Thomas Daley UCLA, MD Massachusetts Institute of Technology, MBA Tufts University, M.A., International Affairs ★ Christian Dunbar Law Nursing UCLA, MBA ★ Matthew Ball ★ Katherine Hough ★ Rahul Harpalani Stanford University, JD University of Washington, DNP, Adult-Gerontology, Primary Columbia University, MBA Care ★ Angela Menard ★ Frank Hegr University of Arizona, JD ★ Deborah Law Southern Methodist University, MBA Queens University, CNL, Nursing ★ Carrie Murdock ★ Benjamin Kohlmann Texas A&M University, JD ★ Jackie Munn Stanford University, MBA & Master of Public Policy Vanderbilt University, M.S., Nursing ★ Adrian Perkins ★ Dino Mavrookas Harvard University, JD ★ Michelle Neveu University of Pennsylvania, MBA Saint Louis University, MSN, Acute Care Nurse Practitioner ★ Joshua Sparling ★ Erik -
UC Berkeley UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Model Commodities: Gender and Value in Contemporary Couture Permalink https://escholarship.org/uc/item/1v74c50p Author Wang, Xiaoyu Elena Publication Date 2015 Supplemental Material https://escholarship.org/uc/item/1v74c50p#supplemental Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Model Commodities: Gender and Value in Contemporary Couture By Xiaoyu Elena Wang A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Political Science in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Wendy L. Brown, Chair Professor Shannon C. Stimson Professor Ramona Naddaff Professor Julia Q. Bryan-Wilson Spring 2015 Abstract Model Commodities: Gender and Value in Contemporary Couture by Xiaoyu Elena Wang Doctor of Philosophy in Political Science University of California, Berkeley Professor Wendy L. Brown, Chair Every January and June, the most exclusive and influential sector of the global apparel industry stages a series of runway shows in the high fashion, or, couture capitals of New York, Milan, London and Paris. This dissertation explores the production of material goods and cultural ideals in contemporary couture, drawing on scholarly and anecdotal accounts of the business of couture clothes as well as the business of couture models to understand the disquieting success of marketing luxury goods through bodies that appear to signify both extreme wealth and extreme privation. This dissertation argues that the contemporary couture industry idealizes a mode of violence that is unique in couture’s history. The industry’s shift of emphasis toward the mass market in the late 20th-century entailed divestments in the integrity of garment production and modeling employment. -
And Add To), Provided That Credit Is Given to Michael Erlewine for Any Use of the Data Enclosed Here
POSTER DATA COMPILED BY MICHAEL ERLEWINE Copyright © 2003-2020 by Michael Erlewine THIS DATA IS FREE TO USE, SHARE, (AND ADD TO), PROVIDED THAT CREDIT IS GIVEN TO MICHAEL ERLEWINE FOR ANY USE OF THE DATA ENCLOSED HERE. There is no guarantee that this data is complete or without errors and typos. And any prices are sure to be out of date. This is just a beginning to document this important field of study. [email protected] ------------------------------ CTG 1980-12-31 P --------- 1980-12-31 / CTG CP022401 / CP022401 Our Daughter's Wedding, Gang of Four at City Gardens [Trentonn, NJ] Artist: Suzy Pasteup & Tish Typeset Venue: City Gardens Promoter: King Tut Items: Original poster CTG / CP022401 / CP022401 (8-1/2 x 11) Performers: 1980-12-31: City Gardens Our Daughter's Wedding 1981-01-01: City Gardens Gang of Four / Regressive Aid 1981-01-02: City Gardens Rockats / Drive Ins 1981-01-06: City Gardens David Smith Four 1981-01-08: City Gardens Ruts DC / Gas 1981-01-13: City Gardens Again and Again and Again 1981-01-20: City Gardens Genocide / Red Question ------------------------------ CTG 1981-01-09 P --------- 1981-01-09 / CTG CP022420 / CP022420 Robert Gordon, Bounce at City Gardens - [Trentonn, NJ] Artist: Suzy Pasteup & Tish Typeset Venue: City Gardens Items: Original poster CTG / CP022420 / CP022420 (8-1/2 x 11) Performers: 1981-01-09: City Gardens Robert Gordon / Bounce 1981-01-15: City Gardens Bloods / Die Hausfraun 1981-01-16: City Gardens A's 1981-01-22: City Gardens Polyrock 1981-01-23: City Gardens Certain Generals 1981-01-29: