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A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/ 84893 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications Culture is a Weapon: Popular Music, Protest and Opposition to Apartheid in Britain David Toulson A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in History University of Warwick Department of History January 2016 Table of Contents Acknowledgements………………………………………………………………...iv Declaration………………………………………………………………………….v Abstract…………………………………………………………………………….vi Introduction………………………………………………………………………..1 ‘A rock concert with a cause’……………………………………………………….1 Come Together……………………………………………………………………...7 Methodology………………………………………………………………………13 Research Questions and Structure…………………………………………………22 1)“Culture is a weapon that we can use against the apartheid regime”……...25 The Cultural Boycott and the Anti-Apartheid Movement…………………………25 ‘The Times They Are A Changing’………………………………………………..34 ‘Culture is a weapon of struggle’………………………………………………….47 Rock Against Racism……………………………………………………………...54 ‘We need less airy fairy freedom music and more action.’………………………..72 2) ‘The Myth -
The Hilltop 1-21-1977
Howard University Digital Howard @ Howard University The iH lltop: 1970-80 The iH lltop Digital Archive 1-21-1977 The iH lltop 1-21-1977 Hilltop Staff Follow this and additional works at: http://dh.howard.edu/hilltop_197080 Recommended Citation Staff, Hilltop, "The iH lltop 1-21-1977" (1977). The Hilltop: 1970-80. 175. http://dh.howard.edu/hilltop_197080/175 This Book is brought to you for free and open access by the The iH lltop Digital Archive at Digital Howard @ Howard University. It has been accepted for inclusion in The iH lltop: 1970-80 by an authorized administrator of Digital Howard @ Howard University. For more information, please contact [email protected]. ' i • •• • • ' • ' Hilltop Highlights : "Pb1 ver roncf'de, New; From Black Schools ... .. p2 nothing HUSA's N!w Office ......".. .... :, p2 ' \\'ithout a demand" Third World Ne"5 Foe ........ p3 law School Troubled .. ·........ p4 · Fredcrirk Douglas, Roots On TV ......................... p6 ' ''THE VOICE OF THF HOWARD COMMUNITY'' WHUR's Q;iet Storm ......... .. .. p7 Howard University, Washington D.C., 20059 ., I Vol'.. 59, No. 14 21 January 1977 ' ' SBA Questions Lack College of Medicine of Quality Education Acceptance of HU ' At HU Law School Grads ·oecreas~pg • • By Arlene Wailer i[ 8'1,'. Leila Brown dent body concerning the and Fred Hines ~ ' G rld Sc hool· Editor organization of the protest. there nevertheless seemed Hilltop Staffwriters $ to be a general consensus ' .. fhe law school is on a that ''something has to be The number of H oward undergraduate students who d ownward trend, and we • are admitted to the College of Medicine ha!\.fdecreased at · done," about the education 0 , ' need to arrest it," said God at the school. -
Young Americans to Emotional Rescue: Selected Meetings
YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music. -
The Shakin' Street Gazette, Volume 6
State University of New York College at Buffalo - Buffalo State College Digital Commons at Buffalo State Shakin Street Gazette, Student Music Magazine Buffalo State Archives: History of the College 1-1-1974 The Shakin' Street Gazette, Volume 6 The Shakin' Street Gazette Follow this and additional works at: https://digitalcommons.buffalostate.edu/shakinstreet Part of the History Commons Recommended Citation The Shakin' Street Gazette, "The Shakin' Street Gazette, Volume 6" (1974). Shakin Street Gazette, Student Music Magazine. 6. https://digitalcommons.buffalostate.edu/shakinstreet/6 This Book is brought to you for free and open access by the Buffalo State Archives: History of the College at Digital Commons at Buffalo State. It has been accepted for inclusion in Shakin Street Gazette, Student Music Magazine by an authorized administrator of Digital Commons at Buffalo State. For more information, please contact [email protected]. Volume one, Number six S+ree+ ' 0 But for the work I've taken on · Sto · star maker machine e popular song ut features double electric guitars (Jose Feliciano and Larry Carlton) that Joni's new on top of a light acoustic rhythm., released on the same day as the . "People's Parties!' follows, a . .- Dylan LP (coming in the balancing diversionary pasttimes (pe _s .first tour in seven years) parties) against the underlying s rt of ov wed. Not this repressed dispair in this song an 0 longing request for release in the fin oni, who ~ C:Ot! rts for "Same Situation" which ends: I ti4 first time g time, (including I called out to be released I o{e at Klein _ on February 11, Caught in my 'struggle for f cqurtesy of Festival East) has changed her _.:,achievement , I st~'le a little. -
Network-40-1994-05-0
CONTEMPORARY RADIO'S MUSIC & NEWS RESOURCE MAY 6, 1994 Spotlight On WZEE Madisor Interview With lob Case Feature: Pounding The Pavement www.americanradiohistory.com H vh F1 1.44 hR`r7..:n.h I I roc . Rdell. 1 6e ».;,t ae ` Imo sn,r.. Gyri . I id liee-pd .100 °. 13 -na ",. a?I.. .1.2.-.111341,-11.1.4 Jr, F:.kea ya:n t.\Ih.nnniod.\crrrr nua3.m7Inr.0 \lind. c0111,111. www.americanradiohistory.com TilAt-Cm-urrs PLAYS PER WEEK RETAIL SALES N n i i,. n W i+ 1 1 i i (3141 SAI LABEL ARTIST/SONG/LABEL 2W LW TW 2W LW AN ARnsT/LP Columbia O PRINCE. The Most Beautiful Girl In The World (N.P.G. Records/Belimark) 8084 8913 9096 1 1 0 PINK FLOYD. The Division Bell DOMINGO.Chant Angel 2 BIG MOUNTAIN. Baby I Love Your Way (RCA) 8192 8691 8517 3 3 Q BENEDICTINE MONKS OF SANTO Q MADONNA. I'll Remember (Maverick/Sire/WB) 6946 7620 8006 2 2 3 ABOVE THE RIM. Soundtrack Death Row/Interscope/AG 4 COUNTING CROWS. Mr. Jones (DGC) 7612 7944 7731 4 4 0 COUNTING CROWS. August And Everything After DGC 5 ACE OF BASE. The Sign (Arista) 8095 7966 7418 7 5 Q ACE OF BASE. The Sign Arista 5682 6415 6822 O ENIGMA. Return To Innocence (Charisma/Virgin) 6 6 Q R KELLY. 12 -Play Jive ALL -4 -ONE. I Swear (Blitzz/AUantic/AG) 2358 4724 6538 O DEBUT 0 REBA McENTIRE. Read My Mind MCA Nashville TEVIN CAMPBELL. -
Before the Copyright Royalty Board United States Copyright Office Washington, D.C
Before the Copyright Royalty Board United States Copyright Office Washington, D.C. 20540 In the Matter of ) ) Distribution ofDART Sound Recordings Fund ) Docket No. -------- Featured Recording Artists and Copyright Owners ) Subfunds Royalties For 2010 ) NOTICE OF SETTLEMENT AND REQUEST FOR PARTIAL DISTRIBUTION OF THE 2010 DART SOUND RECORDINGS FUND FEATURED RECORDING ARTISTS AND COPYRIGHT OWNERS SUBFUNDS ROYALTIES l The Alliance ofArtists and Recording Companies ("AARC"), on behalfofitselfand parties listed in Exhibit A, see 2010 Settling Parties, Ex. A, (collectively referred to as the "Settling Parties"), submits this notice reporting that the 2010 Audio Home Recording Act of 1992 (referred to hereinafter as "DART,,)2 Sound Recordings Fund Featured Recording Artists and Copyright Owners Subfunds distribution proceeding is settled, except for the claims ofEric N. Bums, Arpi Takacs, Eugene "Lambchops" Curry, Herman Kelly, Afterschool Publishing, Eddie Rolling, Write 4 U Publishing/Treasa Fennie ("Write 4 U/Fennie,,)3, and Ernest William Furrow.4 Therefore, the Settling Parties request partial distribution ofthe 2010 DART Sound Recordings Fund Featured Recording Artists and Copyright Owners Subfunds ("2010 Sound Recordings Fund"), as follows: 1 On behalfofthe Settling Parties, AARC filed a motion for partial distribution pursuant to § 801(b)(3)(A) on July 15,2011. Write 4 U objected to the request on July 26, 2011, and the CRB denied § 801(b)(3)(A) partial distribution on August 9,2011, on the grounds that Write 4 U's objection established that a controversy existed with regard to the requested 98%. The CRB noted that Settling Parties could re-file their request for partial distribution pursuant to § 80I(b)(3)(C), which they have done herein. -
Music Globally Protected Marks List (GPML) Music Brands & Music Artists
Music Globally Protected Marks List (GPML) Music Brands & Music Artists © 2012 - DotMusic Limited (.MUSIC™). All Rights Reserved. DotMusic reserves the right to modify this Document .This Document cannot be distributed, modified or reproduced in whole or in part without the prior expressed permission of DotMusic. 1 Disclaimer: This GPML Document is subject to change. Only artists exceeding 1 million units in sales of global digital and physical units are eligible for inclusion in the GPML. Brands are eligible if they are globally-recognized and have been mentioned in established music trade publications. Please provide DotMusic with evidence that such criteria is met at [email protected] if you would like your artist name of brand name to be included in the DotMusic GPML. GLOBALLY PROTECTED MARKS LIST (GPML) - MUSIC ARTISTS DOTMUSIC (.MUSIC) ? and the Mysterians 10 Years 10,000 Maniacs © 2012 - DotMusic Limited (.MUSIC™). All Rights Reserved. DotMusic reserves the right to modify this Document .This Document 10cc can not be distributed, modified or reproduced in whole or in part 12 Stones without the prior expressed permission of DotMusic. Visit 13th Floor Elevators www.music.us 1910 Fruitgum Co. 2 Unlimited Disclaimer: This GPML Document is subject to change. Only artists exceeding 1 million units in sales of global digital and physical units are eligible for inclusion in the GPML. 3 Doors Down Brands are eligible if they are globally-recognized and have been mentioned in 30 Seconds to Mars established music trade publications. Please -
Quiktron.Com • Call Toll Free: 800.361.0471 COMPLETE SOLUTIONS
TABLE OF CONTENTS Fiber Cables & Hardware Audio/Video Cables & Devices • Custom Fiber ................................4-6 • HDMI & DVI...............................85-90 • Laser-Optimized ............................9-10 • Component Video ..........................91-92 • Bend Tolerant & Low Loss Cable Assemblies ....11-16 • S-Video...................................93-94 • Multimode ................................17-20 • Composite Video ...........................95-96 • Single-mode ..............................21-23 • F-Type Cables ................................97 • Fiber Connectivity & Accessories..............24-26 • Audio ...................................98-103 • LC Uniboot...................................27 • Plenum Rated Audio/Video.................104-105 • Mode Conditioning .........................28-30 • Plenum Rated Low Profile .....................106 • MTP .....................................31-33 • Sub & Speaker Cables.........................107 • Fiber Optic Hardware .......................34-36 • A/V Wall Plates . .108 • Media Converters & Chassis..................37-38 • Active Devices ...........................109-120 • Fiber Optic Testers & Accessories .............39-48 PC/Computer Cables, Devices & Accessories Copper Network Cables • Monitor & Projector ......................123-129 • Cat5e ....................................51-52 • Splitters & Extenders .....................130-133 • Cat6 ........................................53 • Keyboard & Mouse ...........................134 • Cat6a .......................................54 -
An Examination of Essential Popular Music Compact Disc Holdings at the Cleveland Public Library
DOCUMENT RESUME ED 435 403 IR 057 553 AUTHOR Halliday, Blane TITLE An Examination of Essential Popular Music Compact Disc Holdings at the Cleveland Public Library. PUB DATE 1999-05-00 NOTE 94p.; Master's Research Paper, Kent State University. Information Science. Appendices may not reproduce adequately. PUB TYPE Dissertations/Theses (040) EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS *Audiodisks; Discographies; *Library Collection Development; *Library Collections; *Optical Disks; *Popular Music; *Public Libraries; Research Libraries; Tables (Data) IDENTIFIERS *Cleveland Public Library OH ABSTRACT In the 1970s and early 1980s, a few library researchers and scholars made a case for the importance of public libraries' acquisition of popular music, particularly rock music sound recordings. Their arguments were based on the anticipated historical and cultural importance of obtaining and maintaining a collection of these materials. Little new research in this direction has been performed since then. The question arose as to what, if anything, has changed since this time. This question was answered by examining the compact disc holdings of the Cleveland Public Library, a major research-oriented facility. This examination was accomplished using three discographies of essential rock music titles, as well as recent "Billboard" Top 200 Album charts. The results indicated a strong orientation toward the acquisition of recent releases, with the "Billboard" charts showing the largest percentages of holdings for the system. Meanwhile, the holdings vis-a-vis the essential discographies ran directly opposite the "Billboard" holdings. This implies a program of short-term patron satisfaction by providing current "hits," while disregarding the long-term benefits of a collection based on demonstrated artistic relevance. -
Big Band Early Jazz New Orleans Jazz Brass Band R
21st C. 21st C. Elec- 21st C. 21st C. 21st C. 90s/ Jazz Rock tronica R&B Rap Sacred Music 2000s Jason Moran Brittany Howard DJ Spooky The Roots Frank Ocean Kendrick Lamar Aeolians of Oakwood Kamasi Washington Gary Clark, Jr. Carl Craig Beyoncé Usher Kanye West Tasha Cobbs Concert & Roy Hargrove Janelle Monae Flying Lotus Rihanna Solange Nicki Minaj Jonathan McReynolds 90s Gospel Joshua Redman Stew Alicia Keys Jay-Z Marvin Sapp Terri Lyne Carrington Tamar-kali 50 Cent Kierra Sheard Kirk Franklin Classical Afropunk Trey McLaughlin Donnie McClurkin Mary Mary Audra McDonald, Soprano Donald Lawrence Lawrence Brownlee, Tenor Sounds of Blackness Morris Robinson, Bass 80s/90s Rock Techno 90s R&B 90s Rap Yolanda Adams Janinah Burnett, Soprano Nicole Mitchell, Composer Bad Brains Living Colour Doug Pinnick Juan Atkins R. Kelly Maxwell De La Soul Nas Tania Leon, Composer Fishbone Chocolate Genius Toshi Reagon Derrick May Mariah Carey Mary J. Blige A Tribe Called Jay-Z George E. Lewis, Composer Lenny Kravitz Garland Jeffreys Kevin Saunderson MeShell Erykah Badu Quest The Notorious 80s Superstars Terence Blanchard, Composer Tracy Chapman Slash D. Wynn NdegéOcello Boyz II Men Ice Cube B.I..G. Nkeiru Okoye, Composer D’Angelo Dr. Dre Lil’ Kim Michael Jackson Prince Lionel Richie Courtney Bryan, Composer Snoop Doggy Missy Elliott Tina Turner Whitney Houston Imani Winds, Wind quintet Dogg Lauryn Hill Wu-Tang Clan Outkast 80s Jazz House 80s Rap 2Pac 80s R&B 80s 70s/80s Wynton Greg Osby Frankie Knuckles Sugar Hill Gang LL Cool J Public Enemy Stevie Wonder Marsalis Geri Allen Ron Hardy Grandmaster Flash MC Lyte N .W. -
Red and White on the Silver Screen: the Shifting Meaning and Use of American Indians in Hollywood Films from the 1930S to the 1970S
RED AND WHITE ON THE SILVER SCREEN: THE SHIFTING MEANING AND USE OF AMERICAN INDIANS IN HOLLYWOOD FILMS FROM THE 1930s TO THE 1970s a dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Bryan W. Kvet May, 2016 (c) Copyright All rights reserved Except for previously published materials Dissertation Written by Bryan W. Kvet B.A., Grove City College, 1994 M.A., Kent State University, 1998 Ph.D., Kent State University, 2015 Approved by ___Kenneth Bindas_______________, Chair, Doctoral Dissertation Committee Dr. Kenneth Bindas ___Clarence Wunderlin ___________, Members, Doctoral Dissertation Committee Dr. Clarence Wunderlin ___James Seelye_________________, Dr. James Seelye ___Bob Batchelor________________, Dr. Bob Batchelor ___Paul Haridakis________________, Dr. Paul Haridakis Accepted by ___Kenneth Bindas_______________, Chair, Department of History Dr. Kenneth Bindas ___James L. Blank________________, Dean, College of Arts and Sciences Dr. James L. Blank TABLE OF CONTENTS…………………………………………………………………iv LIST OF FIGURES………………………………………………………………………v ACKNOWLEDGEMENTS……………………………………………………………...vii CHAPTERS Introduction………………………………………………………………………1 Part I: 1930 - 1945 1. "You Haven't Seen Any Indians Yet:" Hollywood's Bloodthirsty Savages……………………………………….26 2. "Don't You Realize this Is a New Empire?" Hollywood's Noble Savages……………………………………………...72 Epilogue for Part I………………………………………………………………..121 Part II: 1945 - 1960 3. "Small Warrior Should Have Father:" The Cold War Family in American Indian Films………………………...136 4. "In a Hundred Years it Might've Worked:" American Indian Films and Civil Rights………………………………....185 Epilogue for Part II……………………………………………………………….244 Part III, 1960 - 1970 5. "If Things Keep Trying to Live, the White Man Will Rub Them Out:" The American Indian Film and the Counterculture………………………260 6. -
History of Popular Music 2 (1960-Today)
City University of New York (CUNY) CUNY Academic Works Open Educational Resources City College of New York 2020 History of Popular Music 2 (1960-today) Chadwick O. Jenkins CUNY City College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_oers/310 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MUS 24200: POPULAR MUSIC HISTORY 2 THE 1960s TO TODAY 177 Shepard Hall Professor Chadwick Jenkins Tu/Th 11AM-12:15PM Email: [email protected] Office: 78B Shepard Hall; Phone: X7666 Office Hours: Tu/Th 10-11AM, and by appointment Course Objectives: This course will explore the history of popular music (primarily in the United States and Britain) from roughly 1960 to the present day. As a matter of course, we will distinguish between music that is popular and a more refined notion of popular music (that is, music that manipulates reproduction and commodity culture to achieve widespread distribution). From 1960 to today in the world of popular music, there were explosions in the visibility of racial, gender, and identity issues in what we might call the politics of aesthetics. Meanwhile, technology moves from the reification (the “thing-making” element) of the LP and cassette to the intangibility (information- driven ontology) of the MP3 and streaming. We will examine the impact of developing technologies (radio, television, LP, cassette, CD, MP3, streaming services) not only in the “sound” of popular music but also in the very birth and development of our more specific notion of popular music.