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“Grunge Killed Glam Metal” Narrative by Holly Johnson
The Interplay of Authority, Masculinity, and Signification in the “Grunge Killed Glam Metal” Narrative by Holly Johnson A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario © 2014, Holly Johnson ii Abstract This thesis will deconstruct the "grunge killed '80s metal” narrative, to reveal the idealization by certain critics and musicians of that which is deemed to be authentic, honest, and natural subculture. The central theme is an analysis of the conflicting masculinities of glam metal and grunge music, and how these gender roles are developed and reproduced. I will also demonstrate how, although the idealized authentic subculture is positioned in opposition to the mainstream, it does not in actuality exist outside of the system of commercialism. The problematic nature of this idealization will be examined with regard to the layers of complexity involved in popular rock music genre evolution, involving the inevitable progression from a subculture to the mainstream that occurred with both glam metal and grunge. I will illustrate the ways in which the process of signification functions within rock music to construct masculinities and within subcultures to negotiate authenticity. iii Acknowledgements I would like to thank firstly my academic advisor Dr. William Echard for his continued patience with me during the thesis writing process and for his invaluable guidance. I also would like to send a big thank you to Dr. James Deaville, the head of Music and Culture program, who has given me much assistance along the way. -
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. -
Världsartisten John Corabi Kommer Till Örebro
Pressmeddelande Världsartisten John Corabi kommer till Örebro Den forna Mötley Crue sångaren John Corabi ger en akustisk spelning på Clarion Hotel i november. På sin Europaturné läggs nu kanske John Corabis enda Sverigebesök i Örebro. Med andra ord ett unikt tillfälle för Sveriges rock och hårdrock publik att se och uppleva John Corabi live och unplugged. John Corabi slog igenom med bandet The Scream, men hans största genombrott blev som sångare i Mötley Crue, mitten av 90- talet. Han var med och släppte det självbetitlade albumet Mötley Crue med bl.a. sånger som ”Holigan´s Holiday”, Misunderstood”, ”Smoke The Sky” och ”Power to The Music” Han bildade också bandet Union tillsammans med den förre gitarristen i Kiss, Bruce Kulick. Med gruppen Ratt spelade han gitarr och turnerade i 6 år. John skrev musik till albumet Infestation som släpptes år 2010. Nu är han med som en av tre medlemmar i Eric Singers (Kiss) Projekt E.S.P. I höst turnerar John genom Europa inför hans skivsläpp av soloalbum ”John Corabi Unplugged”. Onsdag den 21 nov kl 20.00 Biljetter: 175 kr + förköp via Ticnet Konsert: Clarion Hotel Örebro Mer information: Benjamin Solvold, 076 3053334 mail:[email protected] --------------------------------------------------------------------------- Fakta Musical Genre: Hard Rock / Blues Rock Latest Release: ESP: Live In Japan (2006), ESP: Live At The Marquee (DVD 2006), Butchering The Beatles (2006) Singles Released: Angora: “Shake, Shake”, The Scream: “I Believe In Me” , “Man In The Moon” Father, Mother, Son“, Motley Crue: “Hooligan’s Holiday” Misunderstood” “Smoke The Sky” Union: “Old Man Wise” “October Morning Wind” “Love (I Don’t Need It Anymore)” “Do Your Own Thing” “Who Do You Think You Are?” “Hypnotized” Other Artists Worked With: Glenn Hughes (Trapeze, Deep Purple), Bruce Kulick (Kiss, Grand Funk Railroad), Eric Singer (Alice Cooper, Kiss), Karl Cocharan, Ratt, Rikki Rockett (Poison), Bob Kulick (Grammy Winning Producer), Billy Sheehan, Pat Torpey, Tracii Guns (L.A. -
Devon Allman, Son of Gregg Allman of the Allman Brothers Band, Leads His Band Called Honey Tribe and He Is a Member of Royal Southern Brotherhood As Well
Singer/guitarist Devon Allman, son of Gregg Allman of the Allman Brothers Band, leads his band called Honey Tribe and he is a member of Royal Southern Brotherhood as well. Now Devon has recorded his first solo album that is made up songs that are written about his personal life along with one Tom Petty cover song. The 2013 International Blues Challenge was held in Memphis from January 29 – February 2. Ghost Town Blues Band from Memphis did not win, but they did make it to the top ten. They have released two excellent albums and can be seen performing at many local venues. Former Memphian Little G. Weevil won the solo/duo category and best guitarist in that category at the IBC. His excellent album The Teaser is a great example of why he won. Boz Scaggs came to Memphis to record his new album titled, surprisingly enough, Memphis. Most surprising is how well he handles the soul and blues songs on Memphis. Devon Allman – Turquoise Devon Allman is Gregg Allman’s son, but he grew up with his mom in Corpus Christi, Texas, away from the rock & roll lifestyle. He didn’t even meet his dad until he was a teenager, but they are now very close. While Devon was influenced by The Allman Brothers, he was also influenced by a myriad of other musicians and styles of music, so he really doesn’t sound much like The Allman Brothers. Devon has his own unique sound, both in his guitar playing and his singing. Some have tried to compare him to his uncle Duane, but aside from both having blonde hair and favoring Les Paul guitars, there aren’t a lot of similarities. -
WBS-Inc-V-Pearcy.Pdf
Case 2:16-cv-03495-DDP-JC Document 115 Filed 03/05/18 Page 1 of 9 Page ID #:1875 1 2 3 O 4 5 6 7 8 UNITED STATES DISTRICT COURT 9 CENTRAL DISTRICT OF CALIFORNIA 10 11 WBS, INC., ) Case No. CV16-03495 DDP(JC) ) 12 Plaintiff, ) ) ORDER GRANTING DEFENDANT’S 13 v. ) MOTION FOR SUMMARY JUDGMENT ) 14 Stephen Pearcy; Artists ) Worldwide; top Fuel ) [Dkt. 89, 90, 100, 109 and 15 National, Strong ) 114] Marketing Group, d/b/a ) 16 Watercraz Marketing ) Group; Kjirsten Strong, ) 17 et al. ) ) 18 Defendants. ) ) 19 ________________________ ) 20 21 Presently before the court is Defendant Stephen Pearcy’s 22 Motion for Summary Judgment. Having considered the submissions of 23 the parties and heard oral argument, the court grants the motion 24 and adopts the following Order. 25 I. Background 26 In 1987, Defendant Stephen Pearcy (“Pearcy”) formed the band now 27 commonly known as “RATT.” (Decl. Stephen Pearcy ¶3.) Pearcy 28 initially named the band “MICKEY RATT,” and started out by playing in local bars and clubs in southern California and Nevada. (Id. at ¶5.) Case 2:16-cv-03495-DDP-JC Document 115 Filed 03/05/18 Page 2 of 9 Page ID #:1876 1 On January 1, 1980, the band relocated to Los Angeles. (Decl. Turner 2 ¶¶4–5.) At that time, the band consisted of Pearcy, Chris Hager, John 3 Turner, and Tim Garcia. (Id.) All the band members, with the 4 exception of Tim Garcia, relocated to Los Angeles. (Id.) According 5 to Turner, upon relocating to Los Angeles, Pearcy decided the band 6 would drop the word “Mickey” from its name and would be renamed 7 “RATT.” (Id. -
Steve Cropper | Primary Wave Music
STEVE CROPPER facebook.com/stevecropper twitter.com/officialcropper Image not found or type unknown youtube.com/channel/UCQk6gXkhbUNnhgXHaARGskg playitsteve.com en.wikipedia.org/wiki/Steve_Cropper open.spotify.com/artist/1gLCO8HDtmhp1eWmGcPl8S If Yankee Stadium is “the house that Babe Ruth built,” Stax Records is “the house that Booker T, and the MG’s built.” Integral to that potent combination is MG rhythm guitarist extraordinaire Steve Cropper. As a guitarist, A & R man, engineer, producer, songwriting partner of Otis Redding, Eddie Floyd and a dozen others and founding member of both Booker T. and the MG’s and The Mar-Keys, Cropper was literally involved in virtually every record issued by Stax from the fall of 1961 through year end 1970.Such credits assure Cropper of an honored place in the soul music hall of fame. As co-writer of (Sittin’ On) The Dock Of The Bay, Knock On Wood and In The Midnight Hour, Cropper is in line for immortality. Born on October 21, 1941 on a farm near Dora, Missouri, Steve Cropper moved with his family to Memphis at the age of nine. In Missouri he had been exposed to a wealth of country music and little else. In his adopted home, his thirsty ears amply drank of the fountain of Gospel, R & B and nascent Rock and Roll that thundered over the airwaves of both black and white Memphis radio. Bit by the music bug, Cropper acquired his first mail order guitar at the age of 14. Personal guitar heroes included Tal Farlow, Chuck Berry, Jimmy Reed, Chet Atkins, Lowman Pauling of the Five Royales and Billy Butler of the Bill Doggett band. -
PDF Download Metallica: for Bass Guitar & Vocal: Master of Puppets
METALLICA: FOR BASS GUITAR & VOCAL: MASTER OF PUPPETS PDF, EPUB, EBOOK Mark Phillips | 54 pages | 01 Dec 1991 | Cherry Lane Music Co ,U.S. | 9780895244086 | English | United States Metallica: For Bass Guitar & Vocal: Master of Puppets PDF Book Email address: optional. With a reputation for drinking, the band stayed sober on recording days. Collector's Guide Publishing. ECW Press. Archived from the original on June 9, Metallica showed up ready to rock, bringing along fully formed demos with fleshed-out arrangements; even their solos were composed. Archived from the original on July 28, Used to contact you regarding your review. With sections performed at beats per minute, it is one of the most intense tracks on the record. All of the songs have been performed live, and some became permanent setlist features. The album revitalized the American underground scene , and inspired similar records by contemporaries. Metal and Hard Rock. Select "Master of Puppets" in the "Filtra" field. And Justice for All as a trilogy over the course of which the band's music progressively matured and became more sophisticated. Retrieved May 16, Master of Puppets peaked at number 29 on the Billboard and received widespread acclaim from critics, who praised its music and political lyrics. He also said that the group was "definitely peaking" at the time and that the album had "the sound of a band really gelling, really learning how to work well together". Retrieved June 12, With bass tablature, standard notation, vocal melody, lyrics, chord names, bass notation legend and introductory text. Duke University Press. Australian Guitar. -
Marc Shapiro
ADELE The Biography MARC SHAPIRO ST. MARTIN’S GRIFFIN NEW YORK adele. Copyright © 2012 by Marc Shapiro. All rights reserved. Printed in the United States of America. For information, address St. Martin’s Press, 175 Fifth Avenue, New York, N.Y. 10010. www .stmartins .com Design by Steven Seighman ISBN 978- 1- 250- 02516- 6 (trade paperback) ISBN 978- 1- 250- 02547- 0 (hardcover) ISBN 978- 1- 250- 02515- 9 (e-book) First Edition: July 2012 10 9 8 7 6 5 4 3 2 1 10. NO BALLAD, NO CRY dele began writing new material for her follow- up record in April 2009. But not before she agreed to take a fl yer as an actress with a guest shot on the hit tele vi- sion sitcom Ugly Betty. It seemed like a harm- Aless diversion from all the drama and pressure in her life. She reasoned, how hard could it be to play herself? In the episode, Betty is dancing with her husband at their wedding when the couple is suddenly interrupted by Adele. Th ere is some harmless banter and the next thing we know Adele is up on stage singing the song “Right As Rain.” Adele realized that that kind of promotion in America was well worth the eff ort, but would later acknowledge in Vogue that the Ugly Betty experience cured her of any future acting aspirations. “I can’t watch it. I was so uncomfortable. I am the worst actress of all time.” But Adele was thankful for the momentary respite from Marc Shapiro her day job as singer-songwriter on the rise. -
Psaudio Copper
Issue 116 JULY 27TH, 2020 “Baby, there’s only two more days till tomorrow.” That’s from the Gary Wilson song, “I Wanna Take You On A Sea Cruise.” Gary, an outsider music legend, expresses what many of us are feeling these days. How many conversations have you had lately with people who ask, “what day is it?” How many times have you had to check, regardless of how busy or bored you are? Right now, I can’t tell you what the date is without looking at my Doug the Pug calendar. (I am quite aware of that big “Copper 116” note scrawled in the July 27 box though.) My sense of time has shifted and I know I’m not alone. It’s part of the new reality and an aspect maybe few of us would have foreseen. Well, as my friend Ed likes to say, “things change with time.” Except for the fact that every moment is precious. In this issue: Larry Schenbeck finds comfort and adventure in his music collection. John Seetoo concludes his interview with John Grado of Grado Labs. WL Woodward tells us about Memphis guitar legend Travis Wammack. Tom Gibbs finds solid hits from Sophia Portanet, Margo Price, Gerald Clayton and Gillian Welch. Anne E. Johnson listens to a difficult instrument to play: the natural horn, and digs Wanda Jackson, the Queen of Rockabilly. Ken hits the road with progressive rock masters Nektar. Audio shows are on hold? Rudy Radelic prepares you for when they’ll come back. Roy Hall tells of four weddings and a funeral. -
Wanda Jackson: Rock's First Queen – Grade 10
Wanda Jackson: Rock’s First Queen – Grade 10 For too long, the history of rock ‘n’ roll has been written as though the entire genre were just a boy’s club. According to the traditional story, rock started with “Rocket 88” by Ike Turner and Jackie Brentson, became immensely popular with Elvis Presley, and became art with the Beatles. In other words, the history of rock ‘n’ roll is one of men influencing other men. Recent scholarship has tried to reverse this a little bit. Writers have argued that female singers at least influenced people such as Elvis and Chuck Berry. They have cited gospel singers such as Mahalia Jackson and blues singers such as Ma Rainey and Bessie Smith. Other writers have reminded us of the work of pioneering girl groups in the 1960s, groups such as the Shirelles and Motown’s the Supremes. But very few have written about the women who bridge the gap between influences and outcomes, the women who were there while rock ‘n’ roll was being born and who helped make rock ‘n’ roll the cultural force it became. By far, the most influential of these women was Wanda Jackson. Wanda Jackson’s musical odyssey began in Oklahoma City in 1954, months before Elvis would release the seminal “That’s All Right,” the first rock ‘n’ roll song to find a white audience and the song that would make him a star. There, Jackson was discovered by the country singer Hank Snow. In Nashville, she recorded a few songs with Snow’s band, one of which became a top country hit. -
Jason Popson
Jason Popson Jason Popson (born November 1, 1971[1] in Cleveland, Ohio) is most popularly known from his eleven years as a singer in the band Mushroomhead, he was known as his stage name J Mann while he was a member. He was identified with his white face paint with black accents resembling a zombie-like mime. Popson quit the band in mid-2004 due to being overworked and his father being ill. He still participates in various side-projects, including Jason Johnny Popson (born November 2, 1971 in Cleveland, Ohio) is an American musician, rapper and vocalist for the band Mushroomhead taking the stage name J-Mann. Prior to his initial departure from the band, he was identified by his face paint based on Dead Presidents, but he now wears a mask like the rest of the band. Biography. Popson quit Mushroomhead in mid-2004 due to being overworked and his father being ill. Jason Popson Anghellic67 27 3 Jason Popson. J-Mann. bizklimkit 2 0 Angel Motograter bizklimkit 3 1 Jason Popson Mushroomhead sarahbluejay1 1 0 Shmotz bizklimkit 1 0 Shmotz bizklimkit 1 0 Tommy Church bizklimkit 2 0 Jason Popson Mushroomhead 2 sarahbluejay1 0 0 Skinny bizklimkit 0 0 RU486 baal--666 0 0 Poet Warrior X Mushroomhead 2016 MrGrimez 0 0. ©2018 DeviantArt. Jason Jonathan Popson (born November 2, 1971 in Cleveland, Ohio) is an American musician, rapper and vocalist for the band Mushroomhead taking the stage name J Mann. Prior to his initial departure from the band he was identified by his face paint, which was based on the film Dead Presidents. -
VAGRANT RECORDS the Lndie to Watch
VAGRANT RECORDS The lndie To Watch ,Get Up Kids Rocket From The Crypt Alkaline Trio Face To Face RPM The Detroit Music Fest Report 130.0******ALL FOR ADC 90198 LOUD ROCK Frederick Gier KUOR -REDLANDS Talkin' Dirty With Matt Zane No Motiv 5319 Honda Ave. Unit G Atascadero, CA 93422 HIP-HOP Two Decades of Tommy Boy WEEZER HOLDS DOWN el, RADIOHEAD DOMINATES TOP ADDS AIR TAKES CORE "Tommy's one of the most creative and versatile multi-instrumentalists of our generation." _BEN HARPER HINTO THE "Geggy Tah has a sleek, pointy groove, hitching the melody to one's psyche with the keen handiness of a hat pin." _BILLBOARD AT RADIO NOW RADIO: TYSON HALLER RETAIL: ON FEDDOR BILLY ZARRO 212-253-3154 310-288-2711 201-801-9267 www.virginrecords.com [email protected] [email protected] [email protected] 2001 VIrg. Records Amence. Inc. FEATURING "LAPDFINCE" PARENTAL ADVISORY IN SEARCH OF... EXPLICIT CONTENT %sr* Jeitetyr Co owe Eve« uuwEL. oles 6/18/2001 Issue 719 • Vol 68 • No 1 FEATURES 8 Vagrant Records: become one of the preeminent punk labels The Little Inclie That Could of the new decade. But thanks to a new dis- Boasting a roster that includes the likes of tribution deal with TVT, the label's sales are the Get Up Kids, Alkaline Trio and Rocket proving it to be the indie, punk or otherwise, From The Crypt, Vagrant Records has to watch in 2001. DEPARTMENTS 4 Essential 24 New World Our picks for the best new music of the week: An obit on Cameroonian music legend Mystic, Clem Snide, Destroyer, and Even Francis Bebay, the return of the Free Reed Johansen.