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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. -
Official Albums Chart Rules
Rules for Chart Eligibility Albums January 2020 Official Charts Operations Team 020 7620 7450 [email protected] www.officialcharts.com Rules for Chart Eligibility January 2020 INTRODUCTION The following Chart Rules exist to determine eligibility for entry into the Official UK Album Charts. The aim of the Rules is to protect the integrity of the Charts and to ensure that they are an accurate reflection of the popularity of each recording by reference to genuine transactions. The Rules apply equally to all companies issuing and/or distributing recordings. They set out the conditions on which an album will be eligible for inclusion in the Chart. The rules also apply to the UK’s Official genre charts, subject to variation where appropriate. It should be noted that record companies and distributors remain free to package and market their products in any way they choose. However, releases which do not comply with the Rules will not be eligible to be included in the Chart. The Chart Rules are issued by the Official Charts Company in conjunction with the Chart Supervisory Committee (CSC) under the supervision of the Official Charts Company board. The Official Charts Company is responsible for interpreting and applying the Chart Rules on a day-to-day basis under the supervision of the CSC. The Official Charts Company may, at its discretion, refer any matter concerning the interpretation of the Chart Rules with respect to one or more recordings to the CSC, a designated sub-committee of the CSC or the board, for a decision. The decision of the board will be final. -
Page 1 FLOATING STAGE CONCERTS THURSDAY 9TH
FLOATING STAGE CONCERTS WEDNESDAY 8TH JULY THURSDAY 9TH JULY FRIDAY 10TH JULY Sponsored by Westcoast 20.45 20.45 20.35 22.15 S O P H I E SARA COX MADNESS JAMES BLUNT PRESENTS ELLIS-BEXTOR JUST CAN’T GET ENOUGH 80s Sophie Ellis-Bextor shot to fame as a vocalist on If you’ve got fond memories of legwarmers and Spiller’s huge number one single Groovejet, followed spandex, ‘Just Can’t Get Enough 80s’ is a new show by Take Me Home and her worldwide smash hit, set to send you into a retro frenzy. Murder on the Dancefloor. Join Sara Cox for all the hits from the best decade, Her solo debut album, Read My Lips was released in delivered with a stunning stage set and amazing visuals. 2001 and reached number two in the UK Albums Chart Huge anthems for monumental crowd participation and was certified double platinum by the BPI. moments making epic memories to take home. Her subsequent album releases include Shoot from the Hip (2003), Trip the Light Fantastic (2007) and Make a Scene (2011). In 2014, in a departure from her previous dance pop Madness is a band that retains a strong sense of who and what it is. Ticket prices The five-time Grammy nominated and multiple BRIT award winning Ticket prices Ticket prices albums, Sophie embarked on her debut singer/songwriter Many of the same influences are still present in their sound – ska, Grandstand A £140 artist James Blunt is no stranger to festival spotlight and will the Grandstand A £140 Grandstand A £135 album Wanderlust with Ed Harcourt as co-writer and reggae, Motown, rock’n’roll, rockabilly, classic pop, and the pin-sharp Grandstand B £120 wow crowds at Henley Festival. -
Years and Years
Years and Years Years & Years are a three-piece synthpop band, founded in London. Years & Years’ music has been described as electropop, mixing R&B and 1990s house elements. The band’s first studio album,Communion , debuted at number one on the UK Albums Chart in July 2015 and was the fastest-selling debut album of the year from a UK signed band. Their biggest hit single King reached number one in the UK Singles Chart in March 2015, and peaked within the top ten of the charts in Australia, Austria, Bulgaria, Denmark, Germany, Luxembourg, the Netherlands, Ireland and Switzerland. Martha Kinn of Machine Management reflects on how Momentum made a difference to the rapid success of Years & Years. We were at a point where we’d reached the end of the line in terms of what we could do with our own resources. We had a real vision. We had a bit of a fan-base forming; they started to write amazing songs. We wanted to keep going independently. I remember the question (in the Momentum form) “where do you see the band in 3 years time”? We achieved that and more… Momentum funding enabled the band – then unsigned - to go on tour and campaign to further build their audience and profile. The vision was: To have a top ten single and album; to be commercially and creatively credible. We wanted to sell out Brixton. We ended up doing Brixton twice. Martha sees Momentum funding as giving the band additional space and time to develop – its sound, audience and profile – before being signed by a label: The funding gave us an extended life of independence. -
Scissor Sisters by Claude J
Scissor Sisters by Claude J. Summers Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2010 glbtq, Inc. Reprinted from http://www.glbtq.com The American pop band Scissor Sisters was spawned in New York City's gay club scene and has cultivated a large glbtq fan base around the world, especially in the United Kingdom and the United States. With four of its current five members openly gay men; with the lyrics of their songs regularly addressing transgressive sexuality and glbtq subjects, such as transsexual prostitutes and coming out to one's family; and with the group's music and flamboyant presentation drawing on the rich heritage of gay dance music, especially disco and Scissor Sisters lead glam rock: it is not a stretch to suggest that the band expresses a contemporary gay singers Ana Matronic artistic vision, notwithstanding its consistent rejection of the label "gay band." and Jake Shears. Image of Ana Matronic by Wikimedia Commons Although co-founder Jake Shears has said that "I don't believe sexuality really matters contributor HD. Image of when it comes to music," he has nevertheless expressed the desire for the band to be Jake Shears by "openly gay" in a way that other bands have not been in the past, without coyness or Wikimedia Commons apology. Contributor Ames. Both images appear under the Creative Commons Whatever label one attaches to the group, there is no doubt that the band seems to Attribution 2.0 Generic crystallize the joyful energy and genderbending campiness, as well as the sardonic license. poses, tender yearning, and uninhibited eroticism, of many glbtq young people. -
THE OFFICIAI UK SINGLES CHART | *0Wèêêêm TOP 75 7 MARCH 1998 111 ■1 |Ê» 5N ^A Iartist? L(Producer)
THE OFFICIAI UK SINGLES CHART | *0WèêêêM TOP 75 7 MARCH 1998 111 ■1 |Ê» 5n ^a IArtist? L(Producer) . Publisher (Wnter} Label QD/Cass (Distributor)7712* ê„ |^ i„ ArtistTille (Producer) Publisher (Writer) Label CD/Cass (Distributor)7"/ir riTLES A-Z P H m™ FROZEN Maverick W 0433CD/W 0433C (W)| oQQ o lî^îll(nfwI QMANueon pefl BEHIND (R,iey| Various THE IRIIey/Woliers/Gailher/Smith) MUSIC InterscopelNDSSSeZ/lNC95562(BMG) -/INT 95562 39 = 3 PLANET LOVE ^ ^ ^ ^ ^ PositivaconvssncnvM(El 2 2 ! MYHEARTpWILL£OON ★ m Epte 6655472W55474/-/-ISM) 40 ' jBAMBOOGIEG f ^ vc Recordings VCRD2afl/CRCM(| oO , 2 ComershopBR1MFUL (Sinph) OF Wiiija/Momentum ASHA • ISinqh) wiiiiawijsiCD/wusiMciv)WIJ 81/- 41 - 2 GOOD ENOUGH (LA VACHER w Ma^rky/Big Lte MLKO 5/MLKC MP) ÛInëwI1 1 THE BALLAD OFTOM JONES GutCDGumcAGUTtsW) 3 SEXY BOY ^ ^ Virgin VSCDl 1672/VSC^I67^Ej T" Space wilh Cerys of Cataionia (Wheatley) Gut/Hit & Run (Scott/Space) -/- 42 »26 g4 2 TRULY MADLY DEEPLY Colombie66M22/6656024ISMI 43 5 AaronCRAZY Conor LITTLE (Ca.ollal Sony PARTY ATV/tdnmn GIRL M.,,a,mo Ultra iCnalrn Pop/Edcl0099645 ri./Ann'ra,,;,:! ULT/I)099519 ULT(P) C 3 5 DOCTOR JONES* UnivemalUMD80457/UMC80457IBMG) 44 30 3 LOCAL BOY IN THE PHOTOGRAPH • ■ zkr'* 7 jNEw] HOW 00 1 LIVE ^ ^ ' CurbCUBCX30/CUB2 30(GRPV/F) 45 [NEW] MIYAKO HIDEAWAY ( ^ LondonLONGO^oJMF) Oi) [Nra/lLiïHÎJ RobynSHOW (Pop/Martin) NIE LOVE Heavy Rotalion/Cheiron/BMG (Robyii/Mattinlrca74321555032/74321555034 -/74321555031 ibmgi HU/ifiiNFwl UlEllJ BlackMARBLES Grape (Sabre/Volaitis/Rydef) Distilîed/WC/EMl/MCAIRydef/Sabre/'Manmado)RadioactiveRAXTO33/-(BMG) -/RAXTSS HSB"";:. " i 32 LEGEND OF A COWGIRL Columbia665601S/66560I4/-/-(SMI/ g s 2 BE A10NE NO MORE ^ No^we^743215^38OT4M3215M74(BMG) 47 7 Irrani Coppola (Mangini) BMG/Peermiisic/Tsanoddnos/Ens:qn/AsT.bei'<'?amous.Dono-/an (Cocpoîa/Manqin-Aeach) | z. -
Get 'Em out by Friday the Official Release Dates 1968-78 Introduction
Genesis: Get ‘Em Out By Friday The Official Release Dates 1968-78 Introduction Depending on where one looks for the information, the original release dates of Genesis singles and albums are often misreported. This article uses several sources, including music paper cuttings, websites and books, to try and determine the most likely release date in the UK for their officially released product issued between 1968 and 1978. For a detailed analysis to be completed beyond 1978 will require the input of others that know that era far better than I with the resources to examine it in appropriate levels of detail. My own collection of source material essentially runs dry after 1978. As most people searching for release dates are likely to go to Wikipedia that is where this search for the truth behind Genesis’ back catalogie. The dates claimed on Wikipedia would themselves have come from a number of sources referenced by contributors over the years but what these references lack is the evidence to back up their claims. This article aims to either confirm or disprove these dates with the added bonus of citing where this information stems from. It’s not without a fair share of assumptions and educated deductions but it offers more on this subject than any previously published piece. The main sources consulted in the writing of this article are as follows: 1. The Genesis File Melody Maker 16 December 1972 2. Genesis Information Newsletter Issue No. 1 October 1976 3. Wax Fax by Barry Lazzell - a series of articles on Genesis releases published in Sounds over several weeks in 1977 4. -
TEARS for FEARS CONCERT RESCHEDULED for SEPTEMBER 26 Original Tickets Will Be Honored
FOR IMMEDIATE RELEASE CONTACT: John VanderHaagen | Public Relations Manager | 616-975-3155 | [email protected] TEARS FOR FEARS CONCERT RESCHEDULED FOR SEPTEMBER 26 Original tickets will be honored. Tickets for rescheduled date go on sale June 24 at 9 a.m. June 17, 2016 — Tears for Fears’ Roland Orzabal and Curt Smith are pleased to announce that they have rescheduled their concert at Frederik Meijer Gardens & Sculpture Park. The concert originally scheduled for June 6 will now take place on Monday, September 26. Tickets purchased for the June 6 concert at Meijer Gardens will be honored for the new date. Refunds will be available at point of purchase until August 1. Please note, after August 1, all tickets for the original June 6 date become non-refundable. Tickets purchased for the September 26 date are non-refundable. Ticket prices are $75 during the members-only presale. After July 1, tickets are $78 for members and $80 for the public. Members-Only Presale Members may buy tickets for the rescheduled date during a members-only presale beginning at 9 a.m., June 24 through midnight, July 1. Members save $5 per ticket during the presale. The preferred method to purchase tickets is online, but multiple options are available: Online at StarTickets.com – handling fee of $8 per order (preferred method) By phone at 1-800-585-3737 - handling fee of $8 per order In-person at Meijer Gardens Admission Desk during normal business hours – no handling fees Public Ticket Sale If tickets remain available after the members-only presale, sales to the public will begin at 9 a.m., July 2. -
Million-Dollar NFT Sales Get Attention, but Don't Expect Them to Last
Bulletin YOUR DAILY ENTERTAINMENT NEWS UPDATE MARCH 17, 2021 Page 1 of 23 INSIDE Million-Dollar NFT Sales Get Attention, But Don’t Expect Them to Last • Meet the Nonprofits Feeding Thousands of Out- BY MICAH SINGLETON Of-Work Touring Staff The $11.7 million price tag on 3LAU’s sale of 33 col- I think that overlooks the real opportunity here which lectible NFT — — versions of his is to build permanence and perpetual equity in media • How Ice Cream non-fungible token Can Help Make 3-year-old album, Ultraviolet, on Feb. 25 has become on the internet.” Sense of Streaming a beacon for the music industry over the past three NFTs allow the creator to set a perpetual royalty Royalties (Op-Ed) weeks. There’s clearly money to be made in digital during the “minting” creation process that will allow collectibles and now there’s a rush to break into the them to get paid for third-party sales, a feat not pos- • UMG Signs Expanded Licensing market. But artists beware: Exponential growth like sible with any current digital (or physical) good. The Deal with African this is not sustainable and many of the people who average royalty rate is set between 10–25% according Streaming Service were involved in NFTs early on do not expect these to Goens. That means NFTs can deliver artists lifetime Boomplay exorbitant sale prices to continue. royalties with every future sale. • HITS Act “I think it will be very difficult to replicate again,” Right now, the NFT market is booming thanks to Reintroduced in says 3LAU about his $11.7 million haul – an NFT rare sorts of collectors: millionaires — and some bil- Congress on Behalf record until digital artist Beeple sold a single piece lionaires — who made fortunes investing in crypto- of Struggling Music for $69 million on auction at Christie’s on March 11, currency in its infancy. -
Selling Or Selling Out?: an Exploration of Popular Music in Advertising
Selling or Selling Out?: An Exploration of Popular Music in Advertising Kimberly Kim Submitted to the Department of Music of Amherst College in partial fulfillment of the requirements for the degree of Bachelor of Arts with honors. Faculty Advisor: Professor Jason Robinson Faculty Readers: Professor Jenny Kallick Professor Jeffers Engelhardt Professor Klara Moricz 05 May 2011 Table of Contents Acknowledgments............................................................................................................... ii Chapter 1 – Towards an Understanding of Popular Music and Advertising .......................1 Chapter 2 – “I’d Like to Buy the World a Coke”: The Integration of Popular Music and Advertising.........................................................................................................................14 Chapter 3 – Maybe Not So Genuine Draft: Licensing as Authentication..........................33 Chapter 4 – Selling Out: Repercussions of Product Endorsements...................................46 Chapter 5 – “Hold It Against Me”: The Evolution of the Music Videos ..........................56 Chapter 6 – Cultivating a New Cultural Product: Thoughts on the Future of Popular Music and Advertising.......................................................................................................66 Works Cited .......................................................................................................................70 i Acknowledgments There are numerous people that have provided me with invaluable -
An Eye Catching
SIDELINES, Friday, March 4, 1988 Page 5 EN TER TA IN ME NT Plants 'Now and Zen' mixes then and now Cult and Whitesnake and others sampled snatches of old Zepplin good, the modernization attempt that a slightly biased opinion. Not over the past year. The average songs into the mix and letting Plant just doesn't v/ork as well. many blues men can make it in the twelve-year-old, however, probably and Page duel with themselves. It A friend was listening to the modem world, but Plant looks like, doesn't know much about Robert also has Jimmy Page playing a album and said, "It's OK, but those he's going to try. If his be:! keeps> Plant, except that he used to look guitar riff VERY similar to the old snare drums have that new, tight up with this, he ought to make it. a lot like F.odger Coverdale. And rockabilly hit "Train Kept a Roll- sound. I liked the old Zepplin songs Record provided by Cat's Re--: even if peo )le do remember, and ing," a version of which Page played with loose snares where it sounded cords. ; even though this is a Robert Plant on 22 years ago with the Yardbirds. huge." On the less successful songs 1 'In their review of the album. Rolling " album on which Jimmy Page plays Bringing it all back home indeed. the sound is too clear and clean to Stone called "Dance on My Own" a guitar, it definitely is not a Led A similar time warp is the focus really let loose. -
WMMR: Rockin' for 20 Page 50
ISSUE NUMBER 738 THE INDUSTRY'S NEWSPAPER MAY 20, 1988 REPLACES KASEM THIS SUMMER I N S I D E: MORE ARB & BIRCH ABC Casts Shadoe RATINGS RESULTS On "American Top 40" Four Arbitrons and three After a much -publicized and ARBBirch comparisons make up exhaustive talent search, ABC Radio has named radio and TV this week's ratings menu. Among entertainer Shadoe Stevens to the entrees: replace Casey Kasem as host of WEBN blows Cincinnati away the pioneering countdown show "American Top 40." with six -point Birch lead, three Kasem, a co-creator of the in ARB «1= program, will leave it soon after WOAL comes within a point of it celebrates its 18th birthday on July 4. He recently signed a WMMS in Cleveland ARB multi -year deal with Westwood KBCO ends six-year KOSI reign RADIO & RECORDS One to develop a new count- at Denver's ARB pinnacle; KBPI down show. Aaron Daniels, Shadoe Stevens, A fatigued but relieved ABC red -hot as well Tom Cuddy sign "AT 40" deal. VP /Entertainment Program- KC WDAF still leads ming Tom Cuddy told R&R he comfortably, but KFKF's listened to 1004 audition tapes. coming up in ARB, KBEQ in Atlantic: 40 Years Of Rock & Soul "It's been a lot of work over the Birch SHADOE /See Page 32 WKTI hits double figures in Milwaukee ARB, holds lead in JARAS GSM Birch; WLUM breaks 10 in Birch WSHH rolls 10+ and moves Tanner VP/ within three of KDKA in Pittsburgh ARB Asst. GM KBAY picks up five big shares At WPOW in San Jose ARB Page 34 PATRICK URGES CONGRESS TO SOLVE HOLMES CASE Hammered by Congressmen for perceived minority hiring foot -dragging, FCC Chairman Dennis Patrick placed the criticism on the other foot by DEE -O -DEE Ahmet Ertegun (below) celebrates four decades of suggesting lawmakers hold hearings for DRINKIN' (BIRTHDAY) WINE SPO- - music and memories during the Atlantic Records 40th anniversary concert at Madison Square Garden -designate -in -limbo Brad Commissioner Saturday (5/14).