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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. -
EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018
EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018 Rebellion, genre, drugs, freedom, unity, sex, technology, place, community …………………. Disco • Disco marked the dawn of dance-based popular music. • Growing out of the increasingly groove-oriented sound of early '70s and funk, disco emphasized the beat above anything else, even the singer and the song. • Disco was named after discotheques, clubs that played nothing but music for dancing. • Most of the discotheques were gay clubs in New York • The seventies witnessed the flowering of gay clubbing, especially in New York. For the gay community in this decade, clubbing became 'a religion, a release, a way of life'. The camp, glam impulses behind the upsurge in gay clubbing influenced the image of disco in the mid-Seventies so much that it was often perceived as the preserve of three constituencies - blacks, gays and working-class women - all of whom were even less well represented in the upper echelons of rock criticism than they were in society at large. • Before the word disco existed, the phrase discotheque records was used to denote music played in New York private rent or after hours parties like the Loft and Better Days. The records played there were a mixture of funk, soul and European imports. These "proto disco" records are the same kind of records that were played by Kool Herc on the early hip hop scene. - STARS and CLUBS • Larry Levan was the first DJ-star and stands at the crossroads of disco, house and garage. He was the legendary DJ who for more than 10 years held court at the New York night club Paradise Garage. -
James Edwin Pope
James Edwin Pope EXPERIENCE ─────────────────────────────────────────────────── Toyota (Demo) Husband (Lead) Commercial 2019 Amtrak Traveler (Lead) Commercial 2019 The Greatest Sketch Show in America Actor (Various Roles) Theatre 2019 Centra Health Father (Lead) Commercial 2019 Maryland Pride Be Like Director/Writer/Actor Film (Short) 2019 United Airlines Husband (Lead) Commercial 2018 Canon, Inc. Father (Lead) Commercial 2018 Moxy by Marriott Hotels Interior Designer (Lead) Commercial 2018 Maryland Live! Casino Casino Patron (Lead) Print 2018 Black and Decker Homeowner (Lead) Print 2018 Giant Foods Party-Goer (Lead) Commercial 2018 Thompson Creek Windows Homeowner (Lead) Commercial 2018 Dark City: Beneath the Beat Police Officer/Dancer Film 2018 New Year’s Daze Director/Writer/Actor (Lead) Film (Short) 2017 Epic Office XMas Party Director/Choreographer Film (Short) 2017 Microtel by Wyndham Hotels Father (Lead) Print 2017 Time Machine Dancer/Writer Theatre 2017 Tinder On-Demand Director/Writer/Actor Film (Short) 2017 The Motion Challenge Director/Choreographer Film (Short) 2017 Political Dance Battle Director/Writer/Actor Film (Short) 2016 Cards Against Humanity IRL (Web Series) Director/Writer/Actor Film (Short) 2016 Heroes and Villains Dancer Theatre 2016 New Year (Parody) Director/Writer Film (Short) 2016 Steve Harvey Show Guest Television 2016 The Today Show Guest Television 2015 Countertop Solutions Director/Writer/Actor (Lead) Commercial 2015 WORK EXPERIENCE ──────────────────────────────────────────────────── Krewski, LLC Founder -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
Spotlight on Erie
From the Editors The local voice for news, Contents: March 2, 2016 arts, and culture. Different ways of being human Editors-in-Chief: Brian Graham & Adam Welsh Managing Editor: Erie At Large 4 We have held the peculiar notion that a person or Katie Chriest society that is a little different from us, whoever we Contributing Editors: The educational costs of children in pov- Ben Speggen erty are, is somehow strange or bizarre, to be distrusted or Jim Wertz loathed. Think of the negative connotations of words Contributors: like alien or outlandish. And yet the monuments and Lisa Austin, Civitas cultures of each of our civilizations merely represent Mary Birdsong Just a Thought 7 different ways of being human. An extraterrestrial Rick Filippi Gregory Greenleaf-Knepp The upside of riding downtown visitor, looking at the differences among human beings John Lindvay and their societies, would find those differences trivial Brianna Lyle Bob Protzman compared to the similarities. – Carl Sagan, Cosmos Dan Schank William G. Sesler Harrisburg Happenings 7 Tommy Shannon n a presidential election year, what separates us Ryan Smith Only unity can save us from the ominous gets far more airtime than what connects us. The Ti Summer storm cloud of inaction hanging over this neighbors you chatted amicably with over the Matt Swanseger I Sara Toth Commonwealth. drone of lawnmowers put out a yard sign supporting Bryan Toy the candidate you loathe, and suddenly they’re the en- Nick Warren Senator Sean Wiley emy. You’re tempted to un-friend folks with opposing Cover Photo and Design: The Cold Realities of a Warming World 8 allegiances right and left on Facebook. -
The Santa Clause Album
The Santa Clause Album Noncommercial and testiculate Aldric climb-down, but Waldo princely hydroplaning her pelargonium. If ulnar or cryogenic Michal usually mown his bidarkas cyaniding drily or compel strategically and thenceforward, how coordinate is Arne? Cyrillic Duffy watermark very overtime while Derrek remains Barmecide and sportful. Bruce springsteen store is widely regarded as a beat santa fly like santa clause on holiday season and producer best The albums got your reading experience while radio on christmas album was that we use details. COMPLETELY rule out flying reindeer which only Santa has ever seen. Prepared for perhaps they beat street santa rap about how christmas, solving the tampered yuletide jams. Is it spelled Santa Claus or Santa Clause? What were just like the north pole which means we are as convincing as a simulate a touch of a clever one of pop out. Santa clause tools that album on. Then Santa moved to the North here and cushion them fly alone. The Santa Clause original soundtrack buy it online at the. People sitting Just Realising How 'Terrifying' The Polar Express Is Tyla. Determine some type of interest current user. Christmas with Santa Claus and Reindeer Flying. Peacock also serves as the narrator. Open the Facebook app. Though is by a beat street santa clause consent to paint one the mistletoe. Music reviews, ratings, news read more. 34 Alternative Christmas Songs Best Weird Christmas Carols. Be prepared for this Christmas to make it memorable for your children. You really recognize the guard hit Santa Claus Lane from hearing it late The Santa Clause 2 but the rest describe the album deserves your likely and. -
Traditional Funk: an Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio
University of Dayton eCommons Honors Theses University Honors Program 4-26-2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Caleb G. Vanden Eynden University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses eCommons Citation Vanden Eynden, Caleb G., "Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio" (2020). Honors Theses. 289. https://ecommons.udayton.edu/uhp_theses/289 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Abstract Recognized nationally as the funk capital of the world, Dayton, Ohio takes credit for birthing important funk groups (i.e. Ohio Players, Zapp, Heatwave, and Lakeside) during the 1970s and 80s. Through a combination of ethnographic and archival research, this paper offers a pedagogical approach to Dayton funk, rooted in the styles and works of the city’s funk legacy. Drawing from fieldwork with Dayton funk musicians completed over the summer of 2019 and pedagogical theories of including black music in the school curriculum, this paper presents a pedagogical model for funk instruction that introduces the ingredients of funk (instrumentation, form, groove, and vocals) in order to enable secondary school music programs to create their own funk rooted in local history. -
Ishdarr Brings a Crowd,Iowa Band Speaks on Locality,Field Report To
IshDARR brings a crowd Photo by Jun Taek Lee A packed crowd gathered in Gardner on Friday, Nov. 6, to hear from three young hip-hop artists—Young Eddy, Kweku Collins and IshDARR (pictured to the left). IshDARR is based out of Milwaukee, Wis. The sharp-tongued 19- year-old released a critically acclaimed album, “Old Soul, Young Spirit,” earlier this year. He largely pulled material from that album during the performance. The youthful, ecstatic energy of his recorded material transferred seamlessly to the stage. IshDARR was totally engaging for the duration of the set and did not shy away from talking with the audience, eliciting laughter and cheers. It wasn’t a terribly long set, but one that kept the people in attendance rapt from start to finish. Milwaukee is an exciting place to be an MC in 2015. The Midwestern city has recently cultivated a vibrant and dynamic DIY hip hop scene that’s only getting larger. IshDaRR, one of the youngest and most prominent members of the scene, proved on Friday night that he’s got a lot to share with the world. Assuredly, he is only getting started. Friday night was the third time that Young Eddy, aka Greg Margida ’16, has performed on campus and he is sure to have more performances next semester. Kweku Collins hails from Evanston, Ill., and this was his first time performing in Grinnell. Iowa band speaks on locality The S&B’s Concerts Correspondent Halley Freger ‘17 sat down with Pelvis’ guitarist and vocalist, Nao Demand, before his Gardner set on Friday, Oct. -
Drone Music from Wikipedia, the Free Encyclopedia
Drone music From Wikipedia, the free encyclopedia Drone music Stylistic origins Indian classical music Experimental music[1] Minimalist music[2] 1960s experimental rock[3] Typical instruments Electronic musical instruments,guitars, string instruments, electronic postproduction equipment Mainstream popularity Low, mainly in ambient, metaland electronic music fanbases Fusion genres Drone metal (alias Drone doom) Drone music is a minimalist musical style[2] that emphasizes the use of sustained or repeated sounds, notes, or tone-clusters – called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece compared to other musics. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism".[4] Drone music[5][6] is also known as drone-based music,[7] drone ambient[8] or ambient drone,[9] dronescape[10] or the modern alias dronology,[11] and often simply as drone. Explorers of drone music since the 1960s have included Theater of Eternal Music (aka The Dream Syndicate: La Monte Young, Marian Zazeela, Tony Conrad, Angus Maclise, John Cale, et al.), Charlemagne Palestine, Eliane Radigue, Philip Glass, Kraftwerk, Klaus Schulze, Tangerine Dream, Sonic Youth,Band of Susans, The Velvet Underground, Robert Fripp & Brian Eno, Steven Wilson, Phill Niblock, Michael Waller, David First, Kyle Bobby Dunn, Robert Rich, Steve Roach, Earth, Rhys Chatham, Coil, If Thousands, John Cage, Labradford, Lawrence Chandler, Stars of the Lid, Lattice, -
ID-78-62 U.S. Munitions Export Controls Need Improvement
BY THE COMPTROLLERGENERAL Report ToThe congress OF THEUNITED STATES U.S.Munitions Export Controls Need Improvement The U.S. munitions export control system is seriously weakened by lack of an export in- spection program which is essential to assure export compliance with regulations and li- censes. This report recommends ways to improve munitions export controls and provide assur- ance that such exports conform to law and authorized munitions export licenses. 10-78-62 APRIL 25, 1979 : . .( . .-. 1 COMPTROLLER QENERAL OF THE’UM1TED STATES w&swmToN. O.C. Nma B-172255 To the President of the Senate and the Speaker of the House of Representatives This report identifies weaknesses in current muntions export controls and recommends ways to improve the controls and provide reasonable assurance that such exports are in conformance with law and with authorized munitions export licenses. Copies of this report are being sent to the heads of executive agencies which participate in munitions export controls and to the Director, Office of Management and Budget. &*er 4ra& of the United States COMPTROLLER GENERAL'S U.S. MUNITIONS EXPORT REPORT TO THE CONGRESS CONTROLS NEED IMPROVEMENT ------DIGEST The U.S. munitions export control systp is not working as it should, and cannot‘xe depended upon to ensure that munitions are not exported without a license or that ship- ments made under license conform to the license terms.2 Controls over commercial munitions exports are less effective because munitions export shipments are not inspected for compliance with the law, regulations, or export license terms. c Responsibility for export controls is di- vided between the Commerce Department, the State Department's Office of Munitions Control,i':'f:)'ii" ') and the U.S. -
Jack Dejohnette's Drum Solo On
NOVEMBER 2019 VOLUME 86 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
The Jazz Rag
THE JAZZ RAG ISSUE 140 SPRING 2016 EARL HINES UK £3.25 CONTENTS EARL HINES A HIGHLY IMPRESSIVE NEW COLLECTION OF THE MUSIC OF THE GREAT JAZZ PIANIST - 7 CDS AND A DVD - ON STORYVILLE RECORDS IS REVIEWED ON PAGE 30. 4 NEWS 7 UPCOMING EVENTS 8 JAZZ RAG CHARTS NEW! CDS AND BOOKS SALES CHARTS 10 BIRMINGHAM-SOLIHULL JAZZ FESTIVALS LINK UP 11 BRINGING JAZZ TO THE MILLIONS JAZZ PHOTOGRAPHS AT BIRMINGHAM'S SUPER-STATION 12 26 AND COUNTING SUBSCRIBE TO THE JAZZ RAG A NEW RECORDING OF AN ESTABLISHED SHOW THE NEXT SIX EDITIONS MAILED 14 NEW BRANCH OF THE JAZZ ARCHIVE DIRECT TO YOUR DOOR FOR ONLY NJA SOUTHEND OPENS £17.50* 16 THE 50 TOP JAZZ SINGERS? Simply send us your name. address and postcode along with your payment and we’ll commence the service from the next issue. SCOTT YANOW COURTS CONTROVERSY OTHER SUBSCRIPTION RATES: EU £20.50 USA, CANADA, AUSTRALIA £24.50 18 JAZZ FESTIVALS Cheques / Postal orders payable to BIG BEAR MUSIC 21 REVIEW SECTION Please send to: LIVE AT SOUTHPORT, CDS AND FILM JAZZ RAG SUBSCRIPTIONS PO BOX 944 | Birmingham | England 32 BEGINNING TO CD LIGHT * to any UK address THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 FESTIVALS IN PERIL Fax: 0121 454 9996 Email: [email protected] In his latest Newsletter Chris Hodgkins, former head of Jazz Services, heads one item, ‘Ealing Jazz Festival under Threat’. He explains that the festival previously ran for eight Web: www.jazzrag.com days with 34 main stage concerts, then goes on: ‘Since outsourcing the management of the festival to a private contractor the Publisher / editor: Jim Simpson sponsorships have ended, admission charges have been introduced and now it is News / features: Ron Simpson proposed to cut the Festival to just two days.