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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. -
Ho Li Day Se Asons and Va Ca Tions Fei Er Tag Und Be Triebs Fe Rien BEAR FAMILY Will Be on Christmas Ho Li Days from Vom 23
Ho li day se asons and va ca tions Fei er tag und Be triebs fe rien BEAR FAMILY will be on Christmas ho li days from Vom 23. De zem ber bis zum 12. Ja nuar macht De cem ber 23rd to Ja nuary 12th. During that peri od BEAR FAMILY Weihnach tsfe rien. Bestel len Sie in die ser plea se send written orders only. The staff will be back Zeit bitte nur schriftlich. Ab dem 12. Janu ar 2004 sind ser ving you du ring our re gu lar bu si ness hours on Mon- wir wie der für Sie da. Bei die ser Ge le gen heit be dan ken day 12th, 2004. We would like to thank all our custo - wir uns für die gute Zusam menar beit im ver gange nen mers for their co-opera ti on in 2003. It has been a Jahr. plea su re wor king with you. BEAR FAMILY is wis hing you a Wir wünschen Ihnen ein fro hes Weih nachts- Merry Christmas and a Happy New Year. fest und ein glüc kliches neu es Jahr. COUNTRY...............................2 BEAT, 60s/70s.........................66 AMERICANA/ROOTS/ALT. ........................19 SURF ........................................73 OUTLAWS/SINGER-SONGWRITER ..................22 REVIVAL/NEO ROCKABILLY .......................75 WESTERN .....................................27 BRITISH R&R ...................................80 C&W SOUNDTRACKS............................28 INSTRUMENTAL R&R/BEAT ........................80 C&W SPECIAL COLLECTIONS ......................28 COUNTRY AUSTRALIA/NEW ZEALAND ...............29 POP ......................................82 COUNTRY DEUTSCHLAND/EUROPE .................30 POP INSTRUMENTAL ............................90 -
Course Outline and Syllabus the Fab Four and the Stones: How America Surrendered to the Advance Guard of the British Invasion
Course Outline and Syllabus The Fab Four and the Stones: How America surrendered to the advance guard of the British Invasion. This six-week course takes a closer look at the music that inspired these bands, their roots-based influences, and their output of inspired work that was created in the 1960’s. Topics include: The early days, 1960-62: London, Liverpool and Hamburg: Importing rhythm and blues and rockabilly from the States…real rock and roll bands—what a concept! Watch out, world! The heady days of 1963: Don’t look now, but these guys just might be more than great cover bands…and they are becoming very popular…Beatlemania takes off. We can write songs; 1964: the rock and roll band as a creative force. John and Paul, their yin and yang-like personal and musical differences fueling their creative tension, discover that two heads are better than one. The Stones, meanwhile, keep cranking out covers, and plot their conquest of America, one riff at a time. The middle periods, 1965-66: For the boys from Liverpool, waves of brilliant albums that will last forever—every cut a memorable, sing-along winner. While for the Londoners, an artistic breakthrough with their first all--original record. Mick and Keith’s tempestuous relationship pushes away band founder Brian Jones; the Stones are established as a force in the music world. Prisoners of their own success, 1967-68: How their popularity drove them to great heights—and lowered them to awful depths. It’s a long way from three chords and a cloud of dust. -
Campfire Songs
Antelope Books In collaboration with W1-609-17-2 Productions Antelope Books In collaboration with W1-609-17-2 Productions Four Reasons to Sing Loud SCOUT OATH 1. If God gave you a good voice, sing loud. On my honor, I will do my best He deserves to hear it. To do my duty to God and my country And to obey the Scout Law; 2. If God gave you a good voice, sing loud. To help other people at all times; We deserve to hear it. To keep myself physically strong, 3. If God did not give you a beautiful singing voice, sing loud. Mentally awake and morally straight. Who is man to judge what God has given you? SCOUT LAW OUTDOOR CODE 4. If God did not give you a beautiful singing voice, sing out A Scout is: As an American loud, sing out strong… God deserves to hear it. Trustworthy I will do my best to - He has no one to blame but Himself! Loyal Be clean in my outdoor manners Helpful Be careful with fire Friendly Be considerate in the outdoors Courteous Be conservation minded Kind Obedient SCOUT MOTTO Cheerful Be prepared! Thrifty Brave SCOUT SLOGAN Clean Do a good turn daily! Reverent Four Reasons to Sing Loud SCOUT OATH 1. If God gave you a good voice, sing loud. On my honor, I will do my best He deserves to hear it. To do my duty to God and my country And to obey the Scout Law; 2. If God gave you a good voice, sing loud. -
Furman Vs Clemson (9/10/1988)
Clemson University TigerPrints Football Programs Programs 1988 Furman vs Clemson (9/10/1988) Clemson University Follow this and additional works at: https://tigerprints.clemson.edu/fball_prgms Materials in this collection may be protected by copyright law (Title 17, U.S. code). Use of these materials beyond the exceptions provided for in the Fair Use and Educational Use clauses of the U.S. Copyright Law may violate federal law. For additional rights information, please contact Kirstin O'Keefe (kokeefe [at] clemson [dot] edu) For additional information about the collections, please contact the Special Collections and Archives by phone at 864.656.3031 or via email at cuscl [at] clemson [dot] edu Recommended Citation University, Clemson, "Furman vs Clemson (9/10/1988)" (1988). Football Programs. 195. https://tigerprints.clemson.edu/fball_prgms/195 This Book is brought to you for free and open access by the Programs at TigerPrints. It has been accepted for inclusion in Football Programs by an authorized administrator of TigerPrints. For more information, please contact [email protected]. $2.00 September 10, 1988 Clemson Football *88 i \i\ii<sin Clemson vs. Furman Memorial Stadium Bullish Blockers MANGE YOU WORTHY OF THE BEST? Batson is the exclusive U.S. agent for textile equipment from the leading textile manufacturers worldwide. Experienced people back up our sales with complete service, spare parts, technical assistance, training and follow-up. DREF 3 FRICTION SPINNING MACHINE delivers yarn to 330 ypm. i FEHRER K-21 RANDOM CARDING MACHINE has weight range ^ 2 10-200 g/m , production speedy | m/min. rttfjfm 1 — •• fj := * V' " VAN DE WIELE PLUSH WEAVING MACHINES weave apparel, DORNIER RAPIER WEAVING MACHINES are upholstery, carpet. -
Chart Book Template
Real Chart Page 1 become a problem, since each track can sometimes be released as a separate download. CHART LOG - F However if it is known that a track is being released on 'hard copy' as a AA side, then the tracks will be grouped as one, or as soon as known. Symbol Explanations s j For the above reasons many remixed songs are listed as re-entries, however if the title is Top Ten Hit Number One hit. altered to reflect the remix it will be listed as would a new song by the act. This does not apply ± Indicates that the record probably sold more than 250K. Only used on unsorted charts. to records still in the chart and the sales of the mix would be added to the track in the chart. Unsorted chart hits will have no position, but if they are black in colour than the record made the Real Chart. Green coloured records might not This may push singles back up the chart or keep them around for longer, nevertheless the have made the Real Chart. The same applies to the red coulered hits, these are known to have made the USA charts, so could have been chart is a sales chart and NOT a popularity chart on people’s favourite songs or acts. Due to released in the UK, or imported here. encryption decoding errors some artists/titles may be spelt wrong, I apologise for any inconvenience this may cause. The chart statistics were compiled only from sales of SINGLES each week. Not only that but Date of Entry every single sale no matter where it occurred! Format rules, used by other charts, where unnecessary and therefore ignored, so you will see EP’s that charted and other strange The Charts were produced on a Sunday and the sales were from the previous seven days, with records selling more than other charts. -
In Memoriam Andy Tielman (1936-2011)
In memoriam Andy Tielman (1936-2011) Op 10 november 2011 is de Godfather of Rock ’n Roll, Andy Tielman, van ons heengegaan. Net als mijn vriend Jan Maarten Hafkamp† streed hij met onvoorstelbare moed lang tegen het onvermijdelijke, helaas zonder succes. Zijn invloed op de Nederlandse pop scene is enorm groot geweest; niet alleen op de Indo’s maar ook op talloze Nederlandse gitaristen. De grootste gitarist van Nederland en omstreken, Jan Akkerman, schreef na het overlijden van Andy in GitaarPlus: ‘Andy stond met zijn broers aan de basis van de Nederlandse popmuziek. Hij maakte Rocl&Roll alleen op een heel eigen wijze. Het was geen Bill Haley, Elvis of Carl Perkins. Het had zijn basis in Indonesië gekregen en zou zijn exclusieve muziekstroming krijgen. Indorock werd aan het eind van de vijftiger jaren een fenomeen en is het tot op de dag van vandaag gebleven. De grondlegger is niet meer. Da’s een groot gapend gat en voor iedere muziekliefhebber een tragisch verlies.’ Andy zag zelf vooral als vocalist en terecht. Een bereik van vijf octaven is uniek en volgens mij was de opera zanger Iwan Rebroff de enige die dit ook presteerde. Ook als gitarist stond Andy op grote hoogte. Zijn spel snelheid was voor de eind vijftiger/begin zestiger jaren ongekend. Wat veel minder bekend is, dat Andy Tielman een absolute vernieuwer op het gebied van gitaar- en bandtechniek was. Hierbij een overzicht van de innovaties van Andy respectievelijk The Tielman Brothers. De eerste elektrische gitaar van de meeste Nederlandse gitaristen was vaak een Egmond Solid 7 of een Manhattan. -
THE MUSICAL FEATURES of 2015'S TOP-RANKED COUNTRY SONGS
THE MUSICAL FEATURES OF 2015’s TOP-RANKED COUNTRY SONGS By Mason Taylor Allen Senior Honors Thesis Department of Music University of North Carolina at Chapel Hill April 22, 2016 Approved: Dr. Jocelyn R. Neal, Thesis Advisor Dr. Allen Anderson, Reader Dr. Andrea Bohlman, Reader © 2016 Mason Taylor Allen ALL RIGHTS RESERVED ii ABSTRACT Mason Taylor Allen: The Musical Features of 2015’s Top-Ranked Country Songs Under the direction of Dr. Jocelyn R. Neal The 2015 top-ten country songs analyzed in this study are characterized by the various formats of their song form, harmonies, and lyrics. This thesis presents a comprehensive study of the structure and narratives in sixty-seven songs that summarizes the distinctive features within those domains of contemporary commercial country music. A detailed description of the norm along with identifiable trends emerges. The song form that features most prominently in this repertory includes a verse-chorus-bridge form with three iterations of the chorus, an intro and outro section, and instrumental sections immediately following each chorus. The top-ten country songs have varying degrees of departure from this typical model. Primary features of the harmonies of these top songs include the frequent use of a double-tonic complex, the absence of a 5-1 authentic cadence, the same chord progression throughout the verse, chorus, and bridge, and the use of only two chords throughout the song. Lyrical analyses show that 2015 songs are continuing the traditional themes about romantic attraction, love, heartache, good times and partying, home, family, nostalgia, religion, and inspiration, within the context of small-town country life that this genre has used for years. -
THE DESTINY of the WORLD : a STUDY on the END of the UNIVERSE in the Llght of ANCIENT EGYPTIAN TEXTS
THE DESTINY OF THE WORLD : A STUDY ON THE END OF THE UNIVERSE IN THE LlGHT OF ANCIENT EGYPTIAN TEXTS Sherine M. ElSebaie A thesis submitted in conformity with the requirements for the degree of Master of Arts Graduate Department of Near and Middle Eastern Civilizations University of Toronto O Copyright by Sherine M. ElSebaie (2000) National Library Bibliothèque nationale of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON KfA ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seil reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la fome de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. The Destiny of The World: A Study on the End of The Universe in The Light of Ancient Egyptian Texts Sherine M. ElSebaie Master of Arts, 2000 Dept. of Near and Middle Eastern Civilizations University of Toronto ABSTRACT The subject of this thesis is a theme that has not been fully çtudied until today and that has long been thought to be overlooked by the ancient Egyptians in a negative way. -
SATURDAY, MAY 16, 2015 2 | University Welcome
SATURDAY, MAY 16, 2015 2 | University Welcome UNIVERSITY WELCOME The University of Wisconsin Oshkosh is proud of the accomplishments celebrated in today’s commencement ceremony. We recognize and applaud the determination of the graduates to complete their studies. We also recognize and appreciate the help families and friends have given to make this graduation possible. The completion of a program of study is signifcant. It commemorates the end of one important activity while signaling unlimited opportunities for the future. It is in this spirit of hope and optimism that today we congratulate those who have now completed their studies at the University of Wisconsin Oshkosh. Our newest graduates represent a rich tradition of hands-on collaborative learning, academic excellence and personal growth that extends back to the date the University was founded in 1871. It is this tradition that links our newest alumni with prior graduates, who are actively enriching the civic, business, charitable and political sectors of our global community. As a regional center for the celebration and promotion of knowledge, culture and innovation, our University is an integral part of our broader community. With the fresh effort and focus of today’s graduates who join us in this broader role, we envision even more opportunities that will connect our University with the region we so proudly serve. It is my honor as the 11th chancellor of the University of Wisconsin Oshkosh to extend this special recognition on behalf of the faculty, staff, students and alumni of the University. Sincerely, Andrew J. Leavitt, Ph.D. Chancellor University of Wisconsin Oshkosh University of Wisconsin Oshkosh | 3 UNIVERSITY OF WISCONSIN OSHKOSH The University of Wisconsin Oshkosh was frst doctoral degree: the Doctorate of Nursing founded as the state’s third normal school in Practice. -
Colorado Soccer 1 #DOMORE
Colorado soccer 1 CUBuffsSOCCER #DOMORE media/tv roster 0 • Jalen Tompkins 1 • Scout Watson 2 • Kayleigh Webb 3 • Jorian Baucom 4 • Nancy Best 5 • Isobel Dalton 6 • Hannah Cardenas GK • 5-6 • Jr. GK • 5-7 • Sr. M • 5-8 • Fr. F • 5-9 • Sr. M • 5-7 • Sr. M • 5-6 • Sr. D • 5-7 • So. Phoenix, Ariz. Overland Park, Kan. San Marcos, Calif. Scottsdale, Ariz. Cave Creek, Ariz. Caloundra, QLD, Australia Placentia, Calif. 7 • Libby Geraghty 8 • Megan Massey 9 • Emily Groark 10 • Sarah Kinzner 11 • Alex Vidger 13 • Jesse Loren 14 • Chaynee Kingsbury F/M • 5-6 • RFr. M • 5-8 • Sr. F/M • 5-7 • Fr. M • 5-8 • Sr. D/M • 5-10 • Sr. D • 5-10 • Fr. F • 5-7 • Fr. Greenwood Village, Colo. Highlands Ranch, Colo. St. Louis, Mo. Calgary, Alberta Castle Rock, Colo. Redondo Beach, Calif. Windsor, Colo. 15 • Kelsey Aaknes 16 • Erin Greening 17 • Katie Joella 19 • Stephanie Zuniga 20 • Camilla Shymka 21 • Marty Puketapu 22 • Taylor Kornieck D • 5-11 • Jr. D/M • 5-7 • Sr. F • 5-4 • So. F • 5-1 • Jr. F • 5-9 • Jr. F • 5-8 • So. M • 6-1 • Jr. Carlsbad, Calif. Piedmont, Calif. Highlands Ranch, Colo. Pinole, Calif. Calgary, Alberta Auckland, New Zealand Henderson, Nev. 23 • Tatum Barton 24 • Sofia Weiner 27 • Gabbi Chapa Danny Sanchez Jason Green Dave Morgan Kelly Labor F • 5-6 • Jr. D • 5-3 • RFr. D • 5-2 • So. Head Coach Associate Head Coach Assistant Coach Coordinator of Littleton, Colo. Evergreen, Colo. Colorado Springs, Colo. 7th Season 7th Season 4th Season Performance • 2nd Season Jacy Drobney Cole Sanchez Casey Turtel Travis Larson Kari Kebach Andy Schlichting Ryan Newman Volunteer Assistant Assistant Manager Student Manager Strength & Conditioning Athletic Trainer Sports Information Athletic Grounds 2nd Season 2nd Season 1st Season 1st Season 5th Season 4th Season 6th Season Colorado soccer QUICK FACTS TABLE OF CONTENTS Name ................................................University of Colorado City (Zip) ......................................... -
Compound AABA Form and Style Distinction in Heavy Metal *
Compound AABA Form and Style Distinction in Heavy Metal * Stephen S. Hudson NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hudson.php KEYWORDS: Heavy Metal, Formenlehre, Form Perception, Embodied Cognition, Corpus Study, Musical Meaning, Genre ABSTRACT: This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (Aas 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill 2016). Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory “Your favorite songs all sound the same — and that’s okay .