Stony Brook Represent a Class of Students
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Razorcake Issue #82 As A
RIP THIS PAGE OUT WHO WE ARE... Razorcake exists because of you. Whether you contributed If you wish to donate through the mail, any content that was printed in this issue, placed an ad, or are a reader: without your involvement, this magazine would not exist. We are a please rip this page out and send it to: community that defi es geographical boundaries or easy answers. Much Razorcake/Gorsky Press, Inc. of what you will fi nd here is open to interpretation, and that’s how we PO Box 42129 like it. Los Angeles, CA 90042 In mainstream culture the bottom line is profi t. In DIY punk the NAME: bottom line is a personal decision. We operate in an economy of favors amongst ethical, life-long enthusiasts. And we’re fucking serious about it. Profi tless and proud. ADDRESS: Th ere’s nothing more laughable than the general public’s perception of punk. Endlessly misrepresented and misunderstood. Exploited and patronized. Let the squares worry about “fi tting in.” We know who we are. Within these pages you’ll fi nd unwavering beliefs rooted in a EMAIL: culture that values growth and exploration over tired predictability. Th ere is a rumbling dissonance reverberating within the inner DONATION walls of our collective skull. Th ank you for contributing to it. AMOUNT: Razorcake/Gorsky Press, Inc., a California not-for-profit corporation, is registered as a charitable organization with the State of California’s COMPUTER STUFF: Secretary of State, and has been granted official tax exempt status (section 501(c)(3) of the Internal Revenue Code) from the United razorcake.org/donate States IRS. -
Whiskey River (Take My Mind) I
whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams. -
The History of Rock Music: 1976-1989
The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The Golden Age of Heavy Metal (These are excerpts from my book "A History of Rock and Dance Music") The pioneers 1976-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Heavy-metal in the 1970s was Blue Oyster Cult, Aerosmith, Kiss, AC/DC, Journey, Boston, Rush, and it was the most theatrical and brutal of rock genres. It was not easy to reconcile this genre with the anti-heroic ethos of the punk era. It could have seemed almost impossible to revive that genre, that was slowly dying, in an era that valued the exact opposite of machoism, and that was producing a louder and noisier genre, hardcore. Instead, heavy metal began its renaissance in the same years of the new wave, capitalizing on the same phenomenon of independent labels. Credit goes largely to a British contingent of bands, that realized how they could launch a "new wave of British heavy metal" during the new wave of rock music. Motorhead (1), formed by ex-Hawkwind bassist Ian "Lemmy" Kilminster, were the natural bridge between heavy metal, Stooges/MC5 and punk-rock. They played demonic, relentless rock'n'roll at supersonic speed: Iron Horse (1977), Metropolis (1979), Bomber (1979), Jailbait (1980), Iron Fist (1982), etc. -
Krist Novoselic, Dave Grohl, and Kurt Cobain
f Krist Novoselic, Dave Grohl, and Kurt Cobain (from top) N irvana By David Fricke The Seattle band led and defined the early-nineties alternative-rock uprising, unleashing a generation s pent-up energy and changing the sound and future of rock. THIS IS WHAT NIRVANA SINGER-GUITARIST KURT Cobain thought of institutional honors in rock & roll: When his band was photographed for the cover of Rolling Stone for the first time, in early 1992, he arrived wearing a white T-shirt on which he’d written, c o r p o r a t e m a g a z i n e s s t i l l s u c k in black marker. The slogan was his twist on one coined by the punk-rock label SST: “Corporate Rock Still Sucks.” The hastily arranged photo session, held by the side of a road during a manic tour of Australia, was later recalled by photogra pher Mark Seliger: “I said to Kurt, T think that’s a great shirt... but let’s shoot a couple with and without it.’ Kurt said, ‘No, I’m not going to take my shirt off.’” Rolling Stone ran his Fuck You un-retouched. ^ Cobain was also mocking his own success. At that moment, Nirvana - Cobain, bassist Krist Novoselic, and drummer Dave Grohl - was rock’s biggest new rock band, propelled out of a long-simmering postpunk scene in Seattle by its incendiary second album, N everm ind, and an improbable Top Ten single, “Smells Like Teen Spirit.” Right after New Year’s Day 1992, Nevermind - Nirvana’s first major-label release and a perfect monster of feral-punk challenge and classic-rock magne tism, issued to underground ecstacy just months before - had shoved Michael Jackson’s D angerous out of the Number One spot in B illboard. -
Complaint 12-9-2019
Case 1:19-cv-25045-JEM Document 1 Entered on FLSD Docket 12/09/2019 Page 1 of 24 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF FLORIDA MIAMI DIVISION CASE NO. 1:19cv25045 Vicky Cornell, individually, and in her JURY TRIAL DEMANDED capacity, and as the Personal Representative of the Estate of Christopher John Cornell a/k/a Chris Cornell, Plaintiffs, v. Soundgarden, a purported Washington General Partnership, Kim A. Thayil, Matt D. Cameron, Hunter Benedict Shepherd, Rit Venerus and Cal Financial Group, Inc., Defendants. ______________________________________________/ COMPLAINT Plaintiff, Vicky Cornell, individually and in her capacity as the personal representative of the Estate of Christopher John Cornell (collectively, “Plaintiffs”) through counsel, hereby files the following complaint against the defendants, Soundgarden, Kim Thayil, Matt Cameron, Hunter Benedict Shepherd, Rit Venerus and Cal Financial Group, Inc. (collectively, “Defendants”). I. INTRODUCTION “Everybody out for my blood, everybody want my percent … They just want to take what is mine, how much more can they get.” - Sweet Revenge 1. In 2009, Chris Cornell penned these lyrics about his former Soundgarden bandmates after they unlawfully (and unsuccessfully) attempted to deprive him of his rights in connection with the valuable musical works that he created for the band. Ten years later, and after Chris’ untimely passing, these lyrics hauntingly resonate as his former bandmates, once Case 1:19-cv-25045-JEM Document 1 Entered on FLSD Docket 12/09/2019 Page 2 of 24 again, have attempted to “take what is his” – or, more aptly, to steal from his widow and minor children. This wrongful conduct shockingly started shortly after Chris’ untimely death and ultimately forced his widow, Vicky Cornell, to bring this lawsuit. -
Behind the Masks. Behind the Helmets. Big People. Small Roles
June 2016 New Releases BEHIND THE MASKS. BEHIND THE HELMETS. BIG PEOPLE. SMALL ROLES. what’s featured exclusives PAGE inside Music 3 RUSH Releases Available Immediately! 64 DVD & Blu-ray Music Video DVD & Blu-ray 3 FEATURED RELEASES Non-Music Video DVD & Blu-ray 11 Vinyl JEFF HEALEY - ELSTREE 1976 RETURN OF THE Audio 23 HEALEY’S HIDEAWAY PAGE 13 KILLER TOMATOES CD PAGE 7 PAGE 20 Audio 27 MVD Distribution Independent Releases 47 Order Form 52 Deletions and Price Changes 50 BLUE MOUNTAIN - DOG THE WONDER STUFF - ELECTRONIC SAVIORS: 800.888.0486 DAYS 30 GOES AROUND THE... INDUSTRIALMUSIC TO PAGE 22 PAGE 39 CURE CANCER VOL. 4... 203 Windsor Rd., Pottstown, PA 19464 www.MVDb2b.com PAGE 55 LOUDER THAN LOVE: ADELE - BRUNO MARS - THE GRANDE BALLROOM STORY VOICE OF AN ANGEL FUNK ENGINEERING Kick out the jams! A Grande month for new releases! “Big” is always the word to describe MVD new releases, but this month they’re downright Grande! Witness the story of the iconic Detroit music venue the Grande Ballroom in the new doc LOUDER THAN LOVE. The Motor City landmark hosted everyone from Led Zeppelin to Janis Joplin and (then) local acts like the Stooges and the MC5, who recorded their benchmark albums METALLIC KO and KICK OUT THE JAMS there. Hammering music for hammered patrons at the Grande set the template that begat Detroit Rock City! Big people, small roles is the theme of ELSTREE 1976. London’s Elstree Studios is another venue etched into history, as “unknown actors gathered there to play minor roles in an obscure science fiction film that would conquer the universe.” That film was STAR WARS. -
Green River Come on Down Mp3, Flac, Wma
Green River Come On Down mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Come On Down Country: US Released: 1992 Style: Alternative Rock, Garage Rock MP3 version RAR size: 1239 mb FLAC version RAR size: 1328 mb WMA version RAR size: 1742 mb Rating: 4.6 Votes: 968 Other Formats: VQF MP3 WMA AAC DTS VOC MPC Tracklist Hide Credits Come On Down 1 3:15 Music By – Jeff*, Stone* New God 2 4:15 Music By – Alex* Swallow My Pride 3 2:01 Music By – Steve* Ride Of Your Life 4 4:13 Music By – Jeff*, Stone* Corner Of My Eye 5 5:02 Music By – Arment*, Stone* Tunnel Of Love 6 7:21 Music By, Lyrics By [Lyrical Idea] – Jeff* Companies, etc. Manufactured By – Dutch East India Trading Distributed By – Dutch East India Trading Phonographic Copyright (p) – LSR Records, Inc. Copyright (c) – LSR Records, Inc. Published By – Bad Moon Music Recorded At – Crow Studios Recorded At – Reciprocal Recording Mixed At – Ironwood Studios Pressed By – American Helix – E34348 Credits Bass – Jeff Ament Cover [Concept] – Charles Peterson , Green River Design [Back And Sleeve] – Jeff* Drums – Alex Vincent Engineer – Chris Hanzsek Engineer [Assistant] – Paul Scoles Guitar – Steve Turner, Stone Gossard Lyrics By – Mark* Photography By – Charles Peterson Producer – Chris Hanzsek, Green River Vocals – Mark Arm Notes Recorded at Crow Studios, December 1984. Mixed at Ironwood Studios, February, 1985. Other sounds recorded at Reciprocal Studios. All songs - Bad Moon Music 1984 ℗ 1985 LSR Records Inc. © 1985 LSR Records Inc. Barcode and Other Identifiers Barcode: 0 17531 -
Pearl Jam Evolution
1 “L’uomo dalle parole d’oro” “I Pearl Jam sono migliori di quasi ogni altra band nella storia che abbia avuto quell’ enorme tipo di successo, l'hanno gestito in modo davvero eloquente. Penso che ciò rappresenti un grande esempio per gli altri musicisti di come sia davvero possibile controllare l’attenzione dei media. Penso siano riusciti a restare vitali. I dischi che hanno fatto non hanno necessariamente attratto lo stesso numero di fans di Ten, ma hanno comunque attratto un sacco di persone. Hanno venduto milioni di dischi senza dover fare video e senza dover fare una campagna pubblicitaria esagerata per ogni album.” (Chris Cornell) Stato di Washington, primi anni Ottanta. I complessi più amati dai ragazzi americani in quegli anni sono veloci, aggressive ed arrabbiate hardcore punk band come i Black Flag, i Minor Threat o i Dead Kennedys. Proprio questi ultimi, capitanati dall’istrionico Jello Biafra, giungono a Seattle nell’Ottobre 1984. Quella stessa sera, ad aprire il loro concerto c’è una band locale composta da musicisti che dopo pochi anni diventeranno personaggi chiave del sound di Seattle. Si tratta dei Green River. Fanno parte dei Green River: il cantante Mark Arm, il chitarrista Steve Turner, il batterista Alex Vincent, il bassista Jeff Ament e l’altro chitarrista, Stone Gossard. Il futuro chitarrista ritmico dei Pearl Jam nasce il 20 Luglio 1966 a Seattle. Da ragazzo vive sempre a Seattle insieme ai genitori, due avvocati di successo, e alle due sorelle, Shelley e Star. I suoi genitori, democratici convinti, lo mandano ad una scuola superiore alternativa e multiculturale, la Northwest School, dove le lezioni di storia includono discussioni prolungate sul coinvolgimento degli Stati Uniti negli assassinii politici. -
Steve Discog Long
Artist Title Label Function A-ha The Sun Always Shines On TV Warner Additional Production, Mixing A-ha Train of Thought WEA Int. Remixing Alice Cooper Trash Epic Mixing Alice Cooper Life and Crimes Of Alice Cooper (4 CD set) Rhino Mixing Alphaville Afternoons In Utopia Atlantic Producer Alphaville Singles Collection Atlantic Producer, Mixing Alphaville First Harvest: The Best Of Alphaville 1984-1992 WEA Producer, Remixing Alphaville Alphaville Amiga Producer Anderson/Bruford/Wakeman/Howe Anderson Bruford Wakeman Howe Arista Mixing Anderson/Bruford/Wakeman/Howe Brother Of Mine (#1) Arista Mixing Anderson/Bruford/Wakeman/Howe Brother Of Mine (#2) Atlantic Mixing Anderson/Bruford/Wakeman/Howe Order Of The Universe Arista Mixing Anderson/Bruford/Wakeman/Howe Quartet (I'm Alive) Atlantic Mixing Animotion I Engineer Mercury Mixing Anthrax Persistence Of Time Megaforce/Island Mixing Anthrax Attack of the Killer B's (Clean) Island Mixing Anthrax Attack of the Killer B's Island Mixing Anthrax Anthrax Live: The Island Years Island Producer, Mixing Anthrax N.F.V.:Oidivnikufesin (Clean) Polygram Engineer Anthrax Return Of The Killer A's: The Best Of Anthrax Beyond Mixing Anthrax Universal Masters Collection Island Mixing Anthrax Anthrology: No Hit Wonders 1985-1991 Island Mixing Anthrax Got The Time (Picture disc) Island/Megaforce Mixing APB Something to Believe In Link Producer Apollonia The Same Dream Warner Remixing Aretha Franklin Who's Zooming Who Arista Additional Production, Mixing Aretha Franklin Aint Nobody Ever Loved You Arista Remixing -
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27
Case 2:20-cv-01218-RSL-MLP Document 166 Filed 04/16/21 Page 1 of 66 1 THE HONORABLE ROBERT S. LASNIK THE HONORABLE MICHELLE L. PETERSON 2 3 4 5 6 UNITED STATES DISTRICT COURT WESTERN DISTRICT OF WASHINGTON 7 AT SEATTLE 8 VICKY CORNELL, individually, and in Case No. 2:20-cv-01218−RSL−MLP 9 her capacity, and as the Personal Representative of the Estate of Christopher THE SOUNDGARDEN DEFENDANTS’ 10 John Cornell a/k/a Chris Cornell, ANSWER AND AFFIRMATIVE DEFENSES, AND THE SOUNDGARDEN 11 Plaintiffs, PARTIES’ SECOND AMENDED COUNTERCLAIMS 12 v. SOUNDGARDEN, a purported JURY DEMAND 13 Washington General Partnership, KIM A. 14 THAYIL, MATT D. CAMERON, HUNTER BENEDICT SHEPHERD, RIT 15 VENERUS and CAL FINANCIAL GROUP, Inc., 16 Defendants. 17 ________________________________ 18 SOUNDGARDEN, a Washington General Partnership, SOUNDGARDEN 19 RECORDINGS LLC, a Delaware limited liability company, STAGE MUTHA 20 FAKIR, INC., a Washington Corporation, SG PRODUCTIONS, INC., a Washington 21 Corporation, KIM A. THAYIL, MATT D. 22 CAMERON, HUNTER BENEDICT SHEPHERD, 23 Counter-Plaintiffs, 24 v. 25 VICKY CORNELL, individually, and in her capacity as the Personal Representative 26 of the Estate of Christopher John Cornell a/k/a Chris Cornell, 27 Counter-Defendants.. 28 THE SOUNDGARDEN DEFENDANTS’ ANSWER AND AFFIRMATIVE DEFENSES, AND THE SOUNDGARDEN PARTIES’ SECOND AMENDED COUNTERCLAIMS (No. 2:20−cv−01218−RSL-MLP) –1 Case 2:20-cv-01218-RSL-MLP Document 166 Filed 04/16/21 Page 2 of 66 1 THE SOUNDGARDEN DEFENDANTS’ ANSWER AND AFFIRMATIVE DEFENSES, AND THE SOUNDGARDEN PARTIES’ SECOND AMENDED COUNTERCLAIMS 2 Defendants Soundgarden, a Washington general partnership (“Soundgarden”), Kim A. -
The Guardian, July 22, 1992
Wright State University CORE Scholar The Guardian Student Newspaper Student Activities 7-22-1992 The Guardian, July 22, 1992 Wright State University Student Body Follow this and additional works at: https://corescholar.libraries.wright.edu/guardian Part of the Mass Communication Commons Repository Citation Wright State University Student Body (1992). The Guardian, July 22, 1992. : Wright State University. This Newspaper is brought to you for free and open access by the Student Activities at CORE Scholar. It has been accepted for inclusion in The Guardian Student Newspaper by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. The Guardian ISSUE NO. 2. VOL. 28 WRIGHT STATE UNIVERSITY WEDNESDAY, JULY 22, 1992 O RECYCLED PAP!!* Oops, watch that turn Students to pay more in the fall By THOMAS J. LUCENTE News Editor Wright State University, for the third time in the last four quarters, has raised tuition. Full-time, undergraduate stu- dents will begin paying $979 per quarter this fall. On July 13, the state Con- trolling Board voted to allow universities to raise their tu- ition as much as 9 percent. The previous cap was 7 percent. Am The cap increase came af- ter Gov. George Voinovich, a graduate of Ohio University and The Ohio State Univer- sity. cut $170.2 million from the budget for higher educa- Paige E. Mulhollan The Falrbom fire department had trouble maneuvering their truck earlier this month, tion. damaging the quad and a trash can. Voinovich, who ran for election as the "education gover- education could be facing an- nor," has now cut the higher educa- other 5 percent in cuts at the end tion budget three times since tak- of the calendar year if no im- INSIDE ing office in January 1991.