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Issues of Image and Performance in the Beatles' Films
“All I’ve got to do is Act Naturally”: Issues of Image and Performance in the Beatles’ Films Submitted by Stephanie Anne Piotrowski, AHEA, to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English (Film Studies), 01 October 2008. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which in not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (signed)…………Stephanie Piotrowski ……………… Piotrowski 2 Abstract In this thesis, I examine the Beatles’ five feature films in order to argue how undermining generic convention and manipulating performance codes allowed the band to control their relationship with their audience and to gain autonomy over their output. Drawing from P. David Marshall’s work on defining performance codes from the music, film, and television industries, I examine film form and style to illustrate how the Beatles’ filmmakers used these codes in different combinations from previous pop and classical musicals in order to illicit certain responses from the audience. In doing so, the role of the audience from passive viewer to active participant changed the way musicians used film to communicate with their fans. I also consider how the Beatles’ image changed throughout their career as reflected in their films as a way of charting the band’s journey from pop stars to musicians, while also considering the social and cultural factors represented in the band’s image. -
Dec. 22, 2015 Snd. Tech. Album Arch
SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London. -
Australian & International Posters
Australian & International Posters Collectors’ List No. 200, 2020 e-catalogue Josef Lebovic Gallery 103a Anzac Parade (cnr Duke St) Kensington (Sydney) NSW p: (02) 9663 4848 e: [email protected] w: joseflebovicgallery.com CL200-1| |Paris 1867 [Inter JOSEF LEBOVIC GALLERY national Expo si tion],| 1867.| Celebrating 43 Years • Established 1977 Wood engra v ing, artist’s name Member: AA&ADA • A&NZAAB • IVPDA (USA) • AIPAD (USA) • IFPDA (USA) “Ch. Fich ot” and engra ver “M. Jackson” in image low er Address: 103a Anzac Parade, Kensington (Sydney), NSW portion, 42.5 x 120cm. Re- Postal: PO Box 93, Kensington NSW 2033, Australia paired miss ing por tions, tears Phone: +61 2 9663 4848 • Mobile: 0411 755 887 • ABN 15 800 737 094 and creases. Linen-backed.| Email: [email protected] • Website: joseflebovicgallery.com $1350| Text continues “Supplement to the |Illustrated London News,| July 6, 1867.” The International Exposition Hours: by appointment or by chance Wednesday to Saturday, 1 to 5pm. of 1867 was held in Paris from 1 April to 3 November; it was the second world’s fair, with the first being the Great Exhibition of 1851 in London. Forty-two (42) countries and 52,200 businesses were represented at the fair, which covered 68.7 hectares, and had 15,000,000 visitors. Ref: Wiki. COLLECTORS’ LIST No. 200, 2020 CL200-2| Alfred Choubrac (French, 1853–1902).| Jane Nancy,| c1890s.| Colour lithograph, signed in image centre Australian & International Posters right, 80.1 x 62.2cm. Repaired missing portions, tears and creases. Linen-backed.| $1650| Text continues “(Ateliers Choubrac. -
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6 Li Volume 3, Issue 16 0 1 0 August 21 - September 3, 1986 ANIMINC't A ik3L___ 4111 11114 - ' i ) :... - Friday, Aug. 29 & Saturday, Aug. 30 MILWAUKEE'S FINEST VIDEO DISCO 11.0. 14r•a- : c Sunday, Aug. 31 (3:30am closing) _ SUNDAY MADNESS, PLUS! $1 Door Charge, 75 Rail & Giant Tappers Win the LAST MOTOR SCOOTER (Drawing at 2am) I "MR SAFE SEX" CONTEST & SHOW 11pm Guest MC, Stars and Dancers ...._ Over $300 in Prizes + sponsorship to Pageant Categories: Swim Suit + Description of "Erotic" Safe Sex (Contestant sign-up at La Cage through Sat. 8/30) -.., Monday, Sept. 1st, LABOR DAY SEE YOU ALL AT M.A.P. FEST '86 The Community Event of the Year! Page 2 • August 21 - September 3, 1986 • InStep 63 IN STEP PUBLISHER & EDITOR Staff cartoonist Tom Rezza created this Ron Geiman issues cover to salute and commemorate the American Women in t -le work place. AIDE-de-"CAMP" Joe Koch COLUMNISTS Ken Kurtz Kevin Michael W.W. Wells III Note: Dan Brown Dee Dailey Carl Ohly Deadline for the next issue CARTOONIST Issue 17 Wisconsin's gay/lesbian bi-weekly Tom Rezza the September 4th Issue is 5pm, August 27th PHOTOGRAPHY Call our office at 931-8115 for any other Carl Ohly information. Business Owners . • GRAFFITTI EDITOR Events occuring after August 14th are not in Katie this issue. TYPESETTING C i X . I. D.S. If you've never advertised in INSTEP, you Alpha Composition HOTLINES just may be pleasantly suprised at the results. AD REPRESENTATIVE TOLL FREE Ron Geiman mit. -
Yes Highlights the Very Best of Yes Mp3, Flac, Wma
Yes Highlights The Very Best Of Yes mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Highlights The Very Best Of Yes Country: Australia Released: 1993 Style: Pop Rock, Prog Rock MP3 version RAR size: 1373 mb FLAC version RAR size: 1419 mb WMA version RAR size: 1575 mb Rating: 4.8 Votes: 675 Other Formats: ASF FLAC AHX AC3 AU ADX WAV Tracklist Hide Credits Survival Engineer – Gerald ChevinPerformer – Bill Bruford, Chris Squire, Jon 1 6:18 Anderson, Peter Banks, Tony KayeProducer – Paul Clay, YesWritten- By – Anderson* Time And A Word Arranged By [Orchestral Arrangements] – Tony CoxEngineer – Eddie 2 Offord*Performer – Bill Bruford, Chris Squire, Jon Anderson, Peter 4:31 Banks, Tony KayeProducer – Tony ColtonWritten-By – Foster*, Anderson* Starship Trooper Engineer – Eddie Offord*Performer – Bill Bruford, Chris Squire, (9:26) Jon Anderson, Steve Howe, Tony KayeProducer – Eddie Offord*, Yes Life Seeker 3a. Written-By – Anderson* Disillusion 3b. Written-By – Squire* Würm 3c. Written-By – Howe* I've Seen All Good People Engineer – Eddie Offord*Performer – Bill Bruford, Chris Squire, (6:53) Jon Anderson, Steve Howe, Tony KayeProducer – Eddie Offord*, Yes Your Move 4a. Written-By – Anderson* All Good People 4b. Written-By – Squire* Roundabout Engineer – Eddie Offord*Performer – Bill Bruford, Chris Squire, Jon 5 8:31 Anderson, Rick Wakeman, Steve HoweProducer – Eddie Offord*, YesWritten-By – Anderson*, Howe* Long Distance Runaround Engineer – Eddie Offord*Performer – Bill Bruford, Chris Squire, Jon 6 3:33 Anderson, Rick Wakeman, Steve -
Gallery Auction September 7, 2019 10Am Featuring Fine Art, Furniture, Decorative Arts, Asian Art & Gallery Auction Jewelry
Gallery Auction September 7, 2019 10am featuring fine art, furniture, decorative arts, Asian art & Gallery Auction jewelry Michaan's Auctions Saturday, September 7, 2019 2751 Todd Street 10am Alameda, CA 94501 Phone: (800)380-9822 or (510) 740-0220 Previews Fax: (510) 749-7517 www.michaans.com Sunday, September 1, 9am to 5pm [email protected] Friday, September 6, 12pm to 5pm Saturday, September 7, from 9am to end of auction Inquiries Automobiles Desman Coronado (510) 227-2515 [email protected] Decorative Arts and Furniture: Lots 1 - 190 Asian Art POP!: Lots 191 - 253 Annie Zeng Fine Art: Lots 271 - 385 (510) 227-2536 Collectibles and Ephemera: Lots 391 - 415 [email protected] Jewelry and Timepieces: Lots 416 - 511 Coins, Stamps & Ephemera Coins and Stamps: Lots 516 - 616 Michael Rosenberg Asian Works of Art: Lots 621 - 824 (510) 227-2502 [email protected] Collectibles & Ephemera Daniel Elizalde (510) 227-2510 [email protected] Fine Art Copyright Notice Kyrah Leal No part of this catalog may be reproduced, stored in a retrieval (510) 227-2519 system or transmitted by any form or by any means, electronic, [email protected] mechanical, photocopying, recording or otherwise, without the prior Furniture & Decorative Arts written permission of Michaan’s Auctions. Jill Fenichell Michaan’s Auctions bond # 71393954 (510) 227-2524 [email protected] Jewelry Front cover: Lots (clockwise from left) 272, 629, 489, 274, 174 Elise Coronado Back cover: Lot 392 (510) 227-2570 [email protected] View this catalog, additional photos and condition reports online at www.michaans.com. Photography by Jeffrey Lee, James Strowe and Josef Kravitz Michaan’s Auctions - Terms and Conditions of Sale STANDARD CONDITIONS OF SALE Buyer’s obligations to us, if any. -
Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time. -
Chuck Klosterman on Pop
Chuck Klosterman on Pop A Collection of Previously Published Essays Scribner New York London Toronto Sydney SCRIBNER A Division of Simon & Schuster, Inc. 1230 Avenue of the Americas New York, NY 10020 www.SimonandSchuster.com Essays in this work were previously published in Fargo Rock City copyright © 2001 by Chuck Klosterman, Sex, Drugs, and Cocoa Puffs copyright © 2003, 2004 by Chuck Klosterman, Chuck Klosterman IV copyright © 2006, 2007 by Chuck Klosterman, and Eating the Dinosaur copyright © 2009 by Chuck Klosterman. All rights reserved, including the right to reproduce this book or portions thereof in any form whatsoever. For information address Scribner Subsidiary Rights Department, 1230 Avenue of the Americas, New York, NY 10020. First Scribner ebook edition September 2010 SCRIBNER and design are registered trademarks of The Gale Group, Inc., used under license by Simon & Schuster, Inc., the publisher of this work. For information about special discounts for bulk purchases, please contact Simon & Schuster Special Sales at 1- 866-506-1949 or [email protected]. The Simon & Schuster Speakers Bureau can bring authors to your live event. For more information or to book an event contact the Simon & Schuster Speakers Bureau at 1-866-248-3049 or visit our website at www.simonspeakers.com. Manufactured in the United States of America ISBN 978-1-4516-2477-9 Portions of this work originally appeared in The New York Times Magazine, SPIN magazine, and Esquire. Contents From Sex, Drugs, and Cocoa Puffs and Chuck Klosterman IV The -
The Queer of Color Sound Economy in Electronic Dance Music
The Queer of Color Sound Economy in Electronic Dance Music Blair Black Within electronic dance music cultures (EDMCs), musicality and experi- mentation have been indebted to black and Latinx DJs of color since its inception in the 1980s. Even today, queer DJs of color continue to push the envelope of experimental EDM by showcasing dance music from the “global south,” centering remix styles that border between hip hop and EDM, and sampling cultural references popular in queer communities of color. This article explores music’s complex entanglements with identity and community for queer people of color in underground electronic dance music scenes. To be specific, the individuals within these communities self-identify as racial/ethnic minorities on the genderqueer spectrum of non-normative gender and sexual identities (gay/lesbian, trans, non- binary, etc.). Moreover, I argue that these socio-economic positions act as an impetus of a sound economy – the shared system of socio-cultural aesthetics – for queer communities of color in EDM. The first section dis- cusses the identity politics that underlie this sound economy by tracing how intertextuality allows DJs to display these minoritarian1 perspectives. I then highlight why (re)centering racialized queer identities is radical by tracing EDM’s political shifts. Specifically, I highlight how narratives sur- rounding EDM changed due to the demographic turn in Europe during the 1990s. The last section explores the re-emergence of pivotal queer DJs of color and the scenes they founded in Los Angeles, Chicago, and New York by focusing on the flows of culture and people between cities to point to a more extensive global network of racialized queer communities in constant musical and political dialogue. -
A History of Hip Hop in Halifax: 1985 - 1998
HOW THE EAST COAST ROCKS: A HISTORY OF HIP HOP IN HALIFAX: 1985 - 1998 by Michael McGuire Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia August 2011 © Copyright by Michael McGuire, 2011 DALHOUSIE UNIVERSITY DEPARTMENT OF HISTORY The undersigned hereby certify that they have read and recommend to the Faculty of Graduate Studies for acceptance a thesis entitled “HOW THE EAST COAST ROCKS: A HISTORY OF HIP HOP IN HALIFAX: 1985 - 1998” by Michael McGuire in partial fulfilment of the requirements for the degree of Master of Arts. Dated: August 18, 2011 Supervisor: _________________________________ Readers: _________________________________ _________________________________ ii DALHOUSIE UNIVERSITY DATE: August 18, 2011 AUTHOR: Michael McGuire TITLE: How the East Coast Rocks: A History Of Hip Hop In Halifax: 1985 - 1998 DEPARTMENT OR SCHOOL: Department of History DEGREE: MA CONVOCATION: October YEAR: 2011 Permission is herewith granted to Dalhousie University to circulate and to have copied for non-commercial purposes, at its discretion, the above title upon the request of individuals or institutions. I understand that my thesis will be electronically available to the public. The author reserves other publication rights, and neither the thesis nor extensive extracts from it may be printed or otherwise reproduced without the author’s written permission. The author attests that permission has been obtained for the use of any copyrighted material appearing in the -
The Yellow Cloud
THE YELLOW CLOUD A Doc Savage Adventure By Kenneth Robeson THE YELLOW CLOUD Table of Contents THE YELLOW CLOUD....................................................................................................................................1 A Doc Savage Adventure By Kenneth Robeson.....................................................................................1 Chapter I. THE IMPOSSIBLE YELLOW THING................................................................................1 Chapter II. PROOF OF IMPOSSIBLE....................................................................................................8 Chapter III. STRANGE LADYBIRD....................................................................................................12 Chapter IV. MEN AFTER FILM...........................................................................................................20 Chapter V. TELEVISION MIX−UP.....................................................................................................29 Chapter VI. BIG EARS..........................................................................................................................35 Chapter VII. GIRL TRAIL....................................................................................................................42 Chapter VIII. SCHOOLHOUSE LESSON............................................................................................48 Chapter IX. MONK, THE BEAUTIFUL..............................................................................................57