Who Shot Rock & Roll Programming Release Final
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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. -
Press Release
LOOKING AT MUSIC: SIDE 2 EXPLORES THE CREATIVE EXCHANGE BETWEEN MUSICIANS AND ARTISTS IN NEW YORK CITY IN THE 1970s AND 1980s Photography, Music, Video, and Publications on Display, Including the Work of Jean-Michel Basquiat, Blondie, Richard Hell, Sonic Youth, and Patti Smith, Among Others Looking at Music: Side 2 June 10—November 30, 2009 The Yoshiko and Akio Morita Gallery, second floor Looking at Music: Side 2 Film Series September—November 2009 The Roy and Niuta Titus Theaters NEW YORK, June 5, 2009—The Museum of Modern Art presents Looking at Music: Side 2, a survey of over 120 photographs, music videos, drawings, audio recordings, publications, Super 8 films, and ephemera that look at New York City from the early 1970s to the early 1980s when the city became a haven for young renegade artists who often doubled as musicians and poets. Art and music cross-fertilized with a vengeance following a stripped-down, hard-edged, anti- establishment ethos, with some artists plastering city walls with self-designed posters or spray painted monikers, while others commandeered abandoned buildings, turning vacant garages into makeshift theaters for Super 8 film screenings and raucous performances. Many artists found the experimental music scene more vital and conducive to their contrarian ideas than the handful of contemporary art galleries in the city. Artists in turn formed bands, performed in clubs and non- profit art galleries, and self-published their own records and zines while using public access cable channels as a venue for media experiments and cultural debates. Looking at Music: Side 2 is organized by Barbara London, Associate Curator, Department of Media and Performance Art, The Museum of Modern Art, and succeeds Looking at Music (2008), an examination of the interaction between artists and musicians of the 1960s and early 1970s. -
Execulive Turnlable Insidetrack
66 Lote General News MERCER ELLINGTON BOOKED $25,000 Grant To Ensure InsideTrack George Wein still hopes to open an innovative jazz then went on sale. The entertainers appeared before an Duke's Music At Newport showcase in New York similar to his successful Boston estimated 62,000 persons -most of them getting their Storyville jazz club of the 1950s, but the planned Feb. 28 first taste of country music. NEW YORK -Audiences at this George Wein has been able to sal- bow may be delayed. As a place where musicians could AI Bramy, San Francisco distribution pioneer, is con- year's Newport Jazz Festival will be vage at least some of the concerts for meet, jam and try out new ideas, it was to be housed in valescing at his home from a minor heart attack. He will treated to a series of concerts cov- Newport with relative ease. the basement of Frank's Place on East 48th St. in Man- return to Eric Mainland as general manager in about ering the early works of the late The first of the four concerts will hattan. four weeks. Duke Ellington, thanks to a $25,000 cover Ellington's music during the At midpoint of Bette Midler's four -month national W.F. "Jim" Myers, SESAC vice president and di- grant from the National Endowment 1920s, and the second and third will tour, gross is reported as topping $1.2 million, including rector of international relations, returns to the U.S. the for the Arts. follow his growth and style through a record $403,000 for six days at Los Angeles' Chandler end of the month following visits to Paris, Helsinki, The concerts were originally the 1930s and 1940s. -
She Has Good Jeans: a History of Denim As Womenswear
Bard College Bard Digital Commons Senior Projects Spring 2018 Bard Undergraduate Senior Projects Spring 2018 She Has Good Jeans: A History of Denim as Womenswear Marisa S. Bach Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2018 Part of the Fashion Design Commons, and the Fiber, Textile, and Weaving Arts Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Bach, Marisa S., "She Has Good Jeans: A History of Denim as Womenswear" (2018). Senior Projects Spring 2018. 317. https://digitalcommons.bard.edu/senproj_s2018/317 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. She Has Good Jeans: A History of Denim as Womenswear Senior Project Submitted to The Division of Arts of Bard College by Marisa Bach Annandale-on-Hudson, New York May 2018 Acknowledgements To my parents, for always encouraging my curiosity. To my advisor Julia Rosenbaum, for guiding me through this process. You have helped me to become a better reader and writer. Finally, I would like to thank Leandra Medine for being a constant source of inspiration in both writing and personal style. -
My Back Pages #1
My Back Pages #1 L’iMMaginario coLLettivo deL rock neLLe fotografie di Ed CaraEff, HEnry diltz, HErb GrEEnE, Guido Harari, art KanE, astrid KirCHHErr, Jim marsHall, norman sEEff e bob sEidEmann 04.02 | 11.03.2012 Wall of sound gallery La capsula del tempo decolla… La musica non è solo suono, ma anche immagine. Senza le visioni di questi fotografi, non avremmo occhi per guardare la musica. Si può ascoltare e “ca- pire” Jimi Hendrix senza vedere la sua Stratocaster in fiamme sul palco di Monterey, fissata per sempre da Ed Caraeff? O intuire fino in fondo la deriva amara di Janis Joplin senza il crudo bianco e nero di Jim Marshall che ce la mostra affranta con l’inseparabile bottiglia di Southern Comfort in mano? Nasce così l’immaginario collettivo del rock, legato anche a centinaia di co- pertine di dischi. In questa mostra sfilano almeno una dozzina di classici: dagli album d’esordio di Crosby Stills & Nash e di Stephen Stills in solitario a Morrison Hotel dei Doors, The Kids Are Alright degli Who, al primo disco americano dei Beatles per l’etichetta VeeJay, Hejira di Joni Mitchell, Surre- alistic Pillow dei Jefferson Airplane, Grateful Dead di Jerry Garcia e compa- gni, Genius Loves Company di Ray Charles, Stage Fright della Band di Robbie Robertson, Desperado degli Eagles e Hotter Than Hell dei Kiss. Il tempismo è tutto. Soprattutto trovarsi come per miracolo all’inizio di qualcosa, ad una magica intersezione col destino che può cambiare la vita di entrambi, fotografo e fotografato. Questo è successo ad astrid Kirchherr con i Beatles ancora giovanissimi ad Amburgo, o a Herb Greene immerso nella ribollente “scena” musicale di San Francisco. -
Categorising Music Photography
The connection of music to studio and live photography: categorising music photography By Carolina Hernández de Toledo A thesis submitted in partial fulfilment of the requirements for MA in Journalism & Media Communications (QQI) Faculty of Journalism & Media Communications Griffith College August 2018 The connection of music to studio and live photography: categorising music photography Declaration I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of the MA in Journalism & Media Communications, is my own; based on my personal study and/or research, and that I have acknowledged all material and sources used in its preparation. I also certify that I have not copied in part or whole or otherwise plagiarised the work of anyone else, including other students. Signed: ___________________________ Dated: ___________________________ 1 Abstract Is music connected to live and studio photography creating a specific photographic category? This thesis question emerged from the interest in the visual identity of music, its lack of categorisation in the photographic genres and the critic status of photography in today’s media industry. The purpose of this dissertation is to understand how music is connected to studio and live photography creating the possibility for music photography to be a specific category of the photographic genres. The research design is conducted through a content analysis undertaken by the literature investigation, where the coding structure was extracted to analyse the composition of images through Bruce Block´s basic visual components, the interpretation of images by Roland Barthes and the classification on genres by Dr Gillian Rose. -
Smash Hits Volume 34
\ ^^9^^ 30p FORTNlGHTiy March 20-Aprii 2 1980 Words t0^ TOPr includi Ator-* Hap House €oir Underground to GAR! SKias in coioui GfiRR/£V£f/ mjlt< H/Kim TEEIM THAT TU/W imv UGCfMONSTERS/ J /f yO(/ WOULD LIKE A FREE COLOUR POSTER COPY OF THIS ADVERTISEMENT, FILL IN THE COUPON AND RETURN IT TO: HULK POSTER, PO BOXt, SUDBURY, SUFFOLK C010 6SL. I AGE (PLEASE TICK THE APPROPRIATE SOX) UNDER 13[JI3-f7\JlS AND OVER U OFFER CLOSES ON APRIL 30TH 1980 ALLOW 28 DAYS FOR DELIVERY (swcKCAmisMASi) I I I iNAME ADDRESS.. SHt ' -*^' L.-**^ ¥• Mar 20-April 2 1980 Vol 2 No. 6 ECHO BEACH Martha Muffins 4 First of all, a big hi to all new &The readers of Smash Hits, and ANOTHER NAIL IN MY HEART welcome to the magazine that Squeeze 4 brings your vinyl alive! A warm welcome back too to all our much GOING UNDERGROUND loved regular readers. In addition The Jam 5 to all your usual news, features and chart songwords, we've got ATOMIC some extras for you — your free Blondie 6 record, a mini-P/ as crossword prize — as well as an extra song HELLO I AM YOUR HEART and revamping our Bette Bright 13 reviews/opinion section. We've also got a brand new regular ROSIE feature starting this issue — Joan Armatrading 13 regular coverage of the independent label scene (on page Managing Editor KOOL IN THE KAFTAN Nick Logan 26) plus the results of the Smash B. A. Robertson 16 Hits Readers Poll which are on Editor pages 1 4 and 1 5. -
First, Secure the Milk Then Quick I Must Show You My Body's Inventing Itself
First, secure the milk then quick I must show you my body’s inventing itself that my body should make herself ground for the great shock of suck that, I quaking metal in fixed ground, I site of infection, I, arrowroot cookie Taste is the true prophetic word Secure the milk and I’ll tell you grammatical properties of the pronoun motherfucker Secure the milk and we’ll talk about “Marxism Leninism Mao-Tse Tung Thought” which is milk thought which is what I believe 9 || FOR FLOSSIE You won’t remember the first time it was 1989 you were flanked by an Ankh and person I would learn to call your woman very soon and this would be things there would be a woman and I was something else other than early memory which is now perhaps memory of not having been noticed therapist would say of an invented hardship in long time of never mattering enough and seeking out long time of not mattering by finding in first moment definitive sensation of a given desire’s co-existence within erasure. Possibly of a certain age body of a nineteen year-old wincing quality of woman who will never be presence of your body exactly in cinematic “past” the body which in 1989 began to be yours and became body of your woman became also body of the changing year I remember 2:17 am. Expectation is a curious thing to develop around the problem of not having been noticed or been absent or been without yet this was your hour to begin to expect you one or two minutes prior is expectation was. -
CHILLED CAVIAR to EAT... a Little More Naked... VEGETABLES and MORE... FLOUR and WATER
CHILLED VEGETABLES AND MORE... TO EAT... (V) Garden Vegetable Crudités 18 (V) Coleman Farm's Garden Green Salad 22 • (VG) Austrian White Asparagus 32 Santa Monica Farmers' Market Seasonal Harvest Heirloom Lettuces, Spring Citrus, Meyer Lemon Vinaigrette Sun-Dried Tomato Chimichurri, Marinated Quinoa and Spring Vegetables, Sunflower Seeds Cilantro Green Goddess Dressing Toasted Black Olive Crostini with Local Goat Cheese Alaskin Halibut 49* Baja Gulf Prawns 36 (V) Imported Italian Burrata 18 Pan-Roasted, Braised Baby Artichokes, Confit Fennel, Lemon Purée, Herb Gremolata Spicy Horseradish, Citrus Tomato Sauce 18-Year Aged Balsamic Vinegar, Grilled Country White Bread Toasted Pepitas, Foraged Herbs • Organic Jidori Half Chicken 54 Whole Santa Barbara Uni 24* Porcini Mushrooms, Romano Beans, Natural Jus Tomato, Red Onion, Micro Shiso (V) Caramelized Corn Salad 24 First of the Season White Corn, Frijoles, Cherry Tomatoes • 8oz USDA Prime 'Butcher's Butter' 76* Kusshi Oysters 24/48* Wild Arugula, Cilantro Crema, Black Lime Vinaigrette Pommes Aligot, Sauce Armagnac British Columbia, Clean, Mildly Sweet, Slightly Meaty Green Apple Fennel-Mignonette (V) Green Asparagus Soup 22 (WP) Marcho Farms Veal 'Wiener Schnitzel' 49* White Asparagus, Meyer Lemon Oil Marinated Fingerling Potatoes, Marinated Cherry Tomatoes, Styrian Pumpkin Seed Oil Omega Blue Kanpachi Tataki Crudo 32* Carrot Aguachile, Pickled Green Almonds, Charred Scallion • CAB 'Never Ever' Beef Burger 28* Japanese Cucumber, Avocado, Coriander FLOUR AND WATER Vermont White Cheddar, Garlic -
The Life Artistic: July / August 2016 Wes Anderson + Mark Mothersbaugh
11610 EUCLID AEUE, CLEELAD, 44106 THE LIFE ARTISTIC: JULY / AUGUST 2016 WES ANDERSON + MARK MOTHERSBAUGH July and August 2016 programming has been generously sponsored by TE LIFE AUATIC ... AUATIC TE LIFE 4 FILMS! ALL 35MM PRINTS! JULY 7-29, 2016 THE CLEVELAND INSTITUTE OF ART CINEMATHEQUE 11610 EUCLID AVENUE, UNIVERSITY CIRCLE, CLEVELAND OHIO 44106 The Cleveland Institute of Art Cinematheque is Cleveland’s alternative film theater. Founded in 1986, the Cinematheque presents movies in CIA’s Peter B. Lewis Theater at 11610 Euclid Avenue in the Uptown district of University Circle. This new, 300-seat theater is equipped with a 4K digital cinema projector, two 35mm film projectors, and 7.1 Dolby Digital sound. Free, lighted parking for filmgoers is currently available in two CIA lots located off E. 117th Street: Lot 73 and the Annex Lot. (Those requiring disability park- ing should use Lot 73.) Enter the building through Entrance C (which faces E. 117th) or Entrance E (which faces E. 115th). Unless noted, admission to each screening is $10; Cinematheque members, CIA and Cleveland State University I.D. holders, and those age 25 & under $7. A second film on LOCATION OF THE the same day generally costs $7. For further information, visit PETER B. LEWIS THEATER (PBL) cia.edu/cinematheque, call (216) 421-7450, or send an email BLACK IL to [email protected]. Smoking is not permitted in the Institute. TH EACH FILM $10 • MEMBERS, CIA, AGE 25 & UNDER $7 • ADDITIONAL FILM ON SAME DAY $7 OUR 30 ANNIVERSARY! FREE LIGHTED PARKING • TEL 216.421.7450 • CIA.EDU/CINEMATHEQUE BLOOD SIMPLE TIKKU INGTON TE LIFE ATISTIC: C I N E M A T A L K ES ADES AK TESBAU ul 72 (4 lms) obody creates cinematic universes like es Anderson. -
Grace Jones. (1985)
Brazelton: Annotated Bibliography - Grace Jones, Slave to the Rhythm Grace Jones. (1985). Slave to the Rhythm. Island Records. Among the canon of Black Divas, perhaps none are quite as feared, reviled, and worshipped as Grace Jones. The supermodel, actress, and musician notoriously slapped Russell Harty on his talk show, burnt Dolph Lundgren’s clothes, and regularly exposed herself to everyone from paparazzi to prime ministers. And through the apparent erraticism of her performance, a yearning futurism pervades her work. Slave to the Rhythm, Jones’ seventh album, took the already surreal and transgressive aesthetics mapped out in Warm Leatherette and Nightclubbing and elaborated a hypnagogic futurism––a yearning for another here and now. Slave to the Rhythm was released in 1985, the year after Jones featured as Zula in the epic fantasy Conan the Destroyer. The album’s eight songs were written by and credited to Bruce Woolley, Simon Darlow, Stephen Lipson, and Trevor Horn. Much of the art direction and design was done by Jean-Paul Goude, Jones’ then-husband, who directed the music video for “Slave to the Rhythm” and devised the album cover. Slave to the Rhythm was released on Island Records, becoming Jones’ most popular album. Slave to the Rhythm is built as an concept album; each of the eight songs is a chaotic interpretation of the eponymous title track. The style of the individual songs range from R&B, funk, and go-go, to dub, ambient, and circuit-breaking electronics. All of the songs are interspersed with interviews with Jones herself, as well as recordings of others discussing or introducing the artist; for this reason, the album’s liner notes carry the subtitle, a biography. -
The Rolling Stones and Performance of Authenticity
University of Kentucky UKnowledge Theses and Dissertations--Art & Visual Studies Art & Visual Studies 2017 FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY Mariia Spirina University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.135 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Spirina, Mariia, "FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY" (2017). Theses and Dissertations--Art & Visual Studies. 13. https://uknowledge.uky.edu/art_etds/13 This Master's Thesis is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Art & Visual Studies 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.