What Would You Be Doing If You Weren't in Music?
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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. -
Malpaso Dance Company Is Filled with Information and Ideas That Support the Performance and the Study Unit You Will Create with Your Teaching Artist
The Joyce Dance Education Program Resource and Reference Guide Photo by Laura Diffenderfer The Joyce’s School & Family Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council; and made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Special support has been provided by Con Edison, The Walt Disney Company, A.L. and Jennie L. Luria Foundation, and May and Samuel Rudin Family Foundation, Inc. December 10, 2018 Dear Teachers, The resource and reference material in this guide for Malpaso Dance Company is filled with information and ideas that support the performance and the study unit you will create with your teaching artist. For this performance, Malpaso will present Ohad Naharin’s Tabla Rasa in its entirety. Tabula Rasa made its world premiere on the Pittsburgh Ballet Theatre on February 6, 1986. Thirty-two years after that first performance, on May 4, 2018, this seminal work premiered on Malpaso Dance Company in Cuba. Check out the link here for the mini-documentary on Ohad Naharin’s travels to Havana to work with Malpaso. This link can also be found in the Resources section of this study guide. A new work by company member Beatriz Garcia Diaz will also be on the program, set to music by the Italian composer Ezio Bosso. The title of this work is the Spanish word Ser, which translates to “being” in English. I love this quote by Kathleen Smith from NOW Magazine Toronto: "As the theatre begins to vibrate with accumulated energy, you get the feeling that they could dance just about any genre with jaw-dropping style. -
GLITA EP Zip
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Sal Capone – Intro for Schools
Introduction to Sal Capone: The Lamentable Tragedy Of for teachers and students From the playwright, Omari Newton: I hope this story makes you all think, laugh and feel inspired to create your own art. Sal Capone is a story about people your age chasing their dreams and fighting to survive some of the pressure associated with growing up. It's also a love letter to Hip Hop culture. I hope you enjoy our show. From the director, Diane Roberts: Theatre is a tactile medium. You feel things as much as you hear and see them. Sal Capone’s characters are ordinary people caught up in extraordinary circumstances. I hope you will be moved by how all of the elements of drama, music, video and movement come together to make you feel the triumphs and tragedies of these potent characters. What is the play about? Sal Capone: The Lamentable Tragedy Of (let’s call it Sal from here-on for short) is about many things and we hope, in watching the play, you will find meanings and themes that we haven’t yet realized are there. In particular, we hope that you will find something about you in the play. The story follows the journeys of a group of friends and Hip Hop crew who are dealing with the fatal police shooting of their friend; a talented but troubled young DJ (inspired by true events that have occurred in Montreal, Toronto, New York, San Francisco and London, UK in recent years and many others that don’t reach mass media – see links in “Resources” section). -
Clamor Magazine for Four
CULTURlJ ECONOMICS | MEDIA | PEOF MARCH/aPRIL 2004 WE'RE ALL GOING TO L S4 50 US/SG.95 CANADA 04> DEATH ROW. GREEN FUNEF SUICIDE, TIBETAN SKY BUP ' JUAREZ MUI.„ 7 '25274"96769' & V (M5^)^cKf) SADDLE CREEK CD S LP S. T-SHIRTS. POSTERS AND MORE AVAILABLE AT WWW SADDLE CREEK COM NOW ITS OVERHEAD Awash in a dark melodic pop sensibility, lush FALL BACK OPEN mustcal soundscapes. and hypnotic vocals. Fall Back Open marks another step In the evolution CD (LBJ-58) and emergence of sonqwrlter/studlo wizard MARCH 9. 2004 Andy LeMaster. Recruitinq the help of his Omaha and Athens musical families. Maria and Orenda from Azure Ray are present throughout and Conor Oberst and Michael Stipe help with backing vocals. AZURE RAY Azure Ray. have perfected the ethereal, lilting vocal style * their honeyed voices blend together perfectly, almost HOLD ON LOVE blurring into one silver thread Paste CD/LP (LBJ-54) W^nm These ladles still sound as heavenly and amazing as THE DRINKS WE DRANK LAST NIGHT ever Hold On Love is a heartrending and romantic album. - Under the Radar CD SINGLE (LBJ-55) lnljf\l Always haunting and always beautiful. Hold On Love shows NEW RESOLUTION Azure Ray s underlying warmth. - CMJ New Music Report CD SINGLE (LBJ-57) (Their) voices intertwine over around, and into each other |aPu4 creating thick textures warm enough to melt the most cynical of hearts - Fahrenheit ALSO AVAILABLE CURSIVE BRIGHT EYES THE UGLY ORGAN OQOO LIFTED or THE STORY IS IN THE SOIL. CD/LP (LBJ-51 KEEP YOUR EAR TO THE GROUND u^pi CD/ZxLP (LBJ-46) NEW RECORDS IN 2004 FROM THE FAINT. -
NTOZAKE SHANGE, JAMILA WOODS, and NITTY SCOTT by Rachel O
THEORIZING BLACK WOMANHOOD IN ART: NTOZAKE SHANGE, JAMILA WOODS, AND NITTY SCOTT by Rachel O. Smith A Thesis Submitted to the Faculty of Purdue University In Partial Fulfillment of the Requirements for the degree of Master of Arts Department of English West Lafayette, Indiana May 2020 THE PURDUE UNIVERSITY GRADUATE SCHOOL STATEMENT OF COMMITTEE APPROVAL Dr. Marlo David, Chair Department of English Dr. Aparajita Sagar Department of English Dr. Paul Ryan Schneider Department of English Approved by: Dr. Dorsey Armstrong 2 This thesis is dedicated to my mother, Carol Jirik, who may not always understand why I do this work, but who supports me and loves me unconditionally anyway. 3 ACKNOWLEDGMENTS I would like to first thank Dr. Marlo David for her guidance and validation throughout this process. Her feedback has pushed me to investigate these ideas with more clarity and direction than I initially thought possible, and her mentorship throughout this first step in my graduate career has been invaluable. I would also like to thank the other members of my committee, Dr. Aparajita Sagar and Dr. Ryan Schneider, for helping me polish this piece of writing and for supporting me throughout this two-year program as I prepared to write this by participating in their seminars and working with them to prepare conference materials. Without these three individuals I would not have the confidence that I now have to continue on in my academic career. Additionally, I would like to thank my friends in the English Department at Purdue University and my friends back home in Minnesota who listened to my jumbled thoughts about popular culture and Black womanhood and asked me challenging questions that helped me to shape the argument that appears in this document. -
News@Niagara, Dec
www.niagara-news.com Friday, Dec. 3, 2004 Free Volume 35, Issue 6 news@ Welland Jr. Canadians coverage continues on Page 35 niagara Check out the Christmas section on pages 15-26 serving the Niagara College communities Demolition begins on Black Walnut’s east end By IVAN ZATELLI of Black Walnut, the low-bay Staff Writer section was decommissioned. Students are hearing crunching Woodhouse says at one time concrete and seeing steel being there were discussions to move ripped from the Black Walnut the Broadcasting – Radio, building as Greenfield Services Television and Film program to demolishes the east end of the a new Black Walnut building building on the Niagara College consisting of two storeys, but Welland campus. “dollars just didn’t make it Since Sunday morning, work- possible.” ers have been clearing debris. The empty space created by The building has sat empty for the demolition will be seeded about four years, says Greg with grass, says Woodhouse. Smith, co-ordinator/professor of The cost of the demolition is the Graphic Design Production – about $40,000, says Bart Lanni, Art and Design Fundamentals FMS technologist. program. Lanni oversees and handles Smith’s office wall is beside a all the projects at the college. mechanical room. The room is all He hires contractors, reads that separates him from the new blueprints, gathers information demolition being carried out. and writes reports. It used to be the old program The demolition of the building building, which also housed the was due to “space rationaliza- old cafeteria, says Smith. tion,” says Lanni. The program was then moved That’s about 8,000 square feet into the newly renovated west of space the college doesn’t have section of Black Walnut. -
7-8Kulturmagazin Cottbus-Lausitz-Kostenlos
Blick licht 7-8 KULTURMAGAZIN COTTBUS-LAUSITZ-KOSTENLOS culture coltura kultur kultur-cottbus.de Inhalt 3 Editorial 4 Lausitz Editorial 5 Studium Weder ultrahighspeed deathmetal noch smothsurfpunk oder trippelfunkygoathrock locken die die Menschen in einen abgeschlossenen Raum. Grillwurst, Bierfässer unter 6-7 Kultur sonnendurchfluteten Schirmen umspielt von seichter Sommertimehappynessmusik kongruieren mit Theater, Kino, Konzert Veranstaltungen. Der Veranstaltungsplan von 2 8-9 Erzählung Monaten braucht nicht den Platz von einem. Studentische und andere Politik wird an den Nagel gehangen. In den Zeitungsredaktionen macht sich Panik breit: worüber berichten? 10-11 Lies mich! Eine Abhandlung über korrektes Bräunen an der örtlichen Badelache. Gute Tipps für die Sonnenbrandvermeidung in exotischen Ländern, deren Namen man das erste mal im TUI- 12-36 Kult-Uhr Prospekt gelesen hat? Die stehen da ja auch drin. Was kann ein guter Artikel im Sommer leisten? Kann er die Wartezeit bis zum Abflug in den langherbeigebeteten Sommerurlaub 37 Wohnungsbörse verkürzen? Oder kann er die trösten, die wieder zurück gekommen sind. Eingetrudelt im so viel graueren Deutschland. Das so genannte Sommerlochphänomen treib zuweilen 38 Adressen merkwürdige Blüten in der deutschen Zeitungslandschaft. Daheimgebliebene Zeitungsredakteure sehen die vielen leeren Blätter ihrer Zeitung als Chance noch einmal nachdringlich ihre eigenen verloren geglaubten Themen als neu aufzutischen. Wir machen das nicht! Deshalb ist unsere Zeitung etwas dünner, und das Editorial jetzt zu Ende. Die Redaktion und im Netz? www.kultur-cottbus.de Impressum Herausgeber: Redaktion: Robert Amat-Kreft; Diemo Kemmesies; Blattwerk e.V.. Thomas Scheer; Kathleen Priefer; mit Unterstützung: Muggefug e.V. Layout und Edition: Diemo Kemmesies StuRa der BTU Cottbus Fotos Diemo Kemmesies StuPa der FH-Lausitz Anzeigen: Robert Amat-Kreft Glad House Druck: Druck & Satz Großräschen, Auflage: 4000 Studentenwerk Kontakt: Tel: 0355/4948199; StuPit e.V. -
ANSAMBL ( [email protected] ) Umelec
ANSAMBL (http://ansambl1.szm.sk; [email protected] ) Umelec Názov veľkosť v MB Kód Por.č. BETTER THAN EZRA Greatest Hits (2005) 42 OGG 841 CURTIS MAYFIELD Move On Up_The Gentleman Of Soul (2005) 32 OGG 841 DISHWALLA Dishwalla (2005) 32 OGG 841 K YOUNG Learn How To Love (2005) 36 WMA 841 VARIOUS ARTISTS Dance Charts 3 (2005) 38 OGG 841 VARIOUS ARTISTS Das Beste Aus 25 Jahren Popmusik (2CD 2005) 121 VBR 841 VARIOUS ARTISTS For DJs Only 2005 (2CD 2005) 178 CBR 841 VARIOUS ARTISTS Grammy Nominees 2005 (2005) 38 WMA 841 VARIOUS ARTISTS Playboy - The Mansion (2005) 74 CBR 841 VANILLA NINJA Blue Tattoo (2005) 76 VBR 841 WILL PRESTON It's My Will (2005) 29 OGG 841 BECK Guero (2005) 36 OGG 840 FELIX DA HOUSECAT Ft Devin Drazzle-The Neon Fever (2005) 46 CBR 840 LIFEHOUSE Lifehouse (2005) 31 OGG 840 VARIOUS ARTISTS 80s Collection Vol. 3 (2005) 36 OGG 840 VARIOUS ARTISTS Ice Princess OST (2005) 57 VBR 840 VARIOUS ARTISTS Lollihits_Fruhlings Spass! (2005) 45 OGG 840 VARIOUS ARTISTS Nordkraft OST (2005) 94 VBR 840 VARIOUS ARTISTS Play House Vol. 8 (2CD 2005) 186 VBR 840 VARIOUS ARTISTS RTL2 Pres. Party Power Charts Vol.1 (2CD 2005) 163 VBR 840 VARIOUS ARTISTS Essential R&B Spring 2005 (2CD 2005) 158 VBR 839 VARIOUS ARTISTS Remixland 2005 (2CD 2005) 205 CBR 839 VARIOUS ARTISTS RTL2 Praesentiert X-Trance Vol.1 (2CD 2005) 189 VBR 839 VARIOUS ARTISTS Trance 2005 Vol. 2 (2CD 2005) 159 VBR 839 HAGGARD Eppur Si Muove (2004) 46 CBR 838 MOONSORROW Kivenkantaja (2003) 74 CBR 838 OST John Ottman - Hide And Seek (2005) 23 OGG 838 TEMNOJAR Echo of Hyperborea (2003) 29 CBR 838 THE BRAVERY The Bravery (2005) 45 VBR 838 THRUDVANGAR Ahnenthron (2004) 62 VBR 838 VARIOUS ARTISTS 70's-80's Dance Collection (2005) 49 OGG 838 VARIOUS ARTISTS Future Trance Vol. -
Masculinity in Emo Music a Thesis Submitted to the Faculty of Arts and Social Science in Candi
CARLETON UNIVERSITY FLUID BODIES: MASCULINITY IN EMO MUSIC A THESIS SUBMITTED TO THE FACULTY OF ARTS AND SOCIAL SCIENCE IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF MUSIC BY RYAN MACK OTTAWA, ONTARIO MAY 2014 ABSTRACT Emo is a genre of music that typically involves male performers, which evolved out of the punk and hardcore movements in Washington DC during the mid-80s. Scholarly literature on emo has explored its cultural and social contexts in relation to the “crisis” of masculinity—the challenging of the legitimacy of patriarchy through “alternative” forms of masculinity. This thesis builds upon this pioneering work but departs from its perpetuation of strict masculine binaries by conflating hegemonic and subordinate/alternative masculinities into a single subject position, which I call synergistic masculinity. In doing so, I use emo to explicate this vis-à-vis an intertextual analysis that explores the dominant themes in 1) lyrics; 2) the sites of vocal production (head, throat, chest) in conjunction with pitch and timbre; 3) the extensional and intensional intervallic relationships between notes and chords, and the use of dynamics in the musical syntax; 4) the use of public and private spaces, as well as the performative masculine body in music video. I posit that masculine emo performers dissolve these hierarchically organized masculinities, which allows for a deeper musical meaning and the extramusical signification of masculinity. Keywords: emo, synergistic masculinity, performativity, music video, masculinities, lyrics, vocal production, musical syntax, dynamics. ABSTRAIT Emo est un genre musical qui implique typiquement des musiciens de sexe masculine et qui est issu de movement punk et hardcore originaire de Washington DC durant les années 80. -
Westminsterresearch Synth Sonics As
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-Skool’ to Trap Exarchos, M. This is an electronic version of a paper presented at the 2nd Annual Synthposium, Melbourne, Australia, 14 November 2016. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 2nd Annual Synthposium Synthesisers: Meaning though Sonics Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-School’ to Trap Michail Exarchos (a.k.a. Stereo Mike), London College of Music, University of West London Intro-thesis The literature on synthesisers ranges from textbooks on usage and historiogra- phy1 to scholarly analysis of their technological development under musicological and sociotechnical perspectives2. Most of these approaches, in one form or another, ac- knowledge the impact of synthesisers on musical culture, either by celebrating their role in powering avant-garde eras of sonic experimentation and composition, or by mapping the relationship between manufacturing trends and stylistic divergences in popular mu- sic. The availability of affordable, portable and approachable synthesiser designs has been highlighted as a catalyst for their crossover from academic to popular spheres, while a number of authors have dealt with the transition from analogue to digital tech- nologies and their effect on the stylisation of performance and production approaches3. -
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