Oral History Number: 473-009 Interviewee: John Fleming Interviewer

Total Page:16

File Type:pdf, Size:1020Kb

Oral History Number: 473-009 Interviewee: John Fleming Interviewer Archives and Special Collections Mansfield Library, University of Montana Missoula MT 59812-9936 Email: [email protected] Telephone: (406) 243-2053 This transcript represents the nearly verbatim record of an unrehearsed interview. Please bear in mind that you are reading the spoken word rather than the written word. Oral History Number: 473-009 Interviewee: John Fleming Interviewer: Breanna McCabe Date of Interview: November 2, 2019 Project: Missoula Music History Oral History Project Breanna McCabe: John, I’m just gonna have you start by saying and spelling your first and last name. John Fleming: John Fleming, J-o-h-n F-l-e-m-i-n-g. BM: We are rolling. Hello, I’m Breanna McCabe. It's Saturday, November 2, 2019, and with me here at the Mansfield Library on the University of Montana campus is John Fleming. John is the proprietor of Ear Candy Music, which opened September 21, 1997, and is now located at 624 South Higgins Avenue here in Missoula. John, thanks so much for being here. JF: You're welcome. BM: Please introduce yourself and share a little bit about your background. JF: Well, my name is John Fleming. I moved to Missoula in 1991 to attend grad school, and I got my ABT degree, all but the thesis, so didn't quite get there. Then kicked around for a bit, got a job at Rockin’ Rudy’s, and then a friend approached me about opening our own store. Figured if I didn't take the chance, then it would never happen. So, I sold my 1958 Chrysler Windsor and used that money to purchase some product and liquidated my personal record collection—well, not entirely, but a lot of them—and that was my initial inventory. BM: Wow! Oh, that is fascinating. What were you studying when you came to school? JF: American literature with an emphasis on 20th century American playwrights, so yeah, practical degree there. BM: When was it clear to you that you loved music? JF: When I was probably 10—9 or 10—bought my first record, REO Speedwagon High Infidelity, and then Queen The Game cassette shortly after that, and then AC / DC Back in Black on LP. Then it got into like Rush and Led Zeppelin and things like that. BM: One thing leads to another. Cool, and when did you start playing music? JF: Oh, that came much later. I was probably 23. Well when I was in high school, my friend Chris Fisher who was in stage band or jazz band, I can't remember what it was, he had a base that he was selling. He let me take it home, and I…it just didn't happen at that point, so I was probably 1 John Fleming Interview, OH 473-009, Archives and Special Collections, Mansfield Library, University of Montana-Missoula. 16 then. I gave it back to him after a week or two. Then after moving to Missoula, I just worked at the Old Town Cafe for like 45 days straight, and then took that money and bought a base and an amp. Figured if I spent the money on it, I was all in, and then I’d better figure it out. Yeah, I’m pretty much self-taught. My friend Kelly showed me a couple things, and he's like you can count to 12 and you've got a big record collection, so you'll be fine. [laughs] That's Gator for you. BM: Where was this upbringing before you moved? JF: I grew up in North Dakota, Jamestown, North Dakota, in the Midwest. BM: That's great. Then Old Town Cafe is no longer—Where was that? JF: Oh, no. That's where the James Bar is now. Yeah, the Old Town was great, but yeah, it's no longer there. I miss it. Don't miss working there, but it was good food. BM: What did you do there? JF: Oh, I was a dish pit warrior. That's a reference to an old Sputnik song—band in Missoula. I think it was the Sputniks that had that song “Dish Pit Warrior.” BM: Sounds like a good one. What was the dish that everyone went to the Old Town Café? JF: Oh, the buttermilk pancakes, the banana bread French toast, the banana nut bread French toast and the turkey bowl. The owner would make a turkey overnight like two or three times a week. It was cheap, man, like two bucks, two-fifty, but then again, that was 27 years ago. BM: Sounds delicious. So, you started playing, you figured some things out because you had invested money in it. What was the first band you played in? JF: The first band I played in was the Jolly Ranchers, and that was with John Knesek, “Tex”—that was the guy that I opened the store with. Yeah John, John Knesek, Troy Warling, and, oh, Tyler. Tyler Long was the drummer; I believe, he was the drummer to start with. Then we got Abe Barick (?) played with us eventually, and that didn't…that band didn't last very long. We have one song on one record—a comp record that Josh Vanek put out. Are you interviewing Josh, by the way? BM: I believe one of my classmates is. JM: Yeah, yeah, you definitely want to interview him. For sure. BM: Good. Just for the historical accuracy, can you spell John Knesek’s— 2 John Fleming Interview, OH 473-009, Archives and Special Collections, Mansfield Library, University of Montana-Missoula. JF: K-n-e-s-e-k. Tex. We call him Tex because he is from Houston. BM: Okay, and then there was a Warling? JF: Troy Warling, W-a-r-l-i-n-g. His nickname was “The Squirrel”—just, it's a long story. BM: Happy to…we’ve got. JF: Yeah, these…it’s just Troy. He would get crazy sometimes so we just call him The Squirrel. BM: Can you move forward chronologically for us through your own band history from the Jolly Ranchers? JF: Okay, so after the Jolly Ranchers, I was in a band called the Helltones. That was myself, John Knesek, John Carlson (?) was the original drummer, and then John Forrest Williams was the other guitar player. So, everybody in the band was named John; although we called—Forrest was how we referred to John Williams. Then after a short time John Carlson moved, and Yale Kaul took over. That band played for a while, called it a day when Tex moved back to Houston, and then I was in a band that was called The Blackout. The Blackouts? That was like, man, maybe a month or six weeks. Then I was in a band called…let's see, it was one of the guys from the Blackouts, Josh May, and then he and I started another band called the Everyday Sinners, which was myself, Josh May, Marcus Herring, and Jason Phillips. That band lasted a few years. Jason and Marcus moved. Said they were coming back, but Josh and I were like they're never coming back. After that, Josh and I started a band called the Hellgate Stranglers, and that was with Justin Lawrence, who ran sound at Jay’s Upstairs occasionally, and Chad Dundas. He was the drummer. I think…I’m trying to think…We had this guy, Wes. [pauses] No, Wes…I think Wes may have been in the Everyday Sinners, and then we booted him because he just couldn't…his singing wasn't…Yeah, we kicked him out. Anyway, the Hellgate Stranglers was myself, Josh May, Jason Phillips, Chad…Sorry. Myself, Josh May, Chad Dundas, Justin Lawrence. That band lasted a few years. Josh moved back to Atlanta. Then I joined the Oblio Joe’s, and that band lasted until 2007. Then at that time I played with Shmed [Ryan Maynes] in a band called Secret Powers, and that was myself, Stu Simonson, and Dan Strachan from the Oblio Joe’s. Ryan Farley on guitar and then Ryan “Shmed” Maynes in the band. Then, oh god, it just gets so confusing. Oh, and Troy Warling, who I played with in the Jolly Ranchers way back in the early ‘90s, he moved back to Missoula and joined that band. After a bit, Stu moved to Olympia. Troy left the band; we replaced him with a member of the Oblio Joe’s, John Brownell. Secret Powers called it a day in, I think, 2014, and then four of us in Secret Powers started another band called Protest Kids. That was myself, John Brownell, Ryan Farley, Dan Strachan. About a year ago, Dan left the band, and we replaced him with Matt Bainton. Matt Bainton and I play in another band; we're the backing band for Sasha Bell. She moved here about four or five years ago, so we play with her as well. 3 John Fleming Interview, OH 473-009, Archives and Special Collections, Mansfield Library, University of Montana-Missoula. During that time, I also played in the Scott Kennedy Band. I played bass in his band when he lived here. I also played in another band called The Quiet Ones. That was early 2000s. Then the Totten brothers, who wrote all the songs for The Quiet Ones, they moved to Seattle, and that was the end of that. So, I guess there's been a few. I probably forgot about a couple in there as well. I’m sure I did. Sure I forgot about a couple, but it's been a number.
Recommended publications
  • Precio Maketa Punk-Oi! Oi! Core 24 ¡Sorprendete!
    GRUPO NOMBRE DEL MATERIAL AÑO GENERO LUGAR ID ~ Precio Maketa Punk-Oi! Oi! Core 24 ¡Sorprendete! La Opera De Los Pobres 2003 Punk Rock España 37 100% Pure British Oi! Música Punk HC Cd 1 Punk Rock, HC Varios 6 100% Pure British Oi! Música Punk HC Cd 2 Punk Rock, HC Varios 6 100% Pure British Oi! Música Punk HC Cd 1 Punk Rock, HC Varios 10 100% Pure British Oi! Música Punk HC Cd 2 Punk Rock, HC Varios 10 1ª Komunion 1ª Komunion 1991 Punk Rock Castellón 26 2 Minutos Valentin Alsina Punk Rock Argentina 1 2 Minutos Postal 97 1997 Punk Rock Argentina 1 2 Minutos Volvió la alegría vieja Punk Rock Argentina 2 2 Minutos Valentin Alsina Punk rock Argentina 12 2 Minutos 8 rolas Punk Rock Argentina 13 2 Minutos Postal ´97 1997 Punk Rock Argentina 32 2 Minutos Valentin Alsina Punk Rock Argentina 32 2 Minutos Volvio la alegria vieja 1995 Punk Rock Argentina 32 2 Minutos Dos Minutos De Advertencia 1999 Punk Rock Argentina 33 2 Minutos Novedades 1999 Punk Rock Argentina 33 2 Minutos Superocho 2004 Punk Rock Argentina 47 2Tone Club Where Going Ska Francia 37 2Tone Club Now Is The Time!! Ska Francia 37 37 hostias Cantando basjo la lluvia ácida Punk Rock Madrid, España 26 4 Skins The best of the 4 skins Punk Rock 27 4 Vientos Sentimental Rocksteady Rocksteady 23 5 Years Of Oi! Sweat & Beers! 5 Years Of Oi! Sweat & Beers! Rock 32 5MDR Stato Di Allerta 2008 Punk Rock Italia 46 7 Seconds The Crew 1984 Punk Rock, HC USA 27 7 Seconds Walk Together, Rock Together 1985 Punk Rock, HC USA 27 7 Seconds New Wind 1986 Punk Rock, HC USA 27 7 Seconds Live! One Plus One
    [Show full text]
  • P20-21 Layout 1
    20 Established 1961 Lifestyle Gossip Monday, March 18, 2019 Walker won’t sing at his wedding Tom Walker won’t sing at his own wedding. Flux Pavilion to do the after-party! Absolute class!” But champagne and popped the question to her in Sri Lanka. A The 27-year-old musician popped the ques- the ‘Leave a Light On’ hitmaker and his wife-to-be are He previously said that she loves being with his sweet- tion to his long-term partner Annie last year still in early stages of planning the wedding as they have heart because she has been unfazed by his fame and but he’s dismissed suggestions he provide the been so busy. He said: “I have found a few potential ven- stood by him all through his journey. He said: “When I entertainment on their big day, insisting he can’t imagine ues and me and my missus have had a couple of discus- met my missus, Annie, I didn’t even have a job. She just “anything worse”. Asked by Britain’s OK! magazine if he sions about it. She just finished a masters degree and has likes me for me and nothing has changed between us, was going to be singing on his wedding day, he replied: started a new job and I have just been hectically busy as which is really nice because a lot in my life has changed “At my wedding? Are you joking? I can’t think of any- well. So hopefully when it all dies down a bit we’ll get but she’s stayed the same.” thing worse.
    [Show full text]
  • 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.
    [Show full text]
  • Aurora Models, Garage Kits and the Object Practices of Horror
    Materializing Monsters: Aurora Models, Garage Kits, and the Object Practices of Horror Media Bob Rehak Figure 1 The July 1962 issue of Famous Monsters of Filmland carried an advertisement for a new product from Aurora Plastics Company: a scale model of Frankenstein’s Monster (Figure 1). Announcing the first in what would become a long-running and profitable line of Aurora kits based on classic horror-movie creatures, the ad copy, running beside an exploded view of the model’s individual parts alongside a finished and painted version, emphasized rather than elided the steps required to make it whole: YOU ASKED FOR IT — AND HERE IT IS: A COMPLETE KIT of molded styrene plastic to assemble the world’s most FAMOUS MONSTER — 2 Frankenstein! A total of 25 separate pieces go into the making of this exciting, perfectly-scaled model kit by Aurora, quality manufacturer of scale model hobby sets. The FRANKENSTEIN MONSTER stands over 12-inches when assembled. You paint it yourself with quick-dry enamel, and when finished the menacing figure of the great monster appears to walk right off the GRAVESTONE base that is part of this kit. Taken with its insistent second-person you, the text’s avowal of “kit-ness” suggests that the appeal of monster models stemmed not just from their iconic content, but the way they promised to transform readers into modelers in a mutually reinforcing relationship of agency, much as the otherwise static and nonarticulated plastic monster would appear to “walk right off” its base. (Even the choice of subject held a felicitous
    [Show full text]
  • October 1999
    ,. "You don't just need a computer, you need a solution." Fmal Cut Pro ~= Ultura digital video camcorder canon studied your life, your needs and all 27 bones in your hand. Also available, with many of the fine features of the Ultura: Ultura Features: z_~ Genuine canon Optics 16X Opticai/320X Digital zoom Lens Canon Minii)."T Optical Image Stabilization Mini~" (Canon original technology) Canon Flexizone Auto Focus/Auto Exposure (Canon exclusive) on/y$999 2.5" Color LCD View screen & Color Viewfinder PCM Digital Stereo sound Program Auto Exposure Digital Photo Mode alpha tech COMPUTERS.COM (360) 671-2334 • (800) 438-3216 • (360) 671-8571 Fax 2300 James Street, Bellingham, WA 98225 • www.alphatechcomputers.com Hewlett-Packard Apple Solutions We are fully AdvanceNet certified to maintain, We are fully Apple®certified to maintain, alpha tech computers is a place of solutions service and repair all ~ service and repair all Apple® products. for you, no matter what computer equipment Hewlett-Packard products. l...=:J • . Apple Specialist you hove, or, where you bought it . LOCAL SPOTLIGHT ............................ 5 LOCAL SHOWS ................................ 6-7 LOCAL RECORDINGS ................ 8-1 0 ALL AGE VENUES ................ 12-1 5 MAN ... OR ASTROMAN ? .... 16-18 BILL FRISELL ....................... :20-21 FOLKANDWORLD BEAT .................. 23 THEATER REVIEWS ................................ 24 MOVIE REVIEWS ...................................... 25 DINNER WITH HAMILTON ................ 26 P. IN THE SQUARED CIRCLE .......... 27
    [Show full text]
  • Song Catalogue February 2020 Artist Title 2 States Mast Magan 2 States Locha E Ulfat 2 Unlimited No Limit 2Pac Dear Mama 2Pac Changes 2Pac & Notorious B.I.G
    Song Catalogue February 2020 Artist Title 2 States Mast Magan 2 States Locha_E_Ulfat 2 Unlimited No Limit 2Pac Dear Mama 2Pac Changes 2Pac & Notorious B.I.G. Runnin' (Trying To Live) 2Pac Feat. Dr. Dre California Love 3 Doors Down Kryptonite 3Oh!3 Feat. Katy Perry Starstrukk 3T Anything 4 Non Blondes What's Up 5 Seconds of Summer Youngblood 5 Seconds of Summer She's Kinda Hot 5 Seconds of Summer She Looks So Perfect 5 Seconds of Summer Hey Everybody 5 Seconds of Summer Good Girls 5 Seconds of Summer Girls Talk Boys 5 Seconds of Summer Don't Stop 5 Seconds of Summer Amnesia 5 Seconds of Summer (Feat. Julia Michaels) Lie to Me 5ive When The Lights Go Out 5ive We Will Rock You 5ive Let's Dance 5ive Keep On Movin' 5ive If Ya Getting Down 5ive Got The Feelin' 5ive Everybody Get Up 6LACK Feat. J Cole Pretty Little Fears 7Б Молодые ветра 10cc The Things We Do For Love 10cc Rubber Bullets 10cc I'm Not In Love 10cc I'm Mandy Fly Me 10cc Dreadlock Holiday 10cc Donna 30 Seconds To Mars The Kill 30 Seconds To Mars Rescue Me 30 Seconds To Mars Kings And Queens 30 Seconds To Mars From Yesterday 50 Cent Just A Lil Bit 50 Cent In Da Club 50 Cent Candy Shop 50 Cent Feat. Eminem & Adam Levine My Life 50 Cent Feat. Snoop Dogg and Young Jeezy Major Distribution 101 Dalmatians (Disney) Cruella De Vil 883 Nord Sud Ovest Est 911 A Little Bit More 1910 Fruitgum Company Simon Says 1927 If I Could "Weird Al" Yankovic Men In Brown "Weird Al" Yankovic Ebay "Weird Al" Yankovic Canadian Idiot A Bugs Life The Time Of Your Life A Chorus Line (Musical) What I Did For Love A Chorus Line (Musical) One A Chorus Line (Musical) Nothing A Goofy Movie After Today A Great Big World Feat.
    [Show full text]
  • Screams on Screens: Paradigms of Horror
    Screams on Screens: Paradigms of Horror Barry Keith Grant Brock University [email protected] Abstract This paper offers a broad historical overview of the ideology and cultural roots of horror films. The genre of horror has been an important part of film history from the beginning and has never fallen from public popularity. It has also been a staple category of multiple national cinemas, and benefits from a most extensive network of extra-cinematic institutions. Horror movies aim to rudely move us out of our complacency in the quotidian world, by way of negative emotions such as horror, fear, suspense, terror, and disgust. To do so, horror addresses fears that are both universally taboo and that also respond to historically and culturally specific anxieties. The ideology of horror has shifted historically according to contemporaneous cultural anxieties, including the fear of repressed animal desires, sexual difference, nuclear warfare and mass annihilation, lurking madness and violence hiding underneath the quotidian, and bodily decay. But whatever the particular fears exploited by particular horror films, they provide viewers with vicarious but controlled thrills, and thus offer a release, a catharsis, of our collective and individual fears. Author Keywords Genre; taboo; ideology; mythology. Introduction Insofar as both film and videogames are visual forms that unfold in time, there is no question that the latter take their primary inspiration from the former. In what follows, I will focus on horror films rather than games, with the aim of introducing video game scholars and gamers to the rich history of the genre in the cinema. I will touch on several issues central to horror and, I hope, will suggest some connections to videogames as well as hints for further reflection on some of their points of convergence.
    [Show full text]
  • The Long History of Indigenous Rock, Metal, and Punk
    UNIVERSITY OF CALIFORNIA Los Angeles Not All Killed by John Wayne: The Long History of Indigenous Rock, Metal, and Punk 1940s to the Present A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in American Indian Studies by Kristen Le Amber Martinez 2019 © Copyright by Kristen Le Amber Martinez 2019 ABSTRACT OF THESIS Not All Killed by John Wayne: Indigenous Rock ‘n’ Roll, Metal, and Punk History 1940s to the Present by Kristen Le Amber Martinez Master of Arts in American Indian Studies University of California Los Angeles, 2019 Professor Maylei Blackwell, Chair In looking at the contribution of Indigenous punk and hard rock bands, there has been a long history of punk that started in Northern Arizona, as well as a current diverse scene in the Southwest ranging from punk, ska, metal, doom, sludge, blues, and black metal. Diné, Apache, Hopi, Pueblo, Gila, Yaqui, and O’odham bands are currently creating vast punk and metal music scenes. In this thesis, I argue that Native punk is not just a cultural movement, but a form of survivance. Bands utilize punk and their stories as a conduit to counteract issues of victimhood as well as challenge imposed mechanisms of settler colonialism, racism, misogyny, homophobia, notions of being fixed in the past, as well as bringing awareness to genocide and missing and murdered Indigenous women. Through D.I.Y. and space making, bands are writing music which ii resonates with them, and are utilizing their own venues, promotions, zines, unique fashion, and lyrics to tell their stories.
    [Show full text]
  • Dopo Aver Suonato Sui Palchi Di Tutto Il Mondo, I FOALS Sono Pronti
    #DMPressRelease FOALS FOALS ROCK IN ROMA – IPPODROMO DELLE CAPANNELLE 23 GIUGNO 2020 Apertura porte h 19:00 Inizio concerto h 21:00 Prezzo biglietti Posto Unico Intero - € 30,00 + € 4,50 d.p. Artist Pre-sale: dalle ore 9:00 di giovedì 23 gennaio fino alla general sale Biglietti disponibili su rockinroma.com, www.ticketmaster.it e www.ticketone.it dalle ore 10.00 di venerdì 24 gennaio In tutti i punti vendita Ticketone e Box Office Lazio dalle ore 10.00 di lunedì 27 gennaio Info e Contatti ROCK IN ROMA: www.rockinroma.com - www.the-base.it mail to: [email protected] Tel. 06.54.22.08.70 - Info diversamente abili: 06.54.22.08.70 Dopo aver suonato sui palchi di tutto il mondo, i FOALS sono pronti a tornare in Italia: il 23 giugno 2020 si esibiranno al ROCK IN ROMA, all’Ippodromo delle Capannelle. I biglietti saranno disponibili in prevendita su rockinroma.com, www.ticketmaster.it e www.ticketone.it dalle ore 10.00 di venerdì 24 gennaio, e in tutti i punti vendita Ticketone e Box Office Lazio dalle ore 10.00 di lunedì 27 gennaio. I FOALS sono un gruppo inglese nato a Oxford nel 2005. “Antidotes” è il titolo del loro album di debutto, prodotto da Dave Sitek, membro dei Tv on The Radio e produttore degli Yeah Yeah Yeahs. Il disco ottiene subito un ottimo successo in UK e si posiziona alla #3 della UK Album Chart. La band pubblica nel 2010 il secondo album intitolato “Total Life Forever” e riceve una nomination ai Mercury Prize 2010, mentre il singolo “Spanish Sahara” viene riconosciuto come miglior canzone agli NME Awards nel 2011.
    [Show full text]
  • Dream Spinner Teaser Chapters ©2021 Kristen Ashley Not to Be Distrubuted Or Reproduced Without Permission
    DREAM SPINNER By Kristen Ashley Teaser Chapters Prologue Right at Him Hattie It happened on the opening night of the Revue. I knew it when I finished my dance. And I looked for him. They were there, all the guys (and Evie) to cheer us on. To support us. But when my dance was done, I didn’t look to my friend Evie. I didn’t look to Lottie’s man (and my friend) Mo. I didn’t look to Evie’s guy (and also my friend) Mag. I further didn’t look to Ryn’s fella (and yes, my friend too) Boone. Or Auggie, who should be Pepper’s, but he was not. I looked right at him. Right at him. At Axl. And he was looking at me. Of course, I’d just been dancing. But it was more. Because I’d picked that song. And it became even more when my eyes went right to his. I saw how his face changed when I did this, and I didn’t know him all that well, but I still read it. Page 1 Dream Spinner Teaser Chapters ©2021 Kristen Ashley Not to be distrubuted or reproduced without permission I knew exactly what it meant, the way he was looking at me, and the fact, after I’d finished dancing to that song, I’d looked right at him. And what it meant was… I was in trouble. Chapter One Ivan the Terrible Hattie “It went well.” “Tens of thousands of dollars on teachers, leotards, pointe shoes, payin’ for gas to drive you to class, recitals, competitions, and you’re sittin’ here tryin’ to convince me all that was worth it seein’ as you got the big promotion from being a stripper to being a burlesque dancer.” “It’s not burlesque exactly.
    [Show full text]
  • 320+ Halloween Songs and Albums
    320+ Halloween Songs and Albums Over 320 Songs for Halloween Theme Rides in Your Indoor Cycling Classes Compiled by Jennifer Sage, updated October 2014 Halloween presents a unique opportunity for some really fun musically themed classes—the variety is only limited by your imagination. Songs can include spooky, dark, or classic-but-cheesy Halloween tunes (such as Monster Mash). Or you can imagine the wide variety of costumes and use those themes. I’ve included a few common themes such as Sci-Fi and Spy Thriller in my list. Over the years I’ve gotten many of these song suggestions from various online forums, other instructors, and by simply searching online music sources for “Halloween”, “James Bond”, “Witch”, “Ghost” and other key words. This is my most comprehensive list to date. If you have more song ideas, please email them to me so I can continually update this list for future versions. [email protected]. This year’s playlist contains 50 new specific song suggestions and numerous new album suggestions. I’ve included a lot more from the “darkwave” and “gothic” genres. I’ve added “Sugar/Candy” as its own theme. Sources: It’s impossible to list multiple sources for every song but to speed the process up for you, we list at least one source so you don’t spend hours searching for these songs. As with music itself, you have your own preference for downloading sources, so you may want to check there first. Also, some countries may not have the same music available due to music rights.
    [Show full text]
  • Accepted Version
    ACCEPTED VERSION Katie Barclay Love and violence in the music of late modernity Popular Music and Society, 2018; 41(5):539-555 © 2017 Informa UK Limited, trading as Taylor & Francis Group This is an Accepted Manuscript of an article published by Taylor & Francis in Popular Music and Society on 21 Sep 2017 available online: https://www.tandfonline.com/doi/full/10.1080/03007766.2017.1378526 PERMISSIONS http://authorservices.taylorandfrancis.com/sharing-your-work/ Accepted Manuscript (AM) As a Taylor & Francis author, you can post your Accepted Manuscript (AM) on your personal website at any point after publication of your article (this includes posting to Facebook, Google groups, and LinkedIn, and linking from Twitter). To encourage citation of your work we recommend that you insert a link from your posted AM to the published article on Taylor & Francis Online with the following text: “This is an Accepted Manuscript of an article published by Taylor & Francis in [JOURNAL TITLE] on [date of publication], available online: http://www.tandfonline.com/[Article DOI].” For example: “This is an Accepted Manuscript of an article published by Taylor & Francis Group in Africa Review on 17/04/2014, available online: http://www.tandfonline.com/10.1080/12345678.1234.123456. N.B. Using a real DOI will form a link to the Version of Record on Taylor & Francis Online. The AM is defined by the National Information Standards Organization as: “The version of a journal article that has been accepted for publication in a journal.” This means the version that has been through peer review and been accepted by a journal editor.
    [Show full text]