Music History Lecture Notes Modern Rock 1960 - Today
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“Grunge Killed Glam Metal” Narrative by Holly Johnson
The Interplay of Authority, Masculinity, and Signification in the “Grunge Killed Glam Metal” Narrative by Holly Johnson A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario © 2014, Holly Johnson ii Abstract This thesis will deconstruct the "grunge killed '80s metal” narrative, to reveal the idealization by certain critics and musicians of that which is deemed to be authentic, honest, and natural subculture. The central theme is an analysis of the conflicting masculinities of glam metal and grunge music, and how these gender roles are developed and reproduced. I will also demonstrate how, although the idealized authentic subculture is positioned in opposition to the mainstream, it does not in actuality exist outside of the system of commercialism. The problematic nature of this idealization will be examined with regard to the layers of complexity involved in popular rock music genre evolution, involving the inevitable progression from a subculture to the mainstream that occurred with both glam metal and grunge. I will illustrate the ways in which the process of signification functions within rock music to construct masculinities and within subcultures to negotiate authenticity. iii Acknowledgements I would like to thank firstly my academic advisor Dr. William Echard for his continued patience with me during the thesis writing process and for his invaluable guidance. I also would like to send a big thank you to Dr. James Deaville, the head of Music and Culture program, who has given me much assistance along the way. -
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. -
Thinking Plague a History Of
What the press has said about: THINKING PLAGUE A HISTORY OF MADNESS CUNEIFORM 2003 lineup: Mike Johnson (guitars & such), Deborah Perry (singing), Dave Willey (bass guitar & accordions), David Shamrock (drums & percussion), Mark Harris (saxes, clarinet, flute), Matt Mitchell (piano, harmonium, synths) - Guests: Kent McLagan (acoustic bass), Jean Harrison (fiddle), Ron Miles (trumpet), David Kerman (drums and percussion), Leslie Jordan (voice), Mark McCoin (samples and various exotica) “It has been 20 years since Rock In Opposition ceased to exist as a movement in any official sense… Nevertheless, at its best this music can be stimulating and vital. It’s only RIO, but I like it. Carrying the torch for these avant Progressive refuseniks are Thinking Plague, part of a stateside Cow-inspired contingent including 5uu’s and Motor Totemist Guild. These groups have…produced some extraordinary work… Their music eschews the salon woodwinds and cellos of the European groups for a more traditional electric palette, and its driving, whirlwind climaxes show a marked influence of King Crimson and Yes, names to make their RIO granddaddies run screaming from the room. …this new album finds the group’s main writer Mike Johnson in [an] apocalyptic mood, layering the pale vocals of Deborah Perry into a huge choir of doom, her exquisitely twisted harmonies spinning tales of war, despair and redemption as the music becomes audaciously, perhaps absurdly, complex. … Thinking Plague are exciting and ridiculous in equal measure, as good Prog rock should be.” - Keith Moliné, Wire, Issue 239, January 2004 “Thinking Plague formed in 1983…after guitarist and main composer Mike Johnson answered a notice posted by Bob Drake for a guitarist into “Henry Cow, Yes, etc.” …these initial influences are still prominent in the group’s sound - along with King Crimson, Stravinsky, Ligeti, Art Bears, and Univers Zero. -
Fro F M V M°J° Nixon Is Mojo Is in A
TW O G R EA T W H A T'S FILMS FROMI HAPPENING S O U TH T O VIC AFR ICA DUNLO P 9A 11A The Arts and Entertainment Section of the Daily Nexus OF NOTE THIS WEEK 1 1 « Saturday: Don Henley at the Santa Barbara County Bowl. 7 p.m. Sunday: The Jefferson Airplane re turns. S.B. County Bowl, 3 p.m. Tuesday: kd. long and the reclines, country music from Canada. 8 p.m. at the Ventura Theatre Wednesday: Eek-A-M ouse deliv ers fun reggae to the Pub. 8 p.m. Definately worth blowing off Countdown for. Tonight: "Gone With The Wind," The Classic is back at Campbell Hall, 7 p.m. Tickets: $3 w/student ID 961-2080 Tomorrow: The Second Animation -in n i Celebration, at the Victoria St. mmm Theatre until Oct. 8. Saturday: The Flight of the Eagle at Campbell Hall, 8 p.m. H i « » «MI HBfi MIRiM • ». frOf M v M°j° Nixon is Mojo is in a College of Creative Studies' Art vJVl 1T1.J the man your band with his Gallery: Thomas Nozkowski' paint ings. Ends Oct. 28. University Art Museum: The Tt l t f \ T/'\parents prayed partner, Skid Other Side of the Moon: the W orldof Adolf Wolfli until Nov. 5; Free. J y l U J \ J y ou'd never Roper, who Phone: 961-2951 Women's Center Gallery: Recent Works by Stephania Serena. Large grow up to be. plays the wash- color photgraphs that you must see to believe; Free. -
Course Outline and Syllabus the Fab Four and the Stones: How America Surrendered to the Advance Guard of the British Invasion
Course Outline and Syllabus The Fab Four and the Stones: How America surrendered to the advance guard of the British Invasion. This six-week course takes a closer look at the music that inspired these bands, their roots-based influences, and their output of inspired work that was created in the 1960’s. Topics include: The early days, 1960-62: London, Liverpool and Hamburg: Importing rhythm and blues and rockabilly from the States…real rock and roll bands—what a concept! Watch out, world! The heady days of 1963: Don’t look now, but these guys just might be more than great cover bands…and they are becoming very popular…Beatlemania takes off. We can write songs; 1964: the rock and roll band as a creative force. John and Paul, their yin and yang-like personal and musical differences fueling their creative tension, discover that two heads are better than one. The Stones, meanwhile, keep cranking out covers, and plot their conquest of America, one riff at a time. The middle periods, 1965-66: For the boys from Liverpool, waves of brilliant albums that will last forever—every cut a memorable, sing-along winner. While for the Londoners, an artistic breakthrough with their first all--original record. Mick and Keith’s tempestuous relationship pushes away band founder Brian Jones; the Stones are established as a force in the music world. Prisoners of their own success, 1967-68: How their popularity drove them to great heights—and lowered them to awful depths. It’s a long way from three chords and a cloud of dust. -
Bob Dylan: the 30 Th Anniversary Concert Celebration” Returning to PBS on THIRTEEN’S Great Performances in March
Press Contact: Harry Forbes, WNET 212-560-8027 or [email protected] Press materials; http://pressroom.pbs.org/ or http://www.thirteen.org/13pressroom/ Website: http://www.pbs.org/wnet/gperf/ Facebook: http://www.facebook.com/GreatPerformances Twitter: @GPerfPBS “Bob Dylan: The 30 th Anniversary Concert Celebration” Returning to PBS on THIRTEEN’s Great Performances in March A veritable Who’s Who of the music scene includes Eric Clapton, Stevie Wonder, Neil Young, Kris Kristofferson, Tom Petty, Tracy Chapman, George Harrison and others Great Performances presents a special encore of highlights from 1992’s star-studded concert tribute to the American pop music icon at New York City’s Madison Square Garden in Bob Dylan: The 30 th Anniversary Concert Celebration in March on PBS (check local listings). (In New York, THIRTEEN will air the concert on Friday, March 7 at 9 p.m.) Selling out 18,200 seats in a frantic, record-breaking 70 minutes, the concert gathered an amazing Who’s Who of performers to celebrate the 30th anniversary of the enigmatic singer- songwriter’s groundbreaking debut album from 1962, Bob Dylan . Taking viewers from front row center to back stage, the special captures all the excitement of this historic, once-in-a-lifetime concert as many of the greatest names in popular music—including The Band , Mary Chapin Carpenter , Roseanne Cash , Eric Clapton , Shawn Colvin , George Harrison , Richie Havens , Roger McGuinn , John Mellencamp , Tom Petty , Stevie Wonder , Eddie Vedder , Ron Wood , Neil Young , and more—pay homage to Dylan and the songs that made him a legend. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
Effets & Gestes En Métropole Toulousaine > Mensuel D
INTRAMUROSEffets & gestes en métropole toulousaine > Mensuel d’information culturelle / n°383 / gratuit / septembre 2013 / www.intratoulouse.com 2 THIERRY SUC & RAPAS /BIENVENUE CHEZ MOI présentent CALOGERO STANISLAS KAREN BRUNON ELSA FOURLON PHILLIPE UMINSKI Éditorial > One more time V D’après une histoire originale de Marie Bastide V © D. R. l est des mystères insondables. Des com- pouvons estimer que quelques marques de portements incompréhensibles. Des gratitude peuvent être justifiées… Au lieu Ichoses pour lesquelles, arrivé à un certain de cela, c’est souvent l’ostracisme qui pré- cap de la vie, l’on aimerait trouver — à dé- domine chez certains des acteurs culturels faut de réponses — des raisons. Des atti- du cru qui se reconnaîtront. tudes à vous faire passer comme étranger en votre pays! Il faut le dire tout de même, Cependant ne généralisons pas, ce en deux décennies d’édition et de prosély- serait tomber dans la victimisation et je laisse tisme culturel, il y a de côté-ci de la Ga- cet art aux politiques de tous poils, plus ha- ronne des décideurs/acteurs qui nous biles que moi dans cet exercice. D’autant toisent quand ils ne nous méprisent pas tout plus que d’autres dans le métier, des atta- simplement : des organisateurs, des musi- ché(e)s de presse des responsables de ciens, des responsables culturels, des théâ- com’… ont bien compris l’utilité et la néces- treux, des associatifs… tout un beau monde sité d’un média tel que le nôtre, justement ni qui n’accorde aucune reconnaissance à inféodé ni soumis, ce qui lui permet une li- photo © Lisa Roze notre entreprise (au demeurant indépen- berté d’écriture et de publicité (dans le réel dante et non subventionnée). -
Pioneers of the Concept Album
Fancy Meeting You Here: Pioneers of the Concept Album Todd Decker Abstract: The introduction of the long-playing record in 1948 was the most aesthetically signi½cant tech- nological change in the century of the recorded music disc. The new format challenged record producers and recording artists of the 1950s to group sets of songs into marketable wholes and led to a ½rst generation of concept albums that predate more celebrated examples by rock bands from the 1960s. Two strategies used to unify concept albums in the 1950s stand out. The ½rst brought together performers unlikely to col- laborate in the world of live music making. The second strategy featured well-known singers in song- writer- or performer-centered albums of songs from the 1920s, 1930s, and 1940s recorded in contemporary musical styles. Recording artists discussed include Fred Astaire, Ella Fitzgerald, and Rosemary Clooney, among others. After setting the speed dial to 33 1/3, many Amer- icans christened their multiple-speed phonographs with the original cast album of Rodgers and Hammer - stein’s South Paci½c (1949) in the new long-playing record (lp) format. The South Paci½c cast album begins in dramatic fashion with the jagged leaps of the show tune “Bali Hai” arranged for the show’s large pit orchestra: suitable fanfare for the revolu- tion in popular music that followed the wide public adoption of the lp. Reportedly selling more than one million copies, the South Paci½c lp helped launch Columbia Records’ innovative new recorded music format, which, along with its longer playing TODD DECKER is an Associate time, also delivered better sound quality than the Professor of Musicology at Wash- 78s that had been the industry standard for the pre- ington University in St. -
The Music of John Mellencamp, David Bowie and John Zorn Author(S): Ellie M
Postcolonialism on the Make: The Music of John Mellencamp, David Bowie and John Zorn Author(s): Ellie M. Hisama Source: Popular Music , May, 1993, Vol. 12, No. 2 (May, 1993), pp. 91-104 Published by: Cambridge University Press Stable URL: https://www.jstor.org/stable/931292 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Popular Music This content downloaded from 128.59.194.78 on Thu, 18 Mar 2021 15:42:13 UTC All use subject to https://about.jstor.org/terms Popular Music (1993) Volume 12/2. Copyright ( 1993 Cambridge University Press Postcolonialism on the make: the music of John Mellencamp, David Bowie and John Zorn ELLIE M. HISAMA China Girl Take me to your jasmine place Cool me with your subtle grace To know me is no sin And I won't break you, China Girl If you take me into your world It's been my good fortune to find you China Girl (John Cougar Mellencamp) When we acknowledge that an idea, history or tradition is not ours, we distance ourselves from it. When we then proceed to use, incorporate or represent it, we arrogate the right to employ what we acknowledge as not ours. -
Whispering Campaign Against Your Fish
2014 Pacific Fishing Calendar Inside Alaska Independent Fishermen’s Marketing Assn. www.pacificfishing.com THE BUSINESS MAGAZINE FOR FISHERMEN n DECEMBER 2013 Whispering campaign against your fish US $2.95/CAN. $3.95 • Cal fishing co-op working 12 • Questions for Cora Campbell 63126 The No. 1 maritime VSAT network brings a new dimension to broadband at sea. Movies & IPTV TV News SATCOM... & Sports Clips and beyond! KVH’s new IP-MobileCast is a unique content delivery Newspapers service providing affordable news, sports, entertainment, Introducing TM electronic charts, and weather IP-MobileCast on top of your mini-VSAT Broadband connection. Radio Training & e-Learning Crew Social Media Weather Files Full ECDIS & Forecasts Chart Database ALL-NEW Delivery & PRODUCT LINE! Updates KVH’s end-to-end solution empowers you to deliver the bandwidth your operations demand, keep your crew happy, and manage your budget... all at the same time. Get the details: New VIP-series features powerful Integrated CommBoxTM Modem (ICM) – www.minivsat.com/VIP the hub for IP-MobileCast services. KVH INDUSTRIES WORLDWIDE World HQ: United States | [email protected] EMEA HQ: Denmark | [email protected] Asia-Pacific HQ: Singapore | [email protected] +1 401.847.3327 +45 45 160 180 +65 6513 0290 ©2013 KVH Industries, Inc. KVH, TracPhone, IP-MobileCast, CommBox, and the unique light-colored dome with dark contrasting baseplate are trademarks of KVH Industries, Inc. mini-VSAT Broadband is a service mark of KVH Industries, Inc. 13_ipmobilecast_PacificFishing.indd 1 6/6/13 12:37 PM IN THIS ISSUE Editor's note Don McManman ® Eighth THE BUSINESS MAGAZINE FOR FISHERMEN INSIDE: Commandment The truth is a notion sufficiently worthy to be written down more than 3,000 years ago: “Thou shall not bear false witness.” Yet, there are some folks who don’t know the Eighth Commandment, and they’re attacking your business. -
Faceless, by Alyssa Sheinmel Who I Am As a Reader
Faceless, By Alyssa Who I am as a Reader Sheinmel As a reader I like fantasy and exciting books. Faceless by Alyssa Sheinmel is a realistic Faceless made me branch out my reading choices fiction book about a highschool senior; her name is Maise. One morning Maise was out for a run. and enjoy realistic fiction more. I like reading books While she was out for a run, an electrical fire that are page turners and make me not predict started. She hears sirens and sees EMT’s the ending of the book. I also like books that are surround her. Next thing she knows, she wakes sort of mysterious. Another book that I enjoyed up in the hospital. In this book, Maise faces the this year was R.I.P Eliza Heart by Alyssa Shienmel. challenge of finding herself after a life-altering I like both of these books because I think they both surgery on her face. For example, she deals with losing her friends & her track-star fame. made me wonder what was going to happen next in The author painted good pictures of the the story. I used to not read a lot at all, but 6th places she was in the book. The book shows grade has made me a better reader; I have read what it is like for people who have different way more books this year than any of my other features or disabilities, and how their life school years. changed or is changing. This book was a great book, and I recommend it to anyone.