The Local 518 Music (And More) Report 2018 – Quarter 1
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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. -
Synthwave Muzikos Stilius: Keistumas Ir Hiperrealybė
LIETUVOS MUZIKOS IR TEATRO AKADEMIJA MUZIKOS FAKULTETAS KOMPOZICIJOS KATEDRA Martynas Kraujalis SYNTHWAVE MUZIKOS STILIUS: KEISTUMAS IR HIPERREALYBĖ Studijų programa: kompozicija (skaitmeninės technologijos) Magistro tiriamasis darbas Darbo autorius: Martynas Kraujalis (parašas) Darbo vadovas: Lekt. dr. Jonas Jurkūnas (parašas) Vilnius, 2020 LIETUVOS MUZIKOS IR TEATRO AKADEMIJA BAIGIAMOJO DARBO SĄŽININGUMO DEKLARACIJA 20____m. _____________ __ d. Patvirtinu, kad mano tiriamasis rašto darbas (tema) „SYNTHWAVE MUZIKOS STILIUS: KEISTUMAS IR HIPERREALYBĖ“, yra parengtas savarankiškai. 1. Šiame darbe pateikta medžiaga nėra plagijuota, tyrimų duomenys yra autentiški ir nesuklastoti. 2. Tiesiogiai ar netiesiogiai panaudotos kitų šaltinių ir/ar autorių citatos ir/ar kita medžiaga pažymėta literatūros nuorodose arba įvardinta kitais būdais. 3. Kitų asmenų indėlio į parengtą baigiamąjį darbą nėra. 4. Jokių įstatymų nenumatytų piniginių sumų už šį darbą niekam nesu mokėjęs (-usi). 3. Su pasekmėmis, nustačius plagijavimo ar duomenų klastojimo atvejus, esu susipažinęs(- usi) ir jas suprantu. ______________ ______________________ Parašas (Vardas, pavardė) 2 Martynas Kraujalis Synthwave muzikos stilius: keistumas ir hiperrealybė Santrauka Synthwave muzika: saviraiška ir postmodernistinis muzikinis judėjimas. Hiperrealybė – geresnis pasaulio sukūrimas teikiantis daugiau laimės nei tikras. Retro-futuristnė ateitis, kuri niekada taip ir neįvyko, tačiau šiandien apie ją galvojama kaip apie geresnį hiperrealų pasaulį, geresnį gyvenimą į kurį norisi grįžti nors jo niekada ir nebuvo. Sintezatoriai ir bitcrush: Synthwave muzikos pagrindiniai elementai kurie imituoja tų laikų stilistiką: bitcrush 1980 -ais metais buvo trūkumas, dabar tai didelė Synthwave stiliaus dalis. Elektroninis sintezatoriaus garsas tampa hiperrealybės terpės imitacija. Mėlyna Synthwave spalva: žmogaus troškimas kontaktuoti su dieviškąja būtybe – hiperrealybė. Synthwave muzika ir kaip keistai į tai reaguoja klausytojas: reakcija į keistumą sukuria dar vieną Synthwave klausymo pojūtį, estetinį Synthwave suvokimą. -
Richard Thompson Industry Mp3, Flac, Wma
Richard Thompson Industry mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Industry Country: US Style: Folk Rock, Jazz-Rock MP3 version RAR size: 1768 mb FLAC version RAR size: 1765 mb WMA version RAR size: 1229 mb Rating: 4.5 Votes: 735 Other Formats: DXD MP4 TTA AA AIFF VQF MIDI Tracklist Hide Credits Chorale Arco Bass – Danny ThompsonCor Anglais – Dylan FowlerElectric Guitar – Richard 1 0:54 ThompsonPercussion – Paul ClarvisSoprano Saxophone – Paul DunmallTenor Saxophone, Bagpipes [Border Pipes] – Tony RobertsViolin – Peter Knight Sweetheart On The Barricade Double Bass, Trombone [Bass] – Danny ThompsonDrums, Percussion – David Mattacks*Guitar, Vocals – Richard ThompsonRhythm Guitar – Dylan FowlerSopranino 2 4:22 Saxophone – Paul DunmallTenor Saxophone, Bass Clarinet, Flute, Harmonium – Tony RobertsTrombone [1st Tenor] – Albert Thompson Trombone [2nd Tenor] – Harold Thompson Violin – Peter KnightVocals – Christine Collister Children Of The Dark 3 Acoustic Guitar – Dylan FowlerDouble Bass – Danny ThompsonElectric Guitar – Richard 4:19 ThompsonFlute – Tony RobertsSoprano Saxophone – Paul DunmallViolin – Peter Knight Big Chimney 4 Double Bass – Danny ThompsonGuitar, Vocals – Richard ThompsonTenor Saxophone – Paul 4:37 DunmallTenor Saxophone, Baritone Saxophone – Tony RobertsVocals – Christine Collister Kitty "Tommy, Quick! Get Up. I Can Hear Clogs Goin' Up The Street." Tommy "Well Stick Mine Out And See If They'll Go With 'Em!" 5 Acoustic Guitar – Richard ThompsonDouble Bass – Danny ThompsonElectric Guitar – Dylan 4:08 FowlerSoprano -
Adams Avenue Street Fair
FREE SAN DIEGO ROUBADOUR Alternative country, Americana, roots, Tfolk, gospel, and bluegrass music news September-October 2004 THIRD ANNIVERSARY ISSUE Vol. 4, No. 1 official program adams ave. street fair - what to see , where to 7 S t a g e s • 8 0 M u s i c a l A c t s • go , how to get there • O s v Welcome ………………3 e h Street Fair Headliners …8 r t Performing Artists …10-19 o 4 o Schedules, Map ………12 0 B 0 s F P t Welcome Mat ………3 o f Mission Statement o a Contributors d r , C Full Circle.. …………4 A r San Diego Music Awards & Lou Curtiss t s s s t e Front Porch …………6 Stag & CeeCee James r 7 A Victoria Robertson C , Acoustic Music San Diego r d a Adams Ave. Street Fair o f o See pp. 8-19 t F Of Note. ……………19 s 0 Victoria Robertson B 0 Joe Morgan o 4 Northstar Session o t r Ramblin’... …………20 h e s Bluegrass Corner v Zen of Recording O José Sinatra Jim McInnes’ Radio Daze Funk • Country • World • Blues • Jazz • Folk • Zydeco • Rockabilly • Latin ‘Round About ....... …22 Sept.-Oct. Music Calendar The Local Seen ……23 nce again, the last weekend in September brings and many more — and continues to draw musicians to San Diego from all over the country who seek fame and exposure. Photo Page us the the largest, most diverse, free music festival Othat may exist in the world today. At the Adams Fun and family-oriented, there is so much to enjoy at the Avenue Street Fair, located between Bancroft Street and 35th Adams Avenue Street Fair: Three beer gardens, carnival rides, Street in Normal Heights, more than 80 different musical acts a pancake breakfast, and more than 400 food and arts and will take the stage over a two-day period: Saturday, September crafts booths. -
A Comparative Analysis of Punk in Spain and Mexico
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2018-07-01 El futuro ya está aquí: A Comparative Analysis of Punk in Spain and Mexico Rex Richard Wilkins Brigham Young University Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Spanish and Portuguese Language and Literature Commons BYU ScholarsArchive Citation Wilkins, Rex Richard, "El futuro ya está aquí: A Comparative Analysis of Punk in Spain and Mexico" (2018). Theses and Dissertations. 6997. https://scholarsarchive.byu.edu/etd/6997 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. El futuro ya está aquí: A Comparative Analysis of Punk Culture in Spain and Mexico Rex Richard Wilkins A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Brian Price, Chair Erik Larson Alvin Sherman Department of Spanish and Portuguese Brigham Young University Copyright © 2018 Rex Richard Wilkins All Rights Reserved ABSTRACT El futuro ya está aquí: A Comparative Analysis of Punk Culture in Spain and Mexico Rex Richard Wilkins Department of Spanish and Portuguese, BYU Master of Arts This thesis examines the punk genre’s evolution into commercial mainstream music in Spain and Mexico. It looks at how this evolution altered both the aesthetic and gesture of the genre. This evolution can be seen by examining four bands that followed similar musical and commercial trajectories. -
Songs in the Key of Z: the Curious Universe of Outsider Music Free
FREE SONGS IN THE KEY OF Z: THE CURIOUS UNIVERSE OF OUTSIDER MUSIC PDF Irwin Chusid | 272 pages | 01 Apr 2000 | A Cappella Books | 9781556523724 | English | Los Angeles, CA, United States Songs in the Key of Z | Chicago Review Press If VH1's Behind the Music were as interesting as Chusid's first, and reportedly last, book, this reviewer would never leave his apartment. A record producer, music historian, and host of WFMU's Irwin Chusid. Outsider musicians can be the product of damaged DNA, alien abduction, drug fry, demonic possession, or simply sheer obliviousness. This book profiles dozens of outsider musicians, both prominent and obscure—figures such as The Shaggs, Syd Barrett, Tiny Tim, Jandek, Captain Beefheart, Daniel Johnston, Songs in the Key of Z: The Curious Universe of Outsider Music Partch, and The Legendary Stardust Cowboy—and presents their strange life stories along with photographs, interviews, cartoons, and discographies. About the only things these self-taught artists have in common are an utter lack of conventional tunefulness and an overabundance of earnestness and passion. But, believe it or not, they're worth listening to, often outmatching all contenders for inventiveness and originality. A CD featuring songs by artists profiled in the book is also available. Syd Barrett 21 Snapshots in Sound. The Shaggs 12 Eilert Pilarm. "Songs in the Key of Z" by Irwin Chusid | The Curious Universe of Outsider Music Presidents' Day. Veterans Day. Shopping Cart Checkout. Follow Us. Audio Downloads. Activity Kit. Songs in the Key of Z. Overview Reviews Author Biography Overview Outsider musicians can be the product Songs in the Key of Z: The Curious Universe of Outsider Music damaged DNA, alien abduction, drug fry, demonic possession, or simply sheer obliviousness. -
ピーター・バラカン 2010年12月4日放送 01. I Put A
ウィークエンド・サンシャイン PLAYLIST ARCHIVE DJ：ピーター・バラカン 2010年12月4日放送 01. I Put A Spell On You / Screamin' Jay Hawkins ALBUM: Nowhere Boy 02. Twenty Flight Rock / Eddie Cochran ALBUM: Nowhere Boy 03. It's About That Time / Miles Davis ALBUM: Bitches Brew Legacy Edition 04. Jimmie Standing In The Rain / Elvis Costello ALBUM: National Ransom 05. You Hung The Moon / Elvis Costello ALBUM: National Ransom 06. One Bell Ringing / Elvis Costello ALBUM: National Ransom 07. I Done Made Up My Mind / Aaron Neville ALBUM: I Know I've Been Changed 08. Tell Me What Kind Of Man Jesus Is / Aaron Neville ALBUM: I Know I've Been Changed 09. Tell Me What Kind Of Man Jesus Is / Big Bill Broonzy ALBUM: Big Bill Broonzy Sings Folk Songs 10. Key To The Highway / Big Bill Broonzy ALBUM: Trouble In Mind 11. Key To The Highway / Little Walter ALBUM: The Complete Chess Masters 12. My Babe / Little Walter ALBUM: The Complete Chess Masters 13. All Your Love (I Miss Loving) / The Steve Miller Band ALBUM: Bingo! 14. Come On (Let The Good Times Roll) / The Steve Miller Band ALBUM: Bingo! 15. The Train Kept A-Rollin' / Tiny Bradshaw ALBUM: Blowing The Fuse 1952 16. The Train Kept A Rollin' / Johnny Burnette ALBUM: Rock'n'Roll Trio - Tear It Up 17. Ball And Chain / Big Mama Thornton ALBUM: Janis Joplin Classics 18. Maybe I'm Amazed / Marc Cohn ALBUM: Listening Booth: 1970 19. Low Spark Of High Heeled Boys / Traffic ALBUM: Revolutions: The Very Best of Steve Winwood 2010年12月11日放送 01. Testify / The Isley Brothers ALBUM: West Coast Seattle Boy - The Jimi Hendrix Anthology 02. -
SPRAYNARD Street Date: FUNTITLED CD/LP 05/10/2011
SPRAYNARD Street Date: FUNTITLED CD/LP 05/10/2011 INFORMATION: Artist Hometown: WESTCHESTER, PA Key Markets: NEW YORK LONDON PHILADELPHIA WESTCHESTER BOSTON For Fans Of: -HARD GIRLS -OSKER -PLOW UNITED ARTIST: SPRAYNARD TITLE: FUNTITLED Spraynard started in the summer of 2008 when three friends CAT#: AM 215 (Patrick Graham, Patrick Ware, and Mark Dickinson) felt the need FORMAT: CD, LP for a resurgence of DIY music in their hometown. They combine GENRE: PUNK passionate & urgent vocals with infectious pop punk in the vein of BOX LOT: 50 PLOW UNITED and OSKER. This is their Asian Man debut called SRLP: CD $10.98, LP $13.98 “funtitled”. They have a released a slew of 7 inches and an LP on UPC: CD: 612851021525 Runner Up Records called “Cut and Paste” They continue to tour LP: 612851021518 EXPORT: NO RESTRICTIONS constantly and passionate about punk as a philosophy as much as a sound. TRACKLIST: Marketing Points: 1. I Care Not -Constant touring 2. The Denver Broncos -Produced by Mike Bardzik (EVERYONE EVERYWHERE, LIGHTEN UP) vs. The Denver Broncos -Played FEST 3. O.R. They? 4. Little Green Ghouls 5. We’re Pretty Nice Guys Any special scenes/markets this might appeal to: 6. Ah Gun That house show punk community 7. Damn You, A Box 8. Spooky, Scary 9. Homies Where the Heart Is 10. Quite Exciting, This Computer Magic 11. Not Good Enough, Gary 12. Joe Gallgher’s Fantasy Fun Camp Exclusively ilcdistro.com Distributed by [email protected] INDEPENDENT LABEL 804.592.1452 PH COLLECTIVE 866.382.2431 FX MISS DERRINGER Street Date: KING JAMES AND A COLT 45 CD 05/10/2011 INFORMATION: Artist Hometown: LOS ANGELES, CA Key Markets: LOS ANGELES NASHVILLE DETROIT LONDON SAN FRANCISCO For Fans Of: ???? Description needed. -
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in Partial Fulfillment Of
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Dana DeVlieger, B.A., M.A. Graduate Program in Music The Ohio State University 2016 Thesis Committee: Graeme M. Boone, Advisor Johanna Devaney Anna Gawboy Copyright by Dana Lauren DeVlieger 2016 Abstract “Whiskey in the Jar” is a traditional Irish song that is performed by musicians from many different musical genres. However, because there are influential recordings of the song performed in different styles, from folk to punk to metal, one begins to wonder what the role of the song’s Irish heritage is and whether or not it retains a sense of Irish identity in different iterations. The current project examines a corpus of 398 recordings of “Whiskey in the Jar” by artists from all over the world. By analyzing acoustic markers of Irishness, for example an Irish accent, as well as markers of other musical traditions, this study aims explores the different ways that the song has been performed and discusses the possible presence of an “Irish feel” on recordings that do not sound overtly Irish. ii Dedication Dedicated to my grandfather, Edward Blake, for instilling in our family a love of Irish music and a pride in our heritage iii Acknowledgments I would like to thank my advisor, Graeme Boone, for showing great and enthusiasm for this project and for offering advice and support throughout the process. I would also like to thank Johanna Devaney and Anna Gawboy for their valuable insight and ideas for future directions and ways to improve. -
December 2004 Troubadour
FREE SAN DIEGO ROUBADOUR Alternative country, Americana, roots, folk, Tblues, gospel, jazz, and bluegrass music news January 2005 www.sandiegotroubadour.com Vol. 4, No. 4 what’s Nickel Creek: inside Living the Dream Welcome Mat ………3 Mission Statement Contributors Tales from the Trails Full Circle.. …………4 Eugene Vacher Recordially, Lou Curtiss Front Porch …………6 KKSM’s Joan Rubin Tom Boyer Parlor Showcase... …8 Nickel Creek Ramblin’... …………10 Bluegrass Corner Zen of Recording Hosing Down Radio Daze The Highway’s Song... 12 Al Kooper Of Note. ……………13 Griffin House The Taylor Harvey Band Itai ickles the horse chews February 1981, also a home grown Sean and Sara when the surf is good, Rookie Card contentedly in the prodigy raised in the Idylwild moun - and one can feel the excitement in Tom McRae small backyard pasture tains a couple of hours from Vista, it the house as they prepare for one of ‘Round About ....... …14 as the three young - is the mandolin. The three friends are their regular surf safaris to Carlsbad. January Music Calendar sters on the back already creating quite a stir at blue - Mom Karen happily shows the latest porch play their instru - grass festivals and contests. photos of the body board exploits, The Local Seen ……15 ments. It’s peaceful and Life is good in those early days. and Sean and Sara both expound on Photo Page Pbucolic in rural Vista during the mid School at home, church and church the great rides, and “getting pound - 1980s for these three home- activities, surfing, skiing, camping with ed” on the bigger days. -
2011 – Cincinnati, OH
Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers. -
2. Case Study: Anime Music Videos
2. CASE STUDY: ANIME MUSIC VIDEOS Dana Milstein When on 1 August 1981 at 12:01 a.m. the Buggles’ ‘Video Killed the Radio Star’ aired as MTV’s first music video, its lyrics parodied the very media pre- senting it: ‘We can’t rewind, we’ve gone too far, . put the blame on VTR.’ Influenced by J. G. Ballard’s 1960 short story ‘The Sound Sweep’, Trevor Horn’s song voiced anxiety over the dystopian, artificial world developing as a result of modern technology. Ballard’s story described a world in which natu- rally audible sound, particularly song, is considered to be noise pollution; a sound sweep removes this acoustic noise on a daily basis while radios broad- cast a silent, rescored version of music using a richer, ultrasonic orchestra that subconsciously produces positive feelings in its listeners. Ballard was particu- larly criticising technology’s attempt to manipulate the human voice, by con- tending that the voice as a natural musical instrument can only be generated by ‘non-mechanical means which the neruophonic engineer could never hope, or bother, to duplicate’ (Ballard 2006: 150). Similarly, Horn professed anxiety over a world in which VTRs (video tape recorders) replace real-time radio music with simulacra of those performances. VTRs allowed networks to replay shows, to cater to different time zones, and to rerecord over material. Indeed, the first VTR broadcast occurred on 25 October 1956, when a recording of guest singer Dorothy Collins made the previous night was broadcast ‘live’ on the Jonathan Winters Show. The business of keeping audiences hooked 24 hours a day, 7 days a week, promoted the concept of quantity over quality: yes- terday’s information was irrelevant and could be permanently erased after serving its money-making purpose.