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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. -
Bright Tunes Music V. Harrisongs Music
420 F.Supp. 177 United States District Court, S. D. New York. BRIGHT TUNES MUSIC CORP., Plaintiff, v. HARRISONGS MUSIC, LTD., et al., Defendants. No. 7 1 Civ. 602. | Aug. 31, 1976. | As Amended Sept. 1, 1976. OPINION AND ORDER OWEN, District Judge. This is an action in which it is claimed that a successful song, My Sweet Lord, listing George Harrison as the composer, is plagiarized from an earlier successful song, He’s So Fine, composed by Ronald Mack, recorded by a singing group called the “Chiffons,” the copyright of which is owned by plaintiff, Bright Tunes Music Corp. He’s So Fine, recorded in 1962, is a catchy tune consisting essentially of four repetitions of a very short basic musical phrase, “sol-mi-re,” (hereinafter motif A),1 altered as necessary to fit the words, followed by four repetitions of another short basic musical phrase, “sol-la-do-la-do,” (hereinafter motif B).2 While neither motif is novel, the four repetitions of A, followed by four repetitions of B, is a highly unique pattern.3 In addition, in the second use of the motif B series, there is a grace note inserted making the phrase go “sol-la-do-la-re-do.”4 My Sweet Lord, recorded first in 1970, also uses the same motif A (modified to suit the words) four times, followed by motif B, repeated three times, not four. In place of He’s So Fine’s fourth repetition of motif B, My Sweet Lord has a transitional passage of musical attractiveness of the same approximate length, with the identical grace note in the identical second repetition.5 The harmonies of both songs are identical.6 *179 George Harrison, a former member of The Beatles, was aware of He’s So Fine. -
Billy Preston
Billy Preston Billy Preston was a soul singer and pianist who, in addition to having a successful solo career, collaborated with some of the greatest names in the music industry, including the Beatles, the Rolling Stones, Little Richard, Ray Charles, George Harrison, Eric Clapton, Bob Dylan, Sam Cooke, Sammy Davis Jr., Sly Stone, Aretha Franklin, the Jackson 5, Quincy Jones, and the Red Hot Chili Peppers. Often called “the Fifth Beatle,” this former child prodigy left one of the most profound and prolific legacies in music. William Everett Preston was born in Houston, Texas in 1946. He began playing piano at age three, and by ten he had joined the band of gospel great Mahalia Jackson. At age twelve he appeared in the 1958 film St. Louis Blues, portraying blues composer W.C. Handy as a young man. In the 1960s Preston performed with Little Richard and Ray Charles, and became a regular singer and pianist on the ABC television series Shindig. Preston went on to a successful career as a session musician, including lending his talents to the Beatle’s Let It Be album. That collaboration led to his signing to the Beatles’ Apple label, and in 1969 his solo effort, produced by George Harrison, was released. The album That's the Way God Planned It and the single of the same name met with limited success, but in 1972 he released an instrumental funk single, "Outa-Space," that reached #2 in the U.S. and won the Grammy award for Best Pop Instrumental Performance. Over the next two years, Preston enjoyed more number one hits including "Will It Go Round In Circles" and "Nothing From Nothing." He was the first guest musical artist on the premier episode of the popular TV show Saturday Night Live. -
RONNIE WOOD a New Book Illuminates the Guitarist’S Life Before the Rolling Stones
ISSUE #41 MMUSICMAG.COM Q&A John Abbott RONNIE WOOD A new book illuminates the guitarist’s life before the Rolling Stones AS A MEMBER OF THE ROLLING years, we’d put two guitars and vocals in the night. I could see he had his eye on Stones for 40 years, Ronnie Wood’s legacy through one amp, and the bass player had me. I just knew in the back of my mind that is assured. But a recently discovered journal his own. That’s why we let him join the band. some day it would come around, and sure he kept in 1965—before his tenures with (laughs) But as soon as I could afford my enough, it did. the Jeff Beck Group, Small Faces and the own I started to go to Jim Marshall’s [gear] Stones—offers unique insight into the then- shop. I’d run across people like Pete You traded your guitar to play bass 18-year-old’s mindset and ambitions. The Townshend in there and we’d have a hilarious for the Jeff Beck Group? diary—which includes illustrations by Wood, friendly rivalry going to see who could get I’d reached the saturation point on guitar now a noted visual artist—is being released the biggest stack. with the Birds, so when Jeff Beck asked as a limited-edition book, How Can It Be? if I wouldn’t mind playing bass, I welcomed A Rock & Roll Diary. It chronicles Wood’s Was there camaraderie among the the idea. Playing bass gave me a new, exploits on the London club scene while he competing bands? revitalized energy to go back to guitar was with the Birds, and his interactions with The Birds never really had any hit records, later. -
Dec. 22, 2015 Snd. Tech. Album Arch
SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London. -
'N' Roll: the Rolling Stones in Film
it’s only rock ’n’ roll: the rolling stones in film - artforum.com / ... http://artforum.com/inprint/issue=201209&id=36146 dleopard59 log out ADVERTISE BACK ISSUES CONTACT US SUBSCRIBE follow us search ARTGUIDE IN PRINT 500 WORDS PREVIEWS BOOKFORUM 中文版 DIARY PICKS NEWS VIDEO FILM SLANT A & E IN PRINT NOVEMBER 2012 IT’S ONLY ROCK ’N’ ROLL: THE ROLLING STONES IN FILM SUBSCRIBE recent issues May 2013 April 2013 March 2013 February 2013 Robert Frank, January 2013 Cocksucker Blues, 1972, 16 mm, color and black- December 2012 and-white, sound, 93 November 2012 minutes. Mick Jagger. Archive to 1962 Photo: Photofest. As the “world’s greatest rock ’n’ roll band” celebrates its golden jubilee this year, the Museum of Modern Art in New York pays tribute with a heady cinematic survey: “THE ROLLING STONES: 50 YEARS OF FILM” (NOVEMBER 15–DECEMBER 2). But 2012 marks another anniversary as well. Forty years ago, the Stones embarked on a legendary tour to promote their new album, Exile on Main St., and they engaged two very different filmmakers—Robert Frank and Rollin Binzer—to document the affair on celluloid, producing wildly divergent results: Cocksucker Blues and Ladies and Gentlemen: The Rolling Stones, respectively. Film historian DAVID E. JAMES traces the events that would ultimately transform the band’s extraordinary engagement with the medium—and with the very public on which not only their stardom but their cultural significance depended. WITH THE BEATLES’ FINAL PERFORMANCE on the roof of the Apple Records building at the beginning of 1969, documented in Michael Lindsay-Hogg’s film Let It Be (1970), the Rolling Stones’ claim to being the greatest rock band in the world was now uncontested. -
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. -
RUEN BROTHERS Whether It's Their
RUEN BROTHERS new again with these traditional influences.” Henry adds, “The album was Whether it’s their collaboration with the recorded using all real instruments and a legendary producer Rick Rubin, kudos live band, resulting in a different sound from the likes of Zane Lowe and the BBC, than what’s present in much of today’s or a string of memorable performances popular music.” Adds Rupert of the from the hills of Glastonbury to the collaboration, “It was incredibly exciting - deserts of Coachella, multi- he’s worked with some of our favorite instrumentalist and songwriter siblings artists of all time and is such a versatile Henry and Rupert Stansall, known by their producer. He helped us recognize the amalgam-created moniker Ruen Brothers, strength of Henry and I playing and are making a mark with a throwback rock singing together; it was a foundation to and roll sound that intersects the early build upon and the guidance we needed.” days of the genre with a dynamic present- The brothers’ artistic background and day act. The two have gone from sleepy pedigree come into full focus on their English steel town obscurity to craft- debut studio album ALL MY SHADES OF smiths ready to BLUE (out 6/01 via Ramseur), produced by make a global impact. Rubin and featuring Henry on acoustic guitar and Rupert on electric and acoustic Inspired by their music aficionado father guitar, harmonica, and bass. The album who raised the duo on a steady diet of also includes the talents of such boldface The Rolling Stones and The Everly names as Chad Smith of the Red Hot Chili Brothers, the two would rehearse in the Peppers on drums, along with The Killers’ family kitchen while scrounging for gigs in Dave Keuning on strings and Faces and their blue-collar hometown of Small Faces legend Ian McLagan on Scunthorpe, England. -
Bourdieu and the Music Field
Bourdieu and the Music Field Professor Michael Grenfell This work as an example of the: Problem of Aesthetics A Reflective and Relational Methodology ‘to construct systems of intelligible relations capable of making sense of sentient data’. Rules of Art: p.xvi A reflexive understanding of the expressive impulse in trans-historical fields and the necessity of human creativity immanent in them. (ibid). A Bourdieusian Methodology for the Sub-Field of Musical Production • The process is always iterative … so this paper presents a ‘work in progress’ … • The presentation represents the state of play in a third cycle through data collection and analysis …so findings are contingent and diagrams used are the current working diagrams! • The process begins with the most prominent agents in the field since these are the ones with the most capital and the best configuration. A Bourdieusian Approach to the Music Field ……..involves……… Structure Structuring and Structured Structures Externalisation of Internality and the Internalisation of Externality => ‘A science of dialectical relations between objective structures…and the subjective dispositions within which these structures are actualised and which tend to reproduce them’. Bourdieu’s Thinking Tools “Habitus and Field designate bundles of relations. A field consists of a set of objective, historical relations between positions anchored in certain forms of power (or capital); habitus consists of a set of historical relations ‘deposited’ within individual bodies in the forms of mental and corporeal -
UNIVERSAL MUSIC • Rammstein – Videos 1995 – 2012 (DVD) • The
Rammstein – Videos 1995 – 2012 (DVD) The Rolling Stones – Grrr (Album Vinyl Box) Insane Clown Posse – Insane Clown Posse & Twiztid's American Psycho Tour Documentary (DVD) New Releases From Classics And Jazz Inside!! And more… UNI13-03 “Our assets on-line” UNIVERSAL MUSIC 2450 Victoria Park Ave., Suite 1, Willowdale, Ontario M2J 5H3 Phone: (416) 718.4000 Artwork shown may not be final UNIVERSAL MUSIC CANADA NEW RELEASE Artist/Title: Hollywood Undead – Notes From The Underground Bar Code: Cat. #: B001797702 Price Code: SP Order Due: December 20, 2012 Release Date: January 8, 2013 File: Hip Hop /Rock Genre Code: 34/37 Box Lot: 25 SHORT SELL CYCLE Key Tracks: We Are KEY POINTS: 14 BRAND NEW TRACKS Hollywood Undead have sold over 83,000 albums in Canada HEAVY outdoor, radio and online campaign First single “We Are” video is expected mid December 2013 Tour in the works 2.8 million Facebook friends and 166,000 Twitter followers Also Available American Tragedy (2011) ‐ B001527502 Swan Song (2008) ‐ B001133102 INTERNAL USE Label Name: Territory: Choose Release Type: Choose For additional artist information please contact JP Boucher at 416‐718‐4113 or [email protected]. UNIVERSAL MUSIC 2450 Victoria Park Avenue, Suite 1, Toronto, ON M2J 5H3 Phone: (416) 718‐4000 Fax: (416) 718‐4218 UNIVERSAL MUSIC CANADA NEW RELEASE Artist/Title: Black Veil Brides / Wretched And Divine: The Story Of Bar Code: The Wild Ones (Regular CD) Cat. #: B001781702 Price Code: SP 02537 22095 Order Due: Dec. 20, 2012 Release Date: Jan. 8, 2013 6 3 File: Rock Genre Code: 37 Box Lot: 25 Short Sell Cycle Key Tracks: Artist/Title: Black Veil Brides / Wretched And Divine: The Story Of Bar Code: The Wild Ones (Deluxe CD/DVD) Cat. -
November 22, 1977 Solutions Offered for Parking Problem
MADISON MEMORIAL L'.3.7ARY Jomec Madison University- e cB&eze Harrioriurg, VA 22301 Tuesday November 22, 1*77 No. 23 Vol. LV James Madison University, Harrisonburg, Virginia Commuters urge X lot division By MARK DAVISON A proposal allocating 199 spaces in X parking lot for commuter use was presented to the Parking Advisory Committee Nov. 15 by the Commuter Student Com- mittee Chairman. The proposal was based on the findings of a commuter student task force which studied the X lot parking patterns during a two-week period in October and November. After studying the findings of their survey, the commuter committee came to a "compromise" proposal, which they felt to be fair to both residents and com- muters, according to Wayne Baker, commuter committee chairman and a member of RESIDENT STUDENTS occupy the front spaces in X lot at approximately 11 p.m. Sunday night the parking committee. Photo by Mark Tbompaon The commuters propose Faculty praise, criticize: that "the first three fanes in X lot and the 21 spaces in the small lot just south of the main X lot, as well as the 13 Formation of new school questioned spaces along the road through X lot be designated for By THERESA BEALE state of the university's move—up to the ad- penses coming out of setting 'Commuter Use Only.'" Dividing the School of Arts development. ministration and Board of up an additional dean's office Also, the dommuter and Sciences into the College In an informal survey of Visitors." for the school. committee requested that of Letters and Sciences and faculty members, some said President Ronald Carrier The university is "already "the road behind the N- the School of Fine Arts and splitting the School of Arts and said he could not comment on overloaded, top heavy with complex dorms and the Communication has brought Sciences would direct more Funston's remarks because administrative officers," spaces along the road to the words of praise from attention to the departments the new school has been in the according to a biology tunnel under 1-81 should be re- department heads. -
Het Verhaal Van De 340 Songs Inhoud
Philippe Margotin en Jean-Michel Guesdon Rollingthe Stones compleet HET VERHAAL VAN DE 340 SONGS INHOUD 6 _ Voorwoord 8 _ De geboorte van een band 13 _ Ian Stewart, de zesde Stone 14 _ Come On / I Want To Be Loved 18 _ Andrew Loog Oldham, uitvinder van The Rolling Stones 20 _ I Wanna Be Your Man / Stoned EP DATUM UITGEBRACHT ALBUM Verenigd Koninkrijk : Down The Road Apiece ALBUM DATUM UITGEBRACHT 10 januari 1964 EP Everybody Needs Somebody To Love Under The Boardwalk DATUM UITGEBRACHT Verenigd Koninkrijk : (er zijn ook andere data, zoals DATUM UITGEBRACHT Verenigd Koninkrijk : 17 april 1964 16, 17 of 18 januari genoemd Verenigd Koninkrijk : Down Home Girl I Can’t Be Satisfi ed 15 januari 1965 Label Decca als datum van uitbrengen) 14 augustus 1964 You Can’t Catch Me Pain In My Heart Label Decca REF : LK 4605 Label Decca Label Decca Time Is On My Side Off The Hook REF : LK 4661 12 weken op nummer 1 REF : DFE 8560 REF : DFE 8590 10 weken op nummer 1 What A Shame Susie Q Grown Up Wrong TH TH TH ROING (Get Your Kicks On) Route 66 FIVE I Just Want To Make Love To You Honest I Do ROING ROING I Need You Baby (Mona) Now I’ve Got A Witness (Like Uncle Phil And Uncle Gene) Little By Little H ROLLIN TONS NOW VRNIGD TATEN EBRUARI 965) I’m A King Bee Everybody Needs Somebody To Love / Down Home Girl / You Can’t Catch Me / Heart Of Stone / What A Shame / I Need You Baby (Mona) / Down The Road Carol Apiece / Off The Hook / Pain In My Heart / Oh Baby (We Got A Good Thing SONS Tell Me (You’re Coming Back) If You Need Me Goin’) / Little Red Rooster / Surprise, Surprise.