Buma Music Academy - Pop
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
I Can Hear Music
5 I CAN HEAR MUSIC 1969–1970 “Aquarius,” “Let the Sunshine In” » The 5th Dimension “Crimson and Clover” » Tommy James and the Shondells “Get Back,” “Come Together” » The Beatles “Honky Tonk Women” » Rolling Stones “Everyday People” » Sly and the Family Stone “Proud Mary,” “Born on the Bayou,” “Bad Moon Rising,” “Green River,” “Traveling Band” » Creedence Clearwater Revival “In-a-Gadda-Da-Vida” » Iron Butterfly “Mama Told Me Not to Come” » Three Dog Night “All Right Now” » Free “Evil Ways” » Santanaproof “Ride Captain Ride” » Blues Image Songs! The entire Gainesville music scene was built around songs: Top Forty songs on the radio, songs on albums, original songs performed on stage by bands and other musical ensembles. The late sixties was a golden age of rock and pop music and the rise of the rock band as a musical entity. As the counterculture marched for equal rights and against the war in Vietnam, a sonic revolution was occurring in the recording studio and on the concert stage. New sounds were being created through multitrack recording techniques, and record producers such as Phil Spector and George Martin became integral parts of the creative process. Musicians expanded their sonic palette by experimenting with the sounds of sitar, and through sound-modifying electronic ef- fects such as the wah-wah pedal, fuzz tone, and the Echoplex tape-de- lay unit, as well as a variety of new electronic keyboard instruments and synthesizers. The sound of every musical instrument contributed toward the overall sound of a performance or recording, and bands were begin- ning to expand beyond the core of drums, bass, and a couple guitars. -
“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. -
Pandoras Box CD-List 06-2006 Short
Pandoras Box CD-list 06-2006 short.xls Form ARTIST TITLE year No Label price CD 2066 & THEN Reflections !! 1971 SB 025 Second Battle 15,00 € CD 3 HUEREL 3 HUEREL 1970-75 WPC6 8462 World Psychedelic 17,00 € CD 3 HUEREL Huerel Arisivi 1970-75 WPC6 8463 World Psychedelic 17,00 € CD 3SPEED AUTOMATIC no man's land 2004 SA 333 Nasoni 15,00 € CD 49 th PARALLELL 49 th PARALLELL 1969 Flashback 008 Flashback 11,90 € CD 49TH PARALLEL 49TH PARALLEL 1969 PACELN 48 Lion / Pacemaker 17,90 € CD 50 FOOT HOSE Cauldron 1968 RRCD 141 Radioactive 14,90 € CD 7 th TEMPLE Under the burning sun 1978 RRCD 084 Radioactive 14,90 € CD A - AUSTR Music from holy Ground 1970 KSG 014 Kissing Spell 19,95 € CD A BREATH OF FRESH AIR A BREATH OF FRESH AIR 196 RRCD 076 Radioactive 14,90 € CD A CID SYMPHONY FISCHBACH AND EWING - (21966CD) -67 GF-135 Gear Fab 14,90 € CD A FOOT IN COLDWATER A Foot in coldwater 1972 AGEK-2158 Unidisc 15,00 € CD A FOOT IN COLDWATER All around us 1973 AGEK-2160 Unidisc 15,00 € CD A FOOT IN COLDWATER best of - Vol. 1 1973 BEBBD 25 Bei 9,95 € CD A FOOT IN COLDWATER best of - Vol. 2 1973 BEBBD 26 Bei 9,95 € CD A FOOT IN COLDWATER The second foot in coldwater 1973 AGEK-2159 Unidisc 15,00 € CD A FOOT IN COLDWATER best of - (2CD) 1972-73 AGEK2-2161 Unidisc 17,90 € CD A JOINT EFFORT FINAL EFFORT 1968 RRCD 153 Radioactive 14,90 € CD A PASSING FANCY A Passing Fancy 1968 FB 11 Flashback 15,00 € CD A PASSING FANCY A Passing Fancy - (Digip.) 1968 PACE-034 Pacemaker 15,90 € CD AARDVARK Aardvark 1970 SRMC 0056 Si-Wan 19,95 € CD AARDVARK AARDVARK - (lim. -
“Amarillo by Morning” the Life and Songs of Terry Stafford 1
In the early months of 1964, on their inaugural tour of North America, the Beatles seemed to be everywhere: appearing on The Ed Sullivan Show, making the front cover of Newsweek, and playing for fanatical crowds at sold out concerts in Washington, D.C. and New York City. On Billboard magazine’s April 4, 1964, Hot 100 2 list, the “Fab Four” held the top five positions. 28 One notch down at Number 6 was “Suspicion,” 29 by a virtually unknown singer from Amarillo, Texas, named Terry Stafford. The following week “Suspicion” – a song that sounded suspiciously like Elvis Presley using an alias – moved up to Number 3, wedged in between the Beatles’ “Twist and Shout” and “She Loves You.”3 The saga of how a Texas boy met the British Invasion head-on, achieving almost overnight success and a Top-10 hit, is one of triumph and “Amarillo By Morning” disappointment, a reminder of the vagaries The Life and Songs of Terry Stafford 1 that are a fact of life when pursuing a career in Joe W. Specht music. It is also the story of Stafford’s continuing development as a gifted songwriter, a fact too often overlooked when assessing his career. Terry Stafford publicity photo circa 1964. Courtesy Joe W. Specht. In the early months of 1964, on their inaugural tour of North America, the Beatles seemed to be everywhere: appearing on The Ed Sullivan Show, making the front cover of Newsweek, and playing for fanatical crowds at sold out concerts in Washington, D.C. and New York City. -
Wall of Sound 'Mid These Dancing Rocks
This map shows sea-surface temperatures averaged over eight days in September 2001, as measured by NASA’s Terra satellite. Dark red represents warm water (32°C) and purple is cold (–2°C). The Gulf Stream can be seen as the orange strip extending from the eastern U.S. PICTURE CREDITS toward the Atlantic. 2 — Ronald Vogel, SAIC for NASA GSFC; 3 — Genping “Roots” Liu; 4, 10 — Lance Hayashida; 5 — Charles Decker; 7 — Katie Neith; 9, 11 — Jenny Somerville WALL OF SOUND ’MID THESE DANCING ROCKS Over 50 members of the Caltech The following real-world paradox A huge flume recently installed on Jazz Bands and the Caltech-Occi- comes to you courtesy of Assistant the Caltech campus just might provide dental Concert Band brought the Professor of Geology Michael Lamb: some answers. A flume is an artificial sound of music to the Great Wall “Say you’re out hiking, and you come river—in this case, a tilted rectangular of China in March. Positioned in front to a roaring stream plunging down chute down which water cascades. of a fort on a portion of the wall near the side of a mountain. It’s full of Explains Lamb, “We can load our Beijing, the group played a concert rocks and boulders, all precariously flume with various sediments, includ- featuring two new pieces written balanced. You come back the next ing fair-sized rocks, tilt it at any angle specifically for the occasion.O ne year, and you find that those same up to 15 degrees, and change the rate of the world premieres was written rocks are still there, just where they of flow of the water. -
Why Doesn't Anybody Write Anything About Glam Rock?
WHY DOESN'T ANYBODY WRITE ANYTHING ABOUT GLAM ROCK? Jon Stratton In discussions of post-war British youth cultures glam rock gets very little attention. For example, in their seminal work on British youth cultural forms, Hall et al (1976:54), make only one passing reference to this subculture. In a list of subcultural possessions and objects they refer to: '... the glitter costumes of the Bowrieites ... .' Similarly, Brake (l980:80) in his outlines of British post-war youth cultures gives the culture half a page while skinheads get two pages and rockers one page. Hebdige, (1979) in Subculture: the meaning of style, does spend about two and a half pages looking at glam rock but most of this space is taken up with an analysis of the images of David Bowie. Hebdige writes of Bowie that: Certainly Bowie's position was devoid of any obvious political or counter-cultural significance ... (l979:6l). And Bowie's meta-message was escape — from class, from sex, from obvious commitment — into a fantasy past ... or a science-fiction future (1979:61). What is confusing for Hebdige about glam rock soon becomes clear: In glam-rock, at least amongst those artists placed, like Bowie and Roxy Music, at the more sophisticated end of the glitter spectrum, the subversive emphasis was shifted away from class and youth onto sexuality and gender-typing (1979:61-2). On the one hand, Hebdige can write so much about Bowie because glam rock's presentation of image as image lends itself to Hebdige's dominant semiotic method of analyzing cultural texts. -
“Writing About Music” Vol
UCLA Department of Musicology presents MUSE An Undergraduate Research Journal “Writing About Music” Vol. 1, No. 1 “Dissonant Ones: The Harmony of Lou Reed and “Waitress! Equalitea and Pie, Please” John Cale” Irena Huang Gabriel Deibel “Boy Band: Intersecting Gender, Age, Sexuality, “A Possible Resolution for the Complicated and Capitalism” Feelings Revolving Around Tyler, the Creator” Grace Li Isabel Nakoud “Being the Cowboy: Mitski’s Rewriting of Gender Roles in Indie Rock” Jenna Ure Winter 2020 2 3 UCLA Department of Musicology presents MUSE An Undergraduate Research Journal Volume 1, Number 1 Winter 2020 Contents Introduction from the Editors 4 Being the Cowboy: Mitski’s Rewriting of Gender Roles in Indie 6 Rock Editor-in-Chief Jenna Ure Matthew Gilbert Waitress! Equalitea and Pie, Please 16 Managing Editor Irena Huang Alana Chester Dissonant Ones: The Harmony of Lou Reed and John Cale 26 Review Editor Gabriel Deibel Karen Thantrakul Boy Band: Intersecting Gender, Age, Sexuality, and Capitalism 36 Technical Editors Grace Li J.W. Clark Liv Slaby A Possible Resolution for the Complicated Feelings Revolving 46 Gabriel Deibel Around Tyler, the Creator Isabel Nakoud Faculty Advisor Dr. Elisabeth Le Guin Closing notes 62 4 Introduction Introduction 5 Introduction Li’s discussion of the exploitation of boy band One Direction, Gabriel Deibel’s essay on the influence of John Cale on the Velvet Underground’s experimental sound, a feminist exploration by Irena Huang of the musical Alana Chester, Matthew Gilbert, and Karen Waitress (composed by a UCLA alumnus, Sara Bareilles), and a critique Thantrakul of the music industry through indie singer Mitski’s music by Jenna Ure. -
Be My Baby”—The Ronettes (1963) Added to the National Registry: 2006 Essay by Cary O’Dell
“Be My Baby”—The Ronettes (1963) Added to the National Registry: 2006 Essay by Cary O’Dell The Ronettes Original label Phil Spector Instantly infectious and memorable, “Be My Baby” has been described as the “Record of the Century” and the “greatest pop record ever made.” It was recorded by the Ronettes in 1963. It was written by Phil Spector, Jeff Barry and Ellie Greenwich and was produced by Phil Spector. It was named to the National Recording Registry in 2006. The Ronettes were a group of girls from Spanish Harlem, sisters Veronica (“Ronnie”) and Estelle Bennett and their cousin Nedra Talley. Before becoming a trio, the young women were a group of five joined by two other cousins, Elaine and Diane. (Sometimes they were also joined by their male cousin, Ira.) They sang together and perfected their harmonies at their grandmother’s house before branching out to play local dances and talent contests. Along with refining their line-up and sound, the girls also defined their look. In his biography of Phil Spector, author Mick Brown says of the group: The standard demeanor of girl groups of the day was one of demure innocence…But the Ronettes looked as if it was a Saturday night and they were cruising for trouble—figure- hugging dresses, hair piled into improbable beehives and lashings of mascara, which transformed the youthful high school girls into vamps. Today, the Ronettes are nearly as remembered for their look (which would later be largely carbon-copied by Amy Winehouse) as for their sound. After first being signed by and recording for the Colpix label (under the name Ronnie and the Relatives), the Ronettes came to the attention of Phil Spector who immediately took a liking to the group and especially to its de facto leader Ronnie. -
One Direction Infection: Media Representations of Boy Bands and Their Fans
One Direction Infection: Media Representations of Boy Bands and their Fans Annie Lyons TC 660H Plan II Honors Program The University of Texas at Austin December 2020 __________________________________________ Renita Coleman Department of Journalism Supervising Professor __________________________________________ Hannah Lewis Department of Musicology Second Reader 2 ABSTRACT Author: Annie Lyons Title: One Direction Infection: Media Representations of Boy Bands and their Fans Supervising Professors: Renita Coleman, Ph.D. Hannah Lewis, Ph.D. Boy bands have long been disparaged in music journalism settings, largely in part to their close association with hordes of screaming teenage and prepubescent girls. As rock journalism evolved in the 1960s and 1970s, so did two dismissive and misogynistic stereotypes about female fans: groupies and teenyboppers (Coates, 2003). While groupies were scorned in rock circles for their perceived hypersexuality, teenyboppers, who we can consider an umbrella term including boy band fanbases, were defined by a lack of sexuality and viewed as shallow, immature and prone to hysteria, and ridiculed as hall markers of bad taste, despite being driving forces in commercial markets (Ewens, 2020; Sherman, 2020). Similarly, boy bands have been disdained for their perceived femininity and viewed as inauthentic compared to “real” artists— namely, hypermasculine male rock artists. While the boy band genre has evolved and experienced different eras, depictions of both the bands and their fans have stagnated in media, relying on these old stereotypes (Duffett, 2012). This paper aimed to investigate to what extent modern boy bands are portrayed differently from non-boy bands in music journalism through a quantitative content analysis coding articles for certain tropes and themes. -
Queerness in Heavy Metal Music: Metal Bent Amber R
REVIEW | Queerness in Heavy Metal Music: Metal Bent Amber R. Clifford-Napoleone London and New York: Routledge, 2015 ISBN: 9780815365587 (PB) Liam Maloy University of Nottingham [email protected] Heavy metal is queer. But rather than manifesting in the exceptional out gay artist or the rare LGBT-themed song, this book asserts that queerness is an essential quality of the music, performances, fans, fashions, and other elements that comprise the ecology of heavy metal. As Clifford-Napoleone notes, heavy metal was forged in the melting pot of “BDSM style and symbolism, leather subcultural cues, overt visual and lyrical images of ‘abnormal’ sexual behaviour, and performers who defy heteronormative cultural norms of appearance and behaviour” (11). This engaging monograph arrives on a recent wave of scholarly interest in all things heavy metal including the establishment of the International Society for Metal Music Studies and the Metal Music Studies journal, conferences such as Heavy Metal and Gender (hosted at University of Music, Cologne in October 2009), and recent scholarly publications to include Global Metal Music and Culture: Current Directions in Metal Studies (edited by Brown, Spracklen, Khan-Harris and Scott 2016), Heavy Metal Studies and Popular Culture (edited by Riches, Snell, Bardine and Gardenour Walter 2016), and Heavy Metal Music and the Communal Experience (Scott 2016). This publication also responds to a flush of recent texts exploring issues of queerness in popular music. These include Jodie Taylor’s Playing It Queer (2012) which surveys queer local punk and riot grrl bands; Doris Leibetseder’s Queer Tracks (2012) which covers mostly female musicians (such as Peaches, Lady Gaga, Grace Jones, Annie Lennox, Madonna) who subvert gender norms; Stan Hawkins’ pop-oriented Queerness in Pop Music (2015); and the genre-straddling edited collection Queering the Popular Pitch (Whiteley and Rycenga 2006). -
Neg(Oti)Ating Fusion: Steely Dan's Generic Irony by Ethan Krajewski A
Neg(oti)ating Fusion: Steely Dan’s Generic Irony by Ethan Krajewski A thesis presented for the B.A. degree with Honors in The Department of English University of Michigan Winter 2018 © 2018 Ethan Patrick Krajewski To my parents for music and language Acknowledgements My biggest thanks go to my advisor, Professor Julian Levinson, as a teacher, mentor, and friend, for helping me think, talk, write, and (most importantly, I think) laugh about seventies rock music. You’ve helped make this project fun in all of its rigor and relaxed despite all of the stress that it’s caused. I’d also like to thank Professor Gillian White for leading our cohort toward discipline, and for keeping us all grounded. Also for her spirited conversations and anecdotes, which proved invaluable in the early stages of my thinking. I wouldn’t be here writing this if it weren’t for Professor Supriya Nair, who pushed me to apply for the program and helped me develop the intellectual curiosity that led to this project. The same goes for Gina Brandolino, who I count among my most important teachers and role models. To the cohort: thank you for all of your help over the course of the year. You’re all so smart, and so kind, and I wish you all nothing but the best. To Ashley: if you aren’t the best non-professional line editor at large in the world, then you’re at least second or third. I mean it sincerely when I say that this project would be infinitely worse without your guidance.