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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. -
CONTRACT Case Studies in Science Education, Volume I: the Case 658P.; for Related Documents, See SE 026 360, SE 0261 Occasional
DOCUMENT RESUME E6 166 058 SE 026 707 AUTHOR Stake, Robert E.; And Others TITLE Case Studies in Science Education, Volume I: The Case Reports. INSTITUTION Illinois Univ., Urbana. Center for Instructional - Research and Curriculum Evaluation. SPONS AGENCY National Science Foundation, Washington, D.C. Directorate for Science Education. REPORT NO NSF-SE-78-74 PUB DATE Jan 78 CONTRACT NSF-C-7621134 NOTE 658p.; For related documents, see SE 026 360, SE 0261 708, ED 152 565 and ED 153 875-880; Contains occasional light and broken type AVAILABLE FROM Superintendent of Documents, U.S. Government Printing Office, Washington, D.C. 20402 (Stock Number 038-000-00377-1; $7.25) EDRS PRICE MF-$1.16 HC-$35.49 Plus Postage. DESCRIPTORS *Case Studies (Education); Curriculum; Educational Research; Elementary Secondail Education; Federal Legislation; Instruction; Instructional Materials; *Mathematics Education; *Science Education; *Social Studies; State Federal Aid; *Teaching Methods" IDENTIFIERS *National Science Foundation ABSTRACT This document presents a collection of field observations, from 11 -sites, submitted as a part of the final report of a project funded by the National Science Foundation to gather data about science, mathematics and social science education in Amerlcad schools. Schools involved a variety of settings: rural-urban, racially diverse, socioeconomically different, and located throughout the United States. Field observers spend 4-15 weeks on site, gathering data. Biographical information on each field observer accompanies his/her case study. (PEB) *********************************************************************** Reproductions supplied by EDRS are the best that can_be made from the original document. *********************************************************************** U.S DEPARTMENT OF HEALTH, EDUCATION I. WELFARE NATIONAL INSTITUTE OF EDUCATION THIS DOCUMENT HAS BEEN REPRO- DUCED EXACTLY AS RECEIVEDFROM THE PERSON OR ORGANIZATION ORIGIN -. -
K-Pop Fandom in Lima,Perú
Wesleyan ♦ University K-POP FANDOM IN LIMA, PERÚ: VIRTUAL AND LIVE CIRCULATION PATTERNS By Stephanie Ho Faculty Advisor: Dr. Mark Slobin A Dissertation submitted to the Faculty of Wesleyan University in partial fulfillment of the requirements for the degree of Master of Arts. Middletown, Connecticut MAY 2015 i Acknowledgements I would like to thank my advisor, Dr. Mark Slobin, for his invaluable guidance and insights during the process of writing this thesis. I am also immensely grateful to Dr. Su Zheng and Dr. Matthew Tremé for acting as members of my thesis committee and for their considered thoughts and comments on my early draft, which contributed greatly to the improvement of my work. I would also like to thank Gabrielle Misiewicz for her help with editing this thesis in its final stages, and most importantly for supporting me throughout our time together as classmates and friends. I thank the Peruvian fans that took the time to help me with my research, as well as Virginia and Violeta Chonn, who accompanied me on fieldwork visits and took the time to share their opinions with me regarding the Limeñan fandom. Thanks to my friends and colleagues at Wesleyan – especially Nicole Arulanantham, Gen Conte, Maho Ishiguro, Ellen Lueck, Joy Lu, and Ender Terwilliger – as well as Deb Shore from the Music Department, and Prof. Ann Wightman of the Latin American Studies Department. From my pre-Wesleyan life, I would like to acknowledge Francesca Zaccone, who introduced me to K-pop in 2009, and has always been up for discussing the K-pop world with me, be it for fun or for the purpose of helping me further my analyses. -
Selling Or Selling Out?: an Exploration of Popular Music in Advertising
Selling or Selling Out?: An Exploration of Popular Music in Advertising Kimberly Kim Submitted to the Department of Music of Amherst College in partial fulfillment of the requirements for the degree of Bachelor of Arts with honors. Faculty Advisor: Professor Jason Robinson Faculty Readers: Professor Jenny Kallick Professor Jeffers Engelhardt Professor Klara Moricz 05 May 2011 Table of Contents Acknowledgments............................................................................................................... ii Chapter 1 – Towards an Understanding of Popular Music and Advertising .......................1 Chapter 2 – “I’d Like to Buy the World a Coke”: The Integration of Popular Music and Advertising.........................................................................................................................14 Chapter 3 – Maybe Not So Genuine Draft: Licensing as Authentication..........................33 Chapter 4 – Selling Out: Repercussions of Product Endorsements...................................46 Chapter 5 – “Hold It Against Me”: The Evolution of the Music Videos ..........................56 Chapter 6 – Cultivating a New Cultural Product: Thoughts on the Future of Popular Music and Advertising.......................................................................................................66 Works Cited .......................................................................................................................70 i Acknowledgments There are numerous people that have provided me with invaluable -
View / Open OURJ Spring 2018 Lelkins.Pdf
Oregon Undergraduate Research Journal 13.1 (2018) ISSN: 2160-617X (online) blogs.uoregon.edu/ourj Spitting Bars and Subverting Heteronormativity: An Analysis of Frank Ocean and Tyler, the Creator’s Departures from Heteronormativity, Traditional Concepts of Masculinity, and the Gender Binary Lizzy Elkins*, International Studies and Women’s, Gender and Sexuality Studies ABSTRACT This paper seeks to investigate an emerging movement of rap and pop artists who actively subvert structures of the gender binary and heteronormativity through their music. The main artists considered in this research are pop/rap/R&B artist Frank Ocean and rap artist Tyler, the Creator, both of whom have claimed fame relatively recently. Artists like Ocean and Tyler make intentional departures from heteronormativity and the gender binary, combat concepts such as ‘toxic masculinity’, and hint at the possibilities for normalization and destigmatization of straying from the gender binary through lyrics, metaphysical expressions, physical embodiments of gender, expression of fluid/non-heteronormative sexualities, and disregard for labels in their sexual and gendered identities. I will discuss the history and context around music as an agent for social change and address privileging of the black heterosexual cisgender man as the central voice to pop/rap/R&B in the following research. This project will draw on Beauvoirian philosophy regarding gender as well as contemporary sources of media like Genius, record sale statistics, and album lyrics. By illustrating and evaluating how these artists subvert traditional concepts of gender and sexuality, I hope to also shine a light on how their music, which reaches millions of people who are less aware of or accepting of gayness, catalyzes social change and is significant in this current political moment, which is an era of increasing public tolerance of queer ideas and less binary gender expression. -
Deconstructing “Do-It-Yourself” Punk Rock Ethics in Philadelphia" (2016)
Dickinson College Dickinson Scholar Student Honors Theses By Year Student Honors Theses 5-22-2016 Consuming Authenticity: Deconstructing “Do-It- Yourself” Punk Rock Ethics in Philadelphia Patricia Ann Kotrady Dickinson College Follow this and additional works at: http://scholar.dickinson.edu/student_honors Part of the American Popular Culture Commons, Music Commons, and the Sociology of Culture Commons Recommended Citation Kotrady, Patricia Ann, "Consuming Authenticity: Deconstructing “Do-It-Yourself” Punk Rock Ethics in Philadelphia" (2016). Dickinson College Honors Theses. Paper 238. This Honors Thesis is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. Consuming Authenticity Deconstructing “Do-It-Yourself” Punk Rock Ethics in Philadelphia By Patricia Ann Kotrady Submitted in partial fulfillment of Honors Requirements for the Department of American Studies at Dickinson College May 10, 2016 Table of Contents Introduction: Welcome to “the Best Punk Scene in the Country Right Now” 1 “The House Shows Don’t Really Happen Everywhere”: Why Philadelphia? 7 “Semi Anti-Establishment, I Guess”: Punk as a Vessel 12 “You Know, Just Do It”: An Overview of DIY Punk Ethics 16 “This Music is Just Organic”: 21 Authenticity, Opposition, and the Myth of the Mainstream "We never want to be a band that's just in it to make a buck”: 27 The Narrative of “Selling Out” “It’s Never Been Easier to Make Music Like a Pro”: 32 -
University of Nevada, Reno Partying with Hello Kitty: How Electronic Dance Music and Rave Culture Are Transforming, Commercializ
University of Nevada, Reno Partying with Hello Kitty: How Electronic Dance Music and Rave Culture are transforming, commercializing, and globalizing youth culture in the twenty-first century A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History By Geoff Scott Dr. Hugh Shapiro/Thesis Advisor May 2014 i Abstract This thesis will demonstrate how electronic dance music (EDM) has evolved from the musical underground during the second half of the twentieth century into the mainstream, commercial powerhouse it is now in the early twenty-first-century world. EDM at its core is a musical style characterized by the use of synthetic, electronic sounds. The combination of technological devices such as drum machines, repetitive bass lines, electronic builds and releases and inorganic noises in tandem with instrumental and vocal samples makes EDM an incredibly malleable style of dance music that has branched into a variety of forms over the course of its less than fifty year existence. Innovations in technology, like the tape reel, the Moog synthesizer, the vinyl mixer and the computer have led to new ways of contemplating and creating music. I argue that the innovative musical voices of late modernism and early postmodernism set the foundation for early EDM, who were not afraid to harness the new synthetic sounds at their disposal. Electronic dance music can trace its roots back to the repetitive, minimalist structures used since the 1960’s by postmodern composers such as Philip Glass and the electronic instrumentation of artists like Terry Riley and John Cage. Owing to its flexibility, EDM has also been re-contextualized in different cultures. -
The Influence of Role Models in Metal Musicians' Composing and Career
Niina Lämsä The influence of role models in metal musicians’ composing and career How do the songs come alive? Thesis CENTRIA UNIVERSITY OF APPLIED SCIENCES Music pedagogy June 2017 ABSTRACT Centria University Date Author of Applied Sciences June 2017 Niina Lämsä Degree programme Music pedagogy Name of thesis The influence of role models in metal musicians’ composing and career Instructor Pages Kirsti Rasehorn 20 The idea of this thesis was to study the influence of role models in metal musicians’ composing and career. The information was collected from theme interviews from the members of Amaranthe, Epica and Sonata Arctica and this thesis was written based on their answers using qualitative research. Based on the interviews we can say that each musician has taken some influences from their role models. The influences they take from other musicians’ songs are mostly the stylish or atmospherical influence. For all musicians, the common source of inspiration was books and movies. The role models affected these people in different ways, but what was common was that they have learned from them with consideration, following only the good practices. In this thesis I compared my own composing process to my role models’ composing processes. There was a lot in common, it turned out, that the most of these composers compose alone. The most important tips for aspiring composers were to “follow your heart”, “let the music choose you” and “never give up”. Key words Composing, metal music, music, role models TIIVISTELMÄ OPINNÄYTETYÖSTÄ Centria- Aika Tekijä/tekijät ammattikorkeakoulu Kesäkuu 2017 Niina Lämsä Koulutusohjelma Musiikin koulutusohjelma Työn nimi Esikuvien vaikutus metallimuusikoiden säveltämiseen ja uraan Työn ohjaaja Sivumäärä Kirsti Rasehorn 20 Opinnäytetyön tarkoitus oli tutkia esikuvien vaikutusta metallimuusikoiden sävellysprosessiin ja uraan. -
Faouda Wa Ruina: a History of Moroccan Punk Rock and Heavy Metal Brian Kenneth Trott University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2018 Faouda Wa Ruina: A History of Moroccan Punk Rock and Heavy Metal Brian Kenneth Trott University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Islamic World and Near East History Commons, and the Social and Cultural Anthropology Commons Recommended Citation Trott, Brian Kenneth, "Faouda Wa Ruina: A History of Moroccan Punk Rock and Heavy Metal" (2018). Theses and Dissertations. 1934. https://dc.uwm.edu/etd/1934 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. FAOUDA WA RUINA: A HISTORY OF MOROCCAN PUNK ROCK AND HEAVY METAL by Brian Trott A Thesis Submitted in Partial Fulfillment of the Requirements of a Degree of Master of Arts In History at The University of Wisconsin - Milwaukee May 2018 ABSTRACT FAOUDA WA RUINA: A HISTORY OF MOROCCAN PUNK ROCK AND HEAVY METAL by Brian Trott The University of Wisconsin-Milwaukee, 2018 Under the Supervision of Professor Gregory Carter While the punk rock and heavy metal subcultures have spread through much of the world since the 1980s, a heavy metal scene did not take shape in Morocco until the mid-1990s. There had yet to be a punk rock band there until the mid-2000s. In the following paper, I detail the rise of heavy metal in Morocco. Beginning with the early metal scene, I trace through critical moments in its growth, building up to the origins of the Moroccan punk scene and the state of those subcultures in recent years. -
Developing a Strategy for Appropriate Uses of the Benjamin Franklin Parkway
Developing a Strategy for Appropriate Uses of the Benjamin Franklin Parkway Report to the Parkway Council Foundation and Managing Director’s Office – City of Philadelphia February 28, 2018 Table of Contents Acknowledgements ......................................................................................................................................... 2 Executive Summary ......................................................................................................................................... 3 Introduction and Definitions ......................................................................................................................... 3 Context ....................................................................................................................................................... 5 Findings and Conclusions .............................................................................................................................. 6 Recommendations and Observations .............................................................................................................. 10 Vision and Oversight .............................................................................................................................. 10 Communication ..................................................................................................................................... 11 Noise, Sound and Vibration Management .............................................................................................. -
C L I N T E T T I N G
1 C L I N T E T T I N G E R AN ALPHABET OF REINVENTION by Clint Ettinger 1. A - E is for Exchange 2. F - K is for Kimmy 3. L - T is for Trio 4. U - Z is for Zap ONE A) The Oxford American Dictionary defines ‘reinventing oneself’ as taking up a radically new job or way of life. The Macmillan Dictionary defines it as changing the way you behave or the things you do so that people think of you as a different kind of person. Quite a difference. B) So, must we really change? Or should we just wear a veneer of change so that others perceive us as having changed? C) is for Change or Die Writer and entrepreneur John Mashni firmly believes there are only three types of reinvention 1. Reactive Reinvention - when an external event occurs and forces you to change. 2. Proactive Reinvention - when you intentionally change to capitalize on an opportunity. 3. Reflective Reinvention - when you fail at something but still have a strong desire to continue in that particular endeavor. D) “Make reinvention your lifestyle, and you’ll stay young at heart no matter your chronological age. Keep on reinventing yourself, and death becomes nothing more significant than the period at the end of this sentence.”1 E) is for Exchange Last week during my second-year writing class, I asked everyone what they thought about the topic ‘reinventing oneself.’ “These two words bring both happiness and fear,” Apple said. “It’s more complex than that. -
Antimodernism and Genre from Country-Rock to Alt.Country, 1968-98
Antimodernism and Genre from Country-Rock to Alt.Country, 1968-98 Jason Bianchi Kirby San Jose, California B.A. Sociology and Literature, University of California—Santa Cruz, 2002 M.A. American Culture Studies, Bowling Green State University, 2006 A dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Music University of Virginia August 2016 Abstract This dissertation is a cultural history exploring expressions of and responses to antimodernism within country-rock and “alternative country” music, drawing on reception history, intellectual history of underground and mainstream left-wing American political movements, interview discourse with artists, and close readings of songs. In this dissertation I argue that despite styling itself as a type of purer root or “folk” form of contemporary country music, in terms of its ideologies, studio production techniques, fan and critical discourse, and business practices, alt.country is a type of rock music. It embodies some of rock’s core beliefs, particularly rock’s critique of the more bureaucratic and “rationalized” dimensions of postindustrial capitalism, particularly as this relates to the everyday impact of new technologies. I argue that this anti-modernism, emerging here from the American political left, has been different in different eras, from the back-to-the-land movement of the late 1960s, to late- ‘80s/early-‘90s expressions of left populist punk’s longing for “folk” community. In this project I look beyond contemporary scholarly understandings of alt.country as mostly ironic, as ultimately I suggest that this music illustrates what Keir Keightley calls rock’s aesthetic of “seriousness,” more precisely than it does an understanding of country music ideology.