CENTER for PUBLIC HISTORY Letter from the Editor Classical Music in Houston
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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. -
The French Texans
Texans One and All The French Texans Although a French flag of some sort is represented in “six flags over Tex- as” displays, France never—in any sense of political control or official claims—flew a flag over Texas and never gave her own citizens strong reasons for emigration. However, René-Robert Cavelier, Sieur de La Salle, did make one foray west of the drainage of the Mississippi, and General Charles Lallemand did lead a short-lived military colony into East Texas. France, in the New World, was more interested in trade than settlement and was often distracted by continental European problems. The nation was neither equipped for colonial ventures nor had that much interest Revised 2013 in the western Gulf of Mexico. Nevertheless, in 1685 the young Sieur de La Salle landed at Matagorda Bay, Texas, some 600 miles west of his target: the Mississippi River. The few colonists he brought were to found a colony at the mouth of the Mississippi, to which France did have a claim, and thus tie down France's claims that, for a time, stretched from Canada to the Gulf—in theory. Encountering storms and perhaps suffering from bad navigation, the ships found the Spanish coast. Navigation in those days could determine, with an exactness of perhaps 30 miles on a good day, Rene-Robert Cavelier, Sieur de La Salle position north and south. But the day was not good, and the northern shore of the Gulf of Mexico stretches more east and west. In those days, east and west positions on a rotating globe were hard to determine. -
Bad Company Biography
BAD COMPANY BIOGRAPHY One of the most acclaimed bands of the classic rock era, England's Bad Company has put its indelible stamp on rock 'n' roll with a straight- ahead, no-frills musical approach that has resulted in the creation of some of the most timeless rock anthems ever. Led by the incomparable singer and songwriter Paul Rodgers, arguably the finest singer in rock 'n ' roll and a huge songwriting talent. Formed in 1973, Bad Company came to life when Rodgers was looking to start anew after the disintegration of his legendary band Free. His powerhouse vocals and songwriting were a main ingredient during Free's impressive five-year run; a period of time that saw the release of seven extremely influential albums that featured Free's minimalist blues-rock approach. Included among Free's dynamic body of work is the 1970 smash, "All Right Now," one of the most recognizable rock anthems ever recorded. Lyrics and melody by Rodgers. He was Free’s main songwriter. Rodgers had met Mott The Hoople guitarist Mick Ralphs and after jamming together and listening to new songs that Ralphs had penned and songs that Rodgers had penned, Ralphs made the decision to leave Mott and form a new band with Rodgers. The duo recruited former King Crimson bassist/vocalist Boz Burrell, added drummer Simon Kirke and Rodgers Christened the band Bad Company. Rodgers’ brought in Led Zeppelin manager Peter Grant and Bad Company became the first band signed to Zeppelin's Swan Song label. "I had to fight to get the management and the record company to accept the name Bad Company," explains Rodgers. -
Artie Shaw, 1910-2004: Last Great Musician of the Big Band Era
12 May 2012 | MP3 at voaspecialenglish.com Artie Shaw, 1910-2004: Last Great Musician of the Big Band Era AP Artie Shaw playing the clarinet in 1941 DOUG JOHNSON: I'm Doug Johnson with PEOPLE IN AMERICA in VOA Special English. Today we tell the story of a musician who led one of the most popular American bands during the nineteen thirties and forties. His name was Artie Shaw. Listen for a few minutes to one of his many hit songs. This one is called "Frenesi." Artie Shaw plays the clarinet. (MUSIC) On December thirtieth, two thousand four, Artie Shaw died after a long sickness. He was ninety-four years old. He was the last great musician and bandleader of what has been called the "Big Band Era." Some of the others were Benny Goodman and Glenn Miller. In the nineteen thirties and nineteen forties Artie Shaw was one of the most popular musicians and bandleaders in the United States. Just a few notes from his clarinet could start people dancing. His music sold millions of records. It still is difficult to listen to an old Artie Shaw recording and not tap your foot in time with the music. Or want to dance. Or sing along with his great sound. 2 Listen to Shaw on the clarinet and his band play part of a song recorded in Hollywood, California in nineteen forty. It is called "Summit Ridge Drive." (MUSIC) Artie Shaw was born in New York City in nineteen ten. His name was Arthur Arshawsky. His parents were poor immigrants who had come to the United States from Eastern Europe. -
La Justicia Decretó La Quiebra De La Firma Cresta Roja
Están Más de un millón de refugiados en Europa La biografía que perdidos La cifra corresponde a 2015 y cuadriplica la del año pasado. Cortázar nunca en Mardel habría autorizado Entrevista Entrevista a su a Ximena autor, Miguel Capristo y a Dalmau, quien Pablo Alarcón desnuda la sobre Los sexualidad Cazafortunas, la obra que y enigmas estrenan el ocultos del viernes. escritor. Miércoles 23.12.2015 BUENOS AIRES MIN MÁX AÑO 6 Nº 2023 21º 29º EDICIÓN NACIONAL PRONÓSTICO PRECIO $ 15 CAPITAL FEDERAL ENVÍO AL INTERIOR + $ 1,50 AP [2-3] ECONOMÍA DESPUÉS DE LOS INCIDENTES Y LA REPRESIÓN DE GENDARMERÍA La justicia decretó MIE23 la quiebra de la firma Cresta Roja » El gobierno otorgará una suma fija de $ 6000 a los trabajadores, quienes levantaron el corte en la Riccheri. » Hubo un amplio repudio a la reacción de los uniformados. «Este modelo no cierra sin represión», destacó el FPV. [6] POLÍTICA Rosario Giran fondos a siete provincias siempre estuvo para reforzar sueldos docentes cerca Se destinarán 82,8 millones de pesos para que los maestros perciban Messi volvió el salario mínimo. También crean un Instituto de Calidad Educativa. a la Argentina para pasar la Navidad con [34] POLICIALES [32] TECNOLOGÍA [26-27] SOCIEDAD su familia y sus amigos Conmoción Beatles gratis, El oído, la otra rosarinos. en Junín por la sorpresa de víctima de la un femicidio Papá Noel pirotecnia Violaron y mataron a En la Nochebuena Advierten los daños que joven de 20 años. La subirán sus temas al provocan explosiones Sortearon el fixture de la Copa Libertadores 2016 A San Lorenzo le tocó «la zona de la muerte». -
Southeast Texas: Reviews Gregg Andrews Hothouse of Zydeco Gary Hartman Roger Wood
et al.: Contents Letter from the Director As the Institute for riety of other great Texas musicians. Proceeds from the CD have the History of Texas been vital in helping fund our ongoing educational projects. Music celebrates its We are very grateful to the musicians and to everyone else who second anniversary, we has supported us during the past two years. can look back on a very The Institute continues to add important new collections to productive first two the Texas Music Archives at SWT, including the Mike Crowley years. Our graduate and Collection and the Roger Polson and Cash Edwards Collection. undergraduate courses We also are working closely with the Texas Heritage Music Foun- on the history of Texas dation, the Center for American History, the Texas Music Mu- music continue to grow seum, the New Braunfels Museum of Art and Music, the Mu- in popularity. The seum of American Music History-Texas, the Mexico-North con- Handbook of Texas sortium, and other organizations to help preserve the musical Music, the definitive history of the region and to educate the public about the impor- encyclopedia of Texas tant role music has played in the development of our society. music history, which we At the request of several prominent people in the Texas music are publishing jointly industry, we are considering the possibility of establishing a music with the Texas State Historical Association and the Texas Music industry degree at SWT. This program would allow students Office, will be available in summer 2002. The online interested in working in any aspect of the music industry to bibliography of books, articles, and other publications relating earn a college degree with specialized training in museum work, to the history of Texas music, which we developed in cooperation musical performance, sound recording technology, business, with the Texas Music Office, has proven to be a very useful tool marketing, promotions, journalism, or a variety of other sub- for researchers. -
Jamaican Politics, Nationalism, and Musical Culture in Transition, 1974-1984
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses 5-18-2007 Between Two Giant Sounds: Jamaican Politics, Nationalism, and Musical Culture in Transition, 1974-1984 Caree Banton University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Banton, Caree, "Between Two Giant Sounds: Jamaican Politics, Nationalism, and Musical Culture in Transition, 1974-1984" (2007). University of New Orleans Theses and Dissertations. 508. https://scholarworks.uno.edu/td/508 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Between Two Giant Sounds: Jamaican Politics, Nationalism, and Musical Culture in Transition, 1974 – 1984 A Thesis Submitted to the Graduate Faculty of the University of New Orleans In partial fulfillment of the Requirements for the degree of Master of Arts In History By Caree Ann-Marie Banton B.A. Grambling State University 2005 B.P.A Grambling State University 2005 May 2007 Acknowledgement I would like to thank all the people that facilitated the completion of this work. -
Crawling, Standing, Walking, Carving, Building
Pioneering Your Art Career in Houston: Just Like Our Predecessors, Pursuing Fame, Fortune, Freedom, or a Place to Call Home Mayra Muller-Schmidt Sharpstown Middle School Architecture is the quintessential meter to convince each upcoming civilization on how to rate past cultures, deciding how advanced the examined society has been in this human denominator. Buildings can say a lot about their technical systems, what kind of math they employed, how fine their tools were, their artistic skills, their philosophy of life, their religion, and how far advanced their thinking skills were by how they used materials. My middle school magnet students are currently studying design and architecture as two separate courses. In architecture, they study about basic materials and touch upon design. In my design course, they get a better idea of what the ramifications are in designing any building by studying other factors. Besides reviewing the basic materials, artistic skills, and tools of the times, students get a better grasp of why a building has been manufactured a certain way. They begin to comprehend what technology, math, life conditions, and culture they are observing. In this unit, my students study an arranged collection of materials that will amplify and enhance their understanding of the culture in the selected time line. Providing the time for research study, plus having them practice reporting about the topic, prepares them in the skills of analyzing the whole. In doing this, as a regular class procedure, I will boost their observation and critical thinking as well. Their discussion skills will improve by sheer practice. -
Acadiens and Cajuns.Indb
canadiana oenipontana 9 Ursula Mathis-Moser, Günter Bischof (dirs.) Acadians and Cajuns. The Politics and Culture of French Minorities in North America Acadiens et Cajuns. Politique et culture de minorités francophones en Amérique du Nord innsbruck university press SERIES canadiana oenipontana 9 iup • innsbruck university press © innsbruck university press, 2009 Universität Innsbruck, Vizerektorat für Forschung 1. Auflage Alle Rechte vorbehalten. Umschlag: Gregor Sailer Umschlagmotiv: Herménégilde Chiasson, “Evangeline Beach, an American Tragedy, peinture no. 3“ Satz: Palli & Palli OEG, Innsbruck Produktion: Fred Steiner, Rinn www.uibk.ac.at/iup ISBN 978-3-902571-93-9 Ursula Mathis-Moser, Günter Bischof (dirs.) Acadians and Cajuns. The Politics and Culture of French Minorities in North America Acadiens et Cajuns. Politique et culture de minorités francophones en Amérique du Nord Contents — Table des matières Introduction Avant-propos ....................................................................................................... 7 Ursula Mathis-Moser – Günter Bischof des matières Table — By Way of an Introduction En guise d’introduction ................................................................................... 23 Contents Herménégilde Chiasson Beatitudes – BéatitudeS ................................................................................................. 23 Maurice Basque, Université de Moncton Acadiens, Cadiens et Cajuns: identités communes ou distinctes? ............................ 27 History and Politics Histoire -
Son Sealsseals 1942-2004
January/February 2005 Issue 272 Free 30th Anniversary Year www.jazz-blues.com SonSon SealsSeals 1942-2004 INSIDE... CD REVIEWS FROM THE VAULT January/February 2005 • Issue 272 Son Seals 1942-2004 The blues world lost another star Son’s 1973 debut recording, “The when W.C. Handy Award-winning and Published by Martin Wahl Son Seals Blues Band,” on the fledging Communications Grammy-nominated master Chicago Alligator Records label, established him bluesman Son Seals, 62, died Mon- as a blazing, original blues performer and Editor & Founder Bill Wahl day, December 20 in Chicago, IL of composer. Son’s audience base grew as comlications with diabetes. The criti- he toured extensively, playing colleges, Layout & Design Bill Wahl cally acclaimed, younger generation clubs and festivals throughout the coun- guitarist, vocalist and songwriter – try. The New York Times called him “the Operations Jim Martin credited with redefining Chicago blues most exciting young blues guitarist and Pilar Martin for a new audience in the 1970s – was singer in years.” His 1977 follow-up, Contributors known for his intense, razor-sharp gui- “Midnight Son,” received widespread ac- Michael Braxton, Mark Cole, tar work, gruff singing style and his claim from every major music publica- Chris Hovan, Nancy Ann Lee, charismatic stage presence. Accord- tion. Rolling Stone called it ~one of the David McPherson, Tim Murrett, ing to Guitar World, most significant blues Peanuts, Mark Smith, Duane “Seals carves guitar albums of the decade.” Verh and Ron Weinstock. licks like a chain On the strength of saw through solid “Midnight Son,” Seals Check out our new, updated web oak and sings like began touring Europe page. -
Language Contact and US-Latin Hip Hop on Youtube
City University of New York (CUNY) CUNY Academic Works Publications and Research York College 2019 Choutouts: Language Contact and US-Latin Hip Hop on YouTube Matt Garley CUNY York College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/yc_pubs/251 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Choutouts: Language contact and US-Latin hip hop on YouTube Matt Garley This paper presents a corpus-sociolinguistic analysis of lyrics and com- ments from videos for four US-Latinx hip hop songs on YouTube. A ‘post-varieties’ (Seargeant and Tagg 2011) analysis of the diversity and hybridity of linguistic production in the YouTube comments finds the notions of codemeshing and plurilingualism (Canagarajah 2009) useful in characterizing the language practices of the Chicanx community of the Southwestern US, while a focus on the linguistic practices of com- menters on Northeastern ‘core’ artists’ tracks validate the use of named language varieties in examining language attitudes and ideologies as they emerge in commenters’ discussions. Finally, this article advances the sociolinguistics of orthography (Sebba 2007) by examining the social meanings of a vast array of creative and novel orthographic forms, which often blur the supposed lines between language varieties. Keywords: Latinx, hip hop, orthography, codemeshing, language contact, language attitudes, language ideologies, computer-mediated discourse. Choutouts: contacto lingüístico y el hip hop latinx-estadounidense en YouTube. Este estudio presenta un análisis sociolingüístico de letras de canciones y comentarios de cuatro videos de hip hop latinx-esta- dounidenses en YouTube. -
Literatura Y Otras Artes: Hip Hop, Eminem and His Multiple Identities »
TRABAJO DE FIN DE GRADO « Literatura y otras artes: Hip Hop, Eminem and his multiple identities » Autor: Juan Muñoz De Palacio Tutor: Rafael Vélez Núñez GRADO EN ESTUDIOS INGLESES Curso Académico 2014-2015 Fecha de presentación 9/09/2015 FACULTAD DE FILOSOFÍA Y LETRAS UNIVERSIDAD DE CÁDIZ INDEX INDEX ................................................................................................................................ 3 SUMMARIES AND KEY WORDS ........................................................................................... 4 INTRODUCTION ................................................................................................................. 5 1. HIP HOP ................................................................................................................... 8 1.1. THE 4 ELEMENTS ................................................................................................................ 8 1.2. HISTORICAL BACKGROUND ................................................................................................. 10 1.3. WORLDWIDE RAP ............................................................................................................. 21 2. EMINEM ................................................................................................................. 25 2.1. BIOGRAPHICAL KEY FEATURES ............................................................................................. 25 2.2 RACE AND GENDER CONFLICTS ...........................................................................................