Girl Vs. Boy Band: the Right Track Free
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BEACH BOYS Vs BEATLEMANIA: Rediscovering Sixties Music
The final word on the Beach Boys versus Beatles debate, neglect of American acts under the British Invasion, and more controversial critique on your favorite Sixties acts, with a Foreword by Fred Vail, legendary Beach Boys advance man and co-manager. BEACH BOYS vs BEATLEMANIA: Rediscovering Sixties Music Buy The Complete Version of This Book at Booklocker.com: http://www.booklocker.com/p/books/3210.html?s=pdf BEACH BOYS vs Beatlemania: Rediscovering Sixties Music by G A De Forest Copyright © 2007 G A De Forest ISBN-13 978-1-60145-317-4 ISBN-10 1-60145-317-5 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, recording or otherwise, without the prior written permission of the author. Printed in the United States of America. Booklocker.com, Inc. 2007 CONTENTS FOREWORD BY FRED VAIL ............................................... XI PREFACE..............................................................................XVII AUTHOR'S NOTE ................................................................ XIX 1. THIS WHOLE WORLD 1 2. CATCHING A WAVE 14 3. TWIST’N’SURF! FOLK’N’SOUL! 98 4: “WE LOVE YOU BEATLES, OH YES WE DO!” 134 5. ENGLAND SWINGS 215 6. SURFIN' US/K 260 7: PET SOUNDS rebounds from RUBBER SOUL — gunned down by REVOLVER 313 8: SGT PEPPERS & THE LOST SMILE 338 9: OLD SURFERS NEVER DIE, THEY JUST FADE AWAY 360 10: IF WE SING IN A VACUUM CAN YOU HEAR US? 378 AFTERWORD .........................................................................405 APPENDIX: BEACH BOYS HIT ALBUMS (1962-1970) ...411 BIBLIOGRAPHY....................................................................419 ix 1. THIS WHOLE WORLD Rock is a fickle mistress. -
Is Rock Music in Decline? a Business Perspective
Jose Dailos Cabrera Laasanen Is Rock Music in Decline? A Business Perspective Helsinki Metropolia University of Applied Sciences Bachelor of Business Administration International Business and Logistics 1405484 22nd March 2018 Abstract Author(s) Jose Dailos Cabrera Laasanen Title Is Rock Music in Decline? A Business Perspective Number of Pages 45 Date 22.03.2018 Degree Bachelor of Business Administration Degree Programme International Business and Logistics Instructor(s) Michael Keaney, Senior Lecturer Rock music has great importance in the recent history of human kind, and it is interesting to understand the reasons of its de- cline, if it actually exists. Its legacy will never disappear, and it will always be a great influence for new artists but is important to find out the reasons why it has become what it is in now, and what is the expected future for the genre. This project is going to be focused on the analysis of some im- portant business aspects related with rock music and its de- cline, if exists. The collapse of Gibson guitars will be analyzed, because if rock music is in decline, then the collapse of Gibson is a good evidence of this. Also, the performance of independ- ent and major record labels through history will be analyzed to understand better the health state of the genre. The same with music festivals that today seem to be increasing their popularity at the expense of smaller types of live-music events. Keywords Rock, music, legacy, influence, artists, reasons, expected, fu- ture, genre, analysis, business, collapse, -
The Role of Pop Music and Pop Singers in the Construction of a Singer’S Identity in Three Early Adolescent Females
Wilfrid Laurier University Scholars Commons @ Laurier Music Faculty Publications Faculty of Music Summer 2010 The Role of Pop Music and Pop Singers in the Construction of a Singer’s Identity in Three Early Adolescent Females Amy Clements-Cortés Wilfrid Laurier University, [email protected] Follow this and additional works at: https://scholars.wlu.ca/musi_faculty Part of the Music Performance Commons, and the Sociology of Culture Commons Recommended Citation Clements-Cortés, A. (2010). The role of pop music and pop singers in the construction of a singer’s identity in three early adolescent females. Canadian Music Educator, 51(4), 17-23. This Article is brought to you for free and open access by the Faculty of Music at Scholars Commons @ Laurier. It has been accepted for inclusion in Music Faculty Publications by an authorized administrator of Scholars Commons @ Laurier. For more information, please contact [email protected]. recurring motifs Peer Review Corner Edited by Lee Willingham The Role of Pop Music and Pop Singers in the Construction of a Singer’s Identity in Three Early Adolescent Females By Amy Clements-Cortes The Canadian Music Educator/ Musicien éducateur au Canada has recently established ‘Peer Review Corner’ as a regular feature of our journal. Authors wishing to have articles submitted to a panel for review may send them to Dr. Lee Willingham [[email protected]] with that request. This initiative within our own publication fills a void for Canadian scholars who wish to submit their writing to peer juries, and disseminate it to a Canadian audience. If you wish to serve as a reviewer, please contact Dr. -
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. -
THE GLOBALIZATION of K-POP by Gyu Tag
DE-NATIONALIZATION AND RE-NATIONALIZATION OF CULTURE: THE GLOBALIZATION OF K-POP by Gyu Tag Lee A Dissertation Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Doctor of Philosophy Cultural Studies Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Program Director ___________________________________________ Dean, College of Humanities and Social Sciences Date: _____________________________________ Spring Semester 2013 George Mason University Fairfax, VA De-Nationalization and Re-Nationalization of Culture: The Globalization of K-Pop A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at George Mason University By Gyu Tag Lee Master of Arts Seoul National University, 2007 Director: Paul Smith, Professor Department of Cultural Studies Spring Semester 2013 George Mason University Fairfax, VA Copyright 2013 Gyu Tag Lee All Rights Reserved ii DEDICATION This is dedicated to my wife, Eunjoo Lee, my little daughter, Hemin Lee, and my parents, Sung-Sook Choi and Jong-Yeol Lee, who have always been supported me with all their hearts. iii ACKNOWLEDGEMENTS This dissertation cannot be written without a number of people who helped me at the right moment when I needed them. Professors, friends, colleagues, and family all supported me and believed me doing this project. Without them, this dissertation is hardly can be done. Above all, I would like to thank my dissertation committee for their help throughout this process. I owe my deepest gratitude to Dr. Paul Smith. Despite all my immaturity, he has been an excellent director since my first year of the Cultural Studies program. -
Citra Feminin Dalam Video Musik Teen Top (Studi Semiotika Mengenai Citra Feminin Pada Video Musik Teen Top Berjudul “No More Perfume on You”)
NASKAH PUBLIKASI Citra Feminin dalam Video Musik Teen Top (Studi Semiotika mengenai citra feminin pada video musik Teen Top berjudul “No More Perfume on You”) Ketua : Zein Mufarrih Muktaf, S.IP NIK : 163 083 Anggota : M. Johan Junizar NIM : 20110530189 Anggota : Novrizal Ali NIM : 2011053071 UNIVERSITAS MUHAMMADIYAH YOGYAKARTA JANUARI 2013 i Citra Feminin dalam Video Musik Teen Top (Studi Semiotika mengenai citra feminin pada video musik Teen Top berjudul “No More Perfume on You”) Oleh : Zein Mufarrih Muktaf, S.IP., M.Ikom M. Johan Junizar Novrizal Ali Abstrak Video musik Teen Top berjudul “No More Perfume On You” merupakan video musik yang cukup menarik untuk diteliti. Setting video musik dengan latar putih, kostum hingga pada cara make up cenderung memperlihatkan kesan feminine. Peneliti tertarik untuk mencoba meneliti bagaimana symbol feminine direpresesntasikan pada video musik tersebut. muncul rumusan masalah bagaimana citra feminin diperlihatkan pada video music Teen Top pada lagu berjudul ““No More Perfume on You”? Tujuan dari penelitian ini adalah bagaimana citra feminin diperlihatkan pada video music Teen Top pada lagu berjudul ““No More Perfume on You” Metode yang digunakan adalah jenis penelitian deskriptif dengan pendekatan semotika Pierce. Kesimpulan dari penelitian ini adalah bahwa teks symbol feminine lebih merujuk pada feminine modern, yakni feminine yang lebih menitik beratkan pada konteks putih, glamour, make up, dan kesan erotis pada lawan jenis. Kata kunci : feminine modern, video musik, Teen Top. Abstract Teen Top's music video titled "No More Perfume On You" is a unique music video that is interesting to study. Setting music video with a white background, costume up on how to make up tends to show the impression feminine. -
Anne Gutierrez BBL 3023 Oral Interview
Anne Gutierrez BBL 3023 Oral Interview - April 30,2009 Anne Gutierrez BBL 3023 Interview Project ORAL History My interview will start now. First, I would like to begin by asking you to tell me your name and a little bit about yourself. What is your name? Veronica Vazquez When and where were you born? I was born in Montemorelos, Nuevo Leon Mexico on April 14,1972 Were you raised there? Yes I was raised there until the age of 18, and then my family moved to the United States in May 1991. How do you identify yourself culturally? I identify myself first as Mexican since I did grow up there and I was raised there. I do consider myself Mexican -American also because I have lived in the states for half my life now and I did get my American citizenship. What is your first recollection of music? My first memories of music are listening to the music my parents used to listen to. I remember having the radio on at about the age of 5 or so as my parents would get ready to go to work and it seemed that the radio usually stayed on as my mom did housework or as we cleaned up and did our chores. What Type Of music did your parents listen to? My parents mainly listened to Spanish music, mainly music such as corrrido, polkas, and conjunto mainly -real life stories written into song usually about fights or family problems the corridos were very popular that would describe what some Mexicans would go thru trying to cross the border and work to support the family. -
MONEY for NOTHING BEHIND the BUSINESS of POP MUSIC MONEY for NOTHING Behind the Business of Pop Music
MEDIA EDUCATION FOUNDATIONChallenging media TRANSCRIPT MONEY FOR NOTHING BEHIND THE BUSINESS OF POP MUSIC MONEY FOR NOTHING Behind the Business of Pop Music Producer: Kembrew McLeod Associate Producers: Thom Monahan & Jeremy Smith Editor: Jeremy Smith Executive Producer: Sut Jhally Narrated by Thurston Moore Musician, Sonic Youth Featuring interviews with: Chuck D Musician, Public Enemy Ani DiFranco Independent Musician Michael Franti Musician, Spearhead Reebee Garafolo Professor, Author Rockin’ The Boat: Mass Music & Mass Movements Shirley Halperin Editor, Bop Magazine; Music Industry Journalist Kathleen Hanna Musician, Bikini Kill/Le Tigre Dave Marsh Music Journalist Robert McChesney University of Illinois Media Education Foundation © MEF 2001 2 INTRODUCTION ROBERT MCCHESNEY: Music plays a big part in peoples' lives today it has historically and it’s an important vehicle for popular expression, for popular communication to exchange ideas, emotions, feelings. And if you look historically right through the present day its social movements, movements for social justice, movements for peace, for democracy invariably popular music has played a large role in communicating ideas through songs, popular songs, just sort of unifying people, bringing people together. It has a very rich important tradition and legacy that still exists today. But even though music is the popular medium, it's the people's medium, it really isn't the people's medium in our society today, it's the property of four or five companies who have inordinate control over what sort of music gets produced and what sort of music doesn't and it made it much more difficult for it to be the people's medium and this is the problem we face. -
Diversity of K-Pop: a Focus on Race, Language, and Musical Genre
DIVERSITY OF K-POP: A FOCUS ON RACE, LANGUAGE, AND MUSICAL GENRE Wonseok Lee A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2018 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2018 Wonseok Lee All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Since the end of the 1990s, Korean popular culture, known as Hallyu, has spread to the world. As the most significant part of Hallyu, Korean popular music, K-pop, captivates global audiences. From a typical K-pop artist, Psy, to a recent sensation of global popular music, BTS, K-pop enthusiasts all around the world prove that K-pop is an ongoing global cultural flow. Despite the fact that the term K-pop explicitly indicates a certain ethnicity and language, as K- pop expanded and became influential to the world, it developed distinct features that did not exist in it before. This thesis examines these distinct features of K-pop focusing on race, language, and musical genre: it reveals how K-pop groups today consist of non-Korean musicians, what makes K-pop groups consisting of all Korean musicians sing in non-Korean languages, what kind of diverse musical genres exists in the K-pop field with two case studies, and what these features mean in terms of the discourse of K-pop today. By looking at the diversity of K-pop, I emphasize that K-pop is not merely a dance- oriented musical genre sung by Koreans in the Korean language. -
Xiami Music Genre 文档
xiami music genre douban 2021 年 02 月 14 日 Contents: 1 目录 3 2 23 3 流行 Pop 25 3.1 1. 国语流行 Mandarin Pop ........................................ 26 3.2 2. 粤语流行 Cantopop .......................................... 26 3.3 3. 欧美流行 Western Pop ........................................ 26 3.4 4. 电音流行 Electropop ......................................... 27 3.5 5. 日本流行 J-Pop ............................................ 27 3.6 6. 韩国流行 K-Pop ............................................ 27 3.7 7. 梦幻流行 Dream Pop ......................................... 28 3.8 8. 流行舞曲 Dance-Pop ......................................... 29 3.9 9. 成人时代 Adult Contemporary .................................... 29 3.10 10. 网络流行 Cyber Hit ......................................... 30 3.11 11. 独立流行 Indie Pop ......................................... 30 3.12 12. 女子团体 Girl Group ......................................... 31 3.13 13. 男孩团体 Boy Band ......................................... 32 3.14 14. 青少年流行 Teen Pop ........................................ 32 3.15 15. 迷幻流行 Psychedelic Pop ...................................... 33 3.16 16. 氛围流行 Ambient Pop ....................................... 33 3.17 17. 阳光流行 Sunshine Pop ....................................... 34 3.18 18. 韩国抒情歌曲 Korean Ballad .................................... 34 3.19 19. 台湾民歌运动 Taiwan Folk Scene .................................. 34 3.20 20. 无伴奏合唱 A cappella ....................................... 36 3.21 21. 噪音流行 Noise Pop ......................................... 37 3.22 22. 都市流行 City Pop ......................................... -
Analyzing Genre in Post-Millennial Popular Music
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Analyzing Genre in Post-Millennial Popular Music Thomas Johnson The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2884 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] ANALYZING GENRE IN POST-MILLENNIAL POPULAR MUSIC by THOMAS JOHNSON A dissertation submitted to the Graduate Faculty in Music in partial Fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 THOMAS JOHNSON All rights reserved ii Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson This manuscript has been read and accepted for the Graduate Faculty in music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ___________________ ____________________________________ Date Eliot Bates Chair of Examining Committee ___________________ ____________________________________ Date Norman Carey Executive Officer Supervisory Committee: Mark Spicer, advisor Chadwick Jenkins, first reader Eliot Bates Eric Drott THE CITY UNIVERSITY OF NEW YORK iii Abstract Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson Advisor: Mark Spicer This dissertation approaches the broad concept of musical classification by asking a simple if ill-defined question: “what is genre in post-millennial popular music?” Alternatively covert or conspicuous, the issue of genre infects music, writings, and discussions of many stripes, and has become especially relevant with the rise of ubiquitous access to a huge range of musics since the fin du millénaire. -
© Copyright 2020 Young Dae
© Copyright 2020 Young Dae Kim The Pursuit of Modernity: The Evolution of Korean Popular Music in the Age of Globalization Young Dae Kim A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2020 Reading Committee: Shannon Dudley, Chair Clark Sorensen Christina Sunardi Program Authorized to Offer Degree: Music University of Washington Abstract The Pursuit of Modernity: The Evolution of Korean Popular Music in the Age of Globalization Young Dae Kim Chair of the Supervisory Committee: Shannon Dudley School of Music This dissertation examines the various meanings of modernity in the history of Korean pop music, focusing on several crucial turning points in the development of K-pop. Since the late 1980s, Korean pop music has aspired to be a more advanced industry and establish an international presence, based on the economic leap and democratization as a springboard. Contemporary K-pop, originating from the underground dance scene in the 1980s, succeeded in transforming Korean pop music into a modern and youth-oriented genre with a new style dubbed "rap/dance music." The rise of dance music changed the landscape of Korean popular music and became the cornerstone of the K-pop idol music. In the era of globalization, K-pop’s unique aesthetics and strategy, later termed “Cultural Technology,” achieved substantial returns in the international market. Throughout this evolution, Korean Americans were vital players who brought K-pop closer to its mission of modern and international pop music. In the age of globalization, K-pop's modernity and identity are evolving in a new way.