Experiences of Millennials' Usage of the Cassette Tape As Music Media
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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. -
Eurovision Song Contest: Lena-Meyer Landrut Verpasst Mit „Taken by a Stranger“ Die Charts-Spitze
09.03.2011 http://www.derwesten.de/nachrichten/Lena-Meyer-Landrut-verpasst-mit-Taken-By-A-Stranger- die-Charts-Spitze-id4397104.html Eurovision Song Contest Lena-Meyer Landrut verpasst mit „Taken By A Stranger“ die Charts-Spitze Nachrichten, 09.03.2011, Ingmar Kreienbrink Lena Meyer-Landrut wird für Deutschland beim Eurovision Song Contest mit dem Song „Taken By A Stranger“ das Projekt Titelverteidigung angehen. (Foto: © Sandra Ludewig / Universal Music 2011) Essen. Die Bilanz ist auf den ersten Blick beeindruckend: Mit fünf Singles aus ihrem neuen Album landete Lena Meyer-Landrut gleichzeitig in den Deutschen Charts. Doch „Taken by a stranger“ - ihr Song für den Eurovision Song Contest - landet hinter „Grenade“ von Bruno Mars „nur“ auf Platz 2. Bei dem vorherigen Medienhype durch die ARD/ProSieben-Kooperations-Sendung „Unser Song für Deutschland“ ist das kleine Überraschung. Schließlich sprang ihr Sieger-Lied „Satellite“ vor einem Jahr ebenso von Null auf 1 wie zahlreiche andere Songs aus anderen Casting-Shows wie etwa „Deutschland sucht den Superstar“ (DSDS). „Mittleres Chart-Fiasko für Plattenfirma Universal“ Jetzt diskutieren die Fans über die Folgen und die Außenwirkung durch die „Schlappe“. Schließlich ist „Taken by a Stranger“ für den Eurovision Song Contest „Unser Song für Deutschland“. In einem Blog ist unter anderem von einem mittleren Chart-Fiasko für die Plattenfirma „Universal“ die Rede. Doch die Gründe für das Ergebnis scheinen wesentlich komplexer. So hat es offenbar in der Startwoche eine Verkaufssperre für den Titel bei wichtigen Downloadshops vom Media Markt, Saturn, MedionMusic und Jamba gegeben. „Download-Verkäufe machen rund 85 Prozent der offiziellen deutschen Single Charts aus“, erläutert Hans Schmucker von media control auf DerWesten-Anfrage. -
Metal for the Masses”: Or, Will Metal Ever Be Mainstream Again? (And Why We Should Want It to Be...)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ResearchSPace - Bath Spa University MODERN HEAVY METAL: MARKETS, PRACTICES AND CULTURES International Academic Conference 2015 “METAL FOR THE MASSES”: OR, WILL METAL EVER BE MAINSTREAM AGAIN? (AND WHY WE SHOULD WANT IT TO BE...) Andy R. Brown Bath Spa University, UK Abstract Exploring the model of scene-based innovation and scarcity that characterised the 90s extreme metal underground, as eloquently outlined by Keith Kahn- Harris, this paper seeks to evaluate the extent to which its model of “eclipsed” symbolic capital accumulation is the key not to its success but relative failure to achieve innovation, development and change in metal music. Debating Lena and Peterson’s AgSIT model of genre trajectories, this paper argues such change in metal music have always been tied to the formation and demise of music “mainstreams.” The problem from this perspective is that NWOBHM, doom, power (including symphonic), thrash, grindcore, death and black metal did not mainstream enough (with the exception of some notable bands) to allow the next cycle of musical innovation to commence. Introduction In a striking series of recent posts, published on-line in the net.magazine Sou- ciant (2013; 2014), Keith Kahn-Harris has reflected on the question of Metal After Metal. Recalling the searching intelligence of a younger Lawrence Gross- berg (1990) and his anxious ruminations on whether rock was dead, dying or “going somewhere else” – published over twenty years ago – Kahn-Harris ec- hoes a similar set of fears, not about the break-up of the music-audience rela- tions that sustained the Anglo-American “rock formation” but the scenic- relations that sustained the creative-economy of the extreme metal under- ground. -
Embodiment, Phenomenology and Listener Receptivity of Nirvana’S in Utero
‘WE FEED OFF EACH OTHER’: EMBODIMENT, PHENOMENOLOGY AND LISTENER RECEPTIVITY OF NIRVANA’S IN UTERO Christopher Martin 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 May 2006 Committee: Jeremy Wallach Becca Cragin Angela Nelson ii ABSTRACT Jeremy Wallach, Advisor Despite the fact that listening to recorded music is a predominant form of human interaction with music in general, music scholarship often continues to classify listening as a passive form of reception in comparison to the “activity” of actual music performance. This thesis presents the idea that music listening is actually an embodied and agentive form of reception that varies according to different listeners, their listening strategies, and other surrounding contexts. In order to provide detailed analysis of this assertion, Nirvana’s 1993 album In Utero is the primary recording that this thesis examines, arguing that the album contains specific embodied properties that ultimately allow for embodied forms of listening and responses within the musical experience. Phenomenological reasoning and scholarship from popular music studies, history, cultural studies, and other humanities fields contribute to the central argument. iii ACKNOWLEDGEMENTS I owe an oversized thank you to the following friends and family for their support: Pat and Priscilla Martin, Veronica Martin, Linda Coleson, and my colleagues in the Popular Culture department. Aaron Weinacht and Patrick Blythe earn special thanks for their continuing willingness to participate in arguments and theories that, as always, range from prescient to ridiculous. Kandace Virgin also deserves my thanks and love for patiently tolerating my stubbornness and need to constantly work ahead, as well as my other idiosyncrasies. -
31295017082362.Pdf (961.5Kb)
D.I.Y. MUSIC PRODUCfiON: YOUR MUSIC, YOUR WAY- THE HISTORY A.~D PROCESS by Travis N. Nichols A SENIOR THESIS Ill GENERAL STUDIES Submitted to the General Studies Council in the College of Arts and Sciences at Texas Tech University in Partial fulfillment of the Requirements for the Degree in BACHELOR OF GENERAL STUDIES A}}Pfoved DR. ST~VEN1>AA10N Depattment of Music Chairperson of Thesis Committee DR. BRUCE CLARKE Department of English Accepted DR. i1fcHAEL scHOENEC'RE Director of General Studies May2002 ACKNOWLEOOMENTS I would like to thank Dr. Steven Paxton and Dr. Bruce Clarke for their help and consideration in writing this thesis. I would also like to thank Dr. Schoenecke and linda Gregston for their extensive support in my collegiate career. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS .................................................................................. .ii CHAPTER I. INTRODUCTION ..................................................................... t II. Why DIY? THE HISTORY ....................................................... 2 III. THE PROCESS: DOING IT YOURSELF ................................. s IV. ACTION: AN EXAMPLE IN COMPLETION .......................... 9 V. AR1WORK FOR THE ALBUM .............................................. 13 VI. CONCLUSION ........................................................................ 15 BIBLIOGRAPHY ................................................................................................ t6 ... lll CHAPTER I INTRODUCTION It is a battle cry against corporate acquisition and -
Curriculum Theory As Cultural Studies. Toby Allan Daspit Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1998 Subterranean Echoes: Curriculum Theory as Cultural Studies. Toby Allan Daspit Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Daspit, Toby Allan, "Subterranean Echoes: Curriculum Theory as Cultural Studies." (1998). LSU Historical Dissertations and Theses. 6820. https://digitalcommons.lsu.edu/gradschool_disstheses/6820 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
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. -
Brinsley Schwarz Last Updated: 10 August 2007
This document is a snapshot of content from a discontinued BBC website, originally published between 2002-2011. It has been made available for archival & research purposes only. Please see the foot of this document for Archive Terms of Use. 8 May 2012 Accessibility help Text only BBC Homepage Wales Home Brinsley Schwarz Last updated: 10 August 2007 Ian Gomm was once described as the "best rhythm more from this section guitarist in Britain" (NME BBC Local 1971). In those days, he was My Story a member of cult group A Week in Westminster Mid Wales Abigail's Orang-utans Brinsley Shwarz. Things to do Back into the big bad world... Bah! Humbug! People & Places Beard and Booze Nature & Outdoors Ian now lives in Llanfair Caereinon in Powys and writes here Belonging History about his days as a rock star. He sent us his story after Brinsley Schwarz Religion & Ethics visiting the BBC Wales Bus in Llanfair Caereinion in 2003. Calendar Girl Class of '53 Arts & Culture Don't cry for me Aberaeron Music God Bless the Cambrian News! TV & Radio "I was born in downtown Chiswick and grew up in London History Hunter Internet Innovators Local BBC Sites and cut my teeth on 'The Ventures', 'The Everly Brothers' Jim's Story News and 'The Beatles'. As a youngster, I followed a 5-year Keeping Butterflies Sport apprenticeship in mechanical and electronic engineering with Learner of the Year EMI Ltd. at Hayes in London where The Beatles' first records Led Zeppelin Weather Leila's Long Walk Travel were manufactured. Llanidloes Fancy Dress Martin's Memories Neighbouring Sites I sang and played lead/rhythm guitar in semi-professional Memories from Bont North East Wales groups in my spare time through the late sixties, and Motherhood - My View North West Wales performed around the West London R&B circuit in clubs and My West Side Story South East Wales Observations of a Sea-Side Town. -
A"Boy"Named"Cindy" " Thesis"" " Presented
A"Boy"Named"Cindy" " Thesis"" " Presented"in"partial"fulfillment"of"the"requirements"for"the"degree"Master"of"Fine" Arts"in"Creative"Writing"–"Nonfiction"in"the"Graduate"School"of"The"Ohio"State" University." " " By" " Cindy"Gaillard,"B.S." Graduate"Program"in"English" " The"Ohio"State"University" 2015" " Thesis"Committee:" Lee"Martin,"Advisor" Erin"McGraw" " " ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Copyright!by! ! Cindy!Gaillard! ! 2015! Abstract! ! ! This!work!is!a!partial!memoir!about!a!journey!I!took!at!twelve!years!of!age!in!1973! encompassing!the!states!of!New!Mexico,!Arizona,!Utah,!Wyoming!and!Colorado.!!It!is! a!personal!story!of!both!spiritual!and!sexual!awakening.!!Set!in!a!time!when! homosexuality!was!condemned,!it!traces!the!personal!obstacles!of!selfJidentity!as!a! young!lesbian!who!struggles!with!her!love!of!God.! ! ii! Dedication! ! ! ! ! For!the!GLBT!community,!both!young!and!old;!! God!made!you!beautiful.! ! iii! Acknowledgments! ! ! ! Many!thanks!to!Andrew!Hudgins!for!kicking!me!in!the!ass!to!complete!my!thesis! while!plying!me!with!single!malt!scotch;!Erin!McGraw!who!taught!me!how!to!craft! scenes!with!the!patience!of!an!impatient!saint;!to!Lee!Martin!for!never!giving!up!on! me!and!sharing!a!love!of!music!on!and!off!the!page;!to!Susanne!Jaffe!who!told!me!to! stop!writing!crap!and!embrace!what!I!love;!to!Janet!McAdams!for!our!Saturday! morning!writing!sessions!and!pushing!to!write!down!the!river!story,!full!of!legend! and!oh,!so!many!truths.! Thanks!to!Mary!Coleman!for!guiding!so!many!students,!this!one!included,!to! embrace!their!purpose.!! -
Paranoize Zine
Paranoize is a non-profit independent 4-5-19 publication based in New Orleans, I’ve been publishing ‘zines for 30 years Louisiana covering metal, punk, hardcore, now! Before Paranoize, there was sludge, doom, stoner rock and pretty Thrashcore! My friend Weldon (who did a much anything loud and noisy. ‘zine in San Antonio, TX called Frontline) inspired me to do a ‘zine, when I was Bands/labels are encouraged to send their telling him that it sucked that there were no music in to review, but if we don’t like it, ‘zines around New Orleans anymore, and you can bet that we’ll make fun of you. he said “well start one!”. So my friend Brian and I, teenagers with NO clue of what the Advertisements and donations are what hell we were doing, wrote to a ton of bands keep this publication FREE. Go to www.paranoizenola.com or email an sent interview questions along with our [email protected] to find out correspondence, typed up the replies, laid it how to donate or advertise. out and ran off 100 copies of our ‘zine that we decided to call Thrashcore (because to a You may send all comments, questions, 16 year old in 1989, that sounded letters, music for review (vinyl, cassette, AWESOME) and sold them at a Cro-Mags/ cd), ‘zines for trade, money, various Destruction/Aftershock/Mad Dog show in household items, etc. to: May of 1989. We put out 3 more issues over Paranoize the years before I went out on my own with P.O. -
BACHELORARBEIT Dynamic Range Das Ende Des Loudness
BACHELORARBEIT Herr Maximilian Jäger Dynamic Range Das Ende des Loudness War 2018 Fakultät Medien BACHELORARBEIT Dynamic Range Das Ende des Loudness War Autor: Herr Maximilian Jäger Studiengang: Medientechnik Seminargruppe: MT12wH-B Erstprüfer: Prof. Dr.-Ing. Michael Hösel Zweitprüfer: Dipl.-Musikpädagoge Thomas Wand Einreichung: Mittweida, 08. Januar 2018 Faculty of Media BACHELOR THESIS Dynamic Range The End of Loudness War author: Mr. Maximilian Jäger course of studies: media technologies seminar group: MT12wH-B first examiner: Prof. Dr.-Ing. Michael Hösel second examiner: Dipl.-Musikpädagoge Thomas Wand submission: Mittweida, 08 January 2018 IV Bibliografische Angaben: Jäger, Maximilian: Dynamic Range – Das Ende des Loudness War Dynamic Range – The End of Loudness War 2018 - 91 Seiten Mittweida, Hochschule Mittweida (FH), University of Applied Sciences, Fakultät Medien, Bachelorarbeit, 2018 Abstract Diese Arbeit soll eine aktuelle Tendenz über den Loudness War aufzeigen sowie den Einfluss von zu lauter bzw. zu komprimierter Produktion auf die Dynamik eines Musik- stückes darstellen. Dabei soll ebenfalls festgehalten werden, welchen Kriterien eine Musikproduktion gerecht werden sollte, damit sie vom Zuhörer als dynamisch klingend empfunden wird und welches Potential die Dynamic Range besitzt dem Loudness War entgegenzuwirken. Hierfür wurden die Dynamic Ranges von insgesamt 5269 Musikti- teln aus dem Zeitraum von 1982 bis 2017 bestimmt. This study contains a current tendency of the Loudness War which deals with the ques- tion in which way a louder and more compressed production impacts the dynamic of a song. The main focus of this study is to give an advice, which criteria should be fulfilled that music reaches an audience in a dynamic way and to show whether the Dynamic Range has got the potential to lead the Loudness War to an end. -
The Encyclopaedia Metallica by Malcolm Dome and Jerry Ewing
metallica.indb 1 03/10/2007 10:33:40 The Encyclopaedia Metallica by Malcolm Dome and Jerry Ewing A CHROME DREAMS PUBLICATION First Edition 2007 Published by Chrome Dreams PO BOX 230, New Malden, Surrey, KT3 6YY, UK [email protected] WWW.CHROMEDREAMS.CO.UK ISBN 9781842404034 Copyright © 2007 by Chrome Dreams Edited by Cathy Johnstone Cover Design Sylwia Grzeszczuk Layout Design Marek Niedziewicz All rights reserved. No part of this book may be reproduced without the written permission of the publishers. A catalogue record for this book is available from the British Library. Printed and bound in Great Britain by William Clowes Ltd, Beccles, Suffolk metallica.indb 2 03/10/2007 10:33:40 metallica.indb 3 03/10/2007 10:33:41 Encyclopaedia Metallica THE AUTHORS WOULD SOURCES FROM WHICH LIKE TO THANK ... QUOTES HAVE BEEN TAKEN ...the following people for their Kerrang! magazine support and assistance: Metal Hammer magazine All at Chrome Dreams. RAW magazine Adair & Roxy. Playboy magazine Q magazine All at TotalRock: Tony Wilson, Thekkles, Tabitha, Guitar World magazine Emma ‘SF’ Bellamy, The Bat, Ickle Buh, So What! official Metallica fanzine The PMQ, Katie P. www.encyclopedia-metallica. com Everyone at the Crobar/ www.metallicaworld.co.uk Evensong: Sir Barrence, The Rector, The Crazy Bitch, www.blabbermouth.net The Lonely Doctor, Steve, Rick, Johanna, Bagel, Benjy, www.metalhamer.co.uk Maisie, Laura, Stuart, Steve www.kerrang.com Hammonds, John Richards, Dave Everley, Bob Slayer, en.wikipedia.org David Kenny, The Unique One, Harjaholic, Al King, Jonty, Orange Chuffin’ Goblin (Baby), Lady E., Smelly Jacques, Anna Maria, Speccy Rachel.