'Turning Rebellion Into Money' Catalog #2
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Bill Rogers Collection Inventory (Without Notes).Xlsx
Title Publisher Author(s) Illustrator(s) Year Issue No. Donor No. of copies Box # King Conan Marvel Comics Doug Moench Mark Silvestri, Ricardo 1982 13 Bill Rogers 1 J1 Group Villamonte King Conan Marvel Comics Doug Moench Mark Silvestri, Ricardo 1982 14 Bill Rogers 1 J1 Group Villamonte King Conan Marvel Comics Doug Moench Ricardo Villamonte 1982 12 Bill Rogers 1 J1 Group King Conan Marvel Comics Doug Moench Alan Kupperberg and 1982 11 Bill Rogers 1 J1 Group Ernie Chan King Conan Marvel Comics Doug Moench Ricardo Villamonte 1982 10 Bill Rogers 1 J1 Group King Conan Marvel Comics Doug Moench John Buscema, Ernie 1982 9 Bill Rogers 1 J1 Group Chan King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1981 8 Bill Rogers 1 J1 Group Chan King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1981 6 Bill Rogers 1 J1 Group Chan Conan the King Marvel Don Kraar Mike Docherty, Art 1988 33 Bill Rogers 1 J1 Nnicholos King Conan Marvel Comics Roy Thomas John Buscema, Danny 1981 5 Bill Rogers 2 J1 Group Bulanadi King Conan Marvel Comics Roy Thomas John Buscema, Danny 1980 3 Bill Rogers 1 J1 Group Bulanadi King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1980 2 Bill Rogers 1 J1 Group Chan Conan the King Marvel Don Kraar M. Silvestri, Art Nichols 1985 29 Bill Rogers 1 J1 Conan the King Marvel Don Kraar Mike Docherty, Geof 1985 30 Bill Rogers 1 J1 Isherwood, Mike Kaluta Conan the King Marvel Don Kraar Mike Docherty, Geof 1985 31 Bill Rogers 1 J1 Isherwood, Mike Kaluta Conan the King Marvel Don Kraar Mike Docherty, Vince 1986 32 Bill Rogers -
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. -
Razorcake Issue #09
PO Box 42129, Los Angeles, CA 90042 www.razorcake.com #9 know I’m supposed to be jaded. I’ve been hanging around girl found out that the show we’d booked in her town was in a punk rock for so long. I’ve seen so many shows. I’ve bar and she and her friends couldn’t get in, she set up a IIwatched so many bands and fads and zines and people second, all-ages show for us in her town. In fact, everywhere come and go. I’m now at that point in my life where a lot of I went, people were taking matters into their own hands. They kids at all-ages shows really are half my age. By all rights, were setting up independent bookstores and info shops and art it’s time for me to start acting like a grumpy old man, declare galleries and zine libraries and makeshift venues. Every town punk rock dead, and start whining about how bands today are I went to inspired me a little more. just second-rate knock-offs of the bands that I grew up loving. hen, I thought about all these books about punk rock Hell, I should be writing stories about “back in the day” for that have been coming out lately, and about all the jaded Spin by now. But, somehow, the requisite feelings of being TTold guys talking about how things were more vital back jaded are eluding me. In fact, I’m downright optimistic. in the day. But I remember a lot of those days and that “How can this be?” you ask. -
Wavelength (February 1983)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 2-1983 Wavelength (February 1983) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (February 1983) 28 https://scholarworks.uno.edu/wavelength/28 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ... ,.. i .,. #pf r f~ ~ I ~ t J t .. ~ • '~ -- •-- .. I ' I . r : • 1 ,, ' ,,. .t, '~'. • .·' f I .. ""' - • ,, ' ' 4. ,I • , /rl. • 4 . • .•, .' ./j ·. ~ f/ I. • t • New Orleans is a live! A day and night kaleido scope of the gaud y, raucous, erotic and exotic Mardi Gras, Steamboats, Parades, Seafood, Jazz and the French Quarter. Discover it all in the award-winning books Mardi Gras! A Celebration and New Orleans: The Passing Parade. Brilliant color photographs by Mitchel L. Osborne are complimented by delightful and informative texts. A vail able in fine bookstores or order directly from Picayune Press, Ltd .: Mardi Gras!: A C!oth $29.95, Paper$15.95 · New Orleans: The Passing Parade: 326 Picayune Place # 200 New Orleans, LA 70130 Paper $14.95 Postage and Handhng $1.50 • LA res1dents add 3% tax • V1sa & Mastercharge accepted. ' ISSUE NO. 28 • FEBRUARY 1983 "I'm not sure, but I'm almost positive, rhar all music came from New Orleans. " Ernie K-Doe, 1979 Available in American Oak, American Walnut, Teak, Mahogany and White Features Melamine at no change In cost. -
Unobtainium-Vol-1.Pdf
Unobtainium [noun] - that which cannot be obtained through the usual channels of commerce Boo-Hooray is proud to present Unobtainium, Vol. 1. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We invite you to our space in Manhattan’s Chinatown, where we encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections by appointment or chance. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Please contact us for complete inventories for any and all collections. The Flash, 5 Issues Charles Gatewood, ed. New York and Woodstock: The Flash, 1976-1979. Sizes vary slightly, all at or under 11 ¼ x 16 in. folio. Unpaginated. Each issue in very good condition, minor edgewear. Issues include Vol. 1 no. 1 [not numbered], Vol. 1 no. 4 [not numbered], Vol. 1 Issue 5, Vol. 2 no. 1. and Vol. 2 no. 2. Five issues of underground photographer and artist Charles Gatewood’s irregularly published photography paper. Issues feature work by the Lower East Side counterculture crowd Gatewood associated with, including George W. Gardner, Elaine Mayes, Ramon Muxter, Marcia Resnick, Toby Old, tattooist Spider Webb, author Marco Vassi, and more. -
Produced Byray Manzarek
PRODUCED BY RAY MANZAREK Originally released April 1980 Originally released May 1981 Originally released July 1982 Originally released September 1983 Frank Gargani Debbie Leavitt Power... Passion... Poetry! Attack the world. Let’s do some damage. What a band. Four monsters of skin. My favorite rockers of the then time. John Doe - Mr. Handsome - of the deep rich voice, the hard, strong jaw, the angular bass stance and the hot/cool lyrics. Their harmonies - some would say Schoenberg - his partner Exene, of the wailing scream in the night, the clear eyed pinning of American failings, the fine words of Diana Bonebrake love and booze and madness in the midnight dawn of Los Angeles. “Johny Hit and Run Paulene...” and he’s got a sterilized hypo filled with a sex-machine drug, and he only has 24 hours to shoot all Paulenes between the legs. So get busy, boy. And he does. Listen to those words! That naughty, naughty Johny. I love ‘em. And Exene’s “The World’s a Mess, it’s in My Kiss.” I just love that crazy combination: World - Mess - Kiss. And Billy Zoom on guitar, or is that at least 3 or 4 guitars. How does he do it? It’s so massive, so sharp, so bright, so fucking LOUD!!! And he is so silver smooth and cool. Effortless fingering, impeccable on the frets. Doesn’t he ever make a mistake? Is he a flesh and blood Valhalla guitar god? Yeahhh! And who is that madman beating the living shit out those drums? Ladies and Gentleman... D. -
ABSTRACT Title of Document: COMMUNICATING FEAR in FILM
ABSTRACT Title of Document: COMMUNICATING FEAR IN FILM MUSIC: A SOCIOPHOBIC ANALYSIS OF ZOMBIE FILM SOUNDTRACKS Pedro Gonzalez-Fernandez Master of Arts, 2014 Directed By: Dr. Patrick Warfield, Musicology The horror film soundtrack is a complex web of narratological, ethnographic, and semiological factors all related to the social tensions intimated by a film. This study examines four major periods in the zombie’s film career—the Voodoo zombie of the 1930s and 1940s, the invasion narratives of the late 1960s, the post-apocalyptic survivalist fantasies of the 1970s and 1980s, and the modern post-9/11 zombie—to track how certain musical sounds and styles are indexed with the content of zombie films. Two main musical threads link the individual films’ characterization of the zombie and the setting: Othering via different types of musical exoticism, and the use of sonic excess to pronounce sociophobic themes. COMMUNICATING FEAR IN FILM MUSIC: A SOCIOPHOBIC ANALYSIS OF ZOMBIE FILM SOUNDTRACKS by Pedro Gonzalez-Fernandez Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2014 Advisory Committee: Professor Patrick Warfield, Chair Professor Richard King Professor John Lawrence Witzleben ©Copyright by Pedro Gonzalez-Fernandez 2014 Table of Contents TABLE OF CONTENTS II INTRODUCTION AND LITERATURE REVIEW 1 Introduction 1 Why Zombies? 2 Zombie Taxonomy 6 Literature Review 8 Film Music Scholarship 8 Horror Film Music Scholarship -
Runaway Film Production: a Critical History of Hollywood’S Outsourcing Discourse
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository RUNAWAY FILM PRODUCTION: A CRITICAL HISTORY OF HOLLYWOOD’S OUTSOURCING DISCOURSE BY CAMILLE K. YALE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Professor John C. Nerone, Chair and Director of Research Professor James W. Hay Professor Steven G. Jones, University of Illinois at Chicago Professor Cameron R. McCarthy ABSTRACT Runaway production is a phrase commonly used by Hollywood film and television production labor to describe the outsourcing of production work to foreign locations. It is an issue that has been credited with siphoning tens of millions of dollars and thousands of jobs from the U.S. economy. Despite broad interest in runaway production by journalists, politicians, academics, and media labor interests, and despite its potential impact on hundreds of thousands—and perhaps millions—of workers in the U.S., there has been very little critical analysis of its historical development and function as a political and economic discourse. Through extensive archival research, this dissertation critically examines the history of runaway production, from its introduction in postwar Hollywood to its present use in describing the development of highly competitive television and film production industries in Canada. From a political economic perspective, I argue that the history of runaway production demonstrates how Hollywood’s multinational media corporations have leveraged production work to cultivate goodwill and industry-friendly trade policies across global media markets. -
Sp-Sting-19920204.Pdf
L......i N..J FI L__ L..... cz -1 cc ji cE_ cZZ cz TheSting Li 1-- February 1992 Volume XLV No ii Cheshier Drops Bombshell on Staff Council By Westly Hetrick state that there will be layoffs in the future Grumpy Morning Dude Eighty five percent of SCTs budget goes to salaries so layoffs On Thursday January 23 are certainty Hopefully though President Cheshier used the second the personnel cuts will come from meeting of the staff council for sort natural attrition thatis as vacancies of State of the become will College address open they stay open pre-empting President Bush by andexistingpersonnelwillbe shifted nearlyaweek Themain body of the around to do the work the president speech was on budget cuts continued It was somewhat ironic that the For the record faculty consists president should use the forum of of professors and vice presidents the staff council and afew to confirm what others while staffis pretty staff much many members have feared everyone else since summer and earlier Due to The rationale behind laying off budget deficiencies there will be staff is that Southern Tech spends staff layoffs in the near future and more percentage-wise on staff than those to be laid off will be support most other colleges in Georgia staff not faculty It is even more Cheshier stated As expensive as ironic that he should place before instruction is especially for tech- them nical therequestforinputas to where college we cant really justify budget cuts can be made spending the least in the state on The school needs to cut nearly instruction Hecontinued -
A G Lim P S E Thrzough T
A G l i m p s e T h r z o u g h T 2A Thursday, February 20,1988 Daily Nexus Join us Thursdays at 5:30 PM for : paI o o o o o o o o ooooooooooooooo G 9 Id $ 5 No Golden Ponies Here Who on earth are The Golden Palominos? The core of bites. the band is drummer and producer Anton Fier and bass Apart from these three songs, the rest of Visions of guitarist Bill Laswell. Visions o f Excess also boasts a Excess shows little promise. “ B oy(G o)” has a full, lengthy list of guest appearances, including Richard heavy sound — a wall of percussion. If it contained more Thompson, John Lydon (a.k.a. Johnny Rotten), Benue melody, it would sound more like R.E.M. Stipe’s voice is Worrel of Talking Heads fame and R.E.M.’s Michael unmistakable but this stuff is just not of the same Stipe. I have never heard of Syd Straw before but she has caliber. The different vocal levels may prevent a sense a unique voice — a lot like Chrissie Hynde, Exene of complete repetitiveness but the song is overly in- 2/20 The New Male-Female Cervenka and Stevie Nicks all in one. cantatory in places. “ Clustering Train” is similar, with Relationship Despite the impressive name-dropping, the album is, too much guitar accompanying Stipe’s drawn-out whine Janice and John Baldwin, Ph.D. as a whole, a bit mediocre. A few songs, however, to be true R.E.M. -
American Foreign Policy, the Recording Industry, and Punk Rock in the Cold War
Georgia State University ScholarWorks @ Georgia State University History Dissertations Department of History Spring 5-10-2017 Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War Mindy Clegg Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/history_diss Recommended Citation Clegg, Mindy, "Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War." Dissertation, Georgia State University, 2017. https://scholarworks.gsu.edu/history_diss/58 This Dissertation is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. MUSIC FOR THE INTERNATIONAL MASSES: AMERICAN FOREIGN POLICY, THE RECORDING INDUSTRY, AND PUNK ROCK IN THE COLD WAR by MINDY CLEGG Under the Direction of ALEX SAYF CUMMINGS, PhD ABSTRACT This dissertation explores the connections between US foreign policy initiatives, the global expansion of the American recording industry, and the rise of punk in the 1970s and 1980s. The material support of the US government contributed to the globalization of the recording industry and functioned as a facet American-style consumerism. As American culture spread, so did questions about the Cold War and consumerism. As young people began to question the Cold War order they still consumed American mass culture as a way of rebelling against the establishment. But corporations complicit in the Cold War produced this mass culture. Punks embraced cultural rebellion like hippies. -
Glam Rock by Barney Hoskyns 1
Glam Rock By Barney Hoskyns There's a new sensation A fabulous creation, A danceable solution To teenage revolution Roxy Music, 1973 1: All the Young Dudes: Dawn of the Teenage Rampage Glamour – a word first used in the 18th Century as a Scottish term connoting "magic" or "enchantment" – has always been a part of pop music. With his mascara and gold suits, Elvis Presley was pure glam. So was Little Richard, with his pencil moustache and towering pompadour hairstyle. The Rolling Stones of the mid-to- late Sixties, swathed in scarves and furs, were unquestionably glam; the group even dressed in drag to push their 1966 single "Have You Seen Your Mother, Baby, Standing in the Shadow?" But it wasn't until 1971 that "glam" as a term became the buzzword for a new teenage subculture that was reacting to the messianic, we-can-change-the-world rhetoric of late Sixties rock. When T. Rex's Marc Bolan sprinkled glitter under his eyes for a TV taping of the group’s "Hot Love," it signaled a revolt into provocative style, an implicit rejection of the music to which stoned older siblings had swayed during the previous decade. "My brother’s back at home with his Beatles and his Stones," Mott the Hoople's Ian Hunter drawled on the anthemic David Bowie song "All the Young Dudes," "we never got it off on that revolution stuff..." As such, glam was a manifestation of pop's cyclical nature, its hedonism and surface show-business fizz offering a pointed contrast to the sometimes po-faced earnestness of the Woodstock era.