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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. -
In Less Than a Decade, DUFF Mckagan Shot
36-43 Duff feature 3/16/04 2:10 PM Page 36 36-43 Duff feature 3/16/04 2:14 PM Page 37 Bulletproof In less than a decade, DUFF McKAGAN shot from strung-out GUNS N’ ROSES megastar to sober bass-groovin’ dude for VELVET REVOLVER. Bass Guitar’s E.E. Bradman gets the rock-solid bass man in his sight. BG 37 36-43 Duff feature 3/16/04 4:25 PM Page 38 36-43 Duff feature 3/16/04 5:22 PM Page 39 “Every good rock band has to . You need that something that moves people.” uff McKagan knows covers-only Spaghetti Incident and the so-so Live Era didn’t measure up to the band’s HAIR FORCE ONE: about missed opportuni- Duff, with Rose and Slash, debut, and by 1992 Izzy and Adler had been in his GN’R daze ties. He was, after all, the replaced by Gilby Clarke and Matt Sorum. In founding bassist of the 1993, McKagan released his first solo album, legendary Guns N’ Roses, Believe in Me. Guns eventually crumbled, leaving an uncompleted (and still unreleased) whose rock-star excesses, album, tentatively titled Chinese Democracy, volatile live shows and incendiary in the balance. albums made them the biggest band in McKagan’s second effort, Beautiful D Disease, was lost to record company politics, the world before they spluttered to a but he stayed busy producing Betty Blow- messy close a decade later. But McKa- torch, playing several instruments with gan—who after a drug-and-alcohol- Screaming Trees vocalist Mark Lanegan, and related pancreas explosion 10 years ago handling guitar and bass duties for Iggy Pop, was told by doctors that his next drink Ten Minute Warning, Loaded, the Neurotic Outsiders (with John Taylor of Duran Duran would kill him—also knows a thing or and Steve Jones of the Sex Pistols) and the two about second chances. -
View Or Download Full Colour Catalogue May 2021
VIEW OR DOWNLOAD FULL COLOUR CATALOGUE 1986 — 2021 CELEBRATING 35 YEARS Ian Green - Elaine Sunter Managing Director Accounts, Royalties & Promotion & Promotion. ([email protected]) ([email protected]) Orders & General Enquiries To:- Tel (0)1875 814155 email - [email protected] • Website – www.greentrax.com GREENTRAX RECORDINGS LIMITED Cockenzie Business Centre Edinburgh Road, Cockenzie, East Lothian Scotland EH32 0XL tel : 01875 814155 / fax : 01875 813545 THIS IS OUR DOWNLOAD AND VIEW FULL COLOUR CATALOGUE FOR DETAILS OF AVAILABILITY AND ON WHICH FORMATS (CD AND OR DOWNLOAD/STREAMING) SEE OUR DOWNLOAD TEXT (NUMERICAL LIST) CATALOGUE (BELOW). AWARDS AND HONOURS BESTOWED ON GREENTRAX RECORDINGS AND Dr IAN GREEN Honorary Degree of Doctorate of Music from the Royal Conservatoire, Glasgow (Ian Green) Scots Trad Awards – The Hamish Henderson Award for Services to Traditional Music (Ian Green) Scots Trad Awards – Hall of Fame (Ian Green) East Lothian Business Annual Achievement Award For Good Business Practises (Greentrax Recordings) Midlothian and East Lothian Chamber of Commerce – Local Business Hero Award (Ian Green and Greentrax Recordings) Hands Up For Trad – Landmark Award (Greentrax Recordings) Featured on Scottish Television’s ‘Artery’ Series (Ian Green and Greentrax Recordings) Honorary Member of The Traditional Music and Song Association of Scotland and Haddington Pipe Band (Ian Green) ‘Fuzz to Folk – Trax of My Life’ – Biography of Ian Green Published by Luath Press. Music Type Groups : Traditional & Contemporary, Instrumental -
We Can Go Anywhere': Understanding Independence Through a Case Study
‘We can go anywhere’: Understanding independence through a case study of ride-hailing use by people with visual impairments in metropolitan India VAISHNAV KAMESWARAN, University of Michigan JATIN GUPTA, University of Michigan JOYOJEET PAL, University of Michigan SILE O’MODHRAIN, University of Michigan TIFFANY C. VEINOT, University of Michigan ROBIN N. BREWER, University of Michigan AAKANKSHA PARAMESHWAR, University of Michigan VIDHYA Y, Microsoft Research India JACKI O’NEILL, Microsoft Research India Ride-hailing services have received attention as part of the growing work around the sharing economy, but the focus of these studies has largely been on drivers. In this paper, we examine how ride-hailing is transforming the transportation practices of one group of passengers - people with visual impairments in metropolitan India. Through a qualitative study consisting of interviews and observations, we examined the use and impact of these services on our target population, who otherwise contend with chaotic, unreliable, and largely inaccessible modes of transportation. We found that ride-hailing services positively affects participants’ notions of independence, and we tease out how independence for our participants is not just about ‘doing things alone, without help’ but is also situated, social and relative. Furthermore, we show how accessibility, in the case of ride-hailing in India, is a socio-technical and collaborative achievement, involving interactions between the passenger, the driver, and the technology. CCS Concepts: • Human-centered computing → Empirical studies in accessibility; 85 Additional Key Words and Phrases: Accessibility, social accessibility, collaborative accessibility, independence, stigma, social interactions, ridesharing, Uber, Ola, blind users ACM Reference Format: Vaishnav Kameswaran, Jatin Gupta, Joyojeet Pal, Sile O’Modhrain, Tiffany C. -
Oregon to Maximize Testing Capacity MAX KIRKENDALL Allen and Dr
e PATCHYEdition DRIZZLE 68 • 55 | WEDNESDAY, OCTOBER 7, 2020 | theworldlink.com Follow us online: facebook.com/theworldnewspaper twitter.com/TheWorldLink instagram.com/theworldlink Oregon to maximize testing capacity MAX KIRKENDALL Allen and Dr. Melissa Sutton, includes over 35,000 positive Gov. Brown said the rise in over again that COVID does not The News Guard Senior Health Advisor for OHA. cases in Oregon and 581 deaths cases was to be expected after discriminate, it doesn’t matter if “Because of COVID, this year, related to the virus. Allen said Labor Day weekend and the you are old or young, it doesn’t SALEM — Governor Kate we have learned to live with there has been a steady increase intense wildfires that forced matter your race, your political Brown said more COVID-19 separation, grief and ever-pres- of daily cases over the past few people from their homes. OHA beliefs or your religion. It doesn’t (coronavirus) testing is on its ent uncertainty. I know it hasn’t weeks, with a 25% increase since has a growing concern of seeing even matter if you’re president way to Oregon as daily case been easy,” Gov. Brown said Aug. 31. Oregon has recorded on more spikes in case counts as the of the United States. COVID can counts continue to rise statewide. in her opening remarks. “Par- average 285 new cases per day weather shifts and forces people find a way to any of us.” Ahead of the cold and rainy ents have really struggled with with a large portion stemming inside, where the virus spreads OHA continues to study the Oregon fall and winter seasons, difficult choices, sending kids to from social gatherings, according more easily. -
A Toolkit for Partners of the CTC 2Nd Edition
Experiences A toolkit for partners of the CTC Kraus Hotspring, Nahanni, Northwest Territories © Noel Hendrickson 2nd edition October 2011 1 Experiences October 2011 © Canadian Tourism Commission 2011. All rights reserved. Dear Colleagues I’m delighted to present Experiences – A toolkit for partners of the CTC (2nd Ed.) for industry. The release coincides with the launch of our new Signature Experiences Collection® and our deeper knowledge of the values, attitudes and behaviours of travellers to Canada based on our Explorer Quotient® (EQ®) research. Travellers around the world are telling We proudly support Canada’s small and We look forward to the innovation this us that they want to explore the unique, medium enterprises (SMEs) with tools, Toolkit stimulates, the current practices the exotic and the unexpected. We’ve research, digital asset sharing, programs it validates and the creative product promised them that Canada is the place and marketing campaigns. Our Brand development that will emerge. Together we where they can fulfill this dream. Our Experiences unit works directly with industry can welcome the world, increase demand tourism businesses are key to delivering on to support your product development, for travel to Canada, and strengthen our that promise. marketing and market development national brand: Canada. Keep Exploring. activities. Memorable and engaging visitor Sincerely yours experiences in Canada bring our brand to The Experiences - A toolkit for partners life. They also strengthen the perception of the CTC (2nd Ed.) for industry provides of Canada as an all-season, premier travel updated information that we hope clearly destination. explains experiential travel and the business Library and Archives Canada Cataloguing in Publication Our goal at the Canadian Tourism opportunity it represents. -
'Music and Remembrance: Britain and the First World War'
City Research Online City, University of London Institutional Repository Citation: Grant, P. and Hanna, E. (2014). Music and Remembrance. In: Lowe, D. and Joel, T. (Eds.), Remembering the First World War. (pp. 110-126). Routledge/Taylor and Francis. ISBN 9780415856287 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16364/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] ‘Music and Remembrance: Britain and the First World War’ Dr Peter Grant (City University, UK) & Dr Emma Hanna (U. of Greenwich, UK) Introduction In his research using a Mass Observation study, John Sloboda found that the most valued outcome people place on listening to music is the remembrance of past events.1 While music has been a relatively neglected area in our understanding of the cultural history and legacy of 1914-18, a number of historians are now examining the significance of the music produced both during and after the war.2 This chapter analyses the scope and variety of musical responses to the war, from the time of the war itself to the present, with reference to both ‘high’ and ‘popular’ music in Britain’s remembrance of the Great War. -
20Th Century Masters Liner Notes
Media: Please keep in mind, these liner notes are NOT the final approved copy. This is provided in working form to meet your deadlines. ARTIST: Extreme TITLES: The Best Of Extreme 20th Century Masters The Millennium Collection CD #: 069 493 165-2 UPC #: 6 069 493 165-2 5 CD Logo: A&M Records Attached please find all necessary liner notes and credits for this package. Beth Extreme – Millennium 069 493 165-2 1 12/01/1911:47 AM Extreme The Best Of Extreme 20th Century Masters The Millennium Collection (CD Folder) Played on Top 40 radio and at countless weddings in 1991, the acoustic ballad “More Than Words” hit #1, went gold, and put Extreme on the musical map. It also undoubtedly confused the hell out of some of the two million-plus people who bought Pornograffitti, looking for more of the same. Truth be told, Extreme is a funk-metal band that just happened to hit all the right chords with an uncharacteristic foray into unplugged territory, and to define them by a single, though memorable song does a disservice to their considerable accomplishments. Extreme’s members traveled in overlapping circles on the mid-’80s music scene in Boston. Vocalist Gary Cherone and drummer Paul Geary were in a band called Dream, while Nuno Bettencourt had gained a reputation as a guitar wizard in outfits like Myth and Sinful. Cherone met Bettencourt in the summer of ’85 and invited him to replace two imminently-departing axemen, and the two quickly became a formidable lyricist-composer team. The band’s self-created video for “Mutha (Don’t Wanna Go To School Today)” won an MTV Basement Tapes competition that fall, got into rotation, and upped label interest in the band. -
Recent Critical Praise for My Brightest Diamond's This Is My Hand
Recent critical praise for My Brightest Diamond’s This Is My Hand Favorite Songs of 2014 “‘Pressure’: This baroque pop gem opens with drum corps and woodwinds, tacks on a tribal rhythm breakdown and just goes for it. All the way.” “…one of the most powerful and dramatic voices of the past decade.” “…an ability to cultivate intimacy through flawless, complex production with a beating heart.” “As a musician, Worden (who performs as My Brightest Diamond) builds her songs deliberately and impeccably…words are painted, sounds are sculpted, and the nature of Worden’s voice itself adds dimension—more than a single vocalist usually can. Her wholly enveloping, finely tuned alto sounds by turns forceful, vulnerable, cooing, playful, and endlessly emotive.” “…has a feeling for both the grandeur and the grain, building every sweeping gesture in her music out of a swarm of small details.” The Best of 2014 “…added to her smart, savvy chamber pop the influence of funk and marching bands. Her flawless voice pecks, jabs and floats above a world of rhythm that gives the new music its motion and undeniable heartbeat.” “At times, This Is My Hand all but commands listeners to dance.” “On her new album, This Is My Hand, she continues to reach far and wide with great success, adding marching-band rhythms and funky horns to her mix.” “…sounds like a modern-day Nina Simone…” “…This is My Hand works on a visceral level, conjuring Worden’s intended image of tribal, fireside collaboration through a rich diversity of texture, detail, and tone.” “…successful exercise in percussive, jagged art-pop that explores themes of self-acceptance, sensuality, and community.” “...unique and oddly beautiful.” “…presents an invigorating progression of Worden’s sonic palette…” #3: MBE Producer Ariana Morgenstern’s Top Albums of 2014 “…gorgeous new album…” “This Is My Hand is an album I would recommend to anyone—for exactly all the reasons that it’s hard to write about. -
Hornpipes and Disordered Dancing in the Late Lancashire Witches: a Reel Crux?
Early Theatre 16.1 (2013), 139–49 doi: http://dx.doi.org/10.12745/et.16.1.8 Note Brett D. Hirsch Hornpipes and Disordered Dancing in The Late Lancashire Witches: A Reel Crux? A memorable scene in act 3 of Thomas Heywood and Richard Brome’s The Late Lancashire Witches (first performed and published 1634) plays out the bewitching of a wedding party and the comedy that ensues. As the party- goers ‘beginne to daunce’ to ‘Selengers round’, the musicians instead ‘play another tune’ and ‘then fall into many’ (F4r).1 With both diabolical interven- tion (‘the Divell ride o’ your Fiddlestickes’) and alcoholic excess (‘drunken rogues’) suspected as causes of the confusion, Doughty instructs the musi- cians to ‘begin againe soberly’ with another tune, ‘The Beginning of the World’, but the result is more chaos, with ‘Every one [playing] a seuerall tune’ at once (F4r). The music then suddenly ceases altogether, despite the fiddlers claiming that they play ‘as loud as [they] can possibly’, before smashing their instruments in frustration (F4v). With neither fiddles nor any doubt left that witchcraft is to blame, Whet- stone calls in a piper as a substitute since it is well known that ‘no Witchcraft can take hold of a Lancashire Bag-pipe, for itselfe is able to charme the Divell’ (F4v). Instructed to play ‘a lusty Horne-pipe’, the piper plays with ‘all [join- ing] into the daunce’, both ‘young and old’ (G1r). The stage directions call for the bride and bridegroom, Lawrence and Parnell, to ‘reele in the daunce’ (G1r). At the end of the dance, which concludes the scene, the piper vanishes ‘no bodie knowes how’ along with Moll Spencer, one of the dancers who, unbeknownst to the rest of the party, is the witch responsible (G1r). -
All Around the World the Global Opportunity for British Music
1 all around around the world all ALL British Music for Global Opportunity The AROUND THE WORLD CONTENTS Foreword by Geoff Taylor 4 Future Trade Agreements: What the British Music Industry Needs The global opportunity for British music 6 Tariffs and Free Movement of Services and Goods 32 Ease of Movement for Musicians and Crews 33 Protection of Intellectual Property 34 How the BPI Supports Exports Enforcement of Copyright Infringement 34 Why Copyright Matters 35 Music Export Growth Scheme 12 BPI Trade Missions 17 British Music Exports: A Worldwide Summary The global music landscape Europe 40 British Music & Global Growth 20 North America 46 Increasing Global Competition 22 Asia 48 British Music Exports 23 South/Central America 52 Record Companies Fuel this Global Success 24 Australasia 54 The Story of Breaking an Artist Globally 28 the future outlook for british music 56 4 5 all around around the world all around the world all The Global Opportunity for British Music for Global Opportunity The BRITISH MUSIC IS GLOBAL, British Music for Global Opportunity The AND SO IS ITS FUTURE FOREWORD BY GEOFF TAYLOR From the British ‘invasion’ of the US in the Sixties to the The global strength of North American music is more recent phenomenal international success of Adele, enhanced by its large population size. With younger Lewis Capaldi and Ed Sheeran, the UK has an almost music fans using streaming platforms as their unrivalled heritage in producing truly global recording THE GLOBAL TOP-SELLING ARTIST principal means of music discovery, the importance stars. We are the world’s leading exporter of music after of algorithmically-programmed playlists on streaming the US – and one of the few net exporters of music in ALBUM HAS COME FROM A BRITISH platforms is growing. -
The Sam Eskin Collection, 1939-1969, AFC 1999/004
The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia.