DB-Discography-Albums
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
FIFTH AVENUE SYNAGOGUE 5 East 62Nd Street, New York, NY 10065 Tel: 212-838-2122
Learning and Living Judaism . .Together FIFTH AVENUE SYNAGOGUE 5 East 62nd Street, New York, NY 10065 Tel: 212-838-2122 www.5as.org BULLETIN JANUARY/FEBRUARY 2020 You are cordially invited to the FAS Welcomes Fifth Avenue Synagogue New Members Shabbat Dinner MORTON A. KLEIN Friday, January 31, 2020. NATIONAL PRESIDENT OF THE Join us as we welcome renowned ZIONIST ORGANIZATION OF speaker Rabbi YY Jacobson AMERICA acclaimed for his humor and inspiration. FRIDAY NIGHT DINNER, JANUARY 10, 2020 Mr. Klein will be introduced by Mrs. Inge Rennert, and he Shabbat service at 5:00 PM. will speak on the topic: “The Orwellian Lies Against Israel.” Dinner promptly at 6:00 PM. Great Kids Program! Mr. Klein will also address us for a Q&A session during Seudah Shlishit on Shabbat, January 11. Fifth Avenue Synagogue 5 East 62nd Street, NY, NY 10065 Members: $80/Adult, $40/Child; Kindly RSVP by Friday, January 24, 2020. Non-Members: $100/Adult, $50 Child. For more information please email [email protected], Kids program during the speech. call 212 - 838 - 2122, or register at www.5as.org. RSVP: www.5as.org or email [email protected] Morton A. Klein is National President of the Zionist Organization of America (ZOA), the oldest pro-Israel group in the U.S., founded in SAVE THE DATE: MARCH 6, 2020 1897. Mr. Klein is widely regarded as one of the leading Jewish ac- PLEASE JOIN THE FAS COMMUNITY tivists in the United States. He is a child of Holocaust survivors, born FOR OUR NEXT KIDS FRIDAY NIGHT in a displaced persons camp in Gunzberg, Germany. -
MSU Receives Accreditation Discussions for Choosing an Interim President Administrator at MSU
lontana mourns loss of MSU President Mike Malone provost, remembered Malone's who had a particular affection vn Lehmann passion for history. for the students. nem News Editor "Michael was someone, no "Michael involved the matter what the issue, that could students more than any bring up a piece of history or a president I know or even heard Michael Malone, '.\1SU storv that not onlv enlightened of," Dooley said. "He was ·ident, scholar, and avid and.entertained, but also made someone who took pride in his rian died Dec. 21 of a heart an important point," Dooley work, but especially in the k at Gallatin Field Airport. said. students and faculty." Malone had just returned as59. Malone had authored nine Malone had arrived at the books and 20 articles during his from Spokane after meeting with rt on a late flight. He then career, and at the time of his officials from Washington State e parking lot in his car and death, he was under contract University who were considering eled a few yards before with Yale University Press for a him for the position of president. ·ng a light post. Efforts by tenth book about western Malone turned it down. citing his ·ersb\ to resuscitate him American history since 1930. commitment to MSU. >d and he was pronounced Under l\lalone's ASMSU president Jared at the scene. Malone was leader hip O\'e r the past nine Harris felt that Malone was one nosed in 1995 with vears. '.\!SU sav. great strides in o f-a-kind. -
2018 BAM Next Wave Festival #Bamnextwave
2018 BAM Next Wave Festival #BAMNextWave Brooklyn Academy of Music Adam E. Max, Katy Clark, Chairman of the Board President William I. Campbell, Joseph V. Melillo, Vice Chairman of the Board Executive Producer Place BAM Harvey Theater Oct 11—13 at 7:30pm; Oct 13 at 2pm Running time: approx. one hour 15 minutes, no intermission Created by Ted Hearne, Patricia McGregor, and Saul Williams Music by Ted Hearne Libretto by Saul Williams and Ted Hearne Directed by Patricia McGregor Conducted by Ted Hearne Scenic design by Tim Brown and Sanford Biggers Video design by Tim Brown Lighting design by Pablo Santiago Costume design by Rachel Myers and E.B. Brooks Sound design by Jody Elff Assistant director Jennifer Newman Co-produced by Beth Morrison Projects and LA Phil Season Sponsor: Leadership support for music programs at BAM provided by the Baisley Powell Elebash Fund Major support for Place provided by Agnes Gund Place FEATURING Steven Bradshaw Sophia Byrd Josephine Lee Isaiah Robinson Sol Ruiz Ayanna Woods INSTRUMENTAL ENSEMBLE Rachel Drehmann French Horn Diana Wade Viola Jacob Garchik Trombone Nathan Schram Viola Matt Wright Trombone Erin Wight Viola Clara Warnaar Percussion Ashley Bathgate Cello Ron Wiltrout Drum Set Melody Giron Cello Taylor Levine Electric Guitar John Popham Cello Braylon Lacy Electric Bass Eileen Mack Bass Clarinet/Clarinet RC Williams Keyboard Christa Van Alstine Bass Clarinet/Contrabass Philip White Electronics Clarinet James Johnston Rehearsal pianist Gareth Flowers Trumpet ADDITIONAL PRODUCTION CREDITS Carolina Ortiz Herrera Lighting Associate Lindsey Turteltaub Stage Manager Shayna Penn Assistant Stage Manager Co-commissioned by the Los Angeles Phil, Beth Morrison Projects, Barbican Centre, Lynn Loacker and Elizabeth & Justus Schlichting with additional commissioning support from Sue Bienkowski, Nancy & Barry Sanders, and the Francis Goelet Charitable Lead Trusts. -
Specialist Collectors' Sale , Tue, 13 July 2021 9:00
Specialist Collectors' Sale , Tue, 13 July 2021 9:00 1 9ct gold charm bracelet with various novelty gold 17 Victorian silver vase of tapered cylindrical form and yellow metal charms £180-220 with embossed and pierced decoration on 2 9ct yellow and white gold bracelet with five white circular foot (lacking glass liner), by James gold double rope twist panels and yellow gold Dixon & Sons, Sheffield 1896. 11.5cm high £60- fittings. 20cm long £150-200 100 3 9ct gold circular open work ‘Ruth’ pendant on 18 Silver cigarette case with engine turned 9ct gold curb link chain. £250-300 decoration. Birmingham 1956 £60-100 4 Yellow and white metal Star of David pendant on 19 Victorian silver cased pocket watch with white 9ct gold chain £200-300 enamel dial, Roman numeral markers and subsidiary seconds dial, on silver watch chain 5 9ct gold Jewish heart shaped pendant on 18ct £40-60 gold chain £120-180 20 9ct gold flat curb link chain, 45.5cm long £150- 6 18ct gold diamond set black onyx plaque ring, 200 size L and 18ct gold signet ring, size R £80-120 21 9ct gold ball and fancy link chain, 59.5cm long 7 14ct gold wedding ring (stamped 585). Size Q £120-180 £40-60 22 Pair 9ct gold cufflinks, each oval panel engraved 8 9ct gold opal and ruby cluster ring, size N and with B and G £60-100 9ct gold emerald and opal flower head ring, size L½ £40-60 23 9ct gold heart pendant on 9ct gold chain, one other 9ct gold chain and 9ct gold watch bracelet 9 Two ladies' 9ct gold vintage wristwatches - parts £200-300 Accurist and Centaur, both on 9ct gold bracelets -
Singing Accent Americanisation in the Light of Frequency Effects: Lot Unrounding and Price Monophthongisation in Focus
Research in Language, 2018, vol. 16:2 DOI: 10.2478/rela-2018-0008 SINGING ACCENT AMERICANISATION IN THE LIGHT OF FREQUENCY EFFECTS: LOT UNROUNDING AND PRICE MONOPHTHONGISATION IN FOCUS MONIKA KONERT-PANEK University of Warsaw [email protected] Abstract The paper investigates – within the framework of usage-based phonology – the significance of lexical frequency effects in singing accent Americanisation. The accent of Joe Elliott of a British band, Def Leppard is analysed with regard to LOT unrounding and PRICE monophthongisation. Both auditory and acoustic methods are employed; PRAAT is used to provide acoustic verification of the auditory analysis whenever isolated vocal tracks are available. The statistical significance of the obtained results is verified by means of a chi- square test. In both analysed cases the percentage of frequent words undergoing the change is higher compared with infrequent ones and in the case of PRICE monphthongisation the result is statistically significant, which suggests that word frequency may affect singing style variation. Keywords: frequency effects, LOT unrounding, popular music, PRICE monophthong- gisation, singing accent, usage-based phonology 1. Introduction The phenomenon of style-shifting involved in pop singing in general and the Americanisation of British singing accent in particular have been investigated from various theoretical perspectives (Trudgill 1983, Simpson 1999, Beal 2009, Gibson and Bell 2012 among others). Depending on the theoretical standpoint, the notions of identity, reference style or default accent have been brought to light and assigned major explanatory power. Trudgill (1983) in his seminal paper on the sociolinguistics of British pop-song pronunciation interprets the emulation of the American accent as a symbolic tribute to the origins of popular music and provides the list of six characteristic features of this stylisation (1), two of which ((1c) and (1d)) are addressed in the present paper. -
A VISUALIZATION TOOL for SURVEY RESPONSES and a UNIFYING INTERFACE REDESIGN by Iva Cramer a Thesis Submitted to the Faculty of T
A VISUALIZATION TOOL FOR SURVEY RESPONSES AND A UNIFYING INTERFACE REDESIGN by Iva Cramer A thesis submitted to the faculty of The University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2015 Approved by _____________________________________ Advisor: Professor Philip Rhodes _____________________________________ Reader: Professor Dawn Wilkins _____________________________________ Reader: Professor H. C. Cunningham © 2015 Iva Cramer ALL RIGHTS RESERVED ii DEDICATION For Lindsey Stirling, Andrew Lloyd Weber, Hans Zimmer, Ellen McLain, Ellie Goulding, Imagine Dragons, Skrillex, Ephixa, deadmau5, Tiesto, Basshunter, Daft Punk, Avicii, The Glitch Mob, Nightmare, Katy Perry, AC/DC, Queen, Def Leppard, Boston, Joan Jett, Journey, A-Ha, Rick Astley, and every other musically inclined entity that kept me going throughout this project and thesis work. iii ACKNOWLEDGEMENTS I would like to thank the following individuals, groups, and institutions for their various contributions to this project: the Sally McDonnell Barksdale Honors College, the Computer Science department, and FNC, Inc. for providing this opportunity and challenging me to meet higher goals; my fellow interns Philip Barrasso, Douglas Souza, Elizabeth Walden, and Surma Mukhopadhyay for being excellent teammates on the Fantastic Ninja Crew and working together to birth and grow the echopinion project; our echopinion coaches Chris Floyd, Robert Mason, Matthew Gray, Jerry Richlovsky, Joey Green, and Kim Byler for smoothing the way by getting tools and giving guidance, and Matthew in particular for continuing as my knowledgeable sponsor; Jason Verlangieri and Nora Brown for answering my countless questions regarding requirements and providing incredibly helpful answers and access to old tools; Dr. Dawn Wilkins and Dr. -
My Bloody Valentine's Loveless David R
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 My Bloody Valentine's Loveless David R. Fisher Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MY BLOODY VALENTINE’S LOVELESS By David R. Fisher A thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the thesis of David Fisher on March 29, 2006. ______________________________ Charles E. Brewer Professor Directing Thesis ______________________________ Frank Gunderson Committee Member ______________________________ Evan Jones Outside Committee M ember The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables......................................................................................................................iv Abstract................................................................................................................................v 1. THE ORIGINS OF THE SHOEGAZER.........................................................................1 2. A BIOGRAPHICAL ACCOUNT OF MY BLOODY VALENTINE.………..………17 3. AN ANALYSIS OF MY BLOODY VALENTINE’S LOVELESS...............................28 4. LOVELESS AND ITS LEGACY...................................................................................50 BIBLIOGRAPHY..............................................................................................................63 -
A World Record!
TONight’s CONCERT LINE-UP OF SKID ROW EE 7 8 SWEET FRIDAY CYANIDE FR AUG. 7, 2015 ® STURGIS RIDER DAILY Fri 8/7 Sat 8/8 Sun 8/9 A WORLD RecORD! Doug Danger flies into history he undisputed DON’t Miss king of stunt Bob Hansen Award Recipients men? Sure, cer- Page 4 tain names might come to Rat’s Hole Winners mind at that phrase. But since Tyesterday, at 6:03 PM, the only Page 5 name people are mention- 5 Minutes with Michael Lichter ing is Doug Danger. Because that was the time on the clock Page 3 when Danger jumped 22 cars aboard Evel Knievel’s XR-750 Harley-Davidson, a stunt EAGLE 75 Knievel once attempted but Page 12 failed to complete. The feat took place in the amphitheater at the Sturgis STURGIS BUFFALo Chip’s Buffalo Chip as part of the Evel Knievel Thrill Show. Dan- WOLFMAN JACK STAGE ger, who has been performing motorcycle jumps for decades, TONIGHT was inspired by Knievel when he was young and got to know 7 PM ..................SWEET CYANIDE him later in life. Danger 8:30 PM .....................SKID ROW regarded this stunt not as way to best his hero but as a favor, 10:30 PM ...............DEF LEPPARD completing a task for a friend. Danger is fully cognizant of TOMORROW the potential peril of his cho- sen profession and he’s real- 7 PM ............................ NICNOS istic; he knows firsthand the flip side of a successful jump. 8:30 PM ............... ADELITAS WAY But he felt solid and confident 10:30 PM ..........................WAR Continued on Page 2 PAGE 2 STURGIS RIDER DAILY FRIDAY, AUG. -
Returns : Becoming Indigenous in the Twenty-First Century / James Clifford
RETURNS RETURNS ❖ Becoming Indigenous in the Twenty-First Century James Clifford Harvard University Press Cambridge, Massachusetts London, England 2013 Copyright © 2013 by the President and Fellows of Harvard College All rights reserved Printed in the United States of America Library of Congress Cataloging-in-Publication Data Clifford, James, 1945– Returns : becoming indigenous in the twenty-first century / James Clifford. pages ; cm Includes index. ISBN 978-0-674-72492-1 1. Indigenous peoples. 2. Indigenous peoples—Ethnic identity. 3. Indigenous peoples—Social life and customs. 4. Cultural fusion. I. Title. GN380.C59 2013 305.8—dc23 2013012423 ❖ For my students, 1978–2013 Contents Prologue 1 ParT I 1. Among Histories 13 2. Indigenous Articulations 50 3. Varieties of Indigenous Experience 68 ParT II 4. Ishi’s Story 91 PART III 5. Hau’ofa’s Hope 195 6. Looking Several Ways 213 7. Second Life: The Return of the Masks 261 Epilogue 315 References 321 Sources 345 Acknowledgments 347 Index 349 RETURNS ❖ Prologue Returns is the third volume in a series beginning in 1988 with The Predicament of Culture and followed in 1997 by Routes. Like the others, it collects work written over roughly a decade. Ideas begun in one book are reworked in the others. All the important questions remain open. Returns is thus not a conclusion, the completion of a trilogy. It belongs to a continuing series of reflections, responses to changing times. In ret- rospect, how can these times be understood? What larger historical developments, shifting pressures and limits, have shaped this course of thinking and writing? Situating one’s own work historically, with limited hindsight, is a risky exercise. -
Beets Documentation Release 1.5.1
beets Documentation Release 1.5.1 Adrian Sampson Oct 01, 2021 Contents 1 Contents 3 1.1 Guides..................................................3 1.2 Reference................................................. 14 1.3 Plugins.................................................. 44 1.4 FAQ.................................................... 120 1.5 Contributing............................................... 125 1.6 For Developers.............................................. 130 1.7 Changelog................................................ 145 Index 213 i ii beets Documentation, Release 1.5.1 Welcome to the documentation for beets, the media library management system for obsessive music geeks. If you’re new to beets, begin with the Getting Started guide. That guide walks you through installing beets, setting it up how you like it, and starting to build your music library. Then you can get a more detailed look at beets’ features in the Command-Line Interface and Configuration references. You might also be interested in exploring the plugins. If you still need help, your can drop by the #beets IRC channel on Libera.Chat, drop by the discussion board, send email to the mailing list, or file a bug in the issue tracker. Please let us know where you think this documentation can be improved. Contents 1 beets Documentation, Release 1.5.1 2 Contents CHAPTER 1 Contents 1.1 Guides This section contains a couple of walkthroughs that will help you get familiar with beets. If you’re new to beets, you’ll want to begin with the Getting Started guide. 1.1.1 Getting Started Welcome to beets! This guide will help you begin using it to make your music collection better. Installing You will need Python. Beets works on Python 3.6 or later. • macOS 11 (Big Sur) includes Python 3.8 out of the box. -
Top 40 Singles Top 40 Albums
10 May 1992 CHART #809 Top 40 Singles Top 40 Albums Tears In Heaven Viva Las Vegas Woodface We Can't Dance 1 Eric Clapton 21 ZZ Top 1 Crowded House 21 Genesis Last week - / 1 weeks WARNER Last week 18 / 2 weeks WARNER Last week 1 / 39 weeks Platinum / EMI Last week 24 / 22 weeks Platinum / VIRGIN On A Sunday Afternoon You Showed Me Zz Top Greatest Hits The Very Best Of 2 A Lighter Shade of Brown 22 Salt N Pepa 2 ZZ Top 22 Howard Keel & Harry Secombe Last week 1 / 7 weeks BG Last week 17 / 8 weeks POLYGRAM Last week 8 / 2 weeks WARNER Last week 39 / 2 weeks BMG Under The Bridge America: What Time Is Love? Wish A Trillion Shades Of Happy 3 Red Hot Chili Peppers 23 The KLF 3 The Cure 23 Push Push Last week 8 / 7 weeks WARNER Last week 31 / 3 weeks FESTIVAL Last week - / 1 weeks WARNER Last week 25 / 8 weeks Gold / FESTIVAL Come To Me Justified And Ancient The Commitments OST Nevermind 4 Diesel 24 The KLF 4 Various 24 Nirvana Last week 6 / 9 weeks EMI Last week 16 / 15 weeks Gold / FESTIVAL Last week 2 / 17 weeks Platinum / BMG Last week 17 / 22 weeks Platinum / UNIVERSAL Stay What My Baby Likes Blood Sugar Sex Majik Diamonds And Pearls 5 Shakespears Sister 25 Push Push 5 Red Hot Chili Peppers 25 Prince Last week 5 / 7 weeks POLYGRAM Last week 27 / 8 weeks FESTIVAL Last week 4 / 27 weeks Gold / WARNER Last week 29 / 28 weeks Gold / WARNER Remedy Smells Like Teen Spirit The Singles Lucky Town 6 The Black Crowes 26 Nirvana 6 The Clash 26 Bruce Springsteen Last week 2 / 12 weeks WARNER Last week 26 / 17 weeks Gold / BMG Last week 3 / 8 weeks