February 1991
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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. -
Mise En Page 1
NANCY , ville d’échange, dynamique, jeune, première ville universitaire du grand Est, s’impose frustrée. Comme jadis au CMCN et maintenant à Music Academy International, nous sommes des comme un des pôles culturels et artistiques européens. Point chaud du rock, capitale du jazz, européens convaincus. La vocation internationale de notre école n’est pas uniquement dictée par la haut-lieu de la musique classique, Nancy a le goût de la scène. Du club de jazz intimiste à “l’Autre situation géographique de Nancy (dans un rayon de 350 km nous touchons Paris et 6 pays, dans un Canal”, scène de Rock, chanson & électro ultra-équipée, en passant par la salle de concerts rayon de 950 km nous touchons Brest et 11 pays), mais également par l’enrichissement culturel et majestueuse jusqu’au Zénith imposant, Nancy accueille à bras ouverts les musiciens de tous économique qui se présente à l’artiste qui profite de l’ouverture des frontières. horizons. Music Academy International est implantée à proximité de trois parcs, à deux pas de la célèbre place Stanislas, en plein centre ville dans un quartier sympathique et sécurisant. Pour cette raison Music Academy International entre autres, accueille nombre d’artistes étrangers réputés. Music Academy se félicite également d’un partenariat privilégié avec une vingtaine des INTERNATIONAL : Le caractère universel de la musique et plus particulièrement les qualités de plus grandes écoles du monde entier. Mais ne nous y trompons pas, même si à Music Academy le brassage et d’intégration des courants actuels, interdit de délimiter son champ d’action, de rester mot “International” prend toute sa mesure, même si les accents sont multiples, même si tous les replié sur son territoire national. -
The Aftermath of the Porn Rock Wars
Loyola of Los Angeles Entertainment Law Review Volume 7 Number 2 Article 1 3-1-1987 Radio-Active Fallout and an Uneasy Truce - The Aftermath of the Porn Rock Wars Jonathan Michael Roldan Follow this and additional works at: https://digitalcommons.lmu.edu/elr Part of the Law Commons Recommended Citation Jonathan Michael Roldan, Radio-Active Fallout and an Uneasy Truce - The Aftermath of the Porn Rock Wars, 7 Loy. L.A. Ent. L. Rev. 217 (1987). Available at: https://digitalcommons.lmu.edu/elr/vol7/iss2/1 This Article is brought to you for free and open access by the Law Reviews at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Loyola of Los Angeles Entertainment Law Review by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. RADIO-ACTIVE FALLOUT AND AN UNEASY TRUCE-THE AFTERMATH OF THE PORN ROCK WARS Jonathan Michael Roldan * "Temperatures rise inside my sugar walls." - Sheena Easton from the song "Sugar Walls."' "Tight action, rear traction so hot you blow me away... I want a piece of your action." - M6tley Criie from the album Shout at the Devil.2 "I'm a fairly with-it person, but this stuff is curling my hair." - Tipper Gore, parent.3 "Fundamentalist frogwash." - Frank Zappa, musician.4 I. OVERTURE TO CONFLICT It began as an innocent listening of Prince's award-winning album, "Purple Rain,"5 and climaxed with heated testimony before the Senate Committee on Commerce in September 1985.6 In the interim the phrase "cleaning up the air" took on new dimensions as one group of parents * B.A., Journalism/Political Science, Cal. -
PASIC 2010 Program
201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space. -
Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK -