Rolling Stones - Connection
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. -
Número 97 – Junio 2019 CULTURA BLUES. LA REVISTA ELECTRÓNICA Página | 1
Número 97 – junio 2019 CULTURA BLUES. LA REVISTA ELECTRÓNICA Página | 1 Contenido Directorio PORTADA Cartel del Chicago Blues Fest 2019 (1) …………………... 1 Cultura Blues. La Revista Electrónica CONTENIDO - DIRECTORIO ..…………………………………...….… 2 www.culturablues.com EDITORIAL Ladran, señal que cabalgamos (1) …………………….…. 3 Número 97 – juno de 2019 BLUES A LA CARTA Destino Chicago. Parte 3: Chicago Blues Festival 2019 (1) ……………………………………………………………….... 5 Derechos Reservados 04 – 2013 – 042911362800 – 203 Registro ante INDAUTOR COLABORACIÓN ESPECIAL Ganadores de los Blues Music Awards 2019 (1) …………………………………………………………………………. 10 + COVERS Blues with a feeling (1) ……………………………………..….. 13 Director general y editor: José Luis García Fernández PLANETA BLUES Mark "Kaz" Kazanoff, veterano y fabuloso (2) ………………………………………………………………………………... 15 Subdirector general: José Luis García Vázquez EN VIDEO Una noche de historia del blues (1) .......................... 23 Diseño: LADO B Aida Castillo Arroyo Los invidentes del blues. Parte 3 Los plagios en el blues. Parte 1 (3) ………………………………….……….... 26 Consejo Editorial: HUELLA AZUL Héctor Martínez y su libro: María Luisa Méndez Mario Martínez Valdez “Comer y Cantar” (4) …………………………………………………………………. 39 Octavio Espinosa Cabrera SESIONES DESDE LA CABINA Tras el origen del blues mexicano (5) ………………………………………………………………....……...….. 43 Colaboradores en este número: COLABORACIÓN ESPECIAL A 10 de años de “Palabra de Blues… al aire” Pt. V (1) …………………………………………………………..…. 46 1. José Luis García Fernández 2. Michael Limnios ESPECIAL DE MEDIANOCHE Peter Green es 3. Juan Carlos Oblea "Sobrenatural" (6) ……………………………………………………………………... 47 4. María Luisa Méndez 5. Yonathan Amador Gómez CULTURA BLUES DE VISITA 6. Luis Eduardo Alcántara En Las Musas con Beto´s Blues Band y Rhino Bluesband 7. Rafael Arriaga Zazueta En Capitán Gallo con Rhino Bluesband y 8. Norma Yim La Impredecible Blues (7) .............................................................. -
Flashpoint Rolling Stones Vinyl
Flashpoint rolling stones vinyl click here to download Find a The Rolling Stones - Flashpoint first pressing or reissue. Complete your The Rolling Stones collection. Shop Vinyl and CDs. Find a RollingStones* - Flashpoint first pressing or reissue. Complete your RollingStones* collection. Shop Vinyl and CDs. Find a Rolling Stones* - Flashpoint first pressing or reissue. Complete your Rolling Stones* collection. Shop Vinyl and CDs. Rolling Stones - Flashpoint - www.doorway.ru Music. Flashpoint Audio CD Amazon Best Sellers Rank: #93, in CDs & Vinyl (See Top in CDs & Vinyl). The Rolling Stones - Flashpoint - www.doorway.ru Music. customer reviews; Amazon Best Sellers Rank: #, in CDs & Vinyl (See Top in CDs & Vinyl). Rolling Stones - Flashpoint + Collectibles - www.doorway.ru Music. reviews; Amazon Best Sellers Rank: #, in CDs & Vinyl (See Top in CDs & Vinyl). The Rolling Stones "flashpoint" ; Promotane B.v. Title: Flashpoint -remast- Special Order, CD, VinylExpress. ROLLING STONES FLASHPOINT – VINYL LP MADE IN BRAZIL ORIGINAL 1st PRESS in Music, Records | eBay. Flashpoint is a live album by British rock band The Rolling Stones. It was released in , . Satisfaction" – ; "Highwire" – ; "Sex Drive" – "Rock and a Hard Place" and "Can't Be Seen", were not included on the vinyl version. Buy Flashpoint [Czech Issue] (LP) by The Rolling Stones (LP). Amoeba Music. Ships Free in the U.S. Buy Flashpoint (LP) by The Rolling Stones (LP). Amoeba Music. Ships Free in the U.S. Flashpoint, an Album by Rolling Stones. Released April 8, on Rolling Stones (catalog no. Vinyl LP Rolling Stones / C United States. The live adventures of the Rolling Stones First issued in April , Flashpoint is a Stones live album with a difference, since it boasts two studio cuts. -
Dec. 22, 2015 Snd. Tech. Album Arch
SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London. -
Paul Weller with the BBC Symphony Orchestra and Jules Buckley
For immediate release Paul Weller with the BBC Symphony Orchestra and Jules Buckley concert date added to ‘Live from the Barbican’ line-up in spring 2021 Barbican Hall, Saturday 6 February 2021, 8pm The Barbican and Barbican Associate Orchestra, the BBC Symphony Orchestra are excited to announce that the orchestra and its Creative Artist in Association Jules Buckley, will be joined by legendary singer songwriter Paul Weller on Saturday 6 February for a concert reimagining Weller’s work in stunning orchestral settings as part of Live from the Barbican in 2021. In Weller’s first live performance for two years, songs spanning the broad spectrum of his career from The Jam to as yet unheard new material will delight fans and newcomers alike. Classic songs including ‘You Do Something to Me’, ‘English Rose’ and ‘Wild Wood’ along with tracks from Weller’s latest number 1 album ‘On Sunset’ will be heard as never before in brand new orchestral arrangements by Buckley. Weller, who takes cultural authenticity to the top of the charts, reunites with Steve Cradock for this one-off performance. Part of the acclaimed Live from the Barbican series which returns to the Centre in the spring, the concert will have a reduced, socially distanced live audience in the Barbican Hall, and it will also be available to watch globally via a livestream on the Barbican website. Whilst the concert will reflect on some of Weller’s back catalogue, as is typical of his constantly evolving career, it will look to the future with performances of songs from an album not released until May 2021, as well as welcoming guest artists to illustrate his work and the music that influenced him. -
'N' Roll: the Rolling Stones in Film
it’s only rock ’n’ roll: the rolling stones in film - artforum.com / ... http://artforum.com/inprint/issue=201209&id=36146 dleopard59 log out ADVERTISE BACK ISSUES CONTACT US SUBSCRIBE follow us search ARTGUIDE IN PRINT 500 WORDS PREVIEWS BOOKFORUM 中文版 DIARY PICKS NEWS VIDEO FILM SLANT A & E IN PRINT NOVEMBER 2012 IT’S ONLY ROCK ’N’ ROLL: THE ROLLING STONES IN FILM SUBSCRIBE recent issues May 2013 April 2013 March 2013 February 2013 Robert Frank, January 2013 Cocksucker Blues, 1972, 16 mm, color and black- December 2012 and-white, sound, 93 November 2012 minutes. Mick Jagger. Archive to 1962 Photo: Photofest. As the “world’s greatest rock ’n’ roll band” celebrates its golden jubilee this year, the Museum of Modern Art in New York pays tribute with a heady cinematic survey: “THE ROLLING STONES: 50 YEARS OF FILM” (NOVEMBER 15–DECEMBER 2). But 2012 marks another anniversary as well. Forty years ago, the Stones embarked on a legendary tour to promote their new album, Exile on Main St., and they engaged two very different filmmakers—Robert Frank and Rollin Binzer—to document the affair on celluloid, producing wildly divergent results: Cocksucker Blues and Ladies and Gentlemen: The Rolling Stones, respectively. Film historian DAVID E. JAMES traces the events that would ultimately transform the band’s extraordinary engagement with the medium—and with the very public on which not only their stardom but their cultural significance depended. WITH THE BEATLES’ FINAL PERFORMANCE on the roof of the Apple Records building at the beginning of 1969, documented in Michael Lindsay-Hogg’s film Let It Be (1970), the Rolling Stones’ claim to being the greatest rock band in the world was now uncontested. -
The Rolling Stones and Performance of Authenticity
University of Kentucky UKnowledge Theses and Dissertations--Art & Visual Studies Art & Visual Studies 2017 FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY Mariia Spirina University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.135 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Spirina, Mariia, "FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY" (2017). Theses and Dissertations--Art & Visual Studies. 13. https://uknowledge.uky.edu/art_etds/13 This Master's Thesis is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Art & Visual Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Tumbling Dice and Other Tales from a Life Untitled Tammy Mckillip Mckillip University of Texas at El Paso, [email protected]
University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2016-01-01 Tumbling Dice and Other Tales from a Life Untitled Tammy Mckillip Mckillip University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Creative Writing Commons Recommended Citation Mckillip, Tammy Mckillip, "Tumbling Dice and Other Tales from a Life Untitled" (2016). Open Access Theses & Dissertations. 897. https://digitalcommons.utep.edu/open_etd/897 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. TUMBLING DICE AND OTHER TALES FROM A LIFE UNTITLED TAMMY MCKILLIP Master’s Program in Creative Writing APPROVED: ______________________________________ Liz Scheid, MFA, Chair ______________________________________ Lex Williford, MFA ______________________________________ Maryse Jayasuriya, Ph.D. _________________________________________________ Charles Ambler, Ph.D. Dean of the Graduate School TUMBLING DICE AND OTHER TALES FROM A LIFE UNTITLED ©Tammy McKillip, 2016 This work is dedicated to my beautiful, eternally-young mother, who taught me how to roll. Always in a hurry, I never stop to worry, Don't you see the time flashin’ by? …You’ve got to roll me And call me the tumbling dice —The Rolling Stones TUMBLING DICE AND OTHER TALES FROM A LIFE UNTITLED BY TAMMY -
These Releases Will Be Available September 26Th
These titles will be released on the dates stated below at physical record stores in the US. The RSD website does NOT sell them. Key: E = Exclusive Release L = Limited Run / Regional Focus Release F = RSD First Release THESE RELEASES WILL BE AVAILABLE SEPTEMBER 26TH ARTIST TITLE LABEL FORMAT QTY L The Alarm Celtic Folklore Live Twenty First CenturyLP Recording1000 Company F The Allman Brothers Band Fillmore West 1-31-71 Allman Brothers2 Bandx LP Recording6000 Company "The Jester / Everybody Wants To Rule F Badflower Big Machine 12" Picture Disc2000 The World" Selections from Song of the Avatars: L Robbie Basho Tompkins SquareLP 1000 The Lost Master Tapes E Bayside Heaven Hopeless Records7" Vinyl 1500 F Jay Bennett & Edward Burch The Palace at 4 AM Schoolkids RecordsLP 1000 L Big L Danger Zone RBC Records 2 x LP 1000 F Black Crowes Jealous Again UME (American)12" Vinyl 7500 E The Boys Next Door Door, Door Rhino LP 5000 F Lenny Bruce Lenny Bruce Is Out Again Comedy DynamicsLP 1000 E Solomon Burke Back To My Roots Anagram LP 1500 Record Store Day Party With Canned F Canned Heat Friday Music LP 1000 Heat E Brandi Carlile A Rooster Says Elektra 12" Vinyl 10000 F Don Cherry Cherry Jam Gearbox Records12" Vinyl 1100 F CHON GROW Sumerian RecordsLP 1500 F Suzanne Ciani A Life in Waves Earth Libraries LP 1000 Mortal Kombat (Original Motion Picture E George S. Clinton Varese Sarabande12" Picture Disc1500 Score) E Willie Colon Cosa Nuestra Craft RecordingsLP 2000 Gangsta's Paradise (25th Anniversary -- F Coolio Tommy Boy Music2 x LP 1500 Remastered) -
Celebrating a Decade of Pioneering Tone
PRODUCED IN ASSOCIATION WITH CELEBRATING A DECADE OF PIONEERING TONE FEATURING The Blackstar Story Tech Insights Inside The Amps New Products The Future Of Tone Artist Features GIT424.black_cover.indd 1 7/11/17 9:44 AM Celebrating 10 years of the sound in your head with... Gus G. Richie Sambora Neal Schon Joe Don Rooney Firewind “From studios to stadiums, these Journey Rascal Flatts “Welcome to the church of are the amps I use.” “The Blackstar Series One 100 is “Clarity can be a rarity when it distortion.” (Artisan 100 & Series One one of the best sounding amps that comes to finding a great amp, (Series One Blackfire 200 user 1046L6 user since 2013) I’ve played through. It produces but the first Blackstar I plugged since 2010) a powerful punchy-smooth-warm into I heard clarity like no other.” and precise sound.” (Series One 200 user since 2013) STAR QUALITIES (Series One 100 user since 2012) It’s often said that the world of guitar is slow to embrace change. The 10 years of success and innovation that Blackstar has enjoyed, however, put the lie to that idea. I remember visiting Blackstar’s factory a few years ago and being shown a prototype of an ID:Core amplifier and wondering how on earth they’d gotten such a huge, room-filling sound out of such a small box. When they then told me that the amp was going to sell for the price of an effects pedal, it gave me an acute attack of what I now recognise as the Blackstar ‘Wow’ effect . -
Injustice Runs Deep Christopher Gordon Nicole Hayes the Goals of a Higher Education Usually Entail the Creation, Testing, and Implementation of New Ideas
Winner of Nine Collegiate Excellence in Journalism Awards fromo Our college. Our news. Our voice. Naugatuck Valley Community College November 1, 2016 Waterbury, Connecticut Vol. 60, Iss. 7 Embracing Ideas Injustice Runs Deep Christopher Gordon Nicole Hayes The goals of a higher education usually entail the creation, testing, and implementation of new ideas. In some colleges across America, Illinois, it could also affect those who rely on though, this concept is undergoing a radical the Mississippi River as a viable resource. shift. Students are being denied the ability to In direct violation of the National explore the wide world of free thought with Preservation Act of 1966, the Bakken Pipeline the execution of “safe spaces.” has already damaged burial sites belonging The creation of places of refuge comes to the Standing Rock Sioux. On September 3, from a position of caring. Sometimes, ideas construction workers began bulldozing along- are perceived as dangerous or dismissed as side the reservation, near historical burial sites. too ridiculous to be taken seriously. These As protesters attempted to peacefully block reactions may come in response to bigotry, the bulldozers, several people were bitten by sexism, and mockery. To give people a sanc- security dogs, and as many as thirty protes- tuary in which to develop an idea without tors were doused with pepper-spray. Several fear is laudable. However, a problem arises were arrested. A tribal chairman stated, “In when such refuges become havens of the one day, our sacred land has been turned into same sorts of bigotry, sexism, and mock- hollow ground.” Although the pipeline is not ery. -
Something Happened to Me Yesterday © Felix Aeppli 12-2019 / 09-2020
SPARKS WILL FLY 2018 Something Happened To Me Yesterday © Felix Aeppli 12-2019 / 09-2020 “UK, IRE and EU No Filter Tour” APRIL 30 – MAY 4 Rehearsals, Omnibus Theatre, Clapham, London MAY 7-11 Rehearsals, Unidentified venue, London 14 Rehearsals, Croke Park, Dublin (Entry 1.229) 15 Rehearsals, Croke Park, Dublin (Entry 1.230) 17 Croke Park, Dublin (Entry 1.232 – complete show listed) 22 London Stadium, London (Entry 1.234 – complete show listed) 25 London Stadium, London (Entry 1.235 – complete show listed) (joined by Florence Welch) 29 St Mary’s Stadium, Southampton (Entry 1.236 – complete show listed) JUNE 2 Ricoh Arena, Coventry (Entry 1.237 – complete show listed) 5 Old Trafford Football Stadium, Manchester (Entry 1.238 – complete show listed) 9 BT Murrayfield Stadium, Edinburgh (Entry 1.239 – complete show listed) 15 Principality Stadium, Cardiff (Entry 1.240 – complete show listed) 19 Twickenham Stadium, London (Entry 1.242 – complete show listed) (joined by James Bay) 22 Olympiastadion, Berlin (Entry 1.243 – complete show listed) 26 Orange Velodrome, Marseille (Entry 1.244 – complete show listed) 30 Mercedes-Benz Arena, Stuttgart (Entry 1.245 – complete show listed) JULY 4 Letnany Airport, Prague (Entry 1.247 – complete show listed) 8 PGE Narodowy, Warsaw (Entry 1.248 – complete show listed) Backing: Chuck Leavell: keyboards, back-up vocals, percussion; Darryl Jones: bass, occasional back-up vocals; Karl Denson: saxophone; Tim Ries: horns, occa- sional keyboards; Matt Clifford: keyboards, occasional percussion and French horn; Sasha