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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. -
Music 18145 Songs, 119.5 Days, 75.69 GB
Music 18145 songs, 119.5 days, 75.69 GB Name Time Album Artist Interlude 0:13 Second Semester (The Essentials Part ... A-Trak Back & Forth (Mr. Lee's Club Mix) 4:31 MTV Party To Go Vol. 6 Aaliyah It's Gonna Be Alright 5:34 Boomerang Aaron Hall Feat. Charlie Wilson Please Come Home For Christmas 2:52 Aaron Neville's Soulful Christmas Aaron Neville O Holy Night 4:44 Aaron Neville's Soulful Christmas Aaron Neville The Christmas Song 4:20 Aaron Neville's Soulful Christmas Aaron Neville Let It Snow! Let It Snow! Let It Snow! 2:22 Aaron Neville's Soulful Christmas Aaron Neville White Christmas 4:48 Aaron Neville's Soulful Christmas Aaron Neville Such A Night 3:24 Aaron Neville's Soulful Christmas Aaron Neville O Little Town Of Bethlehem 3:56 Aaron Neville's Soulful Christmas Aaron Neville Silent Night 4:06 Aaron Neville's Soulful Christmas Aaron Neville Louisiana Christmas Day 3:40 Aaron Neville's Soulful Christmas Aaron Neville The Star Carol 2:13 Aaron Neville's Soulful Christmas Aaron Neville The Bells Of St. Mary's 2:44 Aaron Neville's Soulful Christmas Aaron Neville Tell It Like It Is 2:42 Billboard Top R&B 1967 Aaron Neville Tell It Like It Is 2:41 Classic Soul Ballads: Lovin' You (Disc 2) Aaron Neville Don't Take Away My Heaven 4:38 The Grand Tour Aaron Neville I Owe You One 5:33 The Grand Tour Aaron Neville Don't Fall Apart On Me Tonight 4:24 The Grand Tour Aaron Neville My Brother, My Brother 4:59 The Grand Tour Aaron Neville Betcha By Golly, Wow 3:56 The Grand Tour Aaron Neville Song Of Bernadette 4:04 The Grand Tour Aaron Neville You Never Can Tell 2:54 The Grand Tour Aaron Neville The Bells 3:22 The Grand Tour Aaron Neville These Foolish Things 4:23 The Grand Tour Aaron Neville The Roadie Song 4:41 The Grand Tour Aaron Neville Ain't No Way 5:01 The Grand Tour Aaron Neville The Grand Tour 3:22 The Grand Tour Aaron Neville The Lord's Prayer 1:58 The Grand Tour Aaron Neville Tell It Like It Is 2:43 Smooth Grooves: The 60s, Volume 3 L.. -
Metal for the Masses”: Or, Will Metal Ever Be Mainstream Again? (And Why We Should Want It to Be...)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ResearchSPace - Bath Spa University MODERN HEAVY METAL: MARKETS, PRACTICES AND CULTURES International Academic Conference 2015 “METAL FOR THE MASSES”: OR, WILL METAL EVER BE MAINSTREAM AGAIN? (AND WHY WE SHOULD WANT IT TO BE...) Andy R. Brown Bath Spa University, UK Abstract Exploring the model of scene-based innovation and scarcity that characterised the 90s extreme metal underground, as eloquently outlined by Keith Kahn- Harris, this paper seeks to evaluate the extent to which its model of “eclipsed” symbolic capital accumulation is the key not to its success but relative failure to achieve innovation, development and change in metal music. Debating Lena and Peterson’s AgSIT model of genre trajectories, this paper argues such change in metal music have always been tied to the formation and demise of music “mainstreams.” The problem from this perspective is that NWOBHM, doom, power (including symphonic), thrash, grindcore, death and black metal did not mainstream enough (with the exception of some notable bands) to allow the next cycle of musical innovation to commence. Introduction In a striking series of recent posts, published on-line in the net.magazine Sou- ciant (2013; 2014), Keith Kahn-Harris has reflected on the question of Metal After Metal. Recalling the searching intelligence of a younger Lawrence Gross- berg (1990) and his anxious ruminations on whether rock was dead, dying or “going somewhere else” – published over twenty years ago – Kahn-Harris ec- hoes a similar set of fears, not about the break-up of the music-audience rela- tions that sustained the Anglo-American “rock formation” but the scenic- relations that sustained the creative-economy of the extreme metal under- ground. -
Cash Box Takes a Look at the Artists, Music and Trends That Will Make Their GREGORY S
9 VOL. LV, NO. 36, MAY 2, 1992 STAFF BOX GEORGE ALBERT President and Publisher KEITH ALBERT Vice President/General Manager FRED L GOODMAN Editor In Chief CAMILLE GOMPASIO Director, Coin Machine Operations LEEJESKE New York Editor MARKETING LEON BELL Director, Los Angeles MARK WAGNER Director, Nashville KEN PIOTROWSKI (LA) EDITORIAL INSIDE THE BOX RANDY CLARK, Assoc. Ed. (LA) COVER STORY f BRYAN DeVANEY, Assoc. Ed. (LA) BERNETTA GREEN (New York) New For ’92 STEVE GIUFFRIDA (Nashville) CORY CHESHIRE, Nashville Editor Cash Box takes a look at the artists, music and trends that will make their GREGORY S. COOPER—Gspel,(Na^vfe) CHART RESEARCH marks on the industry this year. From the worlds of pop, rock, r&b, rap, CHERRY URESTI (LA) JIMMY PASCHAL (LA) jazz, country, gospel and others, we provide our readers with a look into RAYMOND BALLARD (LA) MIA TROY (LA) the near future and discover who the next stars will be. There's also a special COREY BELL (LA) JOHN COSSIBOOM (Nash) section on the new technologies that will affect the products and services CHRIS BERKEY (Nash) PRODUCTION that both industry insiders and consumers will be using soon. JIM GONZALEZ Ad Director —see page 11 CIRCULAVON NINATREGUB, Manager CYNTHIA BANTA Madonna + Millions = Maverick PUBLICATION OFFICES Superstar Madonna, her longtime manager Freddy DeMann and Time NEW YORK 157 W.57th Street (Suite 503) New Warner Inc., have formed Maverick, a multi -media entertainment company. York, NY 10019 Phone:(212)586-2640 Maverick will encompass many facets of entertainment including records, Fax: (212) 582-2571 HOLLYWOOD music publishing, film, merchandising and book publishing. -
100 Years: a Century of Song 1990S
100 Years: A Century of Song 1990s Page 174 | 100 Years: A Century of song 1990 A Little Time Fantasy I Can’t Stand It The Beautiful South Black Box Twenty4Seven featuring Captain Hollywood All I Wanna Do is Fascinating Rhythm Make Love To You Bass-O-Matic I Don’t Know Anybody Else Heart Black Box Fog On The Tyne (Revisited) All Together Now Gazza & Lindisfarne I Still Haven’t Found The Farm What I’m Looking For Four Bacharach The Chimes Better The Devil And David Songs (EP) You Know Deacon Blue I Wish It Would Rain Down Kylie Minogue Phil Collins Get A Life Birdhouse In Your Soul Soul II Soul I’ll Be Loving You (Forever) They Might Be Giants New Kids On The Block Get Up (Before Black Velvet The Night Is Over) I’ll Be Your Baby Tonight Alannah Myles Technotronic featuring Robert Palmer & UB40 Ya Kid K Blue Savannah I’m Free Erasure Ghetto Heaven Soup Dragons The Family Stand featuring Junior Reid Blue Velvet Bobby Vinton Got To Get I’m Your Baby Tonight Rob ‘N’ Raz featuring Leila K Whitney Houston Close To You Maxi Priest Got To Have Your Love I’ve Been Thinking Mantronix featuring About You Could Have Told You So Wondress Londonbeat Halo James Groove Is In The Heart / Ice Ice Baby Cover Girl What Is Love Vanilla Ice New Kids On The Block Deee-Lite Infinity (1990’s Time Dirty Cash Groovy Train For The Guru) The Adventures Of Stevie V The Farm Guru Josh Do They Know Hangin’ Tough It Must Have Been Love It’s Christmas? New Kids On The Block Roxette Band Aid II Hanky Panky Itsy Bitsy Teeny Doin’ The Do Madonna Weeny Yellow Polka Betty Boo -
El Videoclip Como Paradigma De La Música Contemporánea, De 1970 a 2015
UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN DEPARTAMENTO DE COMUNICACIÓN AUDIOVISUAL Y PUBLICIDAD I TESIS DOCTORAL El videoclip como paradigma de la música contemporánea, de 1970 a 2015 MEMORIA PARA OPTAR AL GRADO DE DOCTORA PRESENTADA POR Lara García Soto DIRECTOR Francisco Reyes Sánchez Madrid, 2017 © Lara García Soto, 2016 Universidad Complutense de Madrid Facultad de CC. de la Información Comunicación Audiovisual y Publicidad I El videoclip como paradigma de la música contemporánea, de 1970 a 2015 Tesis doctoral presentada por: Lara García Soto. Tesis doctoral dirigida por: Francisco Reyes Sánchez. Madrid, 2015 El ejemplo, la fuerza y el esfuerzo, mis padres. La paciencia y apoyo, Adrián. La música, baile y mi inspiración, Michael Jackson. Gracias. ÍNDICE 1. Introducción y Objeto de estudio……………………………………1 2. Objetivos……………………………………………………………….6 3. Metodología………………………………………............................10 4. Orígenes……………………………………………………………….13 4.1. Cine sonoro y experiencias artísticas………………………13 4.2. Cine Musical…………………………………………………..18 4.3. Soundies y Scopitones……………………………………….25 4.4. La llegada de las películas rock, grabaciones de conciertos. Décadas de los 50 y 60……………………………………………29 4.5. El videoarte……………………………….............................38 4.6. La televisión y los programas musicales………………......41 4.6.1. La MTV………………………………………………...........48 4.6.2. Programas musicales en España………………………...57 4.6.3. Los canales temáticos de música y videoclips………….65 5. Historia de la música y relación con los videoclips……………….68 5.1. Los años 70…………………………………………………..69 5.2. Los años 80…………………………………………………..76 5.2.1. La televisión y los videoclips. Desarrollo del rap…..80 5.2.2. El primer muro. El PMRC…………………………….86 5.2.3. Continúa la evolución: música, tecnología y moda..89 5.2.4. -
Literary Executions Barton, John Cyril
Literary Executions Barton, John Cyril Published by Johns Hopkins University Press Barton, John Cyril. Literary Executions: Capital Punishment and American Culture, 1820–1925. Johns Hopkins University Press, 2014. Project MUSE. doi:10.1353/book.32640. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/32640 [ Access provided at 3 Oct 2021 06:00 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. Literary Executions This page intentionally left blank Literary Executions Capital Punishment and American Culture, 1820– 1925 John Cyril Barton Johns Hopkins University Press Baltimore © 2014 Johns Hopkins University Press All rights reserved. Published 2014 Printed in the United States of America on acid- free paper 2 4 6 8 9 7 5 3 1 Johns Hopkins University Press 2715 North Charles Street Baltimore, Mary land 21218- 4363 w w w . p r e s s . j h u . e d u Library of Congress Cataloging- in- Publication Data Barton, John Cyril. Literary executions : capital punishment & American culture, 1820– 1925 / John Cyril Barton. pages cm Includes bibliographical references and index. ISBN- 13: 978- 1- 4214- 1332- 7 (hardcover : alk. paper) ISBN- 13: 978- 1- 4214- 1333- 4 (electronic) ISBN- 10: 1- 4214- 1332- 9 (hardcover : alk. paper) ISBN- 10: 1- 4214- 1333- 7 (electronic) 1. Capital punishment in literature. 2. Executions and executioners in literature. 3. American literature— 19th century— History and criticism. 4. American literature— 20th century— History and criticism. 5. Capital punishment— United States— Public opinion. 6. Public opinion— United States. 7. -
Pdf AGM Directors' Ballot Booklet 2021 Download
MEMbers’ CounCIL BALLOT BOOKLET Performing Right Society Limited Annual General Meeting Wednesday 19 May 2021 Ballot details Introduction Thank you for taking the time to vote in the Members’ Council Ballot. The Ballot is your opportunity to elect who you would like to represent the membership on the PRS Members’ Council. This booklet details this year’s vacancies and includes biographies of the 13 writer and 2 publisher candidates who are standing for election. The results of the Ballot and the names of the individuals eligible for appointment to the Council will be announced at the AGM on Wednesday 19 May 2021. Vacancies Candidates As part of a number of changes to PRS’ There are thirteen candidates standing governance approved at last year’s AGM, for up to three writer Council Member members voted to reduce the number of vacancies and two candidates standing writer and publisher members on the for the potential publisher Council Members’ Council over a period of three Member vacancy. successive AGMs. The change is scheduled to start with the 2021 AGM, when the Voting process number of writer and publisher Council As there are more candidates than Members would reduce from 11 publishers vacancies this year, we will hold a Ballot and 11 writers, to 10 publishers and 10 where you can vote for the candidate(s) writers. However, in order to ensure a more you wish to represent the membership on seamless transition into the new the PRS Members’ Council. governance regime, we are proposing to delay this reduction by one year, so it will At last year’s AGM, members approved commence in 2022. -
Promo Discodance 80'S
rank . 55 /60 The “1000” Best of the 80’s 5 10 15 80’s ranking HP WKS Entree >> 31 18 11 7 5 3 3 1 1 1 1 2 5 11 24 16 20 25 29 55 1 16 >> 37 Entr.Dat.> 29 Jun. 1985 DiscoDance Top50 Mercury Save your love - Rene & Angela Amerikaanse zang duo, René Moore geboren 19 Mei 1959. Los Angeles / California & Angela Winbush 18 Jan. St. Louis / Missouri. Actief als duo van 1979 / 1986, door meningsverschil ging het duo uit elkaar. Gingen beide verder als songwriter/ producer. Angela Winbush beleef nog even actief als solozangeres t/m 1994, producer/songwriter o.a. voor Sheena Easton en Stephanie Mills. René Moore zangcarriere stopte in 1988, was o.a. nog songwriter voor Janet & Michael Jackson. Zie ook > 32 . 491 . 1001 5 10 15 80’s ranking HP WKS Entree >> 45 34 28 18 9 5 1 1 1 1 1 2 2 6 10 16 20 25 29 56 1 18 >> 18 29 43 Entr.Dat.> 24 Aug. 1985 DiscoDance Top50 RCA Say i am your no. 1 - Princess Britse zangeres Desiree Heslop geboren 27 Nov. 1961 London/ Engeland. Voordat ze als solo zangeres begon was ze lid van de Ghanese afro rock band ‘Osibisa’. Haar eerste album werd geproduceerd door ‘Stock, Aitken & Waterman’, waar ook “say i am your no.1”op staat. Van haar tweede album ‘all for love’bereikte alleen het nummer ‘red hot’ de US billboard en de uk chart, album flopte. Releases van haar derde album ‘say it’ stond gepland voor 1990 maar werd nooit uitgebracht. -
Saxon ***Storming New ‘The Inner Sanctum’ Studio Album Unleashed March 5Th, Uk & Irish Tour Feb
SAXON ***STORMING NEW ‘THE INNER SANCTUM’ STUDIO ALBUM UNLEASHED MARCH 5TH, UK & IRISH TOUR FEB. 28 – MARCH 9TH*** Biff Byford - Vocals Paul Quinn - Guitar Doug Scarratt - Guitar Nibbs Carter - Bass Nigel Glockler - Drums English hard rocking heavy metal legends Saxon release their excellent 18th studio album ‘The Inner Sanctum’ on SPV Records on March 5th and tour the UK and Ireland to coincide. ‘The Inner Sanctum’, a stunning, storming, monstrous beast of a hard rock album is, in the words of vocalist Biff Byford “the most powerful album we’ve ever recorded.” Biff explains how ‘The Inner Sanctum’ was written. “The past 12 months were undeniably the most successful year in our career to date, so we knew that it would be a good idea to start collecting ideas and write the songs early. All through the last summer, we used the weekdays between the festival weekends to concentrate on working on our album. We hired rehearsal rooms in Germany, Spain and England, where we ensconced ourselves for three days during the week, before travelling to the next festival. We’d never gone about things this way before, but as you can hear it worked.” Saxon, who are set to star in a one hour Channel 4 Documentary at the end of March - part of a six part series filmed with Harvey Goldsmith – set out on tour at the end of this month. Dates are:- 28th Feb. GLASGOW Garage (with Masterplan) 2nd March BELFAST Spring & Airbrake (with Masterplan) 3rd March DUBLIN The Village (with Masterplan) 4th March MANCHESTER Academy 2 (with Masterplan) 6th March WOLVERHAMPTON -
Vinyl Catalogue 2014
VINYL CATALOGUE 2014 Established in 2004, Back On Black - together with subsidiary label Back On Black Rock Classics - specialises in vinyl editions of classic metal and rock albums and is dedicated to providing top quality releases for record collectors and rock fans worldwide. Our releases are pressed on exquisite, heavyweight vinyl to produce the very best in sound quality with a mesmerizing tactile feel that makes them a pleasure to handle. Beautiful vinyl colours are carefully chosen to complement the artwork, with some releases available in a variety of colours for the dedicated collector. Many releases are double, or even triple, LPs! The artwork itself is re-worked to faithfully interpret the original album, and reproduced on superior grade gatefold sleeves in heavyweight card with a superb and un-rivalled finish. As well as all our re-mastered LPs of classic albums from throughout history, Back On Black also issues many exclusive vinyl editions of contemporary metal and rock releases. Far from being dead, our beloved vinyl format is going from strength to strength – and Back On Black is proud to serve the needs of the vinyl connoisseur! Just take a look at our catalogue of releases to see the calibre of albums we release! Combine your favourite rock and metal with your favourite format – and get your music Back On Black! CONtact: PHONE: +44 (0)1491 825029 MAILORDER: PLASTICHEAD.COM UK SALES: [email protected] INTERNATIONAL SALES: [email protected] BACKONBLACK.COM facebook.COM/BACKONBLACKRECORDS PLASTICHEAD.COM All titles subject to availability due to territorial or licensing terms. -
Saxon, a Marketing Ploy? We’Re Close Friends
two bassists. I said I was in a band with Paul. left EMI [where he was commercial director] One show a couple of years back, Motörhead’s They were into Free – that’s where Sob came to go with Carrere [as UK MD] and he took drummer Mikkey Dee got onstage to play with from, their Tons Of Sobs album – and we our demo from EMI to Claude, so that’s how you and you said that “he’s now playing with were more into the complicated stuff. Then we ended up on Carrere. a real metal band”. the drummer left, so we thought “let’s do it”, Biff: There’s lots of humour, pisstaking! but I’d only do it if Paul did too. We did our Was your new name, Saxon, a marketing ploy? We’re close friends. first gig in Rotherham, with two basses and Biff: The record company didn’t like the two guitars, and just ran with it. name Son Of A Bitch. It was too narrow: it You appeared on Top Of The Pops; did that Graham: Steve Dawson had a tape of a demo only worked for the kids. We were under surprise you? with Biff singing, as they were a rival band, contract, which was hard to get. Son Of Biff: The first time was for Wheels Of Steel. Coast. Biff did not sing live but he had sung A Bitch was a silly name anyway. You won’t We got this phone call: it had gone into the a song called Lady on this demo, and as he get airplay or get noticed in the US with charts at No 31 or something and we needed said, we had both lost members of our a name like that.