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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. -
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mow!,'mum INN nn %AUNE 20, 1981 $2.75 R1-047-8, a.cec-s_ Q.41.001, 414 i47,>0Z tet`44S;I:47q <r, 4.. SINGLES SLEEPERS ALBUMS COMMODORES.. -LADY (YOU BRING TUBES, -DON'T WANT TO WAIT ANY- POINTER SISTERS, "BLACK & ME UP)" (prod. by Carmichael - eMORE" (prod. by Foster) (writers: WHITE." Once again,thesisters group) (writers: King -Hudson - Tubes -Foster) .Pseudo/ rving multiple lead vocals combine witt- King)(Jobete/Commodores, Foster F-ees/Boone's Tunes, Richard Perry's extra -sensory sonc ASCAP) (3:54). Shimmering BMI) (3 50Fee Waybill and the selection and snappy production :c strings and a drying rhythm sec- ganc harness their craziness long create an LP that's several singles tionbackLionelRichie,Jr.'s enoughtocreate epic drama. deep for many formats. An instant vocal soul. From the upcoming An attrEcti.e piece for AOR-pop. favoriteforsummer'31. Plane' "In the Pocket" LP. Motown 1514. Capitol 5007. P-18 (E!A) (8.98). RONNIE MILSAI3, "(There's) NO GETTIN' SPLIT ENZ, "ONE STEP AHEAD" (prod. YOKO ONO, "SEASON OF GLASS." OVER ME"(prod.byMilsap- byTickle) \rvriter:Finn)(Enz. Released to radio on tape prior to Collins)(writers:Brasfield -Ald- BMI) (2 52. Thick keyboard tex- appearing on disc, Cno's extremel ridge) {Rick Hall, ASCAP) (3:15). turesbuttressNeilFinn'slight persona and specific references tc Milsap is in a pop groove with this tenor or tit's melodic track from her late husband John Lennon have 0irresistible uptempo ballad from the new "Vlaiata- LP. An air of alreadysparkedcontroversyanci hisforthcoming LP.Hissexy, mystery acids to the appeal for discussion that's bound to escaate confident vocal steals the show. -
What the Fleetwood Mac Case Can Tell You About Pa. Partnerships | the Legal Intellige
What the Fleetwood Mac Case Can Tell You About Pa. Partnerships | The Legal Intellige... Page 1 of 6 (/thelegalintelligencer/) Menu My Acco POWERED BY LAW.COM (/) Search (HTTPS://STORE.LAW.COM/REGISTRA (/thelegalintelligencer/search/) SOURCE=HTTPS%3A%2F% 2FTHELEGALINTELLIGENCER% 2FWHAT-THE-FLEETWOOD-MAC ABOUT-PA- Publications (/publications/) Law Topics (/topics/) Surveys & Rankings (/rankings/) Cases & Verdicts People & Community ROOMS FROM $34 BOOK NOW Commentary (/thelegalintelligencer/commentary/) What the Fleetwood Mac Case Can Tell You About Pa. Partnerships It’s official. The remaining major members of the renowned rock and roll band Fleetwood Mac, Mick Fleetwood, Stev Nicks, Christine McVie and John McVie, have gone their own way from bandmate Lindsey Buckingham. By Andrew J. DeFalco | November 20, 2018 at 04:02 PM Trending Stories +èÓ9Ô (http://www.almreprints.com) It’s official. The remaining major members of the 1 Meet the In-House National renowned rock and roll band Fleetwood Mac, Mick Women in Law Honorees Fleetwood, Stevie Nicks, Christine McVie and John (https://www.law.com/corpco the-in-house-national-women McVie, have gone their own way from bandmate in-law-honorees/) Lindsey Buckingham. According to Buckingham, after CORPORATE COUNSEL planning a world tour for 2018 and 2019, he was (/CORPCOUNSEL/) unceremoniously kicked out of the band, which will 2 Law Prof Who Exposed Big prevent him from earning an anticipated $12 million Law's Mandatory Arbitration Focus of Misconduct Probe cut of the proceeds from the tour. (https://www.law.com/2018/ prof-who-exposed-big-laws- Not surprisingly, Buckingham was peeved and saw mandatory-arbitration-is- focus-of-misconduct-probe/) Andrew J. -
Grouplove/51765840/1?Loc=Interstitialskip
December 9, 2011 http://www.usatoday.com/life/music/ontheverge/story/2011-12-06/on-the-verge-with-indie-rock-group-grouplove/51765840/1?loc=interstitialskip Grouplove grew out of friendship By Korina Lopez, USA TODAY Group love, indeed: This Los Angeles-based quintet certainly lives up to its name. "We never planned to be a band. We were friends first and we just love being together," says lead singer Christian Zucconi. "Grouplove grew organically from that love." Their debut album, with the tongue-in-cheek title Never Trust a Happy Song, is quickly spreading the love, too. Their sweet and savory mix of jangly, upbeat melodies, Zucconi's anguished howl and keyboardist Hannah Hooper's coquettish backup vocals have been making the rounds in indie rock circles and on the charts. Joyful, noisy single Colours peaked at No. 12 on USA TODAY's alternative chart. Another track, Tongue Tied, lassoed the new iPod Touch commercial, which ran during the Grammy nominations concert and has continued since Thanksgiving. Add Grouplove's lock as the opening band for Young the Giant's tour in March and April, and it's no wonder they're so lovey-dovey. Happy accidents: Zucconi wasn't always this upbeat. "Before Grouplove, I was in other bands, but the timing never seemed right," he says. "I'd wake up every day depressed, I spent so many years miserable doing music. But it's wonderful now how we overcame everything together. It's funny that Grouplove is such a happy band." The band members met each other in 2008 at an artist commune in Crete. -
DRAMATURGY GUIDE School of Rock: the Musical the National Theatre January 16-27, 2019
DRAMATURGY GUIDE School of Rock: The Musical The National Theatre January 16-27, 2019 Music by Andrew Lloyd Webber Book by Julian Fellowes Lyrics by Glenn Slater Based on the Paramount Film Written by Mike White Featuring 14 new songs from Andrew Lloyd Webber and all the original songs from the movie Packet prepared by Dramaturg Linda Lombardi Sources: School of Rock: The Musical, The Washington Post ABOUT THE SHOW Based on the hit film, this hilarious new musical follows Dewey Finn, a failed, wannabe rock star who poses as a substitute teacher at a prestigious prep school to earn a few extra bucks. To live out his dream of winning the Battle of the Bands, he turns a class of straight-A students into a guitar-shredding, bass-slapping, mind-blowing rock band. While teaching the students what it means to truly rock, something happens Dewey didn’t expect... they teach him what it means to care about something other than yourself. For almost 200 years, The National Theatre has occupied a prominent position on Pennsylvania Avenue – “America’s Main Street” – and played a central role in the cultural and civic life of Washington, DC. Located a stone’s throw from the White House and having the Pennsylvania Avenue National Historic Site as it’s “front yard,” The National Theatre is a historic, cultural presence in our Nation’s Capital and the oldest continuously operating enterprise on Pennsylvania Avenue. The non-profit National Theatre Corporation oversees the historic theatre and serves the DC community through three free outreach programs, Saturday Morning at The National, Community Stage Connections, and the High School Ticket Program. -
School of Rock
School of Rock School of Rock La musica oggi è così intrisa di elementi commerciali che scegliere un brano è come scegliere i cereali dagli scaffali del supermercato: sei convinto di prendere quelli che più ti piacciono ma in realtà stai obbedendo alle subdole leggi della propaganda commerciale! Mi capita spesso di vedere fanciulli (alcuni in età da asilo nido! N.d.a), strappare di mano lo smartphone alla mamma e chiedere prepotentemente di cliccare su Youtube “Andiamo a comandare” ed ancora infanti non passati al cibo completamente solido ballare al ritmo di “Vorrei ma non posto” scimmiottando improbabili mosse di danza. Partendo dal presupposto che untormentone estivo non è altro che un tormentone estivo, la domanda è: cosa fanno quelle mamme? Quei papà? Come si fa a non desiderare con passione un’educazione all’arte musicale per i propri figli? Sapete qual è il problema? Che oggi sono finiti i brividi lungo la schiena, oggi vi è un’assolutaatarassia musicale, piccoli e grandi che vivono in uno stato di lobotomia permanente. E se il Rock potesse aiutarci? Ebbene sì cari genitori, credo che il Rock faccia al caso nostro! Senza falsa modestia credo di essere riuscito nel tempo ad educare mia figlia e a guidarla nel vasto panorama musicale nazionale ed internazionale cercando di farle scoprire il bello della Classica, del Pop, del Jazz ma soprattutto del Rock! Azioni meticolose (e a volte subdole) di carattere educativo e preventivo che hanno portato i loro frutti! Sin dai tre anni infatti ci siamo divertiti a concepire testi e melodie che cantavamo assieme e che scemavano quasi sempre in un tremendo mix tra rock demenziale alla “Elio e le Storie Tese” e “Baby Dance” da Villaggio della Valtur, il tutto finiva in una fragorosa risata. -
Perth Music Interviews Ben Stewart (Filmmaker) Amber Flynn
Perth Music Interviews Ben Stewart (Filmmaker) Amber Flynn (Rabbit Island) Sean O’Neill (Hang on Saint Christopher) Bill Darby David Craddock (Davey Craddock and the Spectacles) Scott Tomlinson (Kill Teen Angst) Thomas Mathieson (Mathas) Joe Bludge (The Painkillers) Tracey Read (The Wine Dark Sea) Rob Schifferli (The Leap Year) Chris Cobilis Andy Blaikie by Benedict Moleta December 2011 This collection of interviews was put together over the course of 2011. Some of these people have been involved in music for ten years or more, others not so long. The idea was to discuss background and development, as well as current and long-term musical projects. Benedict Moleta [email protected] Ben Stewart (Filmmaker) Were you born in Perth ? Yeah, I was born in Mt Lawley. You've been working on a music documentary for a while now, what's it about ? I started shooting footage mid 2008. I'm making a feature documentary about a bunch of bands over a period of time, it's an unscientific longitudinal study of sorts. It's a long process because I want to make an observational documentary with the narrative structure of a fiction film. I'm trying to capture a coming of age cliché but character arcs take a lot longer in real life. I remember reading once that rites of passage are good things to structure narratives around, so that's what I'm going to do, who am I to argue with a text book? Fair call. I guess one of the characteristics of bands developing or "coming of age" is that things can emerge, change, pass away and be reconfigured quickly. -
Ramones 2002.Pdf
PERFORMERS THE RAMONES B y DR. DONNA GAINES IN THE DARK AGES THAT PRECEDED THE RAMONES, black leather motorcycle jackets and Keds (Ameri fans were shut out, reduced to the role of passive can-made sneakers only), the Ramones incited a spectator. In the early 1970s, boredom inherited the sneering cultural insurrection. In 1976 they re earth: The airwaves were ruled by crotchety old di corded their eponymous first album in seventeen nosaurs; rock & roll had become an alienated labor - days for 16,400. At a time when superstars were rock, detached from its roots. Gone were the sounds demanding upwards of half a million, the Ramones of youthful angst, exuberance, sexuality and misrule. democratized rock & ro|ft|you didn’t need a fat con The spirit of rock & roll was beaten back, the glorious tract, great looks, expensive clothes or the skills of legacy handed down to us in doo-wop, Chuck Berry, Clapton. You just had to follow Joey’s credo: “Do it the British Invasion and surf music lost. If you were from the heart and follow your instincts.” More than an average American kid hanging out in your room twenty-five years later - after the band officially playing guitar, hoping to start a band, how could you broke up - from Old Hanoi to East Berlin, kids in full possibly compete with elaborate guitar solos, expen Ramones regalia incorporate the commando spirit sive equipment and million-dollar stage shows? It all of DIY, do it yourself. seemed out of reach. And then, in 1974, a uniformed According to Joey, the chorus in “Blitzkrieg Bop” - militia burst forth from Forest Hills, Queens, firing a “Hey ho, let’s go” - was “the battle cry that sounded shot heard round the world. -
MTO 21.1: Hough, Elements of Style in Stevie Nicks
Volume 21, Number 1, March 2015 Copyright © 2015 Society for Music Theory Elements of Style in Three Demo Recordings by Stevie Nicks Matthew T. Hough NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.15.21.1/mto.15.21.1.hough.php KEYWORDS: rock, pop, harmony, composition, Stevie Nicks, Fleetwood Mac ABSTRACT: This article examines demo recordings of three songs by Stevie Nicks in terms of compositional style and in relation to conventions of rock harmony. Sections from two of Nicks’ unreleased solo demo recordings are compared to publicly released versions of the same songs, revealing distinctive stylistic elements and their subsequent normalization. Compositional applications for rock music based on structural and contrapuntal techniques found in these demo recordings are also presented. Received January 2015 Introduction [1.1] Stephanie “Stevie” Nicks (b. 1948 in Phoenix, Arizona) is one of rock’s best known female performers of the last fifty years. Despite her many decades of fame, investigation into Nicks’ work as a composer remains scarce. This is perhaps not due to a lack of interest; her close association with numerous collaborators—most notably, guitarist Lindsey Buckingham and other members of the band Fleetwood Mac—often makes pinpointing Nicks’ individual compositional traits difficult. As released to the public, Nicks’ songs invariably contain significant contributions from these collaborators in the form of instrumental or vocal arrangements and production. Recently, examples of Nicks’ unreleased demo recordings have begun to appear on YouTube and various file-sharing sites. In many of these recordings, Nicks is heard singing and playing a keyboard instrument without additional accompaniment. -
Major New Festival Features Legendary Rock Band Spring and Fall Are the Busy Times in Southern Maryland for Festivals, Fairs
Major new festival features legendary rock band Posted by Dick.Myers_Editor On 05/29/2013 Spring and fall are the busy times in Southern Maryland for festivals, fairs and other special events. But there was that short window of opportunity right after Memorial Day for another major event. Summerseat Farm on Route 235 in Oakville has seized that opportunity. This Saturday, June 1st will be the first Beer, Bands & BBQ. The bands part of the event features legendary rockers the Smithereens. To order tickets for Beer, Bands and BBQ, go to the Summerseat website at http://www.summerseat.org/Home/tabid/36/Default.aspx The Smithereens formed in1980 and continue to this day with most of the original members, including lead vocalist and guitarist Pat DiNizio. All the original members were from New Jersey. The only change from the original band occurred in 2006 when Severo Jomacion took over bass guitar from Mike Mesaros. Other members are Jim Babjak (guitar and vocals), and Dennis Diken (drums and percussion). The band is noted for writing and playing catchy 19060’s influenced power pop. Their first album, “Blood and Roses” was included in the soundtrack for the 1986 movie “Dangerously Close.” This month and next the Smithereens will be special guests of Tom Petty and the Heartbreakers for six concerts. They have collaborated in the studio with musicians such as Suzanne Vega and Belinda Carlisle and on stage with Graham Parker and the Kinks. Other bands performing from Beer, Bands and BBQ from 1-8 p.m. are 80’s Metal Hair tribute band “One Louder” and local favorites “Justin Myles Experience” and the “Sam Grow Band.” Rounding out the other two “B’s” in the title of the event are 10 premium and craft beers and plenty of finger lickin’ food. -
The Roots Report: an Interview with Dennis Diken
The Roots Report: An Interview with Dennis Diken In December of last year, Pat DiNizio, lead singer, guitarist and songwriter of the band The Smithereens, died at the age of 62. The Smithereens have had hits with songs such as, “Blood and Roses,” “Only a Memory” and “A Girl Like You.” DiNizio’s untimely passing was not only an emotional blow to the band, but it put their future in jeopardy. In January of this year they turned an already scheduled show into a tribute to DiNizio. At that concert several guest vocalists/musicians joined the band and among them was Marshall Crenshaw. He is known for his hits, “Someday, Someway” and “Whenever You’re On My Mind.” Besides those songs and others he played the role of Buddy Holly in the film LaBamba and began his career as John Lennon in Beatlemania. Crenshaw will be filling the vacant vocalist spot along with the surviving members of the Smithereens: Dennis Diken, Jim Babjak, and Mike Masaros when they come to the Greenwich Odeum on Saturday, November 17. I spoke with drummer, Dennis Diken about what has been going on with the band. Dennis Diken (Smithereens): Hey, John, it’s Dennis Diken from the Smithereens John Fuzek (Motif): Hi, how are you? Thanks for calling! DD: I am good, how are you doing, man? JF: I am good, so you are playing a show at the Greenwich Odeum next week, it’s a nice venue, have you ever played there? DD: It does not ring a bell but it’s been a long time we’ve been touring, it’s possible but I don’t think so JF: Maybe you played the Narrows last time that you were in town? I am not sure, I just know that I have missed your show every time you play! DD: I don’t think we have been to RI in a while. -
THE SMITHEREENS Bio
THE SMITHEREENS bio Pat DiNizio—vocals, guitar Jim Babjak—guitar, vocals Dennis Diken—drums, vocals Severo "the Thrilla" Jornacion—bass "I think it's as good as anything we've ever done," Pat DiNizio says of Smithereens 2011 , the Smithereens' first album of original songs in 11 years. "I hate to use the term 'comeback album,' and it certainly wasn't planned that way, but it really feels like it," adds his longtime bandmate Jim Babjak. "It has the raw vibe of our early albums, while showing that we're moving forward and that we're still at the top of our game after 31 years." Indeed, the 13-song set shows the New Jersey-bred quartet to be making some of the most urgent music of their three-decade career, delivering their timeless brand of punchy, heartfelt rock 'n' roll with as much fire as ever. Such instantly memorable new tunes as "Sorry," "One Look At You," "A World of Our Own" and "Rings On Her Fingers" exemplify the Smithereens' trademark brand of punchy melodic songcraft, driven home by DiNizio's expressive vocals and emotionally complex lyrics, along with fiery ensemble performances that show off the uncanny musical chemistry of longstanding musical partners DiNizio, Babjak and Dennis Diken, and later addition Severo "the Thrilla" Jornacion, who joined in 2006. Smithereens 2011 's title slyly acknowledges the fact that it's the band's 11th studio album, and that it's been 11 years since their last collection of original material. The album's moniker—as well as its cover design—also pays tribute to the foursome's beloved 1989 release Smithereens 11 .