November 19-25, 2009 Volume 1 Issue 3 Aurorapublication.Com Free
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SPRAYNARD Street Date: FUNTITLED CD/LP 05/10/2011
SPRAYNARD Street Date: FUNTITLED CD/LP 05/10/2011 INFORMATION: Artist Hometown: WESTCHESTER, PA Key Markets: NEW YORK LONDON PHILADELPHIA WESTCHESTER BOSTON For Fans Of: -HARD GIRLS -OSKER -PLOW UNITED ARTIST: SPRAYNARD TITLE: FUNTITLED Spraynard started in the summer of 2008 when three friends CAT#: AM 215 (Patrick Graham, Patrick Ware, and Mark Dickinson) felt the need FORMAT: CD, LP for a resurgence of DIY music in their hometown. They combine GENRE: PUNK passionate & urgent vocals with infectious pop punk in the vein of BOX LOT: 50 PLOW UNITED and OSKER. This is their Asian Man debut called SRLP: CD $10.98, LP $13.98 “funtitled”. They have a released a slew of 7 inches and an LP on UPC: CD: 612851021525 Runner Up Records called “Cut and Paste” They continue to tour LP: 612851021518 EXPORT: NO RESTRICTIONS constantly and passionate about punk as a philosophy as much as a sound. TRACKLIST: Marketing Points: 1. I Care Not -Constant touring 2. The Denver Broncos -Produced by Mike Bardzik (EVERYONE EVERYWHERE, LIGHTEN UP) vs. The Denver Broncos -Played FEST 3. O.R. They? 4. Little Green Ghouls 5. We’re Pretty Nice Guys Any special scenes/markets this might appeal to: 6. Ah Gun That house show punk community 7. Damn You, A Box 8. Spooky, Scary 9. Homies Where the Heart Is 10. Quite Exciting, This Computer Magic 11. Not Good Enough, Gary 12. Joe Gallgher’s Fantasy Fun Camp Exclusively ilcdistro.com Distributed by [email protected] INDEPENDENT LABEL 804.592.1452 PH COLLECTIVE 866.382.2431 FX MISS DERRINGER Street Date: KING JAMES AND A COLT 45 CD 05/10/2011 INFORMATION: Artist Hometown: LOS ANGELES, CA Key Markets: LOS ANGELES NASHVILLE DETROIT LONDON SAN FRANCISCO For Fans Of: ???? Description needed. -
HMF 2018 Survival Guide V3
!1 Hamtramck Music Festival 2018 Sponsors Hamtramck Music Festival HSCREYENP PREINT Survival Guide 2018 !2 Thursday - March 1 — Kickoff Party creation, molding heavy trance-rock grooves into a fluid and melodic sonic landscape, has Warhorses redefining what a rock group can be. Ant Hall/Ghost Light (1) "Hypnotic. Alluring. Captivating. Warhorses embellish a sense of wonder with their music; they drag you in and intoxicate you.” 8:00 Funkwagon – A vocally-driven, over-the-top dance band that has been touring the northeast for the past decade. Opening for such acts as 10:30 The My Ways – Travis Harrett toured and recorded for seven years Morris Day and the Time and Parliament. Recently settled in the Detroit with Bloodshot Records artists the Deadstring Brothers and labelmates area they are breaking down doors with their stunning live performances. Whitey Morgan and the 78s. In 2014, the My Ways released their self- titled debut record and a follow up in 2016. In 2017, the live show hit the 8:30 Abul on Fire – Bangladesh-American Abul Hossain performs his road with gigs around Michigan. original Bangali pop songs and ballads about peace and mankind backed by psychedelic and progressive rock. 11:00 Nadir Omowale – "To 9:00 Fizzbang – Proggy without being pretentious, poppy without being label Nadir as a obnoxious, this loud, exciting rock group seeks to get booties movin and neo-soul artist hearts singin. would be neglecting his rock roots; to call him a rock artist would be overlooking his hip- hop and jazz influences. Fully encompassing all the talents that Nadir possesses would be comparable to expanding the mathematical term Pi to its last digit." - Michigan Chronicle 11:30 Cye Pie and Ya Homies – A sound that is equal parts R&B, funk and soul. -
American Foreign Policy, the Recording Industry, and Punk Rock in the Cold War
Georgia State University ScholarWorks @ Georgia State University History Dissertations Department of History Spring 5-10-2017 Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War Mindy Clegg Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/history_diss Recommended Citation Clegg, Mindy, "Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War." Dissertation, Georgia State University, 2017. https://scholarworks.gsu.edu/history_diss/58 This Dissertation is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. MUSIC FOR THE INTERNATIONAL MASSES: AMERICAN FOREIGN POLICY, THE RECORDING INDUSTRY, AND PUNK ROCK IN THE COLD WAR by MINDY CLEGG Under the Direction of ALEX SAYF CUMMINGS, PhD ABSTRACT This dissertation explores the connections between US foreign policy initiatives, the global expansion of the American recording industry, and the rise of punk in the 1970s and 1980s. The material support of the US government contributed to the globalization of the recording industry and functioned as a facet American-style consumerism. As American culture spread, so did questions about the Cold War and consumerism. As young people began to question the Cold War order they still consumed American mass culture as a way of rebelling against the establishment. But corporations complicit in the Cold War produced this mass culture. Punks embraced cultural rebellion like hippies. -
CHRISTIAN DEATH Street Date: Only Theatre of Pain, LP AVAILABLE NOW!
CHRISTIAN DEATH Street Date: Only Theatre of Pain, LP AVAILABLE NOW! INFORMATION: Artist Hometown: Los Angeles Key Markets: Los Angeles, Orange County CA, New York, Europe (France, Germany, Belgium in particular), Japan, Mexico For Fans of: ROZZ WILLIAMS, 45 GRAVE, BAUHAUS, XMAL DEUTSCHLAND, SIOUXSIE AND THE BANSHEES, DELERIUM, SWANS The founding fathers of American goth-rock, CHRISTIAN DEATH released their debut, Only Theatre of Pain, on Frontier Records in March 1982, and that landmark album has had an enormous influence on goth, death-rock, ARTIST: CHRISTIAN DEATH dark-wave, metal and even industrial music scenes all over the world, TITLE: Only Theatre of Pain shaping the approach of more bands than can be counted. Led by vocalist LABEL: Frontier Records and founder Rozz Williams, the CHRISTIAN DEATH of Only Theatre of Pain CAT#: 31007-1-W included guitarist Rikk Agnew, fresh out of THE ADOLESCENTS, bassist FORMAT: LP James McGearty, drummer George Belanger and backing vocals from GENRE: Gothic Rock, Goth, Superheroines leader (and Rozz’s future wife), Eva O as well as performance Death Rock, Punk artist Ron Athey. It was this line-up, with its dirgy, effects-laden guitar riffs BOX LOT: 50 and ambient horror-soundtrack synths, that crystalized the ominous post- SRLP: $14.98 punk sound that has established this album as the ultimate archetype of goth UPC: 018663100715 EXPORT: NO RESTRICTIONS sensibility. Genre touchstones include “Romeo’s Distress,” “Spiritual Cramp” and “Mysterium Iniquitatis.” Marketing Points: Tracklist: • This is a one-time only MISS-PRESS of the newly remastered version of 1. Cavity - First Communion the OTOP but with the previous edition’s black and gold LP jacket 2. -
Living Like a Runaway: a Memoir PDF Book
LIVING LIKE A RUNAWAY: A MEMOIR PDF, EPUB, EBOOK Lita Ford | 272 pages | 07 Apr 2016 | HarperCollins Publishers Inc | 9780062270641 | English | New York, United States Living Like a Runaway: A Memoir PDF Book I love the fact that Lita's parents supported her in what she wanted out of life. But I have to wonder if her actions made it easy for them to think of her as just another groupie who happened to play guitar. She also has a real tendency to blame everyone else for her career not working as well as she'd hoped, especially following the success of "Kiss Me Deadly". It's nice to read about her putting her life and career back together following those events, even if she does have an exaggerated view of her own importance in rock history. This review has been hidden because it contains spoilers. The storytelling is amateurish, with confusing chronology even from paragraph to paragraph. At age 16 Lita Ford played guitar at her own birthday party drawing a huge crowd, and eventually the police. Like literally, the only one. Entertaining - needed better editing. You had to be tough to deal with the rivalries, the unrestrained tension of performing, recording, and living with a bunch of fickle, frightened, and vulnerable teenage girls, most of whom coped by drinking and drugging their troubles away while lying to their parents about keeping up with their schoolwork. Montana was great at first, but twelve years and three children later, I felt as trapped as I had in Indiana. Capitol to an influential position working for the Senate Foreign Relations Committee, and his friendships with Washington's most powerful movers and shak. -
Download Living Like a Runaway: a Memoir Free Ebook
LIVING LIKE A RUNAWAY: A MEMOIR DOWNLOAD FREE BOOK Lita Ford | 272 pages | 07 Apr 2016 | HarperCollins Publishers Inc | 9780062270641 | English | New York, United States Living Like a Runaway But after the party, Ford writes, "word got out about the girl from Long Beach who could play guitar. Lita has never been shy, and she delivers a book filled with all of the sex, drugs and rock n' roll adventures that take us through the genesis and downfall of The Runaways, her ascendancy to become the Queen of Shredding during the 80's Hair Metal era, and her turbulent and tragic family life after leaving the music scene for 15 years. He found the girls who would comprise The Runaways not one of them over 16booked the tours, landed a recording contract, and collected and kept the money. Living Like a Runaway: A Memoir of Sharon. Out of curiosity I googled Jim Gillette and found some of the court documents posted on-line. She lives in Southern California. He refers to Lita as "the only serious musician" in the Runaways, which is total Living Like a Runaway: A Memoir. I appreciate that she couldn't talk about her second marriage for 1. That glass ceiling seems pretty permeable for her to me. She doesn't go much into her childhood, which is fine, because of course we all want to know about the sex, drugs and rock n roll part of her life anyway, right? I sure hope they are different. The foreword by Dee Snider just served to annoy me right off the bat. -
1 ANTHRO 106 2018 Rock 80'S 90'S
1 ANTHRO 106 2018 Rock 80’s 90’s- subculture and canon New Wave Punk Goth Metal Alternative Grunge Post Canon • How do rock sub genre set themselves in opposition to the ‘mainstream’? Why is this important to them? • What are some of the distinguishing features of the various sub genre? • How and when have the various rock sub-genre, fed back into the mainstream rock style? New Wave Punk, Glam, Pop Commercial Many Musical Styles Visual (MTV) Androgynous fashion, bizarre, satirical, futuristic, avant-garde, colourful, stylish Synthesizers Dance • Adam Ant • B-52 • Duran Duran • Cars • Tears for Fears • A-Ha • Flock of Seagulls “I Ran” • Japan “Quiet Life” • The Human League “Don't You Want Me” Punk . Working class youth rebelliousness . Oppositional tendency . DIY . Resistance to authority, work and conventional politics . The underground sustain and politically active and subversive tendency . Subversiveness within pop culture . Early punk was nihilistic, later became more activist . 1979 . Sang about urban alienation . Appocalypticism . Hostility to the forces of the state (the police) . Working Class pride . Violence 2 . Pastiche, bricolage • The Jam “Going Underground” • The Clash “Should I Stay or Should I Go” • The Sex Pistols “God save the Queen” USA Ramones (New York) Often regarded as the first true punk-rock group, the Ramones were an American punk band whose music influenced later generations of punk bands. Their story begins in Queens, NY, where the band members took their musical influences (The New York Dolls, The Stooges) and channeled them to create their own songs. Greatest rock and roll band of all time The Ramones “I wanna be sedated” Velvet underground“Venus in furs” Quite simply everything about The Velvet Underground was astonishing. -
This Is How We Do: Living and Learning in an Appalachian Experimental Music Scene
THIS IS HOW WE DO: LIVING AND LEARNING IN AN APPALACHIAN EXPERIMENTAL MUSIC SCENE A Thesis by SHANNON A.B. PERRY Submitted to the Graduate School Appalachian State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS MAY 2011 Center for Appalachian Studies THIS IS HOW WE DO: LIVING AND LEARNING IN AN APPALACHIAN EXPERIMENTAL MUSIC SCENE A Thesis by SHANNON A.B. PERRY May 2011 APPROVED BY: ________________________________ Fred J. Hay Chairperson, Thesis Committee ________________________________ Susan E. Keefe Member, Thesis Committee ________________________________ Patricia D. Beaver Member, Thesis Committee ________________________________ Patricia D. Beaver Director, Center for Appalachian Studies ________________________________ Edelma D. Huntley Dean, Research and Graduate Studies Copyright by Shannon A.B. Perry 2011 All Rights Reserved ABSTRACT THIS IS HOW WE DO: LIVING AND LEARNING IN AN APPALACHIAN EXPERIMENTAL MUSIC SCENE (2011) Shannon A.B. Perry, A.B. & B.S.Ed., University of Georgia M.A., Appalachian State University Chairperson: Fred J. Hay At the grassroots, Appalachian music encompasses much more than traditional music genres, like old-time and bluegrass. While these prevailing musics continue to inform most popular and scholarly understandings of the region’s musical heritage, many contemporary scholars dismiss such narrow definitions of “Appalachian music” as exclusionary and inaccurate. Many researchers have, thus, sought to broaden current understandings of Appalachia’s diverse contemporary and historical cultural landscape as well as explore connections between Appalachian and other regional, national, and global cultural phenomena. In April 2009, I began participant observation and interviewing in an experimental music scene unfolding in downtown Boone, North Carolina. -
Rubber Souls: Rock and Roll and the Racial Imagination
Rubber Souls: Rock and Roll and the Racial Imagination The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Hamilton, John C. 2013. Rubber Souls: Rock and Roll and the Racial Imagination. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:11125122 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Rubber Souls: Rock and Roll and the Racial Imagination A dissertation presented by Jack Hamilton to The Committee on Higher Degrees in American Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of American Studies Harvard University Cambridge, Massachusetts April 2013 © 2013 Jack Hamilton All rights reserved. Professor Werner Sollors Jack Hamilton Professor Carol J. Oja Rubber Souls: Rock and Roll and the Racial Imagination Abstract This dissertation explores the interplay of popular music and racial thought in the 1960s, and asks how, when, and why rock and roll music “became white.” By Jimi Hendrix’s death in 1970 the idea of a black man playing electric lead guitar was considered literally remarkable in ways it had not been for Chuck Berry only ten years earlier: employing an interdisciplinary combination of archival research, musical analysis, and critical race theory, this project explains how this happened, and in doing so tells two stories simultaneously. -
New Rockers Could Make KISS Pucker Pretty Boy Rock Took A
The Hard Rock/ Heavy Monolith Of The Daily Nexus Tl^o "W « ^ »-t <Z>f Sep tiem bex* 1 í>»0, A Heavy Metal Hoedown New Rockers Could Make KISS Pucker by A.J. Goddard LOS ANGELES — I figured the Foundations Forum 90 Concrete Convention would be stuffed like a turkey with hairsprayed fluff, painstaking eyeliner, the newest lipstick shades and sleek skin wrapped and bound tight in leather rind skirts up to "there." Leave the music aside, let the appearances guide. ' Nope. There were some glam folk, but here we had the biggest hard rock/heavy metal convention in existence that few persons outside of the music industry knew much about, unless they were listening religiously to KNAC (of Long Beach, the sole Los Angeles metal station) who broadcasted live from the convention all weekend and pulled in their share of last- minute registrants for a smooth $175 a head. Unsigned band members scoped out as many record company representatives, college radio DJs and writers as possible and delivered their demos with the confidence that their tapes rent," and this is bringing more depth to heavy would be what the aforementioned persons metal. And we were blessed with a peek at some Pretty Boy Rock wanted to hear. of this talented new blood during the nightly For a mere $300, unsigned bands could show sixTband extravaganzas that rocked the walls of case in the upstairs schmooze rooms in hopes of the two large hotel ballrooms and were simul Took A Back Seat a record contract offer— or at least some atten cast on video screens all over the hotel. -
Elementos Estéticos E Históricos En Canciones Del Rock Gótico Mexicano
UNIVERSIDAD AUTÓNOMA DEL ESTADO DE MÉXICO CENTRO UNIVERSITARIO UAEM AMECAMECA LICENCIATURA EN LETRAS LATINOAMERICANAS Elementos estéticos e históricos en canciones del rock gótico mexicano T E S I S Q U E P A R A O B T E N E R E L T Í T U L O D E: LICENCIADO EN LETRAS LATINOAMERICANAS P R E S E N T A JAHZEEL ACEVEDO AGUILAR ASESOR: DR. ALFREDO RAMÍREZ MEMBRILLO AMECAMECA, MÉXICO, DICIEMBRE DE 2014 Índice Introducción ……………………………………………………………………………………… 3 1. Historia y características generales de lo gótico 1.1.- Definición de lo gótico……………………………………………………………………. 5 1.2.- Acepciones simbólicas y estética gótica: luz, oscuridad y penumbra ……….. 11 2. Literatura gótica 2.1.- Orígenes de la narrativa y características de la literatura gótica……………….. 17 2.2.- Análisis de los personajes prototípicos: luz (eterno femenino), oscuridad (villano) y penumbra (héroe y monstruo)………………………………………………….. 22 3. - El gótico en la postmodernidad: desarrollo musical y simbólico 3.1.- Orígenes y características del movimiento gótico………………………………….41 3.2.- El movimiento gótico en México……………………………………………………….47 4.- Análisis 4.1.-Letras de canciones de bandas de rock consideradas góticas………………… 50 4.2.- Bandas extranjeras………………………………………………………………………51 4.3.- Bandas mexicanas……………………………………………………………………….54 4.4.- Letras de bandas extranjeras ………………………………………………………... 57 4.5.- Letras de bandas mexicanas ……………………………………………………….. ..85 Conclusiones…………………………………………………………………………………...119 Referencias……………………………………………………………………………………...126 Introducción El gótico es un estilo de arte medieval arraigado en la cultura mundial, es una de las corrientes artísticas que han muerto y renacido con nuevas manifestaciones, como la literatura, el cine o la música, a lo largo de la historia. El gótico ha creado diversas maneras de ver la vida, desde la plástica hasta la filosofía, que siguen permeando de manera contundente a nuestra cultura. -
His Eyes Looked Like Eggs, with the Yolks Broken Open, With
PO Box 42129, Los Angeles, CA 90042 #18 www.razorcake.com picked off the road, and sewn back on. If he didn’t move with such is eyes looked like eggs, with the yolks broken open, with authority, it’d’ve been easy to mistake him as broken. bits of blood pulsing through them. Before he even opened His voice caught me off guard. It was soft, resonant. “What’re HHup his grease stained tennis bag, I knew that there was you looking for?” nothing I’d want to buy from him. He unzipped the bag. Inside, “Foot pegs.” I didn’t have to give him the make and model. He there were ten or fifteen carburetors. Obviously freshly stolen, the knew from the connecting bolt I held out. rubber fuel lines cut raggedly and gas leaking out. “Got ‘em. Don’t haggle with me. You got the cash?” I placed “No. I’m just looking for foot pegs.” the money in his hand. “Man, you could really help me out. Sure you don’t want an “That’s what I like. Cash can’t bounce. Follow me.” upgrade? There’s some nice ones in here.” We weaved through dusty corridors, the halls strategically There were some very expensive pieces of metal, highly mined with Doberman shit. To the untrained eye, the place looked polished, winking at me. I could almost hear the death threats their in shambles. No care was taken to preserve the carpet. Inside-facing previous owners’ bellowed into empty parking lots. windows were smashed out. He bent down, opened a drawer with a “No.