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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. -
Razorcake Issue #09
PO Box 42129, Los Angeles, CA 90042 www.razorcake.com #9 know I’m supposed to be jaded. I’ve been hanging around girl found out that the show we’d booked in her town was in a punk rock for so long. I’ve seen so many shows. I’ve bar and she and her friends couldn’t get in, she set up a IIwatched so many bands and fads and zines and people second, all-ages show for us in her town. In fact, everywhere come and go. I’m now at that point in my life where a lot of I went, people were taking matters into their own hands. They kids at all-ages shows really are half my age. By all rights, were setting up independent bookstores and info shops and art it’s time for me to start acting like a grumpy old man, declare galleries and zine libraries and makeshift venues. Every town punk rock dead, and start whining about how bands today are I went to inspired me a little more. just second-rate knock-offs of the bands that I grew up loving. hen, I thought about all these books about punk rock Hell, I should be writing stories about “back in the day” for that have been coming out lately, and about all the jaded Spin by now. But, somehow, the requisite feelings of being TTold guys talking about how things were more vital back jaded are eluding me. In fact, I’m downright optimistic. in the day. But I remember a lot of those days and that “How can this be?” you ask. -
Ouch Podcast
Ouch Talk Show 21 December 2016 bbc.co.uk/ouch Presented by Damon Rose, Beth Rose and Emma Tracey Punk Therapy EMMA Before we get into this week’s episode of Inside Ouch I just want to tell you about an event Ouch will be holding in early 2017. It’s a live storytelling night and the theme is love and relationships. So, if you have a suitable story that you fancy telling in front of a live audience email it to [email protected]. Maybe you’re blind and your partner snogged someone right in front of you at a party. Or maybe your differences make intimacy a little tricky. All we ask is that you are disabled, that the story is true and that it’s about disability in some way. Bookmark bbc.co.uk/ouch/disability for further details. Now, let’s get back into this week’s episode of Inside Ouch. [Music playing – Christmas as a Punk] What do you when you’ve turned 18 or finished formal education if you’ve got learning disabilities? Electric Umbrella sought a solution and wound up with an amazing Christmas single, and they’re here on a quest to make Christmas As A Punk number one. This is Inside Ouch; I’m Emma Tracey in Edinburgh. In London we have Damon Rose. DAMON Hello. EMMA We have Beth Rose. BETH Hi there. EMMA And we have three members of Electric Umbrella. Hello. BAND Hello! EMMA Awesome. So, we’ve got Tom Billington. TOM Hello. EMMA Used to be in Mohair touring with Razorlight and the The Killers. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
The Direct Action Politics of US Punk Collectives
DIY Democracy 23 DIY Democracy: The Direct Action Politics of U.S. Punk Collectives Dawson Barrett Somewhere between the distanced slogans and abstract calls to arms, we . discovered through Gilman a way to give our politics some application in our actual lives. Mike K., 924 Gilman Street One of the ideas behind ABC is breaking down the barriers between bands and people and making everyone equal. There is no Us and Them. Chris Boarts-Larson, ABC No Rio Kurt Cobain once told an interviewer, “punk rock should mean freedom.”1 The Nirvana singer was arguing that punk, as an idea, had the potential to tran- scend the boundaries of any particular sound or style, allowing musicians an enormous degree of artistic autonomy. But while punk music has often served as a platform for creative expression and symbolic protest, its libratory potential stems from a more fundamental source. Punk, at its core, is a form of direct action. Instead of petitioning the powerful for inclusion, the punk movement has built its own elaborate network of counter-institutions, including music venues, media, record labels, and distributors. These structures have operated most notably as cultural and economic alternatives to the corporate entertainment industry, and, as such, they should also be understood as sites of resistance to the privatizing 0026-3079/2013/5202-023$2.50/0 American Studies, 52:2 (2013): 23-42 23 24 Dawson Barrett agenda of neo-liberalism. For although certain elements of punk have occasion- ally proven marketable on a large scale, the movement itself has been an intense thirty-year struggle to maintain autonomous cultural spaces.2 When punk emerged in the mid-1970s, it quickly became a subject of in- terest to activists and scholars who saw in it the potential seeds of a new social movement. -
40 Jahre „Damned Damned Damned“ Erstes Punk-Rock-Album Aus U.K
40 Jahre „Damned Damned Damned“ Erstes Punk-Rock-Album aus U.K. neu aufgelegt 07. Februar 2017, Von: Redaktion Die 1976 in Großbritannien gegründete Punkband The Damned zählt auf mehreren Ebenen zu den Pionieren der dortigen Szene. Am 18.Februar 1977 veröffentlichte die Band mit „Damned Damned Damned“ ihr Debütalbum. The Damned waren die erste britische Punkband mit einem Plattenvertrag, einer Single-Veröffentlichung und einem Album. Fast auf den Tag genau 40 Jahre nach Veröffentlichung ihres legendären Debüts – am 17.Februar 2017- erscheint das Album neu. Remastered und in neuer, erweiterter Aufmachung. Dem britischen Label Stiff Records war es vorbehalten, am 18.Februar 1977 das erste Punk-Album einer Band aus England auf den Markt zu bringen: „Damned Damned Damned“ von The Damned. Die Band um Dave Vanian, Captain Sensible (in den Achtzigern außerdem als Solo-Künstler bekannt), Brian James und Rat Scabies waren in vielen Belangen Punk-Vorreiter in ihrem Heimatland. The Damned waren die erste Band ihres Genres mit einem Plattenvertrag, ihre Song „New Rose“ war die erste Punk-Single, besagtes Album ebenfalls das erste im britischen Punk, zudem waren The Damned die erste UK-Punk-Formation, die in den USA auf Tournee ging.Zum 40-jährigen Jubiläum von „Damned Damned Damned“ erscheint dieses in der Punk-Historie Großbritanniens so relevante Werk neu gemastert, mit neuen Liner-Notes und 28-seitigem Booklet. Als Vinyl-Langspielplatte ist das Ganze ebenfalls zu haben. Eine besondere Anekdote dürfte sein, dass der Journalist John Ingham, 1977 erster Rezensent des The-Damned-Albums die Liner-Notes zu der Wiederveröffentlichung geschrieben hat. Um die Entstehung der Songs und die Auswirkungen, die die ursprüngliche Album-Veröffentlichung zur Folge hatte eingehender zu beleuchten, führte John Ingham nochmals Interviews mit den Bandmitgliedern. -
Razorcake Issue
PO Box 42129, Los Angeles, CA 90042 #19 www.razorcake.com ight around the time we were wrapping up this issue, Todd hours on the subject and brought in visual aids: rare and and I went to West Hollywood to see the Swedish band impossible-to-find records that only I and four other people have RRRandy play. We stood around outside the club, waiting for or ancient punk zines that have moved with me through a dozen the show to start. While we were doing this, two young women apartments. Instead, I just mumbled, “It’s pretty important. I do a came up to us and asked if they could interview us for a project. punk magazine with him.” And I pointed my thumb at Todd. They looked to be about high-school age, and I guess it was for a About an hour and a half later, Randy took the stage. They class project, so we said, “Sure, we’ll do it.” launched into “Dirty Tricks,” ripped right through it, and started I don’t think they had any idea what Razorcake is, or that “Addicts of Communication” without a pause for breath. It was Todd and I are two of the founders of it. unreal. They were so tight, so perfectly in time with each other that They interviewed me first and asked me some basic their songs sounded as immaculate as the recordings. On top of questions: who’s your favorite band? How many shows do you go that, thought, they were going nuts. Jumping around, dancing like to a month? That kind of thing. -
Bad Rhetoric: Towards a Punk Rock Pedagogy Michael Utley Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 8-2012 Bad Rhetoric: Towards A Punk Rock Pedagogy Michael Utley Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Rhetoric and Composition Commons Recommended Citation Utley, Michael, "Bad Rhetoric: Towards A Punk Rock Pedagogy" (2012). All Theses. 1465. https://tigerprints.clemson.edu/all_theses/1465 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. BAD RHETORIC: TOWARDS A PUNK ROCK PEDAGOGY A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts Professional Communication by Michael M. Utley August 2012 Accepted by: Dr. Jan Rune Holmevik, Committee Chair Dr. Cynthia Haynes Dr. Scot Barnett TABLE OF CONTENTS Page Introduction ..........................................................................................................................4 Theory ................................................................................................................................32 The Bad Brains: Rhetoric, Rage & Rastafarianism in Early 1980s Hardcore Punk ..........67 Rise Above: Black Flag and the Foundation of Punk Rock’s DIY Ethos .........................93 Conclusion .......................................................................................................................109 -
IPG Spring 2020 Rock Pop and Jazz Titles
Rock, Pop, and Jazz Titles Spring 2020 {IPG} That Thin, Wild Mercury Sound Dylan, Nashville, and the Making of Blonde on Blonde Daryl Sanders Summary That Thin, Wild Mercury Sound is the definitive treatment of Bob Dylan’s magnum opus, Blonde on Blonde , not only providing the most extensive account of the sessions that produced the trailblazing album, but also setting the record straight on much of the misinformation that has surrounded the story of how the masterpiece came to be made. Including many new details and eyewitness accounts never before published, as well as keen insight into the Nashville cats who helped Dylan reach rare artistic heights, it explores the lasting impact of rock’s first double album. Based on exhaustive research and in-depth interviews with the producer, the session musicians, studio personnel, management personnel, and others, Daryl Sanders Chicago Review Press chronicles the road that took Dylan from New York to Nashville in search of “that thin, wild mercury sound.” 9781641602730 As Dylan told Playboy in 1978, the closest he ever came to capturing that sound was during the Blonde on Pub Date: 5/5/20 On Sale Date: 5/5/20 Blonde sessions, where the voice of a generation was backed by musicians of the highest order. $18.99 USD Discount Code: LON Contributor Bio Trade Paperback Daryl Sanders is a music journalist who has worked for music publications covering Nashville since 1976, 256 Pages including Hank , the Metro, Bone and the Nashville Musician . He has written about music for the Tennessean , 15 B&W Photos Insert Nashville Scene , City Paper (Nashville), and the East Nashvillian . -
Omega Auctions Ltd Catalogue 28 Apr 2020
Omega Auctions Ltd Catalogue 28 Apr 2020 1 REGA PLANAR 3 TURNTABLE. A Rega Planar 3 8 ASSORTED INDIE/PUNK MEMORABILIA. turntable with Pro-Ject Phono box. £200.00 - Approximately 140 items to include: a Morrissey £300.00 Suedehead cassette tape (TCPOP 1618), a ticket 2 TECHNICS. Five items to include a Technics for Joe Strummer & Mescaleros at M.E.N. in Graphic Equalizer SH-8038, a Technics Stereo 2000, The Beta Band The Three E.P.'s set of 3 Cassette Deck RS-BX707, a Technics CD Player symbol window stickers, Lou Reed Fan Club SL-PG500A CD Player, a Columbia phonograph promotional sticker, Rock 'N' Roll Comics: R.E.M., player and a Sharp CP-304 speaker. £50.00 - Freak Brothers comic, a Mercenary Skank 1982 £80.00 A4 poster, a set of Kevin Cummins Archive 1: Liverpool postcards, some promo photographs to 3 ROKSAN XERXES TURNTABLE. A Roksan include: The Wedding Present, Teenage Fanclub, Xerxes turntable with Artemis tonearm. Includes The Grids, Flaming Lips, Lemonheads, all composite parts as issued, in original Therapy?The Wildhearts, The Playn Jayn, Ween, packaging and box. £500.00 - £800.00 72 repro Stone Roses/Inspiral Carpets 4 TECHNICS SU-8099K. A Technics Stereo photographs, a Global Underground promo pack Integrated Amplifier with cables. From the (luggage tag, sweets, soap, keyring bottle opener collection of former 10CC manager and music etc.), a Michael Jackson standee, a Universal industry veteran Ric Dixon - this is possibly a Studios Bates Motel promo shower cap, a prototype or one off model, with no information on Radiohead 'Meeting People Is Easy 10 Min Clip this specific serial number available. -
The Damned Don't You Wish Press Release.Indd
PRESS RELEASE The Damned: Don’t You Wish That We Were Dead (15) RELEASE DATE On Blu-ray and DVD 29 May 2017 On Digital 22 May 2017 KEY TALENT INFORMATION Starring • David Vanian (lead singer, The Damned) • Captain Sensible (guitar/vocals, The Never mind the Sex Pistols… Damned) • Rat Scabies (drummer, The Damned) here’s The Damned! • Lemmy (Motorhead) • Mick Jones (The Clash) Fast Sell: • Steve Diggle (The Buzzcocks) • Chrissie Hynde (The Pretenders) A rip-roaring, hellraising account of one of the fi rst and • Chris Stein and Clem Burke (Blondie) greatest punk bands, The Damned, who ripped up the • Jon Moss (Culture Club) 70s music scene, fell apart in chaos, reformed and are still • Duff McKagan (Guns ‘N’ Roses) touring today 40 years strong! This joins Lemmy, The Filth • Glen Matlock (Sex Pistols) and the Fury and Anvil as a gleefully riotous, must watch • Nick Mason (Pink Floyd) rock-doc! • Ian MacKaye (Fugazi, Minor Threat) • Jesse Hughes (Eagles of Death Metal) From the co-director of Lemmy, featuring Chrissie Hynde, • Dexter Holland (The Off spring) Mick Jones, Lemmy, and members of Pink Floyd, Black Flag, • Jack Grisham (T.S.O.L) Guns ‘N’ Roses, Sex Pistols, Fugazi, Blondie, The Buzzcocks • David Gahan (Depeche Mode) and many more! • Don Letts • Billy Idol Synopsis: Director The story of the long-ignored pioneers of punk: The • Wes Orshoski (Lemmy) Damned. CONTACT/ORDER MEDIA The long-ignored pioneers of punk, The Damned started out as trailblazers on London’s 70s punk rock scene, being Thomas Hewson - [email protected] the fi rst British punk band to release a single, the immortal New Rose in 1976. -
Put on Your Boots and Harrington!': the Ordinariness of 1970S UK Punk
Citation for the published version: Weiner, N 2018, '‘Put on your boots and Harrington!’: The ordinariness of 1970s UK punk dress' Punk & Post-Punk, vol 7, no. 2, pp. 181-202. DOI: 10.1386/punk.7.2.181_1 Document Version: Accepted Version Link to the final published version available at the publisher: https://doi.org/10.1386/punk.7.2.181_1 ©Intellect 2018. All rights reserved. General rights Copyright© and Moral Rights for the publications made accessible on this site are retained by the individual authors and/or other copyright owners. Please check the manuscript for details of any other licences that may have been applied and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. You may not engage in further distribution of the material for any profitmaking activities or any commercial gain. You may freely distribute both the url (http://uhra.herts.ac.uk/) and the content of this paper for research or private study, educational, or not-for-profit purposes without prior permission or charge. Take down policy If you believe that this document breaches copyright please contact us providing details, any such items will be temporarily removed from the repository pending investigation. Enquiries Please contact University of Hertfordshire Research & Scholarly Communications for any enquiries at [email protected] 1 ‘Put on Your Boots and Harrington!’: The ordinariness of 1970s UK punk dress Nathaniel Weiner, University of the Arts London Abstract In 2013, the Metropolitan Museum hosted an exhibition of punk-inspired fashion entitled Punk: Chaos to Couture.