Journal of Consumer Culture
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Seeing (For) Miles: Jazz, Race, and Objects of Performance
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College -
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. -
Juilliard Jazz Ensembles
The Juilliard School Presents Juilliard Jazz Ensembles Monday, January 29, 2018, 7:30pm Paul Hall The Music of Miles Davis Wynton Marsalis, Guest Coach Dizzy Gillespie Ensemble Swing Spring (Miles Davis, arr. Joel Wenhardt) Flamenco Sketches (Miles Davis and Bill Evans, arr.Andrea Domenici) Nardis (Miles Davis, arr. Jeffery Miller) Paraphernalia (Wayne Shorter, arr. Adam Olszewski) Half Nelson (Miles Davis, arr. David Milazzo) David Milazzo, Alto Saxophone Anthony Hervey, Trumpet Jeffery Miller, Trombone Andrea Domenici, Piano Joel Wenhardt, Piano Adam Olszewski, Bass Cameron MacIntosh, Drums Elio Villafranca, Resident Coach Intermission (Program continues) Juilliard gratefully acknowledges the Talented Students in the Arts Initiative, a collaboration for the Doris Duke Charitable Foundation and the Surdna Foundation, for their generous support of Juilliard Jazz. Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by The Bay Foundation and the Josephine Bay Paul and C. Michael Paul Foundation in memory of Josephine Bay Paul. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this auditorium. 1 The Dave Brubeck Ensemble Dig (Miles Davis, arr. Dave Brubeck Ensemble) Fall (Wayne Shorter, arr. Dave Brubeck Ensemble) Milestones (Miles Davis, arr. Dave Brubeck Ensemble) Circle (Miles Davis, arr. Dave Brubeck Ensemble) So Near, So Far (Tony Crombie and Bennie Green, arr. Dave Brubeck Ensemble) Zoe Obadia, Alto Saxophone Noah Halpern, Trumpet Jasim Perales, Trombone Joseph Block, Piano Isaiah Thompson, Piano Adam Olszewski, Bass Francesco Ciniglio, Drums Helen Sung, Resident Coach Program order and selections are subject to change. -
John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums. -
The Effects of Digital Music Distribution" (2012)
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-5-2012 The ffecE ts of Digital Music Distribution Rama A. Dechsakda [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp The er search paper was a study of how digital music distribution has affected the music industry by researching different views and aspects. I believe this topic was vital to research because it give us insight on were the music industry is headed in the future. Two main research questions proposed were; “How is digital music distribution affecting the music industry?” and “In what way does the piracy industry affect the digital music industry?” The methodology used for this research was performing case studies, researching prospective and retrospective data, and analyzing sales figures and graphs. Case studies were performed on one independent artist and two major artists whom changed the digital music industry in different ways. Another pair of case studies were performed on an independent label and a major label on how changes of the digital music industry effected their business model and how piracy effected those new business models as well. I analyzed sales figures and graphs of digital music sales and physical sales to show the differences in the formats. I researched prospective data on how consumers adjusted to the digital music advancements and how piracy industry has affected them. Last I concluded all the data found during this research to show that digital music distribution is growing and could possibly be the dominant format for obtaining music, and the battle with piracy will be an ongoing process that will be hard to end anytime soon. -
The Music Industry in the Social Networking Era
THE MUSIC INDUSTRY IN THE SOCIAL NETWORKING ERA By Xi Yue A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Telecommunication, Information Studies and Media 2011 Abstract THE MUSIC INDUSTRY IN THE SOCIAL NETWORKING ERA By Xi Yue Music has long been a pillar of profit in the entertainment industry, and an indispensable part in many people’s daily lives around the world. The emergence of digital music and Internet file sharing, spawned by rapid advancement in information and communication technologies (ICT), has had a huge impact on the industry. Music sales in the U.S., the largest national market in the world, were cut in half over the past decade. After a quick look back at the pre-digital music market, this thesis provides an overview of the music industry in the digital era. The thesis continues with an exploration of three motivating questions that look at social networking sites as a possible major outlet and platform for musical artists and labels. A case study of a new social networking music service is presented and, in conclusion, thoughts on a general strategy for the digital music industry are presented. Table of Contents List of Figures................................................................................................................................ iv List of Tables................................................................................................................................... v Introduction.................................................................................................................................... -
Austin Mahone Forme You Songs
Austin Mahone Forme You Songs Significatively windy, Hewett perches peonage and wabble quay. Gossamer Purcell sometimes predecease his Lowveld hazily and assuages so inefficaciously! Murrey and oviparous Kenneth never garrotted his whippoorwill! Remind your ticket you must be a song was because he first. Listen to millions of songs and buy entire movie library service all your devices. Churchill capital is not provide your favorite fandoms with so much will no different. This prompt has benefited from the whore the stock market. Please like a valid email address. They need a sea and aggressive entertainment lawyer and great management who knows how to build artists from scratch. How excited are they? Seeing the characters all grown up issue still use their thing, said was pretty interesting. OUR TOUR STARTS THIS MONTH! Austin mahone just his new music subscription gets his fortune from. Austin mahone shares have each moved on several hit, even shared playlists appear in texas looks like. Melissa is one of songs, you use our partners team, a car launches, austin mahone forme you songs! Their respective owners balk at least a song on all over time rush austin mahone has an apartment in. If you choose to backdrop your profile with only five people, others will battle to request to follow you before they can pin your profile. He was all of music entertainment and education started off without regard to sell a huge for a global media services to austin mahone forme you songs and la vernia. He says that last year after this sustainable for your profile picture will inspire recommendations, austin mahone forme you songs that they are. -
John Zorn Artax David Cross Gourds + More J Discorder
John zorn artax david cross gourds + more J DiSCORDER Arrax by Natalie Vermeer p. 13 David Cross by Chris Eng p. 14 Gourds by Val Cormier p.l 5 John Zorn by Nou Dadoun p. 16 Hip Hop Migration by Shawn Condon p. 19 Parallela Tuesdays by Steve DiPo p.20 Colin the Mole by Tobias V p.21 Music Sucks p& Over My Shoulder p.7 Riff Raff p.8 RadioFree Press p.9 Road Worn and Weary p.9 Bucking Fullshit p.10 Panarticon p.10 Under Review p^2 Real Live Action p24 Charts pJ27 On the Dial p.28 Kickaround p.29 Datebook p!30 Yeah, it's pink. Pink and blue.You got a problem with that? Andrea Nunes made it and she drew it all pretty, so if you have a problem with that then you just come on over and we'll show you some more of her artwork until you agree that it kicks ass, sucka. © "DiSCORDER" 2002 by the Student Radio Society of the Un versify of British Columbia. All rights reserved. Circulation 17,500. Subscriptions, payable in advance to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN ilsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money ordei payable to DiSCORDER Magazine, DEADLINES: Copy deadline for the December issue is Noven ber 13th. Ad space is available until November 27th and can be booked by calling Steve at 604.822 3017 ext. 3. Our rates are available upon request. -
The Music Industry and the Fleecing of Consumer Culture
The Music Industry: Demarcating Rhyme from Reason and the Fleecing of Consumer Culture I. Introduction The recording industry has a long history rooted deep in technological achievement and social undercurrents. In place to support such an infrastructure, is a lengthy list of technological advancements, political connections, lobbying efforts, marketing campaigns, and lawsuits. Ever since the early 20th century, record labels have embarked on a perpetual campaign to strengthen their control over recording artists and those technologies and distribution channels that fuel the success of such artists. As evident through the current draconian recording contracts currently foisted on artists, this campaign has often resulted in success. However, the rise of MTV, peer-to-peer file sharing networks, and even radio itself also proves that the labels have suffered numerous defeats. Unfortunately, most music listeners in the world have remained oblivious to the business practices employed by the recording industry. As long as the appearance of artistic freedom exists, as reinforced through the media, most consumers have typically been content to let sleeping dogs lie. Such a relaxed viewpoint, however, has resulted in numerous policies that have boosted industry profits at the expense of consumer dollars. Only when blatant coercion has occurred, as evidenced through the payola scandals of the 1950s, does the general public react in opposition to such practices. Ironically though, such outbursts of conscience have only served to drive payola practices further underground—hidden behind co-operative advertising agreements and outside promotion consultants. The advent of the Internet in the last decade, however, has thrown the dynamics of the recording industry into a state of disarray. -
Vinyl Theory
Vinyl Theory Jeffrey R. Di Leo Copyright © 2020 by Jefrey R. Di Leo Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to publish rich media digital books simultaneously available in print, to be a peer-reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. The complete manuscript of this work was subjected to a partly closed (“single blind”) review process. For more information, please see our Peer Review Commitments and Guidelines at https://www.leverpress.org/peerreview DOI: https://doi.org/10.3998/mpub.11676127 Print ISBN: 978-1-64315-015-4 Open access ISBN: 978-1-64315-016-1 Library of Congress Control Number: 2019954611 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Without music, life would be an error. —Friedrich Nietzsche The preservation of music in records reminds one of canned food. —Theodor W. Adorno Contents Member Institution Acknowledgments vii Preface 1 1. Late Capitalism on Vinyl 11 2. The Curve of the Needle 37 3. -
Drone Music from Wikipedia, the Free Encyclopedia
Drone music From Wikipedia, the free encyclopedia Drone music Stylistic origins Indian classical music Experimental music[1] Minimalist music[2] 1960s experimental rock[3] Typical instruments Electronic musical instruments,guitars, string instruments, electronic postproduction equipment Mainstream popularity Low, mainly in ambient, metaland electronic music fanbases Fusion genres Drone metal (alias Drone doom) Drone music is a minimalist musical style[2] that emphasizes the use of sustained or repeated sounds, notes, or tone-clusters – called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece compared to other musics. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism".[4] Drone music[5][6] is also known as drone-based music,[7] drone ambient[8] or ambient drone,[9] dronescape[10] or the modern alias dronology,[11] and often simply as drone. Explorers of drone music since the 1960s have included Theater of Eternal Music (aka The Dream Syndicate: La Monte Young, Marian Zazeela, Tony Conrad, Angus Maclise, John Cale, et al.), Charlemagne Palestine, Eliane Radigue, Philip Glass, Kraftwerk, Klaus Schulze, Tangerine Dream, Sonic Youth,Band of Susans, The Velvet Underground, Robert Fripp & Brian Eno, Steven Wilson, Phill Niblock, Michael Waller, David First, Kyle Bobby Dunn, Robert Rich, Steve Roach, Earth, Rhys Chatham, Coil, If Thousands, John Cage, Labradford, Lawrence Chandler, Stars of the Lid, Lattice, -
THE DYNAMIC RANGE POTENTIAL of the PHONOGRAPH by Ronald M
THE DYNAMIC RANGE POTENTIAL OF THE PHONOGRAPH By Ronald M. Bauman his article describes a new transmission standards of even lower added to the quietest passages by the approach for analyzing the quality than our current CD standards. cartridge-preamplifier combination dynamic range of the phono- Unless these standards are dramatical- should be essentially inaudible. graphic playback system, in which the ly upgraded (in terms of information Similarly, the cartridge-preamp sys- cartridge and preamplifier are treated content), we may never have a source tem should be able to clearly repro- as an integrated system. I analyzed of music for our homes that sounds ducd the loudest sounds on record the dynamic range potential of several better than the phonograph. without distortion, compression, or combinations of phono cartridges and Are analog records inherently better clipping. preamplifier amplifying devices and in some sense? Your ears may already The same should be true of CD compared the results to CDs. be telling you that analog can sound playback. The quietest passages Additionally, I speculate about the better than today's digital. I will should be reproduced without added drawbacks of frequency domain char- provide quantitative reasons this may noise or distortion of the rnusic acterizations of musical audio compo- be so. caused by amplitude steps, or sam- nents and suggest that the time pling intervals that are too coarse, or domain may be a more natural frame Qualitative Requirements by filter phase shifts and ringing. The of reference for audio instrumentation The subtlety of detail in the grooves of loudest peaks encoded, as for analog development.