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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. -
Jan Garbarek Works Mp3, Flac, Wma
Jan Garbarek Works mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Works Country: US Released: 1984 Style: Contemporary Jazz MP3 version RAR size: 1226 mb FLAC version RAR size: 1906 mb WMA version RAR size: 1325 mb Rating: 4.9 Votes: 103 Other Formats: MP2 VQF MIDI VOX RA ASF AAC Tracklist Hide Credits Folk Song (Traditional) A1 Arranged By – Garbarek*Bass – Charlie HadenComposed By – Trad.*Guitar – Egberto 8:12 GismontiSoprano Saxophone – Jan Garbarek Skrik + Hyl A2 1:30 Bass – Palle DanielssonComposed By – Garbarek*Tenor Saxophone – Jan Garbarek Passing A3 Composed By – Garbarek*Drums – Jack DeJohnetteGuitar – Bill ConnorsOrgan – John 11:18 Taylor Tenor Saxophone – Jan Garbarek Selje A4 Bass – Arild AndersenComposed By – Andersen*, Vesala*, Garbarek*Flute – Jan 2:16 GarbarekPercussion – Edward Vesala Viddene B1 Composed By – Garbarek*Soprano Saxophone – Jan GarbarekTwelve-string Guitar, Harp 5:35 [Windharp] – Ralph Towner Snipp, Snapp, Snute B2 Composed By – Garbarek*, Vasconcelos*Flute – Jan GarbarekPercussion – Nana 4:28 Vasconcelos* Beast Of Kommodo B3 Bass – Arild AndersenComposed By – Garbarek*Electric Guitar – Terje RypdalPercussion – 12:30 Jon ChristensenTenor Saxophone, Flute, Percussion – Jan Garbarek Svevende B4 Bass – Palle DanielssonComposed By – Garbarek*Drums – Jon ChristensenPiano – Bobo 4:58 StensonSoprano Saxophone – Jan Garbarek Companies, etc. Phonographic Copyright (p) – ECM Records GmbH Copyright (c) – ECM Records GmbH Marketed By – PolyGram Records, Inc. Distributed By – PolyGram Records, Inc. Credits -
Discourses of Decay and Purity in a Globalised Jazz World
1 Chapter Seven Cold Commodities: Discourses of Decay and Purity in a Globalised Jazz World Haftor Medbøe Since gaining prominence in public consciousness as a distinct genre in early 20th Century USA, jazz has become a music of global reach (Atkins, 2003). Coinciding with emerging mass dissemination technologies of the period, jazz spread throughout Europe and beyond via gramophone recordings, radio broadcasts and the Hollywood film industry. America’s involvement in the two World Wars, and the subsequent $13 billion Marshall Plan to rebuild Europe as a unified, and US friendly, trading zone further reinforced the proliferation of the new genre (McGregor, 2016; Paterson et al., 2013). The imposition of US trade and cultural products posed formidable challenges to the European identities, rooted as they were in 18th-Century national romanticism. Commercialised cultural representations of the ‘American dream’ captured the imaginations of Europe’s youth and represented a welcome antidote to post-war austerity. This chapter seeks to problematise the historiography and contemporary representations of jazz in the Nordic region, with particular focus on the production and reception of jazz from Norway. Accepted histories of jazz in Europe point to a period of adulatory imitation of American masters, leading to one of cultural awakening in which jazz was reimagined through a localised lens, and given a ‘national voice’. Evidence of this process of acculturation and reimagining is arguably nowhere more evident than in the canon of what has come to be received as the Nordic tone. In the early 1970s, a group of Norwegian musicians, including saxophonist Jan Garbarek (b.1947), guitarist Terje Rypdal (b.1947), bassist Arild Andersen (b.1945), drummer Jon Christensen (b.1943) and others, abstracted more literal jazz inflected reinterpretations of Scandinavian folk songs by Nordic forebears including pianist Jan Johansson (1931-1968), saxophonist Lars Gullin (1928-1976) bassist Georg Riedel (b.1934) (McEachrane 2014, pp. -
Master Artist of Art Nouveau
Mucha MASTER ARTIST OF ART NOUVEAU October 14 - Novemeber 20, 2016 The Florida State University Museum of Fine Arts Design: Stephanie Antonijuan For tour information, contact Viki D. Thompson Wylder at (850) 645-4681 and [email protected]. All images and articles in this Teachers' Packet are for one-time educational use only. Table of Contents Letter to the Educator ................................................................................ 4 Common Core Standards .......................................................................... 5 Alphonse Mucha Biography ...................................................................... 6 Artsits and Movements that Inspired Alphonse Mucha ............................. 8 What is Art Nouveau? ................................................................................ 10 The Work of Alphonse Mucha ................................................................... 12 Works and Movements Inspired by Alphonse Mucha ...............................14 Lesson Plans .......................................................................................... Draw Your Own Art Nouveau Tattoo Design .................................... 16 No-Fire Art Nouveau Tiles ............................................................... 17 Art Nouveau and Advertising ........................................................... 18 Glossary .................................................................................................... 19 Bibliography ............................................................................................. -
Musica Jazz Autore Titolo Ubicazione
MUSICA JAZZ AUTORE TITOLO UBICAZIONE AA.VV. Blues for Dummies MSJ/CD BLU AA.VV. \The \\metronomes MSJ/CD MET AA.VV. Beat & Be Bop MSJ/CD BEA AA.VV. Casino lights '99 MSJ/CD CAS AA.VV. Casino lights '99 MSJ/CD CAS AA.VV. Victor Jazz History vol. 13 MSJ/CD VIC AA.VV. Blue'60s MSJ/CD BLU AA.VV. 8 Bold Souls MSJ/CD EIG AA.VV. Original Mambo Kings (The) MSJ/CD MAM AA.VV. Woodstock Jazz Festival 1 MSJ/CD WOO AA.VV. New Orleans MSJ/CD NEW AA.VV. Woodstock Jazz Festival 2 MSJ/CD WOO AA.VV. Real birth of Fusion (The) MSJ/CD REA AA.VV. \Le \\grandi trombe del Jazz MSJ/CD GRA AA.VV. Real birth of Fusion two (The) MSJ/CD REA AA.VV. Saint-Germain-des-Pres Cafe III: the finest electro-jazz compilationMSJ/CD SAI AA.VV. Celebrating the music of Weather Report MSJ/CD CEL AA.VV. Night and Day : The Cole Porter Songbook MSJ/CD NIG AA.VV. \L'\\album jazz più bello del mondo MSJ/CD ALB AA.VV. \L'\\album jazz più bello del mondo MSJ/CD ALB AA.VV. Blues jam in Chicago MSJ/CD BLU AA.VV. Blues jam in Chicago MSJ/CD BLU AA.VV. Saint-Germain-des-Pres Cafe II: the finest electro-jazz compilationMSJ/CD SAI Adderley, Cannonball Cannonball Adderley MSJ/CD ADD Aires Tango Origenes [CD] MSJ/CD AIR Al Caiola Serenade In Blue MSJ/CD ALC Allison, Mose Jazz Profile MSJ/CD ALL Allison, Mose Greatest Hits MSJ/CD ALL Allyson, Karrin Footprints MSJ/CD ALL Anikulapo Kuti, Fela Teacher dont't teach me nonsense MSJ/CD ANI Armstrong, Louis Louis In New York MSJ/CD ARM Armstrong, Louis Louis Armstrong live in Europe MSJ/CD ARM Armstrong, Louis Satchmo MSJ/CD ARM Armstrong, Louis -
Jon Balke Book of Velocities
ECM Jon Balke Book of Velocities Jon Balke: piano ECM 2010 CD 6025 173 2765 (8) Release: October 23rd, 2007 The cover photo of “Book of Velocities” was taken by Jon Balke from a moving car. “I like to test-listen to music while driving, and the camera was on the seat beside me. All I had to do was to grab it and shoot wildly, without looking at or through the camera. Next time I adjusted the programming of the camera for better results, and the time after that I understood more of the way light became graphic. And so a series of velocity pictures evolved.” As in photography, so in music on Balke’s first solo piano recording, a remarkable ‘book’ of 19 short pieces, grouped into four chapters and an epilogue. Music composed and developed, invented and improvised: exploring a whole vocabulary of ideas, techniques, rhythms, textures and sound-colours. The approach: the pianist sketches an idea at the piano, quite spontaneously, waits a few seconds and develops the idea through a series of takes – and then moves on to a new ‘chapter’. Balke calls it “a process of understanding by doing and not by pre-conceived ideas.” The outcome is also a result of the room, hour of the day, the piano, the light and so on.” Speed is part of the process: “Piano playing is in fact mainly about velocity. There is no more information going through the mechanics when a note is struck, than the sheer force of your finger hitting the ebony and ivory. -
November 2009 the Black Page the Black Page November 2009
NOVEMBER 2009 THE BLACK PAGE THE BLACK PAGE NOVEMBER 2009 4 Yael: by Sean Mitchell 18 Balancing Act: by Jayson Brinkworth A Different Way to Flow: 22 by Ryan Carver 23 Global Educators Database 25 The Final Word Solo drums, beautiful drums, warm drum tones and full-on exhilarating drums. In this double CD, master-mu- sician David Jones has allowed the drums to shine in all their acoustic glory. Not since Gene Krupa in the THE BLACK PAGE is distributed via PDF 1940s or Sandy Nelson in the 1960s to email inboxes worldwide. have drums been this far out front. To get the latest edition click below: David Jones has long been famous www.theblackpage.net for his utilisation of every conceivable Send us your feedback at: [email protected] percussive instrument – yes, even the kitchen sink – to make interesting Sean Mitchell Publisher soundscapes and rhythmic flourishes Jill Schettler Editor in Chief that leave an indelible mark on the Jayson Brinkworth Writer heart and soul of his listeners. Ryan Carver Writer Click below to visit www.davidjonesdrums.com.au EARTH FRIENDLY For international sales outside Australia please click HERE. No Paper,m No Ink, No Waste 2010 THE YEAR OF THE LEGENDS Feature Artists Scott Atkins Skip Hadden Pete Lockett Danny Seraphine Liberty DeVitto Bernard Purdie May 22 - 23, 2010 Jerry Mercer Asani, Ed Mann & Bruce Aitken Savoy Theatre Paul Wertico Glace Bay, Nova Scotia Dylan Mombourquette Canada Chris Sutherland Billy Ward Roxy Petrucci Carmine Appice Special Guest Stars Sean Mitchell, Ben Ross, Moe Hashie, Denny Seiwell Mark Marshall, Todd Mercer, and The Bill Cobham Pete Lockett Cape Breton Percussion Virgil Donati Ensemble. -
Chancellor Gains Majority
March 25, 1982 UNIVERSITY OF MISSOURI·SAINT LOUIS Issue 420 With 54% Chancellor gains majority u;eey Burnette with the statement, 'A Call for total of 356 ballots were sent Chancellor Grobman's Resigna out. tion,' dated February 17, 1982." Jacob J. Leventhal, a profes A majority of the ballots cast A total of 278 ballots were sor and chairperson of the in a recent faculty election counted. Of these, 41 were in Physics department said that the showed support for UMSL unsigned envelopes. Of the sign percentage of voters in favor of Chancellor Arnold B. Grobman, ed ballots, the vote was 128-92 asking for Grobman's resigna but almost 39 percent of the against asking for Grobman's tion shows that there is wide voters were in favor of request resignation. There were 17 abs- . spread opposition to some of the ing Grobman's resignation. The tentions. Of the unsigned bal chancellor's policies. " I think ballots were opened Monday in lots, the vote was 22-16 against this shows that opposition to the 266 University Center during an asking for Grobman's resigna chancellor's policies has a broad open session of the Faculty tion with three abstentions. A Council Executive Committee. See "Grobman," page 3 "With the conclusion today of the poll in which a number of UMSL faculty members partici Olson, . modifies. pated, I hope we have brought an end to the divisive events that, for the last several weeks, have disrupted this campus com compensation plan munity," Grobman stated in a letter distributed after the ballots Lacey Burnette cent above inflation to service were counted. -
ÅRSMELDING 2019 20192019STIFTELSEN2019 MIDTNORSK JAZZSENTER (MNJ) Heidi Skjerve (Trondheim Voices) • Foto: Christina Undrum • Foto: Voices) Heidi Skjerve (Trondheim
1 mnj.no ÅRSMELDING 2019 20192019STIFTELSEN2019 MIDTNORSK JAZZSENTER (MNJ) Heidi Skjerve (Trondheim Voices) • Foto: Christina Undrum • Foto: Voices) Heidi Skjerve (Trondheim 2 3 mnj.no mnj.no INNHOLD: ORGANISASJON Kommentar: Stiftelsen Midtnorsk jazzsenter, stiftet 05.12.1997, SørTrøndelag og NordTrøndelag er fra 1.januar har organisasjonsnummer 979 602 669. 2018 slått sammen til det nye fylket Trøndelag. MIDTNORSK Vedtektene bør derfor oppdateres. JAZZSENTER STIFTERE / OPPRETTERE FRA SIDE Norsk jazzforum STYREARBEID Musikkonservatoriet i Trondheim, NTNU Styret hadde tre styremøter og behandlet 23 Molde International Jazz Festival saker i 2019. Blant sakene nevnes særlig: 03 Trondheim Jazzforum • Oppfølging av den pågående regionreformen LOKALISERING • Evaluering av den regionale turneordningen Midtnorsk jazzsenter er lokalisert i Dokkparken • Trondheim Jazz Expo 2019 TRONDHEIM 4 i Trondheim og har kontorfellesskap med Dokk • Vertskap for Norsk jazzforums landsmøte 2019 JAZZORKESTER huset Scene AS, Trondheim kammermusikk • Utdeling av støttemidler til musikere og FRA SIDE festival, Trondheim Jazzforum og Trondheim arrangører i regionen Jazzfestival. STYRETS MEDLEMMER 2019: 06 FORMÅL Styret i Stiftelsen Midtnorsk jazzsenter består av I vedtektenes § 2 er formålet med MNJ beskrevet følgende sju styremedlemmer med personlige slik: ”Stiftelsen Midtnorsk jazzsenter skal fremme varamedlemmer: kulturtilbudet innen jazzmusikk i Trondheim og TRONDHEIM regionen bestående av de tre midtnorske Styreleder: Per Axel Koch VOICES fylkene Møre og -
November 1983
VOL. 7, NO. 11 CONTENTS Cover Photo by Lewis Lee FEATURES PHIL COLLINS Don't let Phil Collins' recent success as a singer fool you—he wants everyone to know that he's still as interested as ever in being a drummer. Here, he discusses the percussive side of his life, including his involvement with Genesis, his work with Robert Plant, and his dual drumming with Chester Thompson. by Susan Alexander 8 NDUGU LEON CHANCLER As a drummer, Ndugu has worked with such artists and groups as Herbie Hancock, Michael Jackson, and Weather Report. As a producer, his credits include Santana, Flora Purim, and George Duke. As articulate as he is talented, Ndugu describes his life, his drumming, and his musical philosophies. 14 by Robin Tolleson INSIDE SABIAN by Chip Stern 18 JOE LABARBERA Joe LaBarbera is a versatile drummer whose career spans a broad spectrum of experience ranging from performing with pianist Bill Evans to most recently appearing with Tony Bennett. In this interview, LaBarbera discusses his early life as a member of a musical family and the influences that have made him a "lyrical" drummer. This accomplished musician also describes the personal standards that have allowed him to maintain a stable life-style while pursuing a career as a jazz musician. 24 by Katherine Alleyne & Judith Sullivan Mclntosh STRICTLY TECHNIQUE UP AND COMING COLUMNS Double Paradiddles Around the Def Leppard's Rick Allen Drumset 56 EDUCATION by Philip Bashe by Stanley Ellis 102 ON THE MOVE ROCK PERSPECTIVES LISTENER'S GUIDE Thunder Child 60 A Beat Study by Paul T. -
BREAKING ALL the RULES As Recorded by Ozzy Osbourne (From the 1988 Album "No Rest for the Wicked")
BREAKING ALL THE RULES As recorded by Ozzy Osbourne (from the 1988 Album "No Rest For The Wicked") Transcribed by /\X/\M Words by Ozzy Osbourne, Bob Daisley, Zakk Wylde, J.Sinclair & Randy Castillo Music by Ozzy Osbourne, Bob Daisley, Zakk Wylde, J.Sinclair & Randy Castillo All Guitars Tuned Down 1/2 Step A Intro P = 120 1 j k V V V R I J V V V } } V V } } V } } V V P V VgV f } V V V } } V V } } V } } V V V } V V V V V V V V V V V V V V V V V V V V V V Gtr I 1/2 P.M. P.M. P.M. P.M. P.M. P.M. M 0 0 0 T 0 0 0 9 9 0 4 2 4 0 A 7 9 9 x x 5 7 x x 5 x x 7 2 4 0 x B 7 7 7 x x 3 5 x x 3 x x 5 2 x 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 sl. 6 R I V } } V V } } V } } V V P V V gV f } V } } V V } } V } } V V V } V V V V V V V V V V V V V V V V V V V V 1/2 P.M. P.M. P.M. P.M. P.M. P.M. M T 4 2 4 0 A 2 x x 5 7 x x 5 x x 7 9 4 0 x B 2 x x 3 5 x x 3 x x 5 7 x 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 sl. -
Biography of Lars Danielsson
Biography of Lars Danielsson The late great Danish bass legend Nils-Henning Ǿrsted Pedersen didn't only leave the world a direct legacy of great jazz through his own playing; a part of what he has bequeathed is indirect. When the young Swedish musician Lars Danielsson once heard him in concert, he was so deeply affected, he turned towards jazz, and to the bass. Until that point, Danielsson, born in Gothenburg in 1958, had been studying classical cello at the conservatory in his home town of Gothenburg. Fortunately, that study of the cello is not something he has chosen to shrug off, he has integrated it into what he does now. Not just in the sense that he always includes the cello in his repertoire, but also that his bass-playing unmistakably has a slightly more melodious, floating and lyrical ring to it than that of many of his fellow bass players. These were the special qualities which soon placed him in very high demand internationally as a sideman. As early as the 1980s, he had worked not only with local and European greats such as Lars Jansson, Hans Ulrik, Carsten Dahl, Nils Landgren, Christopher Dell, Johannes Enders and Trilok Gurtu (in whose group he remained a member for some time), but also with luminaries of the American scene such as saxophonists Rick Margitza and Charles Lloyd, the Brecker Brothers, drummers Terri Lyne Carrington , Jack DeJohnette and Billy Hart or guitarists John Scofield, Mike Stern and John Abercrombie. But Danielsson has never been content with just an accompanying role. He has always been a creative composer as well and is one of a relatively small group of bassists who has also emerged as a significant bandleader.