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Young Americans to Emotional Rescue: Selected Meetings
YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music. -
Billboard 1978-05-27
031ÿJÚcö7lliloi335U7d SPOTLIG B DALY 50 GRE.SG>=NT T HARTFJKJ CT UolOo 08120 NEWSPAPER i $1.95 A Billboard Publication The International Music -Record -Tape Newsweekly May 27, 1978 (U.S.) Japanese Production Tax Credit 13 N.Y. DEALERS HIT On Returns Fania In Court i In Strong Comeback 3y HARUHIKO FUKUHARA Stretched? TOKYO -March figures for By MILDRED HALL To Fight Piracy record and tape production in Japan WASHINGTON -The House NBC Opting underscore an accelerating pace of Ways and Means Committee has re- By AGUSTIN GURZA industry recovery after last year's ported out a bill to permit a record LOS ANGELES -In one of the die appointing results. manufacturer to exclude from tax- `AUDIO VIDISK' most militant actions taken by a Disks scored a 16% increase in able gross income the amount at- For TRAC 7 record label against the sale of pi- quantity and a 20% increase in value tributable to record returns made NOW EMERGES By DOUG HALL rated product at the retail level, over last year's March figures. And within 41/2 months after the close of By STEPHEN TRAIMAN Fania Records filed suit Wednesday NEW YORK -What has been tales exceeded those figures with a his taxable year. NEW YORK -Long anticipated, (17) in New York State Supreme held to be the radio industry's main 5S% quantity increase and a 39% Under present law, sellers of cer- is the the "audio videodisk" at point Court against 13 New York area re- hope against total dominance of rat- value increase, reports the Japan tain merchandise -recordings, pa- of test marketing. -
U-Carmen Ekhayelitsha
The articulation of context and identity in U-Carmen eKhayelitsha Susanna Isobella Viljoen Thesis submitted for the degree Doctor of Philosophy in Music at the Potchefstroom Campus of the North-West University Supervisor: Prof. J. Kruger Co-supervisor: Prof. M. Wenzel November 2012 ® Innovation through diversity ® POTCHEFSTROOMKAMPUS TABLE OF CONTENTS TABLE OF CONTENTS i DEDICATION iv ACKNOWLEDGEMENTS v SUMMARY vi OPSOMMING vii FIGURES ix MUSIC EXAMPLES ix PLATES x FILM STILLS xi CHAPTER 1: INTRODUCTION 1 1.1 Contextualization of the research project 1 1.2 Scope of the research project 5 1.3 Research design 7 1.4 Thesis design 9 CHAPTER 2: TEXT, CONTEXT AND IDENTITY 14 2.1 Text 16 2.1.1 Encoding: signs, symbols and icons 17 2.1.2 Decoding: Addresser, work, addressee and text 19 2.1.3 Narrative text 22 2.1.4 Intertextuality 23 2.1.4.1 Text and intertextuality 24 i) Origins 25 ii) Presuppositions 25 2.1.4.2 Context and intertextuality 26 2.1.4.3 Meaning and interpretation 27 2.1.4.4 Types of intertextuality 28 2.2 Adaptations of texts 31 2.3 Context 39 2.3.1 Creating contexts 40 2.3.1.1 Focalization 40 2.3.1.2 Time 41 2.3.1.3 Space 44 2.4 Identity 46 2.4.1 Context and identity 47 2.4.2 Western Self versus non-Western Other 49 2.4.2.1 Documentation of the Other’s context and identities 50 2.4.2.2 Western superior versus non-Western subaltern 53 2.4.2.3 Womanhood and sexuality 55 2.5 Conclusion 60 i CHAPTER 3: EXOTICISM 62 3.1 Exoticism conceptualized 62 3.2 Spain and Gypsies as the exotic Other 67 3.2.1 Spain as exotic space 67 3.2.2 The -
I Will Survive”--Gloria Gaynor (1978) Added to the National Registry: 2015 Essay by Louis Niebur (Guest Post)*
“I Will Survive”--Gloria Gaynor (1978) Added to the National Registry: 2015 Essay by Louis Niebur (guest post)* Gloria Gaynor Original single Original single sleeve On the surface, Gloria Gaynor's disco anthem, "I Will Survive" tells the straightforward story of a woman unwilling to put up with a cheating partner. But immediately upon its release in 1978, it was endowed by listeners with much more power than this simple premise, through its universal themes of strength, pride, independence, and overcoming self-doubt. It had, and continues to have, particular resonance with the groups most closely connected with disco since its creation in the early 1970s: African-Americans, gays, and women. Gaynor's story isn't one of overnight success. Rather, her title as the first "Queen of Discos" was earned after years of struggle as a touring live musician, sacrificing security and stability for the less tangible but more fulfilling rewards of a musical career. Gaynor was born on September 9, 1949 as Gloria Fowles in Newark, New Jersey. After high school, she spent nearly a decade singing in a string of semi-regular nightclub gigs, and touring the chitterling circuit, performing standards alongside the latest Top 40 hits with house bands up and down the east coast. She recorded her first single, “She’ll Be Sorry” for Johnny Nash’s Jocida Records in 1965. Nash also recommended she change her name to the alliterative “Gloria Gaynor,” in the hopes that people would call her by the catchy “G.G.” (a nickname that stuck). Throughout the second half of the 1960s and the first half of the 1970s, she and her band, City Life, achieved some renown with their upbeat disco sound, playing venues around the East and Midwest. -
The “Pop Pacific” Japanese-American Sojourners and the Development of Japanese Popular Music
The “Pop Pacific” Japanese-American Sojourners and the Development of Japanese Popular Music By Jayson Makoto Chun The year 2013 proved a record-setting year in Japanese popular music. The male idol group Arashi occupied the spot for the top-selling album for the fourth year in a row, matching the record set by female singer Utada Hikaru. Arashi, managed by Johnny & Associates, a talent management agency specializing in male idol groups, also occupied the top spot for artist total sales while seven of the top twenty-five singles (and twenty of the top fifty) that year also came from Johnny & Associates groups (Oricon 2013b).1 With Japan as the world’s second largest music market at US$3.01 billion in sales in 2013, trailing only the United States (RIAJ 2014), this talent management agency has been one of the most profitable in the world. Across several decades, Johnny Hiromu Kitagawa (born 1931), the brains behind this agency, produced more than 232 chart-topping singles from forty acts and 8,419 concerts (between 2010 and 2012), the most by any individual in history, according to Guinness World Records, which presented two awards to Kitagawa in 2010 (Schwartz 2013), and a third award for the most number-one acts (thirty-five) produced by an individual (Guinness World Record News 2012). Beginning with the debut album of his first group, Johnnys in 1964, Kitagawa has presided over a hit-making factory. One should also look at R&B (Rhythm and Blues) singer Utada Hikaru (born 1983), whose record of four number one albums of the year Arashi matched. -
"Ersatz As the Day Is Long": Japanese Popular
“ERSATZ AS THE DAY IS LONG”: JAPANESE POPULAR MUSIC, THE STRUGGLE FOR AUTHNETICITY, AND COLD WAR ORIENTALISM Robyn P. Perry A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2021 Committee: Walter Grunden, Advisor Jeremy Wallach © 2021 Robyn P. Perry All Rights Reserve iii ABSTRACT Walter Grunden, Advisor During the Allied Occupation of Japan, Supreme Commander for the Allied Powers (SCAP) Douglas MacArthur set forth on a mission to Americanize Japan. One way SCAP decided this could be done was by utilizing forms of media that were already popular in Japan, particularly the radio. The Far East Network (FEN), a network of American military radio and television stations in Japan, Okinawa, Guam, and the Philippines, began to broadcast American country & western music. By the early 1950s, Japanese country & western ensembles would begin to form, which initiated the evolution toward modern J-pop. During the first two decades of the Cold War, performers of various postwar subgenres of early Japanese rock (or J-rock), including country & western, rockabilly, kayōkyoku, eleki, and Group Sounds, would attempt to break into markets in the West. While some of these performers floundered, others were able to walk side-by-side with several Western greats or even become stars in their own right, such as when Kyu Sakamoto produced a number one hit in the United States with his “Sukiyaki” in 1963. The way that these Japanese popular music performers were perceived in the West, primarily in the United States, was rooted in centuries of Orientalist preconceptions about Japanese people, Japanese culture, and Japan that had recently been recalibrated to reflect the ethos of the Cold War. -
Marketing K-Pop and J-Pop in the 21St Century Sarah Brand Dickinson College
Dickinson College Dickinson Scholar Student Honors Theses By Year Student Honors Theses 5-21-2017 Marketing K-Pop and J-Pop in the 21st Century Sarah Brand Dickinson College Follow this and additional works at: http://scholar.dickinson.edu/student_honors Part of the Asian Studies Commons, Digital Humanities Commons, Japanese Studies Commons, Korean Studies Commons, Music Commons, and the Other Film and Media Studies Commons Recommended Citation Brand, Sarah, "Marketing K-Pop and J-Pop in the 21st Century" (2017). Dickinson College Honors Theses. Paper 266. This Honors Thesis is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. MARKETING K-POP AND J-POP IN THE 21ST CENTURY Sarah Brand Senior Thesis Department of East Asian Studies Dickinson College May 10, 2017 Brand 2017 Music is an important part of daily life and, as a result, an integral part of culture. The way in which individuals are exposed to different genres and types of music helps illustrate the extent to which globalization has had an impact on the world. Before the invention of the internet, music was only available for purchase to consumers who went to record stores and physically purchased goods. Now, countless unique songs and genres are readily available with just a single search. Due to how easily consumers can access new music, digital distribution has completely overtaken the profit from selling physical copies of albums. In 2006, record labels still made $9.4 billion from CD sales in the United States, despite the fact that digital distribution entities, such as Napster and iTunes, provided digital copies of the same songs. -
The Guardian, February 12, 1980
Wright State University CORE Scholar The Guardian Student Newspaper Student Activities 2-12-1980 The Guardian, February 12, 1980 Wright State University Student Body Follow this and additional works at: https://corescholar.libraries.wright.edu/guardian Part of the Mass Communication Commons Repository Citation Wright State University Student Body (1980). The Guardian, February 12, 1980. : Wright State University. This Newspaper is brought to you for free and open access by the Student Activities at CORE Scholar. It has been accepted for inclusion in The Guardian Student Newspaper by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. OSU co-eds ponder draft registration, war By JANET WALSH million American men and be involved right up to combat. "YEAH, that would separate So 1 guess, if it's going to be all COLUMBUS. Ohio UPI A women aged 19 and 20. "I'll tell you one thing though, the women from the girls," over, why not be there fighting," Robert Redford poster grinned "It seems like all of a sudden they'd better pass the ERA. Put cracked Sabrina DiMichhele. 18. Ruth said. "Oh, I'm getting from the wall of the cluttered those of us having the easy life Schaffly. what's her first name, Worthington. sitting cross-legged depressed." "Ohio State University dorm room here in college are facing some- yeah Phyllis, put her in the ditch. on the floor. "I'm afraid the world will just and music blared from an ad- thing really serious," Ruth Nier- Make sure she's in the front "You know, I had to do a big sit by and not help us," said jacent hallway, but the women in ir.eyer. -
Nakayama Shimpei's Popular Songs in the History Of
THE RULES OF HEART: NAKAYAMA SHIMPEI'S POPULAR SONGS IN THE HISTORY OF MODERN JAPAN A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN HISTORY DECEMBER 2014 By Patrick M. Patterson Dissertation Committee: Mark McNally, Chairperson James Kraft Christine Yano Jun Yoo Nobuko Ochner For Takako, Matthew, Erin, Charles and Judy I Acknowledgements: I would like to thank my dissertation committee: Mark McNally, James Kraft, Christine Yano, Jun Yoo, and Nobuko Ochner for their patience, encouragement and support. I also want to thank Deborah Forbis for her encouragement and willingness to read and re-read for stylistic errors, and to my colleagues Cynthia Smith and David Panisnick for their support. Thanks also to my parents, who have encouraged me all along. Without these people this dissertation would not have come into existence. Any errors are, of course, solely my responsibility and no doubt occurred in spite of all of the assistance mentioned above. Last, and most important, I wish to thank Takako Patterson, a most valued critic and my inspiration. II Abstract Composer Nakayama Shimpei (1887-1952) wrote more than 300 popular songs in his lifetime. Most are still well known and recorded regularly. An entrepreneur, he found ways to create popular songs that powered Japan’s nascent recording industry in the 1920s and 1930s. An artist, his combination of Japanese and Western musical styles and tropes appealed to Japanese sentiments in a way that not only reflected the historical and social context, but anticipated and explained those historical changes to his listeners. -
MELODIES En MP 3 Track (Schreibgeschützt)
________________________________________________________________________________________________________________________ Instr CD’ Year Titel Notes Version Track N° RecordedpwqReleas ed ________________________________________________________________________________________________________________________ Instr # 60 / 61 GHOSTRIDERS IN THE SKY Original Track 1001 Vocal # 60 / 61 HOME ON THE RANGE 1006 Vocal # 60 / 61 MY OLD KENT UCKY HOME Original 1003 Vocal # 60 / 61 OLD MAN RIVER ( ol’ man river ) Original 1004 Vocal # 60 / 61 SWING LOW, SWEET CHARIOT 1005 Instr # 60 / 61 THE OLD SPINNING WHEEL Original 1002 Instr # 61 / 61 ENDLESS WALK 1011 Instr # 61 / 61 GALLOPING GUITARS ( galloping guitar ) Original 1010 Instr # 61 / 97 GALLOPING GUITARS Remixed Big Beat R. BBRC 00048 Instr # 61 / 62 HAVA NAGILA ( Israeli dance ) ( Ava ginala ) ( Havah nagila ) ( Havan nagila ) ( Hava Nagilah ) Original 1036 Instr # 61 / 62 HIGHFLYING SCOTSMAN ( Highflyin’ Scotsman ) Original 1013 Instr # 61 / 62 JOHNNY GUITAR Original 1040 Instr # 61 / 62 MOONSHOT ( Moon shot ) ( gunshot ) Original 1015 Instr # 61 / 61 OLD CLOCK AT HOME ( Den gamla moraklockan ) 1012 Instr # 61 / 61 ORANGE BLOSSOM SPECIAL Bo WINBERG Original 1008 Instr # 61 / 97 ORANGE BLOSSOM SPECIAL Remixed Big Beat R. BBRC 00048 Instr # 61 / 61 THE ROCKET MAN ( Rocket man ) ( Locket man ) Original 1007 Instr # 61 / 97 THE ROCKET MAN Remixed Big Beat R. BBRC 00048 Instr # 61 / 61 THE SPOTNICKS THEME ( Spotnicks theme ) ( the Spotnick theme ) ( The Spotnicks’ theme ) Original 1009 Instr # 61 / -
From Disco Revolution to Disco Demolition: Triumph to Tragedy in the Disco Era
From Disco Revolution to Disco Demolition: Triumph to Tragedy in the Disco Era Eve Lazarski Junior Division Historical Paper Word Count: 2,500 INTRODUCTION On July 12, 1979, Steve Dahl, a popular Chicago rock station radio host, blew up hundreds of Disco records in the middle of the baseball field at Comiskey Park in Chicago during an afternoon double header baseball game. Promoted as the “Disco Demolition” the event was seen as a way to increase attendance by tapping into youthful resentment and anger about the Disco music and lifestyle. Ninety eight cents and one Disco record got you into the game. After Dahl blew up the records, the field flooded with people rioting and chanting,”Disco sucks! Disco sucks!”1 The second game of the two game double header was forfeited due damage to the field.2 Although Disco music started out in underground gay and african american clubs and house parties in New York City, by the late 1970's Disco had taken over popular culture. The 1977 movie Saturday Night Fever and it’s best selling soundtrack solidified its place in popular culture and extended the reach of Disco to every corner of the United States.3 Disco was so popular many radio stations began to ditch rock music and adopt all Disco formats. It pushed rock music, their fans and their identity to the margins. For hard core lovers of rock and roll, like Steve Dahl, who was fired from the all-rock Chicago radio station WDAI when it adopted an all Disco format, this was not acceptable.4 They wanted Disco to die. -
UNIVERSITY of CALIFORNIA, SAN DIEGO Radio Broadcasting and The
UNIVERSITY OF CALIFORNIA, SAN DIEGO Radio Broadcasting and the Politics of Mass Culture in Transwar Japan A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Ji Hee Jung Committee in Charge: Professor Takashi Fujitani, Co-Chair Professor Stefan Tanaka, Co-Chair Professor Frank Biess Professor Valerie Hartouni Professor Lisa Yoneyama 2010 Copyright Ji Hee Jung, 2010 All rights reserved The Dissertation of Ji Hee Jung is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Co-chair Co-chair University of California, San Diego 2010 iii TABLE OF CONTENTS Signature Page .............................................................................................................. iii Table of Contents...........................................................................................................iv Acknowledgements........................................................................................................vi Vita................................................................................................................................ ix Abstract...........................................................................................................................x Introduction Rethinking Radio Broadcasting in Transwar Japan........................................................1 1. The Politics of Representation, Japanese Historiography, and Radio ....................1 2. Beyond Binaries: Transwar Broadcasting