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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. -
Adult Contemporary Radio at the End of the Twentieth Century
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
The Creative Conver
TWO PETERRAINMAKERS EDGETHE CREATIVE CONVERSATION s chief of RCA, Peter Edge has presided over one of the splashiest rosters in the biz, which has culminated in big chart successes, top-tier Grammy love and, occa- sionally, pop-cultural godhead for his acts. Edge’s keen A&R chops Aand artist whispering have been integral to his reign, and he has been acutely sensitive to the shifting winds of the marketplace. “I’m always looking for a unique propo- sition,” Edge said a decade and a half ago, and it clearly resonates today. “I’m really attracted to people who have an abundance of talent because I’m just in awe of that, being a music fan.” “Peter Edge loves music so much, it’s his heart and soul,” notes one of Edge’s Grammy-winning, chart-topping signings, Switch, where he booked artists such as Sade Khalid. “I’ve had such meaningful artistic and Grace Jones. His work there caught conversations with him, and I’m always in the eye of Simon Fuller, who hired him as awe of his knowledge and his passion.” an A&R rep at Chrysalis Music Publishing; “I have known and worked with Peter he subsequently moved to the label side at since I first started in this business,” says Chrysalis and was tasked with launching the manager Brandon Creed, “and he has London-based Cooltempo imprint in 1985, always been a very kind and soulful leader in tandem with producer Danny D. and personal mentor to me. His taste and In the U.K., the label would release talent are inspiring, and he’s as authen- music by Erik B and Rakim, EPMD, tic and genuine as an executive as he is a The Real Roxanne, Slick Rick and Doug human being.” E. -
June 1, 2016 Dear Customer, Please Be Advised That the Titles On
June 1, 2016 Dear Customer, Please be advised that the titles on this Summer 2016 Deleted Titles list will be DELETED from the Capitol Christian Distribution catalog effective Wednesday, June 8, 2016. These titles will no longer be available for orders on or after that date. All return authorization requests for these titles must be submitted no later than Sunday, August 7, 2016 and all physical returns received in our Jacksonville, IL Distribution Center no later than Thursday, October 6, 2016. As a reminder, you may request your return authorization online 24/7 at www.capitolchristiandistribution.com. Please remember to update your point of sale (POS) system to reflect these changes. If you have any questions about this information please contact your Capitol Christian Distribution sales representative at 1 (800) 877- 4443. Thank you for your attention to this matter. Best Regards, Greg Bays Executive Vice President Capitol Christian Distribution CAPITOL CHRISTIAN DISTRIBUTION SUMMER 2016 DELETED TITLES LIST Return Authorization Due Date August 7, 2016 • Physical Returns Due Date October 6, 2016 RECORDED MUSIC ARTIST TITLE UPC LABEL CONFIG Amy Grant Amy Grant 094639678525 Amy Grant Productions CD Amy Grant My Father's Eyes 094639678624 Amy Grant Productions CD Amy Grant Never Alone 094639678723 Amy Grant Productions CD Amy Grant Straight Ahead 094639679225 Amy Grant Productions CD Amy Grant Unguarded 094639679324 Amy Grant Productions CD Amy Grant House Of Love 094639679829 Amy Grant Productions CD Amy Grant Behind The Eyes 094639680023 Amy Grant Productions CD Amy Grant A Christmas To Remember 094639680122 Amy Grant Productions CD Amy Grant Simple Things 094639735723 Amy Grant Productions CD Amy Grant Icon 5099973589624 Amy Grant Productions CD Seventh Day Slumber Finally Awake 094635270525 BEC Recordings CD Manafest Glory 094637094129 BEC Recordings CD KJ-52 The Yearbook 094637829523 BEC Recordings CD Hawk Nelson Hawk Nelson Is My Friend 094639418527 BEC Recordings CD The O.C. -
Contemporary Christian Music & The
PLAYING THE MARKET: CONTEMPORARY CHRISTIAN MUSIC & THE THEORY OF RELIGIOUS ECONOMY by Jamie Carrick B.A., The University of Calgary, 2007 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Religious Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) October 2012 © Jamie Carrick, 2012 Abstract Contemporary Christian music (CCM) is a fascinating and understudied part of the religious vitality of modern American religion. In this dissertation the theory of religious economy is proposed as a valuable and highly serviceable methodological approach for the scholarly study of CCM. The theory of religious economy, or the marketplace approach, incorporates economic concepts and terminology in order to better explain American religion in its distinctly American context. In this study, I propose three ways in which this method can be applied. Firstly, I propose that CCM artists can be identified as religious firms operating on the “supply-side” of the religio-economic dynamic; it is their music, specifically the diverse brands of Christianity espoused there within, that can allow CCM artists to be interpreted in such a way. Secondly, the diversity within the public religious expressions of CCM artists can be recognized as being comparable to religious pluralism in a free marketplace of religion. Finally, it is suggested that the relationship between supply-side firms is determined, primarily, by the competitive reality of a free market religious economy. ii Table of Contents Abstract . ii Table of Contents . iii List of Figures . iv Acknowledgements . v 1 Introduction . 1 1.1 Introduction . 1 1.2 Religion & Popular Culture . -
WMG Acquisition Corp. (Exact Name of Co-Registrant As Specified in Its Charter)
UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 8-K CURRENT REPORT Pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934 Date of Report (Date of earliest event reported): May 23, 2011 Warner Music Group Corp. (Exact name of Co-Registrant as specified in its charter) Delaware 001-32502 13-4271875 (State or other jurisdiction (Commission (IRS Employer of incorporation) File Number) Identification No.) 75 Rockefeller Plaza, New York, New York 10019 (Address of principal executive offices) (Zip Code) Co-Registrant’s telephone number, including area code: (212) 275-2000 WMG Acquisition Corp. (Exact name of Co-Registrant as specified in its charter) Delaware 333-121322 68-0576630 (State or other jurisdiction (Commission (IRS Employer of incorporation) File Number) Identification No.) 75 Rockefeller Plaza, New York, New York 10019 (Address of principal executive offices) (Zip Code) Co-Registrant’s telephone number, including area code: (212) 275-2000 Check the appropriate box below if the Form 8-K filing is intended to simultaneously satisfy the filing obligation of the Co-Registrants under any of the following provisions: ¨ Written communications pursuant to Rule 425 under the Securities Act (17 CFR 230.425) x Soliciting material pursuant to Rule 14a-12 under the Exchange Act (17 CFR 240.14a-12) ¨ Pre-commencement communications pursuant to Rule 14d-2(b) under the Exchange Act (17 CFR 240.14d-2(b)) ¨ Pre-commencement communications pursuant to Rule 13e-4(c) under the Exchange Act (17 CFR 240.13e-4(c)) Item 1.01 Entry into a Material Definitive Agreement. -
United States Securities and Exchange Commission Form 10-K Conversion Labs, Inc
3/31/2020 https://sec.report/Document/0001493152-20-005288/form10-k.htm 10-K 1 form10-k.htm UNITED STATES SECURITIES AND EXCHANGE COMMISSION WASHINGTON, D.C. 20549 FORM 10-K (Mark One) [X] ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the year ended December 31, 2019 or [ ] TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from __________________________ to __________________________ Commission file number 000-55857 CONVERSION LABS, INC. (Exact name of registrant as specified in its charter) Delaware 76-0238453 State or Other Jurisdiction (I.R.S. Employer of Incorporation or Organization Identification No.) 800 Third Avenue, Suite 2800 New York, New York 10022 (Address of Principal Executive Offices) (Zip Code) (855) 743-6478 (Registrant’s telephone number, including area code) Securities registered pursuant to Section 12(b) of the Act: Name of exchange Title of each class Trading symbol(s) on which registered None N/A N/A Securities registered pursuant to Section 12(g) of the Act: Common stock, par value $0.01 (Title of class) Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes [ ] No [X] Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act. Yes [ ] No [X] https://sec.report/Document/0001493152-20-005288/form10-k.htm 1/91 3/31/2020 https://sec.report/Document/0001493152-20-005288/form10-k.htm Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. -
Encounters with Cultural Difference: Cosmopolitanism and Exoticism in Tanna (Martin Butler and Bentley Dean, 2015) and Embrace of the Serpent (Ciro Guerra, 2015)
Encounters with Cultural Difference: Cosmopolitanism and Exoticism in Tanna (Martin Butler and Bentley Dean, 2015) and Embrace of the Serpent (Ciro Guerra, 2015) Daniela Berghahn Abstract: This essay aims to critically reassess and, ultimately, rehabilitate exoticism, understood as a particular mode of cultural representation and a highly contested discourse on cultural difference, by bringing it into dialogue with cosmopolitanism. It offers a theoretical exploration of exoticism and cosmopolitanism alongside associated critical frameworks, such as the contact zone, autoethnography, authenticity and cultural translation, and brings them to bear on two award- winning films that aptly illustrate a new type of exoticism in contemporary world cinema. Using Tanna (Martin Butler and Bentley Dean, 2015) and Embrace of the Serpent (Ciro Guerra, 2015), both made in collaboration with Indigenous communities, as case studies, this essay proposes that exoticism is inflected by cosmopolitan, rather than colonial and imperialist, sensibilities. It therefore differs profoundly from its precursors, which are premised on white supremacist assumptions about the Other which legitimised colonial expansion and the subjugation of the subaltern. By contrast, the new type of exoticism challenges and decentres Western values and systems of knowledge and aligns itself with the ethico-political agendas of cosmopolitanism, notably the promotion of crosscultural dialogue, an ecological awareness and the empowerment of hitherto marginalised communities. From the travelogues of early cinema over ethnographic documentaries to contemporary world cinema, cinema has always played a pivotal role in mediating visions of cultural Otherness. By projecting images of faraway exotic landscapes, peoples and their traditions, cinema indulges armchair travellers to marvel at “wondrous difference” (Griffiths) and promotes intercultural exchange and cosmopolitan connectivity. -
Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Record Labels in Orlando
Record Labels In Orlando Roddie is attuned: she redipped ineptly and recoded her Bramley. Abdullah often disseminate invidiously when unletepigamic Jonas Hamlin never gating overturing agone so and determinedly. mislays her self-respect. Ulrick wont his holiday mammocks dogmatically, but Record deal with record in She was in orlando was clean up working with majors are good fit to labels across a label need to continue pushing hip hop group, while unlocking your print up! How to charm an Independent Record clear in Florida Bizfluent. Record Labels Can Influence Spotify Plays For Less Royalties. For anyone two decades Plush Studios has been Orlando's premier music studio As moving only recording studio in central Florida with diamond platinum gold and. User has won two years of records on social justice have played a list. New recordings enter into the record. Recording session according to orlando believed he did not benefit album to the label that have an example, beverly boy productions to. If applicable across the label roster includes a time to large database. Higher chances of labels in the recording. EKLECTRA Presents Records Inc Orlando Florida Host find the hottest. And vip including the theme will discover new independent are you stick to. What record labels are in Florida? In the project even if you can also led to industry was performing, buy or maybe want to stand out to rehearse more! The label in orlando just a ticket from other labels wealth and released later bought the time! Their demos to or label's Orlando address 6100 Old cedar Lane Orlando. -
Various ...Seltzer (Modern Rock to Settle Your Soul) Mp3, Flac, Wma
Various ...Seltzer (Modern Rock To Settle Your Soul) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: ...Seltzer (Modern Rock To Settle Your Soul) Country: USA & Canada Released: 1996 Style: Alternative Rock, Reggae, Punk, Ska MP3 version RAR size: 1414 mb FLAC version RAR size: 1905 mb WMA version RAR size: 1943 mb Rating: 4.8 Votes: 332 Other Formats: MP3 DTS MMF VQF AC3 MP4 AU Tracklist 01 –Newsboys God Is Not A Secret 3:07 02 –Jars Of Clay Liquid 3:31 03 –Poor Old Lu Where Were All Of You 4:06 04 –Plankeye B.C. 2:31 05 –Audio Adrenaline I'm Not The King 3:53 06 –Third Day Forever 3:50 07 –DC Talk Jesus Freak 4:51 08 –PFR Garden 3:18 09 –Johnny Q. Public Body Be 3:56 10 –MxPx Teenage Politics 2:50 11 –Grammatrain Believe 3:36 12 –Holy Soldier My World 4:03 13 –Supertones* Who Can Be Against Me 3:09 14 –The Choir The Ocean 4:17 15.a –Big Tent Revival The Best Thing 4:47 15.b –No Artist [Silence] 2:11 15.c –Christafari Set Me Free 3:59 16 –No Artist [Silence] 0:05 Credits Mastered By – Ken Love Notes Issued in picture paper sleeve (not plastic case). The hidden Christafari track is not listed in the main tracklisting. Credits for the song are hidden in the sleeve booklet. Other versions Category Artist Title (Format) Label Category Country Year ...Seltzer (Modern Rock To Settle FFD5156 Various ForeFront Records FFD5156 1996 Your Soul) (CD, Comp) Related Music albums to ...Seltzer (Modern Rock To Settle Your Soul) by Various Pillow Garden - Fable Of Silence And Selah Teenage Jesus And The Jerks - Teenage Jesus And The Jerks P.V - The Silence Jars Of Clay - Crazy Times Jars Of Clay - The Long Fall Back To Earth Jars Of Clay - Stringtown Jars Of Clay - Furthermore: From The Studio / From The Stage Nat King Cole - Revival Discharge - The Price Of Silence / Born To Die In The Gutter Jars Of Clay - The Essential Jars Of Clay. -
System of a Down Molds Metal Like Silly Putty, Bending and Shaping Its Parame- 12 Slayer's First Amendment Ters to Fit the Band's Twisted Vision
NEW: LOUD ROCK CRUCIAL SPINS CHART LOW TORTOISE 1111 NEW MUSIC REPORT Uà NORTEC JACK COSTANZO February 12, 20011 www.cmj.com COLLECTIVE The Twisted Art-Metal Of SYSTEM OF ADOWN 444****************444WALL FOR ADC 90138 24438 2/28/388 KUOR - REDLAHDS FREDERICK SUER S2V3HOD AUE unr G ATASCADER0 CA 88422-3428 IIii II i ti iii it iii titi, III IlitlIlli lilt ti It III ti ER THEIR SELF TITLED DEBUT AT RADIO NOW • FOR COLLEGE CONTACT PHIL KASO: [email protected] 212-274-7544 FOR METAL CONTACT JEN MEULA: [email protected] 212-274-7545 Management: Bryan Coleman for Union Entertainment Produced & Mixed by Bob Marlette Production & Engineering of bass and drum tracks by Bill Kennedy a OADRUNNEll ACME MCCOWN« ROADRUNNER www.downermusic.com www.roadrunnerrecords.com 0 2001 Roadrunner Records. Inc. " " " • Issue 701 • Vol 66 • No 7 FEATURES 8 Bucking The System member, the band is out to prove it still has Citing Jane's Addiction as a primary influ- the juice with its new release, Nation. ence, System Of A Down molds metal like Silly Putty, bending and shaping its parame- 12 Slayer's First Amendment ters to fit the band's twisted vision. Loud Follies Rock Editor Amy Sciarretto taps SOAD for Free speech is fodder for the courts once the scoop on its upcoming summer release. again. This time the principals involved are a headbanger institution and the parents of 10 It Takes A Nation daughter who was brutally murdered by three Some question whether Sepultura will ever of its supposed fans. be same without larger-than-life frontman 15 CM/A: Staincl Max Cavalera.