DOCSLIB.ORG

Masculinities, Music, Emotion and Affect

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Masculinities, Music, Emotion and Affect Masculinities, Music, Emotion and Affect Sam de Boise Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds Department of Sociology and Social Policy September, 2012 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2012, The University of Leeds, Sam de Boise. Acknowledgements I gratefully acknowledge the contributions made by several people in the submission of this thesis. Thanks first and foremost go to my supervisors Dr. Kirk Mann and Dr. Sally Hines who have been both supportive and constructively critical throughout the entire process. Despite extensive commitments inside and outside of the school, they have always provided consistently thorough and concise feedback and have always made time to discuss my work. Their ‘pastoral’ as well as academic support has also been invaluable over the course of the three years. Secondly, a big thank you to my upgrade panel whose extremely thorough comments have had a significant impact on both my research design and theoretical development. This extends more generally also to the School of Sociology and Social Policy at the University of Leeds and to all the staff who have helped me as an undergraduate and postgraduate. Love and thanks to all my immediate family and friends who have put up with me for the duration of the process. I am especially grateful for the support of Leon Sealey- Huggins, Anna de la Torre, Matthew Hainey, Bertie Russell, Genevieve Lennon, Tom Gillespe, Vicky Habermehl, Andre Pusey, Dora Meade, Ama Asomaning and Joanna Lane, amongst many others. Last, but not least, my gratitude extends to any of those who participated in the research in any way, helped to distribute the survey and to John, Joel, Tom, Ian, Dave and Rob for allowing me to talk to them about their musical histories. Without their generosity of time and effort, this would not have been possible. Abstract Background: Gendered inequalities have historically been legitimated through the discursive enforcement of ‘natural’ sexual difference. One particular fallacy that has denied females a political voice, is that white, Western, males are more ‘naturally’ equipped for rational thought or strive for emotional suppression. In starting from the premise that this is always the case however, critical approaches to masculinities underestimate how adherence to the discursive ideal of rationality is mediated through emotional experience. Purpose: Using concepts of ‘habitus’ and ‘affect’ this thesis challenges the assumption that the perceived rejection of emotions, is firstly how masculinities are constructed. Secondly, because ‘individual’ emotions are a prerequisite to social action, it foregrounds the importance of a nuanced understanding of male emotional narratives explicitly through music. Culturally, music consumption is overtly concerned with ‘individual’ emotional experience and group interaction. Therefore male domination of music production and consumption, stands at odds with discourses of ‘rationality’, offering a means of understanding socially patterned, male emotional experience. Methods: A two-stage, mixed methods approach was undertaken, with males ranging from ages 16-64 participating. The first stage was an online survey and the final sample included 361 males, spanning various demographics. The second stage was a series of six, life-history case studies with participants selected from those who had completed the survey, based on the richness of data they provided and stratified by age. Conclusions: Both survey and life-history accounts demonstrated a wealth of emotional experience. Whilst music was primarily used as a tool for emotional expression, it was also perceived to manage ‘undesirable’ emotions. Respondents’ emotional engagement with music differed over the course of their lives, in line with socially patterned expectations. This has implications for the notion of ‘learning to be affected’ through the construction of masculinities, indicating new ways of theorising about masculinities as social embodiment. Contents Introduction............................................................................................i Why Masculinities Matter................................................................ i Why Music?..................................................................................... iv Research Questions and Chapter Outline........................................... v Chapter 1: Males and Masculinities............................................. 1 Introduction..................................................................................... 1 Studies of Men, Studies of Masculinities........................................ 2 Sex and Gender........................................................................ 2 Universality and Intersectionality............................................ 6 Economic, Education and Social Change................................. 8 Key Themes in Sociological Theories of Masculinities.................. 12 What is ‘Masculinity’, what are Masculinities?........................ 12 Masculinities as Power............................................................. 15 Masculinities as Embodiment................................................... 17 Rationality and Embodiment.................................................... 22 Masculinities as Emotional Attachments................................. 25 Habitus and Social Embodiment..................................................... 29 Field and Habitus..................................................................... 29 Embodiment, Gender and Habitus .......................................... 33 Training Habitus...................................................................... 36 Summary......................................................................................... 38 Chapter 2: Emotions and Affects................................................... 39 Introduction..................................................................................... 39 Emotions in the Social Sciences..................................................... 40 The Psychological Problem with Emotion............................... 40 The Sociological Perspective................................................... 43 The Radical Perspective........................................................... 47 Emotions, Affects and Masculinities.............................................. 49 Unreasonable Men?.................................................................. 49 Approaches to Emotions and Masculinities.............................. 52 Critical Perspectives on Emotions and Masculinities............... 55 Cause and Affect...................................................................... 58 Masculinities and Affect.......................................................... 62 Summary.......................................................................................... 65 Chapter 3: Masculinities, Mass Markets and Music.............. 67 Introduction..................................................................................... 67 Music, Males and Markets.............................................................. 68 The Modern Market for Music................................................. 68 Gender and the Musical Economy............................................ 70 The Structure of the Music Industry................................................ 72 Music as Commodity................................................................ 72 Emotional Capitalism............................................................... 76 Emotional Discourse in Modern Music................................. 79 ‘Bottom Up’ Perspectives................................................................ 82 The Subcultural Response........................................................ 82 ‘Types’ and Habitus................................................................. 85 The Problem of Musical Types................................................ 87 Some Questions on Male Music Consumption............................... 91 Getting ‘too’ Emotional?.......................................................... 91 Why Music Matters.................................................................. 95 Summary.......................................................................................... 99 Chapter 4: Methodology.................................................................... 101 Introduction...................................................................................... 101 Issues in Research Design................................................................ 102 Existing Qualitative Research................................................... 102 Existing Quantitative Research................................................. 104 Mixed Methods......................................................................... 107 The Quantitative Stage..................................................................... 108 Online Surveys......................................................................... 108 The Survey................................................................................ 111 Survey Question Layout..........................................................
Load more

Recommended publications
  • Trinity Cathedr Al Is to Proclaim in Word and Action God’S Justice, Love and Mercy for All Creation
    Tr init y Cathedr al NOVEMBER 13, 2016 | FIRST SUNDAY OF ADVENT EARLY EUCHARIST, 8:00 AM (PAGE 4) MOSTLY JAZZ MASS, 9:00 AM (PAGE 7) CHORAL EUCHARIST, 11:15 AM (PAGE 14) THE MISSION OF TRINITY CATHEDR AL IS TO PROCLAIM IN WORD AND ACTION GOD’S JUSTICE, LOVE AND MERCY FOR ALL CREATION. TODAY’S SCRIPTURE READINGS Zephaniah 1:7, 12-18 e silent before the Lord God! For the day of the Lord is at hand; the Lord has prepared a sacrifice, he has consecrated his guests. At that time I will search Jerusalem with lamps, and I will punish Bthe people who rest complacently on their dregs, those who say in their hearts, “The Lord will not do good, nor will he do harm.” Their wealth shall be plundered, and their houses laid waste. Though they build houses, they shall not inhabit them; though they plant vineyards, they shall not drink wine from them. The great day of the Lord is near, near and hastening fast; the sound of the day of the Lord is bit- ter, the warrior cries aloud there. That day will be a day of wrath, a day of distress and anguish, a day of ruin and devastation, a day of darkness and gloom, a day of clouds and thick darkness, a day of trumpet blast and battle cry against the fortified cities and against the lofty battlements. I will bring such distress upon people that they shall walk like the blind; because they have sinned against the Lord, their blood shall be poured out like dust, and their flesh like dung.
    [Show full text]
  • Emotion and Vocal Emulation in Trumpet Performance and Pedagogy
    Sounding the Inner Voice: Emotion and Vocal Emulation in Trumpet Performance and Pedagogy by Geoffrey Tiller A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Geoffrey Tiller 2015 Sounding the Inner Voice: Emotion and Vocal Emulation in Trumpet Performance and Pedagogy Geoffrey Tiller Doctor of Musical Arts Faculty of Music University of Toronto 2015 Abstract This dissertation examines the aesthetics of trumpet performance with a focus on the relationship between a vocal approach and expressiveness in trumpet playing. It aims to improve current trumpet pedagogy by presenting different strategies for developing a theory of a vocal approach. Many of the concepts and anecdotes used in respected pedagogical publications and by trumpet teachers themselves are heavily influenced by the premise that emulating the voice is a desired outcome for the serious trumpet performer. Despite the abundance of references to the importance of playing trumpet with a vocal approach, there has been little formal inquiry into this subject and there is a need for more informed teaching strategies aimed at clarifying the concepts of vocal emulation. The study begins with an examination of vocal performance and pedagogy in order to provide an understanding of how emulating the voice came to be so central to contemporary notions of trumpet performance aesthetics in Western concert music. ii Chapter Two explores how emotion has been theorized in Western art music and the role that the human voice is thought to play in conveying such emotion. I then build on these ideas to theorize how music and emotion might be better understood from the performer’s perspective.
    [Show full text]
  • You Can Choose to Be Happy
    You Can Choose To Be Happy: “Rise Above” Anxiety, Anger, and Depression with Research Evidence Tom G. Stevens PhD Wheeler-Sutton Publishing Co. YOU CAN CHOOSE TO BE HAPPY: “Rise Above” Anxiety, Anger, and Depression With Research Evidence Tom G. Stevens PhD Wheeler-Sutton Publishing Co. Palm Desert, California 92260 Revised (Second) Edition, 2010 First Edition, 1998; Printings, 2000, 2002. Copyright © 2010 by Tom G. Stevens PhD. All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews; or except as provided by U. S. copyright law. For more information address Wheeler-Sutton Publishing Co. The cases mentioned herein are real, but key details were changed to protect identity. This book provides general information about complex issues and is not a substitute for professional help. Anyone needing help for serious problems should see a qualified professional. Printed on acid-free paper. Publisher’s Cataloging-in-Publication Data Stevens, Tom G., Ph.D. 1942- You can choose to be happy: rise above anxiety, anger, and depression./ Tom G. Stevens Ph.D. –2nd ed. p. cm. Includes bibliographical references. ISBN 978-0-9653377-2-4 1. Happiness. 2. Self-actualization (Psychology) I. Title. BF575.H27 S84 2010 (pbk.) 158-dc22 Library of Congress Control Number: 2009943621 CONTENTS INTRODUCTION: .....................................................................................................................
    [Show full text]
  • Ethics Part Iii. on the Origin and Nature of the Emotions
    ETHICS PART III. ON THE ORIGIN AND NATURE OF THE EMOTIONS. Benedict de Spinoza ETHICS PART III. ON THE ORIGIN AND NATURE OF THE EMOTIONS. Table of Contents ETHICS PART III. ON THE ORIGIN AND NATURE OF THE EMOTIONS..........................................1 Benedict de Spinoza.................................................................................................................................1 DEFINITIONS.........................................................................................................................................2 POSTULATES........................................................................................................................................2 PROPOSITIONS.....................................................................................................................................2 GENERAL DEFINITION OF THE EMOTIONS.................................................................................32 i ETHICS PART III. ON THE ORIGIN AND NATURE OF THE EMOTIONS. Benedict de Spinoza Translated from the Latin by R.H.M. Elwes This page copyright © 2001 Blackmask Online. http://www.blackmask.com • DEFINITIONS. • POSTULATES. • PROPOSITIONS. • GENERAL DEFINITION OF THE EMOTIONS. MOST writers on the emotions and on human conduct seem to be treating rather of matters outside nature than of natural phenomena following nature's general laws. They appear to conceive man to be situated in nature as a kingdom within a kingdom: for they believe that he disturbs rather than follows nature's order,
    [Show full text]
  • Defining Music As an Emotional Catalyst Through a Sociological Study of Emotions, Gender and Culture
    Western Michigan University ScholarWorks at WMU Dissertations Graduate College 12-2011 All I Am: Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture Adrienne M. Trier-Bieniek Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the Musicology Commons, Music Therapy Commons, and the Sociology Commons Recommended Citation Trier-Bieniek, Adrienne M., "All I Am: Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture" (2011). Dissertations. 328. https://scholarworks.wmich.edu/dissertations/328 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. "ALL I AM": DEFINING MUSIC AS AN EMOTIONAL CATALYST THROUGH A SOCIOLOGICAL STUDY OF EMOTIONS, GENDER AND CULTURE. by Adrienne M. Trier-Bieniek A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Department of Sociology Advisor: Angela M. Moe, Ph.D. Western Michigan University Kalamazoo, Michigan April 2011 "ALL I AM": DEFINING MUSIC AS AN EMOTIONAL CATALYST THROUGH A SOCIOLOGICAL STUDY OF EMOTIONS, GENDER AND CULTURE Adrienne M. Trier-Bieniek, Ph.D. Western Michigan University, 2011 This dissertation, '"All I Am': Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture", is based in the sociology of emotions, gender and culture and guided by symbolic interactionist and feminist standpoint theory.
    [Show full text]
  • Karaoke Mietsystem Songlist
    Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind.
    [Show full text]
  • A Different Perspective After Brain Injury Will Strike a Chord with People Grappling with Changes to Self in the Context of Any Major Life Change
    “This very engaging book, written by a high functioning survivor of a traumatic brain injury, gives an introspective and critical account of what it actually feels like to suffer a brain injury and ‘come through the other side.’ Christopher Yeoh integrates his phenomenological experience of brain injury with science, literature, autobiography, and philosophy, result- ing in an extremely readable account of his experience. It provides a real ‘insider’s view’ of brain injury not possible to capture in a purely academic textbook. For this reason, the book will be of huge importance not only to the individuals and their families affected by brain injury, but also the clini- cians involved in their care and rehabilitation.” – Rudi Coetzer, Consultant Neuropsychologist, North Wales Brain Injury Service, Betsi Cadwaladr UHB NHS Wales and Senior Lecturer in Clinical Neuropsychology, School of Psychology, Bangor University, UK “Christopher’s poignant narrative of his recovery and rehabilitation shows how personal characteristics and social resources interact to overcome the serious aftermath of severe traumatic brain injury. This is a balanced and insightful account of loss, challenge and triumph. He writes with humility and humour, whilst never masking the devastation the injury caused for him and his loved ones. Many inspiring books are written by survivors; A Different Perspective After Brain Injury will strike a chord with people grappling with changes to self in the context of any major life change. This is also an invaluable resource for
    [Show full text]
  • Música Y Marcas En El Branded Content. Sectores, Formatos Y
    Musicidad: Música y marcas en el branded content Sectores, formatos y significado (2009-2013) Cande Sánchez Olmos Tesis doctoral Musicidad: Música y marcas en el branded content Sectores, formatos y significado (2009-2013) Autora: Cande Sánchez Olmos Director: Dr. Raúl Rodríguez Ferrándiz Facultad Ciencias Económicas y Empresariales Departamento de Comunicación y Psicología Social Universidad de Alicante Enero 2015 A mis padres, por obrar el milagro, porque no pudisteis ir a la escuela por la situación histórica y social de este país y, sin embargo, depositasteis en mí toda vuestra pasión por el conocimiento. Agradecimientos Mi más sincero agradecimiento al doctor Raúl Rodríguez Ferrándiz, director de este proyecto, por su confianza y buenos consejos, y por compartir su experiencia investigadora, por mostrarme siempre la luz al final del túnel. Siempre de buen humor y siempre resolviendo de forma positiva cualquier duda. Pero sobre todo, gracias por animarme siempre a defender mi concepto: musicidad, por entenderlo y confiar en él. Gracias al doctor Miguel Mera por recibir con ilusión este proyecto en la City University Londres y por abrirme el camino de la investigación de la música popular desde el rigor científico. Gracias por los consejos, la confianza y por potenciar en mí el espíritu crítico. También gracias al doctor Miller por acogerme en sus seminarios de doctorado del Department of Culture & Creative Industries de la misma universidad y por aportar su visión crítica y científica a la investigación. A mis alumnos de la Universidad de Alicante, porque les encanta que les explique sobre música y la publicidad y eso siempre me ha animado a seguir adelante.
    [Show full text]
  • Live from the Artists Den #1202 "Onerepublic" (TRT 56:46 HDTV, 16:9 Anamorphic Widescreen) Recorded January 22, 2017, Park City Live Park City, UT
    Live from the Artists Den #1202 "OneRepublic" (TRT 56:46 HDTV, 16:9 Anamorphic Widescreen) Recorded January 22, 2017, Park City Live Park City, UT Episode Song List 1. Love Runs Out 2. Secrets 3. Wherever I Go 4. All The Right Moves 5. Stop And Stare 6. Apologize 7. Let’s Hurt Tonight 8. Good Life 9. I Lived 10. Kids 11. Counting Stars 12. Lose Myself Photograph by Lucid Images ONEREPUBLIC: LIVE FROM THE ARTISTS DEN OneRepublic created an avalanche of fans in Park City, Utah as they descended on the Artists Den stage for an epic show of their greatest hits, as well as new music from their latest release, Oh My My. Their 70 minute set included fan favorites “Apologize,” “Good Life,” "Counting Stars," and an electric closing with “If I Love Myself.” A taste of their new music included a powerful rendition of “Kids” and “Let’s Hurt Tonight.” OneRepublic’s lead singer Ryan Tedder talked to the audience throughout the set, reflecting on his love of film and the special significance of performing the Artists Den during Sundance. ARTIST BIO OneRepublic released their debut set Dreaming Out Loud in 2007. The album included the smash single "Apologize", which shattered digital sales and airplay records worldwide and received a Grammy nomination. The band’s sophomore album, 2009’s Waking Up, produced three singles: "All the Right Moves", "Secrets" and "Good Life". OneRepublic’s third studio album Native, was released in March 2013 and produced the hit singles "If I Lose Myself", "Feel Again", "Love Runs Out", I Lived and their biggest song to date Counting Stars, which reached #1 in 54 countries and has sold over 10 million downloads.
    [Show full text]
  • The Top 7000+ Pop Songs of All-Time 1900-2017
    The Top 7000+ Pop Songs of All-Time 1900-2017 Researched, compiled, and calculated by Lance Mangham Contents • Sources • The Top 100 of All-Time • The Top 100 of Each Year (2017-1956) • The Top 50 of 1955 • The Top 40 of 1954 • The Top 20 of Each Year (1953-1930) • The Top 10 of Each Year (1929-1900) SOURCES FOR YEARLY RANKINGS iHeart Radio Top 50 2018 AT 40 (Vince revision) 1989-1970 Billboard AC 2018 Record World/Music Vendor Billboard Adult Pop Songs 2018 (Barry Kowal) 1981-1955 AT 40 (Barry Kowal) 2018-2009 WABC 1981-1961 Hits 1 2018-2017 Randy Price (Billboard/Cashbox) 1979-1970 Billboard Pop Songs 2018-2008 Ranking the 70s 1979-1970 Billboard Radio Songs 2018-2006 Record World 1979-1970 Mediabase Hot AC 2018-2006 Billboard Top 40 (Barry Kowal) 1969-1955 Mediabase AC 2018-2006 Ranking the 60s 1969-1960 Pop Radio Top 20 HAC 2018-2005 Great American Songbook 1969-1968, Mediabase Top 40 2018-2000 1961-1940 American Top 40 2018-1998 The Elvis Era 1963-1956 Rock On The Net 2018-1980 Gilbert & Theroux 1963-1956 Pop Radio Top 20 2018-1941 Hit Parade 1955-1954 Mediabase Powerplay 2017-2016 Billboard Disc Jockey 1953-1950, Apple Top Selling Songs 2017-2016 1948-1947 Mediabase Big Picture 2017-2015 Billboard Jukebox 1953-1949 Radio & Records (Barry Kowal) 2008-1974 Billboard Sales 1953-1946 TSort 2008-1900 Cashbox (Barry Kowal) 1953-1945 Radio & Records CHR/T40/Pop 2007-2001, Hit Parade (Barry Kowal) 1953-1935 1995-1974 Billboard Disc Jockey (BK) 1949, Radio & Records Hot AC 2005-1996 1946-1945 Radio & Records AC 2005-1996 Billboard Jukebox
    [Show full text]
  • Surfer Rules #1
    Archives - Surfers Rules #1 Surfers Rules #20.4 La version vinyle de No Pier Pressure est sortie le 1er juin. Pet Sounds bientôt disponible en version blu-ray. Sortie repoussée au 15 septembre. Les 8 dates de la tournée de Brian Wilson au Royaume Uni prévues en septembre ont été annulées. Officiellement, la promotion de No Pier Pressure retiendrait l'homme aux USA. Peut être plus sûrement, les lieux choisis, des endroits comme l'Arena O² à Londres, et le prix élevé des places ont fait fuire les combattants. Session de rattrapage : une ultime tournée européenne, ses adieux, est envisagée en 2016 à l'occasion des 50 ans de Pet Sounds Parution du livre Long Promised Road: Carl Wilson, Soul of the Beach Boys - the Biography signé par Ken Crowley le 3 septembre 2015 Le journal Le Monde se penche en vidéo sur No Pier Pressure. Chronique qui sonne assez juste. A la mi-avril, ce sont pas moins de 6 nouvelles rééditions vinyles 180gr rendues disponibles par Capitol aux USA : Carl & The Passion : So Tough (1972), 15 Big Ones (1976), M.I.U. Album (1978), L.A. (Light Album) (1979), Keepin’ The Summer Alive (1980) et The Beach Boys (1985). Nouveau, sur le site : chroniques d'Orange Crate Art, d'Imagination et du Live At The Roxy et, rayon Beach Boys, du Live, The 50th Anniversary Tour. Critique "raisonnée" de No Pier Pressure signée Basile Farkas dans le nouveau numéro de Rock & Folk (#573, mai 2015). Le Dr Faustroll a revu la sienne sur notre site. Right Time/Sail Away est le simple vinyle de Brian Wilson extrait du nouvel album qui est sorti à l'occasion du Record Store Day le 18 avril (1000 exemplaires).
    [Show full text]
  • Locally Owned and Operated
    Locally Owned and Operated Vol. 19 - Issue 9 • Sept. 11, 2019 - Oct. 9, 2019 INSIDE: WINERY GUIDE 17th Annual Rib Burn Off 20th – 22nd Ohio Celtic Festival 20th – 22nd 56th Annual Grape Jamboree 28th & 29th Tour - Tribute to Beatles White Album Est. 2000 Movie Reviews FREE! Entertainment, Dining & Leisure Connection Read online at www.northcoastvoice.com North Coast Voice OLD FIREHOUSE 5499 Lake RoadWINERY East • Geneva-on-the Lake, Ohio Restaurant & Tasting Room Open 7 Days Sun. through Thur. Noon - 9 PM Fri. & Sat. Noon to MIDNIGHT Tasting Rooms Entertainment Live Music Weekends! all weekend. (see ad on pg. 7) See inside back cover for listing. FOR ENTERTAINMENT AND Hours: 1-800-Uncork-1 EVENTS, SEE OUR AD ON PG. 7 Monday Closed Hours: Tues thru Thurs noon to 7 pm, Mon. 12-4 • Tues. Closed Fri and Sat noon to 11 pm, Wed. 12-7 • Thurs. 12-8 Sunday noon to 7 pm Fri. 12-9 • Sat. 12-10 • Sun. 12-5 834 South County Line Road 6451 N. RIVER RD., HARPERSIELD, OHIO 4573 Rt. 307 East, Harpersfield, Oh Harpersfield, Ohio 44041 WED. & THURS, 12 - 7, FRI. 12-9 440.415.0661 440.361.3049 SAT. 12- 9, SUN. 12-6 www.laurellovineyards.com www.bennyvinourbanwinery.com WWW.HUNDLEY CELLARS.COM [email protected] [email protected] If you’re in the mood for a palate pleasing wine tasting accompanied by a delectable entree from our restaurant, Ferrante Winery and Ristorante is the place for you! Entertainment every weekend Hours see ad on pg. 6 Stop and try our New Menu! Tasting Room: Mon.
    [Show full text]