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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. -
New Mexico Musician Vol 37 No 1
New Mexico Musician Volume 37 | Number 1 Article 1 9-1989 New Mexico Musician Vol 37 No 1 Follow this and additional works at: https://digitalrepository.unm.edu/nm_musician Part of the Music Education Commons Recommended Citation . "New Mexico Musician Vol 37 No 1." New Mexico Musician 37, 1 (1989). https://digitalrepository.unm.edu/nm_musician/vol37/ iss1/1 This Full Issue is brought to you for free and open access by UNM Digital Repository. It has been accepted for inclusion in New Mexico Musician by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. FALL 1989 lmside: Award Winners! A 11-State Audition Information NTMMEA Handbook OFFICIAL PUBLICATION NEW MEXICO MUSIC EDUCATORS ASSOCIATION Volume XXXVII From digital pianos for classroom or MIDI lab use to the music educator's library, our delivery, service, direct school prices and 5-year instrument warranty are unmatched in the music industry. For all the right reasons, call or write to get our 24 page color catalogue. It's free and so is the phone call. Suzuki Corporation, P.O. We have rhythm instru Box 261030, San Diego, ments crafted from rock California 92126. CALL TOLL FREE FOR YOUR COPY TODAY 1 ·800·854·Conunemal US1594 1·800·542·6252Jn Calorornla � D []!}ll []!} CS D CORPORATION [ME.AOFFICERS SIDENT a McAltster·Servold E. Hairkness ;bad, lS8220 THE 1e:887-3143 Office. 887-3508 NEW MEXICO MUSICIAN &PRESIDENT, BAND ry Estrada Vaughn St Official Publication of the Lunas. NM 87031 1e:865-5751. Office:865-4646 New Mexico Music Educators Association &PRESIDENT. -
Strange Brew√ Fresh Insights on Rock Music | Edition 03 of September 30 2006
M i c h a e l W a d d a c o r ‘ s πStrange Brew Fresh insights on rock music | Edition 03 of September 30 2006 L o n g m a y y o u r u n ! A tribute to Neil Young: still burnin‘ at 60 œ part two Forty years ago, in 1966, Neil Young made his Living with War (2006) recording debut as a 20-year-old member of the seminal, West Coast folk-rock band, Buffalo Springfield, with the release of this band’s A damningly fine protest eponymous first album. After more than 35 solo album with good melodies studio albums, The Godfather of Grunge is still on fire, raging against the System, the neocons, Rating: ÆÆÆÆ war, corruption, propaganda, censorship and the demise of human decency. Produced by Neil Young and Niko Bolas (The Volume Dealers) with co-producer L A Johnson. In this second part of an in-depth tribute to the Featured musicians: Neil Young (vocals, guitar, Canadian-born singer-songwriter, Michael harmonica and piano), Rick Bosas (bass guitar), Waddacor reviews Neil Young’s new album, Chad Cromwell (drums) and Tommy Bray explores his guitar playing, re-evaluates the (trumpet) with a choir led by Darrell Brown. overlooked classic album from 1974, On the Beach, and briefly revisits the 1990 grunge Songs: After the Garden / Living with War / The classic, Ragged Glory. This edition also lists the Restless Consumer / Shock and Awe / Families / Neil Young discography, rates his top albums Flags of Freedom / Let’s Impeach the President / and highlights a few pieces of trivia about the Lookin’ for a Leader / Roger and Out / America artist, his associates and his interests. -
Sandbox SEPTEMBER 18 2019 MUSIC MARKETING for the DIGITAL ERA ISSUE 236
BROUGHT TO YOU COURTESY OF 06-07 Tools CompanionLabs 08-09 Campaigns Björk, X Ambassadors, Mabel 10–15 Behind The Campaign- Hot Chip IN ASSOCIATION WITH sandbox SEPTEMBER 18 2019 MUSIC MARKETING FOR THE DIGITAL ERA ISSUE 236 THE NEXT STEP FOR PLAYLISTS BEHIND THE CAMPAIGN HOT CHIP BEHIND THE CAMPAIGNHOT CHIP A Bath Full Of Ecstasy is Hot Chip’s seventh album and was released in June – their first new album since Why Make Sense? in 2015. COREY ZALOOM (senior manager, digital marketing) and BROOKE SALISBURY (head of marketing) of Domino Recording Company explain how they set up the album by getting their catalogue streaming in order after the label acquired three of their previous albums from EMI/Parlophone, where live was used to reawaken interest in the band, how the video for ‘Hungry Child’ reached far beyond their core audience and why both Instagram and TikTok were key new platforms in the band’s marketing arsenal. Getting the band’s catalogue streaming Domino acquired the band’s EMI/ CZ: We had a few goals going into the change in three or four years, so in order before the new album Parlophone catalogue in early 2018 album in spring 2019 and one was things like Instagram were a new BS: This is only our third album with [covering three albums between 2006 and to reactivate their catalogue. Some priority for the band. We were the band [after 2012’s In Our Heads and 2010] and that was a key part of the set up of that included re-uploading high- looking at how to integrate things 2015’s Why Make Sense?]. -
ABSTRACT Title of Document: COMMUNICATING FEAR in FILM
ABSTRACT Title of Document: COMMUNICATING FEAR IN FILM MUSIC: A SOCIOPHOBIC ANALYSIS OF ZOMBIE FILM SOUNDTRACKS Pedro Gonzalez-Fernandez Master of Arts, 2014 Directed By: Dr. Patrick Warfield, Musicology The horror film soundtrack is a complex web of narratological, ethnographic, and semiological factors all related to the social tensions intimated by a film. This study examines four major periods in the zombie’s film career—the Voodoo zombie of the 1930s and 1940s, the invasion narratives of the late 1960s, the post-apocalyptic survivalist fantasies of the 1970s and 1980s, and the modern post-9/11 zombie—to track how certain musical sounds and styles are indexed with the content of zombie films. Two main musical threads link the individual films’ characterization of the zombie and the setting: Othering via different types of musical exoticism, and the use of sonic excess to pronounce sociophobic themes. COMMUNICATING FEAR IN FILM MUSIC: A SOCIOPHOBIC ANALYSIS OF ZOMBIE FILM SOUNDTRACKS by Pedro Gonzalez-Fernandez Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2014 Advisory Committee: Professor Patrick Warfield, Chair Professor Richard King Professor John Lawrence Witzleben ©Copyright by Pedro Gonzalez-Fernandez 2014 Table of Contents TABLE OF CONTENTS II INTRODUCTION AND LITERATURE REVIEW 1 Introduction 1 Why Zombies? 2 Zombie Taxonomy 6 Literature Review 8 Film Music Scholarship 8 Horror Film Music Scholarship -
Proquest Dissertations
mn u Ottawa L'UniversiW canadienne Canada's university ITTTT FACULTE DES ETUDES SUPERIEURES 1^=1 FACULTY OF GRADUATE AND ET POSTOCTORALES U Ottawa POSDOCTORAL STUDIES L'Universite canadienrie Canada's university Lauren Patricia Levesgue AUTEUR DE LA THESE / AUTHOR OF THESIS M.A. (Communication) GRADE/DEGREE Department of Communication FACULTE, ECOLE, DEPARTEMENT / FACULTY, SCHOOL, DEPARTMENT Media Culture, Artifact and Gender Identity: An Analysis of Bratz Dolls TITRE DE LA THESE / TITLE OF THESIS Lise Boily DIRECTEUR (DIRECTRICE) DE LA THESE / THESIS SUPERVISOR Rukhsana Ahmed CO-DIRECTEUR (CO-DIRECTRICE) DE LA THESE / THESIS CO-SUPERVISOR Sherry Ferguson C.harlene Elliott Gar.Y W- .siater Le Doyen de la Faculte des etudes superieures et postdoctorales / Dean of the Faculty of Graduate and Postdoctoral Studies Media Cuituref Artifact and Gender Identity: An Analysis of Bratz Dolls Lauren Patricia Lewesque Thesis submitted to the Faculty of Graduate and Postdoctoral Studies In partiai fulfillment of the requirements For the Master's of Arts in Communication Department of Communication Faculty of Arts University of Ottawa © Lauren Levesque, Ottawa, Canada, 2010 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-69044-4 Our file Notre reference ISBN: 978-0-494-69044-4 NOTICE: AVIS: The author has granted a non L'auteur a accorde une -
End of Year Charts: 2010
End Of Year Charts: 2010 Chart Page(s) Top 200 Singles .. .. .. .. .. 2 - 5 Top 200 Albums .. .. .. .. .. 6 - 9 Top 200 Compilation Albums .. .. .. 10 - 13 All rights reserved. No portion of this publication may be reproduced, stored in a retrieval system, posted on an Internet/Intranet web site or forum, forwarded by email, or otherwise transmitted in any form or by any means, electronic, mechanical, photocopying, recording without prior written permission of UKChartsPlus Published by: UKChartsPlus e-mail: [email protected] http://www.UKChartsPlus.co.uk - 1 - Symbols: Platinum (600,000) Gold (400,000) Silver (200,000) 12” Vinyl only 2010 7” Vinyl only Download only Entry Date 2010 2009 2008 2007 Title - Artist Label (Cat. No.) (w/e) High Wks 1 -- -- -- LOVE THE WAY YOU LIE - Eminem featuring Rihanna Interscope (2748233) 03/07/2010 2 28 2 -- -- -- WHEN WE COLLIDE - Matt Cardle Syco (88697837092) 25/12/2010 13 3 3 -- -- -- JUST THE WAY YOU ARE (AMAZING) - Bruno Mars Elektra ( USAT21001269) 02/10/2010 12 15 4 -- -- -- ONLY GIRL (IN THE WORLD) - Rihanna Def Jam (2755511) 06/11/2010 12 10 5 -- -- -- OMG - Usher featuring will.i.am LaFace ( USLF20900103) 03/04/2010 1 41 6 -- -- -- FIREFLIES - Owl City Island ( USUM70916628) 16/01/2010 13 51 7 -- -- -- AIRPLANES - B.o.B featuring Hayley Williams Atlantic (AT0353CD) 12/06/2010 1 31 8 -- -- -- CALIFORNIA GURLS - Katy Perry featuring Snoop Dogg Virgin (VSCDT2013) 03/07/2010 12 28 WE NO SPEAK AMERICANO - Yolanda Be Cool vs D Cup 9 -- -- -- 17/07/2010 1 26 All Around The World/Universal -
The Tim Ferriss Show Transcripts Episode 98: Robert Rodriguez Show Notes and Links at Tim.Blog/Podcast
The Tim Ferriss Show Transcripts Episode 98: Robert Rodriguez Show notes and links at tim.blog/podcast Tim Ferriss: Hello, ladies and germs, puppies and kittens. Meow. This is Tim Ferriss and welcome to another episode of the Tim Ferriss Show, where it is my job to deconstruct world class performers, to teas out the routines, the habits, the books, the influences, everything that you can use, that you can replicated from their best practices. And this episode is a real treat. If you loved the Arnold Schwarzenegger or Jon Favreau or Matt Mullenweg episodes, for instance, you are going to love this one. We have a film director, screen writer, producer, cinematographer, editor, and musician. His name is Robert Rodriguez. His story is so good. While he was a student at University of Texas at Austin, he wrote the script to his first feature film when he was sequestered in a drug research facility as a paid subject in a clinical experiment. So he sold his body for science so that he could make art. And that paycheck covered the cost of shooting his film. Now, what film was that? The film was Element Mariachi, which went on to win the coveted Audience Award at Sundance Film Festival and became the lowest budget movie ever released by a major studio. He went on then, of course, to write and produce a lot, and direct and edit and so on, a lot of films. He’s really a jack of all trades, master of many because he’s had to operate with such low budgets and be so resourceful. -
V Nocus Calks
VOLUME 92 NUMBER 49 AMi[T, CAMBRIDGE, MASSACHUSETTS TUESDAY,, NOVEMBER 21, 1972 FIVE CENTS __ .M r~~~~~~ eme By Walter ']. Middlebrook When asked about the sup- last Monday be observed as a Approximately 200 people port for the students from the day of moratorium, and that gathered at Kresge Auditorium black community, she replied, next Monday be used as the first last night to discuss the slayings "From the community our sup- day of a nation wide student of two black students as port has been over-whelming, strike. Southern University. parents, workers, students from Long before any ot the news The rally at Kresge was the other campuses in the city, and media in the city began to cover climax in the Boston area of a residents of the state are doing the events at Southern in detail, nationwide day-long protest and all that can be done in our WTBS began a grueling campaign moratorium concerning the struggle." She was rather upset, for support and facts regarding deaths of Denver A. Smith of however, at the lack of response the incident by way of one of its New Roads, Louisiana and that had been received from the programs, the Ghetto. Since Leonard Brown of Gilbert, black faculties on the campuses. twelve midnight on Thursday, Louisiana. The other memorial She did point out that some the Ghetto has been carrying services imathe Boston area were faculty members had shown constant coverage of the events held at Boston College, Boston some sense of concern and as of that went on in Baton Rouge University, Harvard University, this date, six of those professors with recorded telephone reports and Brandeis University. -
The Origins of Iconic Images from NYC's Musical History Explained
COLUMNS NEW YORK STORY LANDMARKS THE BRONX The places, spaces, and monuments of THE LOFT NYC's musical past, present, and future. the story of the Loft is a story of survival. It’s also a quintessentially New York tale. The Loft was one of the PAST FEATURED LANDMARKS 1 MAX NEUHAUS’ “TIMES SQUARE” first, if not the first, dance-centric parties of its kind—it 2 THE THING SECONDHAND STORE A column on involved an open space conducive to communal danc- the gear and ing, mirror balls, state-of-the-art sound system, and the processes that inform DJ as demigod—and it set the blueprint for New York’s the music we make. burgeoning underground dance-party movement before 1 disco was ascendant. Larry Levan and the Paradise Ga- rage, Francis Grasso and the Sanctuary, Nicky Siano and the Gallery—each party had its own unique style, but QUEENS few would contest that David Mancuso’s Loft informed if you’re a proper rock venue—think all of them. Manhattan’s fantastic Bowery Ballroom—a In many ways the Loft was New York: peripatetic and 2 good-sounding room is a compromise. It’s shape-shifting, operating in grey legal territory, but once often less about the room’s acoustics and inside, you were part of the family. It was a place to cel- more about the canny digital processing ebrate the counterculture and embrace a fluid range of MANHATTAN that happens before the sound gets to the sexual identities at a time when men who went to gay loudspeakers. -
The History of Rock Music: 1976-1989
The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The Golden Age of Heavy Metal (These are excerpts from my book "A History of Rock and Dance Music") The pioneers 1976-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Heavy-metal in the 1970s was Blue Oyster Cult, Aerosmith, Kiss, AC/DC, Journey, Boston, Rush, and it was the most theatrical and brutal of rock genres. It was not easy to reconcile this genre with the anti-heroic ethos of the punk era. It could have seemed almost impossible to revive that genre, that was slowly dying, in an era that valued the exact opposite of machoism, and that was producing a louder and noisier genre, hardcore. Instead, heavy metal began its renaissance in the same years of the new wave, capitalizing on the same phenomenon of independent labels. Credit goes largely to a British contingent of bands, that realized how they could launch a "new wave of British heavy metal" during the new wave of rock music. Motorhead (1), formed by ex-Hawkwind bassist Ian "Lemmy" Kilminster, were the natural bridge between heavy metal, Stooges/MC5 and punk-rock. They played demonic, relentless rock'n'roll at supersonic speed: Iron Horse (1977), Metropolis (1979), Bomber (1979), Jailbait (1980), Iron Fist (1982), etc. -
Herald of Holiness Volume 85 Number 11 (1996) Wesley D
Olivet Nazarene University Digital Commons @ Olivet Herald of Holiness/Holiness Today Church of the Nazarene 11-1-1996 Herald of Holiness Volume 85 Number 11 (1996) Wesley D. Tracy (Editor) Nazarene Publishing House Follow this and additional works at: https://digitalcommons.olivet.edu/cotn_hoh Part of the Christian Denominations and Sects Commons, Christianity Commons, History of Christianity Commons, Missions and World Christianity Commons, and the Practical Theology Commons Recommended Citation Tracy, Wesley D. (Editor), "Herald of Holiness Volume 85 Number 11 (1996)" (1996). Herald of Holiness/Holiness Today. 35. https://digitalcommons.olivet.edu/cotn_hoh/35 This Journal Issue is brought to you for free and open access by the Church of the Nazarene at Digital Commons @ Olivet. It has been accepted for inclusion in Herald of Holiness/Holiness Today by an authorized administrator of Digital Commons @ Olivet. For more information, please contact [email protected]. TIME TORS PARE MINISTRIES IS DADDY REALLY HOME? t - TEACHING 1 HOLINESS TO GENERATION X B a ching o u t to njUGLE PARENTS Teacher Rediscover God's Word Resources for Through Sunday School! Baby’s First Year at Church Teacher W ordAction p r o v i d e s t h e RESOURCES THAT ARE ■ TRUE TO THE WORD —WordAction helps you lead students of all ages through the major themes and sections of Teacher PRIMARY Teacher Scripture. A v-.\ ■ TRUE TO LIFE —WordAction helps you challenge your class members to move beyond mere head knowledge and apply PRETEEIM God’s Word to life. Teacher ■ TRUE TO THE CHURCH WordAction helps you build Christian character and understanding with an emphasis on Teacher holy living.