Recycle This, BITCH" March 10, 1999
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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) Psychedelic Underground and Dream-pop (These are excerpts from my book "A History of Rock and Dance Music") Paisley Underground 1982-87 The "American Graffiti" phenomenon of the early Seventies, and the subsequent appropriation of the Sixties by the new wave, caused a revival of many of the styles of that happy decade. By far the most pervasive and long-lived was the revival of psychedelia, that kept recurring throughout the Eighties and the Nineties. Los Angeles had its own movement, the "Paisley Underground". Psychedelia became merely a pretext to concoct baroque, oneiric and hypnotic sounds, often with the help of keyboards and strings. Byrds-ian jangling guitars and naive melodies a` la Hollies dominate Emergency Third Rail Power Trip (feb/mar - oct 1983) by Rain Parade (1), with Matt Piucci on vocals and Dave Roback on guitar, as well as the EP Baroque Hoedown (fall 1982 - dec 1982) and the album Sixteen Tambourines (? 1983 - oct 1983) by Mike Quercio's Three O'Clock (1). Needless to say, the Paisley Underground was only the tip of the iceberg. The Dream Syndicate (12), formed by guitarists Steve Wynn and Karl Precoda and bassist Kendra Smith, acted as the natural liaison between Television (and the new wave in general) and the new generation of psychedelic rockers. -
Traditions of Punk and the Politics of Empowerment
Anyone Can Do It: Traditions of Punk and the Politics of Empowerment By Pete R.W. Dale Re-submission for PhD ICMuS Newcastle University 2010 Blank page ii Anyone Can Do It: Punk, Folk and the Politics of Empowerment Contents Title Page Page i Contents Page Page iii Introduction page vi Chapter One page 1 i. What Is Punk? Style vs. Substance page 2 ii. What Is Folk? Getting the Folk ‘Us’ in Focus page 27 iii. Punk as Folk: Two Sides of the Same Coin? page 57 iv. Chapter Conclusion page 84 Chapter Two page 88 i. Punk, Avant-gardism and Novelty page 90 ii. Marxism, Anarchism and the Issue of Universality page 119 iii. Justice to Come and the Micromatic Recoil page144 iv. Chapter Conclusion page 183 Chapter Three page 189 i. An Original Re-Birth? page 191 ii. There Is No Authority, But… : Anarcho-punk page 195 iii. Indie-Pop Ain’t Noise Pollution: The Cutie Movement page 231 iv. Chapter Conclusion page 269 iii Chapter Four page 275 i. Still Birth? page 277 ii. The Arrival of a New, Renegade, Girl-Boy Hyper-Nation: Riot Grrrl page 284 iii. Delivering the Groceries at 128 Beats per Minute: Math Rock page 326 iv. Chapter Conclusion page 366 Conclusion page 369 Bibliography page 389 iv Blank page v Introduction When the word punk is invoked, a majority of people – in the UK, at least – will think of the Sex Pistols, safety pins through the nose and other such bands and signifiers from the late 1970s. The purpose of this research, in large part, is to show that punk has in fact been a persistent and consistent tradition in the decades since. -
Arnold Umn 0130E 13988.Pdf
Saudade, Duende, and Feedback: The Hybrid Voices of Twenty-First-Century Neoflamenco and Neofado A DISSERTATION SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Michael Davis Arnold IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Ofelia Ferrán and Dr. Fernando Arenas June 2013 © Michael Davis Arnold 2013 Acknowledgements This study could not have been accomplished without the generous assistance of Fernando Arenas, Ofelia Ferrán, Matthew Rahaim, Ana Paula Ferreira, Raúl Marrero- Fente, Michelle Hamilton, Hector Fouce, Rui Vieira Nery, María del Rocío Herrera Alonso, Henrique Amaro, Sandra Baptista, Julian Demoraga & Diego “el Kinki”, Anabela Duarte, Miguel Filipe, África Gallego, Paulo Pedro Gonçalves, Pedro Gonçalves, Marco Miranda, Marta Miranda, Viviane Parra, Jorge Pires, Nathalie García Ramos, Elsa Rovayo, Ana Saboya, Sara Simões, Tó Trips, Luís Varatojo, Tó Viegas, Ehsan Alam, Natasha Hassett, Molly Lopresti, Edu Rodriguez, Daniel Arbino, Wayne and Julane Severson, Vincent and Ann Arnold, Alan and Lisa Danhof Arnold, and Laura Severson. i Dedication This thesis is dedicated to my corazón, Laura Severson, and in loving memory of my sister, Jessica Marie Arnold. ii Abstract The focus of this comparative, pan-Iberian study is on the negotiation of identity and hybrid cultural production in early twenty-first-century Spain and Portugal. I identify here two subgenres of indie and electronic music scenes and analyze how the handful of musicians that comprise these burgeoning movements are fighting to keep their respective national cultural traditions alive in the face of iTunes, mp3s, and P2P filesharing that have universalized a certain form of pop music which cuts across languages and cultures. -
Downloads and Ringtones) Formats
Table of Contents 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 fiscal year ended September 30, 2006 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 001-32502 Warner Music Group Corp. (Exact name of Registrant as specified in its charter) Delaware 13-4271875 (State or other jurisdiction of (I.R.S. Employer incorporation or organization) Identification No.) 75 Rockefeller Plaza New York, NY 10019 (Address of principal executive offices) (Zip Code) Registrant’s telephone number, including area code: (212) 275-2000 Securities registered pursuant to Section 12(b) of the Act: Title of each class Name of each exchange on which registered Common Stock, $.001 par value New York Stock Exchange Securities registered pursuant to Section 12(g) of the Act: None Indicate by check mark whether the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes x No ¨ 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 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. -
WEA in European CD Push
SM 14011 NEWSPAPER B8O*96FEENLYMUNTOO rARBC !WPM( f,ULENLV 03 10 3-140 ELM UC."Y LONE BEACH CA 90807 r A Billboard Publication The International Newsweekly Of Music & Home Entertainment April 14, 1984 $3 (U.S.) BIG FIRST MONTH WEA In European CD Push Music Dealers Key Lower Player Cost Seen Luring Youth K -tel Computer Arm By IRV LICHTMAN CD buyer of "increasingly younger national levels; four -color posters, age, with the market now stretching and p -o -p material. In addition, more By STEVEN DUPLER NEW YORK -Eleven WEA com- from adolescents to audiophiles and than a million four -color booklets panies in Europe have launched a classical enthusiasts," according to have been printed for insertion in all NEW YORK -K -tel Software ducing the software into such mass broad -based, long- running marketing Jurgen Otterstein, WEA Europe new CD releases and use as in -store Inc., a newly formed computer soft- market outlets as Pathmark super- campaign for Compact Disc software marketing director. The emergence giveaways. ware division of K -tel International markets. to take advantage of dramatically of younger CD fans, Otterstein notes, The campaign involves WEA com- Inc., is making a direct bid for a pres- The software is marketed under lower hardware prices (Billboard, largely results from "the continued panies in England, Germany, France, ence in major record /tape stores. three brand names: Xonex cartridge March 24). downward trend in hardware Belgium, Spain, Holland, Italy, Swit- In its first month, the new division games, K -Tek budget software, and Tagged "Adventures In Modern prices," thus producing a CD market zerland, Austria, Sweden and Den- says it has shipped $1 million worth K -tel medium priced personal and Sounds: WEA Stars On CD," the that is changing rapidly. -
Club 57 David Depino Kaitlyn Aurelia Smith Riobamba Love
A New York music and culture fanzine. LOVE INJECTION ISSUE 33 — NOVEMBER 2017 CLUB 57 DAVID DEPINO KAITLYN AURELIA SMITH RIOBAMBA Free in NYC, USA $6, EUR €7, JAP ¥1000 © Most Excellent Unlimited LOVE INJECTION ISSUE 33 — NOVEMBER 2017 A New York music and culture fanzine dedicated to documenting and preserving our communities’ creative output since February 2015. In print to give you a break from the digital noise. EDITOR-IN-CHIEF & ART DIRECTOR Paul Raffaele EDITOR-IN-CHIEF Barbie Bertisch FRONT COVER 57 Boys, Xerox by Raulin Ogle Rogers from Club 57 Invitational Xeroxes, May 1980, curated by Keith Haring. The Mu- seum of Modern Art, New York. Department of Film Special Collections. On view in MoMA’s Club 57 exhibition. EDITORIAL ASSISTANT Michael Mandeville CONTRIBUTORS Antal Heitlager Brian Chase David DePino Greg MacAvoy Kaitlyn Aurelia Smith Kris Petersen Luke Jenner Matt Holyoak Mijke Hurkx MoMA Nathaniel Jay Nik Mercer Paul Raffaele Phil Moffa Piotr Orlov Riobamba Rob Thijs Tim Lawrence Tim Saccenti PUBLISHER Most Excellent Unlimited Recordings, Inc. mostexcellentunlimited.com ADVERTISERS Cinderblock People Iris Records La Rama Records Output Nightclub We Mark Japan SPECIAL THANKS Alex Raouf Duke University Press Isaac Amerling Kristi Evans Mijke Hurkx The Museum of Modern Art PRINTED BY On Demand Print Group [email protected] SUBSCRIBE 1 year / 12 issues Physical copies shipped internationally subscribe.loveinjection.nyc COMMUNICATIONS Submissions, Advertising, General: [email protected] MXU-Z33 EDITION OF 1,000 FREE IN NYC, USA $6, EUR €7, JAP ¥1000 - loveinjection.nyc @loveinjection.nyc LOVE INJECTION their three biggest tunes - “3AM Eter- nal,” “Last Train to Trancentral,” and “What Time Is Love?.” These tracks are a skillful blend of diva vocals, alt- By Kris Petersen rock guitars, sweeping trance synths, and nonsense lyrics, with an impeccably costumed cast of backing musicians and Love Notes From Brooklyn extras miming with vigor atop gigantic NATHANIEL JAY speaker stacks. -
Glamography-The-Rise
poiprcdonI I The Rise of Glam Rock It was no longer possible to take the history of things as stage-managed by the media and the educational system seriously. Everything we knew was wrong.... Free at last or, if you like, at sea without a paddle, we were giving permission to ourselves to reinvent culture the way we wanted it. With great big shoes. -David Bowie ("Foreword") Glam cheered up the Seventies. -Ian Penman (qtd. in Cato 125) That the music classified as glam rock ranges from the buoyant boogie of T. Rex, to the sophisticated, self-conscious deployment of rock and pop styles by David Bowie and Roxy Music, to the straightforward hard rock of Kiss, to the simplistic, minimalist pop of Gary Glitter indicates that this rock subgenre cannot be defined purely in terms of musical style. Glam rock is not distinctive in this respect: no rock subgenre can ever be defined solely in musical terms, for each one entails an ideology that is manifest not only in music and lyrics, but also in the visual elements of performance (costume, staging, gesture, etc.) and the visual culture surrounding the music (album covers, posters, etc.).' It is never enough for rock performers to play a certain kind of music in order to claim mem- bership in a particular rock subgenre; they must also present the right kind of image onstage, on screen, and in print, even when part of the ideology is to deny the importance of the visual, as was the case in psychedelic rock. Even more than most rock subgenres, glam rock was defined primarily by the performers' appearances i. -
RED DAYS Popular Music and the English Counterculture 1965-1975
Minor Compositions Open Access Statement – Please Read This book is open access. This work is not simply an electronic book; it is the open access version of a work that exists in a number of forms, the traditional printed form being one of them. All Minor Compositions publications are placed for free, in their entirety, on the web. This is because the free and autonomous sharing of knowledges and experiences is important, especially at a time when the restructuring and increased centralization of book distribution makes it difficult (and expensive) to distribute radical texts effectively. The free posting of these texts does not mean that the necessary energy and labor to produce them is no longer there. One can think of buying physical copies not as the purchase of commodities, but as a form of support or solidarity for an approach to knowledge production and engaged research (particularly when purchasing directly from the publisher). The open access nature of this publication means that you can: • read and store this document free of charge • distribute it for personal use free of charge • print sections of the work for personal use • read or perform parts of the work in a context where no financial transactions take place However, it is against the purposes of Minor Compositions open access approach to: • gain financially from the work • sell the work or seek monies in relation to the distribution of the work • use the work in any commercial activity of any kind • profit a third party indirectly via use or distribution of the work • distribute in or through a commercial body (with the exception of academic usage within educational institutions) The intent of Minor Compositions as a project is that any surpluses generated from the use of collectively produced literature are intended to return to further the development and production of further publications and writing: that which comes from the commons will be used to keep cultivating those commons. -
Richard Foster
“Afwijkende mensen.” Formulating perspectives on the Dutch ULTRA scene. MA Thesis Student Name: Richard Foster Student Number: s1386263 Email: [email protected] Institution: Leiden University Supervisor: Dr. H.J. Storm Page | 1 “Goedenavond. Vanavond afwijkende set, afwijkende gelegenheid, afwijkende mensen. Veel instrumentaal.” Wally van Middendorp, introduction to the first ULTRA evening, Oktopus club, Amsterdam, September 1980. (Quoted in Harold Schellinx, ULTRA, Opkomst en ondergang van de Ultramodernen, een unieke Nederlandse muziekstroming (1978-1983) 26-27.) Page | 2 Contents: List of Illustrations …………………………………………………………………….. 4 Introduction and Historiography ……………………………….………….….. 5 Chapter 1 Analysis of Vinyl Magazine ….………………….……………….... 17 Chapter 2 Analysis of the ULTRA interviews ……………….……………….. 36 Conclusion …………………………………………....................................... 54 Bibliography ………………………………………..................................……. 57 Appendix …………………………………………………………………………………… 60 Page | 3 List of Illustrations Vinyl magazine, front cover of Issue 13 (April 1982) ………………………………………………………. 19 Vinyl magazine, front cover of Issue 11 (February 1982) ………………………………………………… 20 Flexi disc (one sided) of Nijmegen band, Mekanik Kommando, Issue 1 (February 1981) …. 21 Vinyl magazine, front cover of Issue 3 (April 1981) …………………………………………………………. 28 Page | 4 Throughout the spring of 2012, a number of events, exhibitions and publications were unveiled in the Netherlands to celebrate the Dutch punk and post-punk counter-cultures -
Warner Music Group Corp. (Exact Name of Registrant As Specified in Its Charter) Delaware 13-4271875 (State Or Other Jurisdiction of (I.R.S
2006 ANNUAL REPORT IND IA. ARI E A VEN GE D S EV EN FO LD B UR T BA CH AR AC H BE E GE ES SUM ND DAY THE LA DY IS A TRAMP TOO MARVELOU MERTIME HAPPY BIRTHDAY TO YOU NIGHT A S FOR WO BI RDS DA G & NCING RI IN T Listen to our story. C H H E DA BJ RK W ÖR INT K J ER AM WO ES NDE BL RL UN AND T B A OY IN’ Z N T S DA H HE OOD SW M EE ICHE T LLE FR BRAN OS CH M TY ICHA TH EL BU E BLÉ R SN YAN OW CABRE M RA AN A DREAS CA N RLSSON TRA W CY CHAPMAN H RAY CHARLES CHER ERIC CLAPTON PHIL COLLINS TH EN E CORRS COWBO I Y TROY FA BRYAN LL -MICH I AEL N COX LO DANI VE TY K M ANE I TH ST E DA Y RK TH NES E S C PA RA R IG TY DAV ’S ID OV DE ER AT O H C N T AB HE FO ST R C RE UT ET IE WH DE ER FT E YO ON U L ES IVE D BLUE ID BER DY RY HI D LL MA ID KIN’ WH O OOPEE D REAM A LITT LE DREAM OF ME IT HAD TO BE YOU YOU GO TO MY HEAD P EOP LE I ON LY W AN T T O B E W ITH YO U W HE N A MA DI N L STURBED OV LIPS THE DOORS ES FIASCO FLAMING DR. -
Subculture the Meaning of Style
SUBCULTURE THE MEANING OF STYLE IN THE SAME SERIES The Empire Writes Back: Theory and practice in post- colonial literatures Bill Ashcroft, Gareth Griffiths, and Helen Tiffin Translation Studies Susan Bassnett Rewriting English: Cultural politics of gender and class Janet Batsleer, Tony Davies, Rebecca O’Rourke, and Chris Weedon Critical Practice Catherine Belsey Formalism and Marxism Tony Bennett Dialogue and Difference: English for the nineties ed. Peter Brooker and Peter Humm Telling Stories: A theoretical analysis of narrative fiction Steven Cohan and Linda M. Shires Alternative Shakespeares ed. John Drakakis The Semiotics of Theatre and Drama Keir Elam Reading Television John Fiske and John Hartley Linguistics and the Novel Roger Fowler Return of the Reader: Reader-response criticism Elizabeth Freund Making a Difference: Feminist literary criticism ed. Gayle Greene and Coppélia Kahn Superstructuralism: The philosophy of structuralism and post-structuralism Richard Harland Structuralism and Semiotics Terence Hawkes Dialogism: Bakhtin and his world Michael Holquist Popular Fictions: Essays in literature and history ed. Peter Humm, Paul Stigant, and Peter Widdowson The Politics of Postmodernism Linda Hutcheon Fantasy: The literature of subversion Rosemary Jackson Sexual/Textual Politics: Feminist literary theory Toril Moi Deconstruction: Theory and practice Christopher Norris Orality and Literacy: The technologizing of the word Walter J. Ong Narrative Fiction: Contemporary poetics Shlomith Rimmon-Kenan Adult Comics: An introduction Roger Sabin Criticism in Society Imre Salusinszky Metafiction: The theory and practice of self-conscious fiction Patricia Waugh Psychoanalytic Criticism: Theory in practice Elizabeth Wright DICK HEBDIGE SUBCULTURE THE MEANING OF STYLE LONDON AND NEW YORK First published in 1979 by Methuen & Co. -
Capitals of Punk: Paris, DC, and the Circulation of Urban Counternarratives
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2017 Capitals of Punk: Paris, DC, and the Circulation of Urban Counternarratives Tyler William Sonnichsen University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the American Popular Culture Commons, Ethnomusicology Commons, Human Geography Commons, and the Other Film and Media Studies Commons Recommended Citation Sonnichsen, Tyler William, "Capitals of Punk: Paris, DC, and the Circulation of Urban Counternarratives. " PhD diss., University of Tennessee, 2017. https://trace.tennessee.edu/utk_graddiss/4426 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Tyler William Sonnichsen entitled "Capitals of Punk: Paris, DC, and the Circulation of Urban Counternarratives." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Geography. Derek H. Alderman, Major Professor We have read this dissertation and recommend its acceptance: Micheline Van Riemsdijk, Leslie C. Gay, Thomas Bell Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) Capitals of Punk: Paris, DC, and the Circulation of Urban Counternarratives A Dissertation Presented for the Doctor of Philosophy Degree The University of Tennessee, Knoxville Tyler William Sonnichsen May 2017 Acknowledgements I've never been known as a man of few words.