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Young Americans to Emotional Rescue: Selected Meetings
YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music. -
Traditional Funk: an Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio
University of Dayton eCommons Honors Theses University Honors Program 4-26-2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Caleb G. Vanden Eynden University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses eCommons Citation Vanden Eynden, Caleb G., "Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio" (2020). Honors Theses. 289. https://ecommons.udayton.edu/uhp_theses/289 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Abstract Recognized nationally as the funk capital of the world, Dayton, Ohio takes credit for birthing important funk groups (i.e. Ohio Players, Zapp, Heatwave, and Lakeside) during the 1970s and 80s. Through a combination of ethnographic and archival research, this paper offers a pedagogical approach to Dayton funk, rooted in the styles and works of the city’s funk legacy. Drawing from fieldwork with Dayton funk musicians completed over the summer of 2019 and pedagogical theories of including black music in the school curriculum, this paper presents a pedagogical model for funk instruction that introduces the ingredients of funk (instrumentation, form, groove, and vocals) in order to enable secondary school music programs to create their own funk rooted in local history. -
Discourse on Disco
Chapter 1: Introduction to the cultural context of electronic dance music The rhythmic structures of dance music arise primarily from the genre’s focus on moving dancers, but they reveal other influences as well. The poumtchak pattern has strong associations with both disco music and various genres of electronic dance music, and these associations affect the pattern’s presence in popular music in general. Its status and musical role there has varied according to the reputation of these genres. In the following introduction I will not present a complete history of related contributors, places, or events but rather examine those developments that shaped prevailing opinions and fields of tension within electronic dance music culture in particular. This culture in turn affects the choices that must be made in dance music production, for example involving the poumtchak pattern. My historical overview extends from the 1970s to the 1990s and covers predominantly the disco era, the Chicago house scene, the acid house/rave era, and the post-rave club-oriented house scene in England.5 The disco era of the 1970s DISCOURSE ON DISCO The image of John Travolta in his disco suit from the 1977 motion picture Saturday Night Fever has become an icon of the disco era and its popularity. Like Blackboard Jungle and Rock Around the Clock two decades earlier, this movie was an important vehicle for the distribution of a new dance music culture to America and the entire Western world, and the impact of its construction of disco was gigantic.6 It became a model for local disco cultures around the world and comprised the core of a common understanding of disco in mainstream popular music culture. -
Outsiders' Music: Progressive Country, Reggae
CHAPTER TWELVE: OUTSIDERS’ MUSIC: PROGRESSIVE COUNTRY, REGGAE, SALSA, PUNK, FUNK, AND RAP, 1970s Chapter Outline I. The Outlaws: Progressive Country Music A. During the late 1960s and early 1970s, mainstream country music was dominated by: 1. the slick Nashville sound, 2. hardcore country (Merle Haggard), and 3. blends of country and pop promoted on AM radio. B. A new generation of country artists was embracing music and attitudes that grew out of the 1960s counterculture; this movement was called progressive country. 1. Inspired by honky-tonk and rockabilly mix of Bakersfield country music, singer-songwriters (Bob Dylan), and country rock (Gram Parsons) 2. Progressive country performers wrote songs that were more intellectual and liberal in outlook than their contemporaries’ songs. 3. Artists were more concerned with testing the limits of the country music tradition than with scoring hits. 4. The movement’s key artists included CHAPTER TWELVE: OUTSIDERS’ MUSIC: PROGRESSIVE COUNTRY, REGGAE, SALSA, PUNK, FUNK, AND RAP, 1970s a) Willie Nelson, b) Kris Kristopherson, c) Tom T. Hall, and d) Townes Van Zandt. 5. These artists were not polished singers by conventional standards, but they wrote distinctive, individualist songs and had compelling voices. 6. They developed a cult following, and progressive country began to inch its way into the mainstream (usually in the form of cover versions). a) “Harper Valley PTA” (1) Original by Tom T. Hall (2) Cover version by Jeannie C. Riley; Number One pop and country (1968) b) “Help Me Make It through the Night” (1) Original by Kris Kristofferson (2) Cover version by Sammi Smith (1971) C. -
Soul-Guide.Pdf
Soul – the sub-genres: • The Motown Sound • The Stax/Volt Sound • Atlantic Soul • Philadelphia Soul • 80s Soul/Urban ORIGINS Soul music eventually materialized in the early 1960s. It developed out of the Black music that became popular in the 1950's; that is, American gospel and R&B, performed primarily by black musicians almost exclusively to a black audience. Some of the most successful R&B artists of the 50s were the ones who made it into the pop charts in the 1960s with ‘Soul’ numbers. One such person was Ray Charles who was a major force in the early development of soul music with his unique style, which was of a rich blend of gospel, rhythm and blues and Jazz. musical characteristics Soul music, especially that from the 1960s, was simply ‘pop-orientated’ R&B. Therefore, Soul and R&B performances share common instrumentation, with the performing ensemble divided into a rhythm section and a horn section. Typically, the rhythm section consists of a drum kit, bass (electric or acoustic), piano (sometimes organ instead of or in addition to piano), and guitar, while the horn section features saxophones, trumpets, and occasionally trombones (though confusingly almost never, despite its name, horns). The emphasis on the horn section in most styles of soul and R&B has been one of the ways in which the music has historically been differentiated from white rock music, which has tended to be guitar dominated. Other common musical elements of Soul and R&B music include the use of: (1) the twelve--bar form, using a three line lyric, originating in earlier styles of blues; (2) call and response, whereby a singer or instrumentalist will sing or play a phrase and another vocalist or instrumentalist will answer with another phrase; (3) incessant repetition of musical notes, rhythms, phrases, or verses; the use of blue notes and (5) a tightly integrated and complex blending of instruments, in which it is often difficult to differentiate the separate sounds or instruments being played at a given moment. -
2021 ASCAP Rhythm & Soul Music Awards Official Rules And
ASCAP RHYTHM & SOUL MUSIC AWARDS OFFICIAL RULES AND REGULATIONS 2021* These Official Rules and Regulations (the “Rules”) govern the 34th Annual ASCAP Rhythm & Soul Music Awards (individually and collectively, the “Awards”), including, but not limited to, eligibility, winner selection process, and award criteria. BY PARTICIPATING IN THE AWARDS PROCESS AND AWARDS CELEBRATION, ALL PARTICIPANTS (“PARTICIPANTS”) AGREE TO BE BOUND BY THESE OFFICIAL RULES AND REGULATIONS AND THE DECISIONS OF ASCAP, WHICH ARE FINAL AND BINDING IN ALL RESPECTS. VOID WHERE PROHIBITED. 1. PRESENTER The Awards are presented by the American Society of Composers, Authors and Publishers (“ASCAP”), 250 West 57th Street, New York, New York 10107. 2. ELIGIBILITY A. Who is Eligible The following writers (each, an “Eligible Writer”) and publishers (each, an “Eligible Publisher”; Eligible Writers and Eligible Publishers are collectively referred to as “Eligible Members”) are eligible for Awards consideration: • A writer member of ASCAP in good standing as of April 26, 2021 (the “Date of Determination”); • A writer member of an Affiliated Society (as defined below) in good standing within the meaning of such Affiliated Society’s rules and regulations as of the Date of Determination; and • A publisher member of ASCAP (i.e., a publisher, co-publisher, publisher administrator or sub-publisher for the territory of the United States) in good standing as of the Date of Determination. To be in good standing, an ASCAP member must have been elected to membership in ASCAP, be eligible to vote at General Meetings of ASCAP and have not resigned from membership. An “Affiliated Society” is a performing rights organization with a principal office outside of the United States with whom ASCAP has a written and binding agreement that authoriZes ASCAP to license musical * Modified on March 28, 2021. -
The Soul Music of the Revolution
Rivers of Rhythm: The Soul Music of the Revolution: Social and Protest Movements of the late 1960s and 1970s Audience Level: 8th — 12th Grades Genre/Content Overview: Social History, U.S. History, Language Arts and Speaking Learning Objectives: • Students will describe the role of We Shall Overcome in the Civil Rights Movement. • Students will investigate the relationship between African American artists and activists in the authoring of We Shall Overcome. Summary Description: In this lesson, students will explore and examine various protests and social movements of the late 1960s and 1970s. Students will examine how these movements incorporated music into their causes. Students will also examine how the artists used music to support activism and spoke to the social, cultural, and political issues of the time. Additionally, students will analyze and discuss United States history, social conscious, citizenship, and the concept of protest, and social movements. The passing of the Voting Rights Act and the Civil Rights Act did not end the struggle and tensions across the United States. In fact, the late 1960s and throughout the 1970s the United States experienced a lot of social, political and cultural change. The late 1960s and the 1970s social, and protest movements picked up where the Civil Rights Movement left off. The social and protest movements of the late 1960s and 1970s tapped into something deeper across the United States. These included the anti-war movement, the war on poverty, wom- en’s movement, equal rights, urban revitalization and grass roots movements. This era ushered in a new type of social revolution. -
Big Al's R&B, 1956-1959
The R & B Book S7 The greatest single event affecting the integration of rhythm and blues music Alone)," the top single of 195S, with crossovers "(YouVe Got! The Magic Touch" with the pop field occurred on November 2, 1355. On that date. Billboard (No. 4), "The Great Pretender" and "My Prayer" (both No. It. and "You'll Never magazine expanded its pop singles chart from thirty to a hundred positions, Never Know" b/w "It Isn't Bight" (No. 14). Their first album "The Platters" naming it "The Top 100." In a business that operates on hype and jive, a chart reached No. 7 on Billboard's album chart. position is "proof of a record's strength. Consequently, a chart appearance, by Frankie Lymon and the Teenagers, another of the year's consistent crossover itself, can be a promotional tool With Billboard's expansion to an extra seventy artists, tasted success on their first record "Why Do Fools Fall In Love" (No. 71, positions, seventy extra records each week were documented as "bonifide" hits, then followed with "I Want You To Be My Girl" (No. 17). "I Promise To and 8 & B issues helped fill up a lot of those extra spaces. Remember" (No. 57), and "ABCs Of Love" (No. 77). (Joy & Cee-BMI) Time: 2:14 NOT FOR S»U 45—K8592 If Um.*III WIlhORtnln A» Unl» SIM meant tea M. bibUnfmcl him a> a ronng Bnc«rtal««r to ant alonic la *n«l«y •t*r p«rjform«r. HI* » T«»r. Utcfo WIIII* Araraa ()•• 2m«B alnft-ng Th« WorM** S* AtUX prafautonaiiQ/ for on manr bit p«» throoghoQC ih« ib« SaiMt fonr Tun Faaturing coont^T and he •llhan«h 6. -
The Assassination of Dr. Martin Luther King Jr. and the Birth of Funk Culture
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2013 Funk My Soul: The Assassination of Dr. Martin Luther King Jr. And the Birth of Funk Culture Domenico Rocco Ferri Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the United States History Commons Recommended Citation Ferri, Domenico Rocco, "Funk My Soul: The Assassination of Dr. Martin Luther King Jr. And the Birth of Funk Culture" (2013). Dissertations. 664. https://ecommons.luc.edu/luc_diss/664 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2013 Domenico Rocco Ferri LOYOLA UNIVERSITY CHICAGO FUNK MY SOUL: THE ASSASSINATION OF DR. MARTIN LUTHER KING JR. AND THE BIRTH OF FUNK CULTURE A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PROGRAM IN HISTORY BY DOMENICO R. FERRI CHICAGO, IL AUGUST 2013 Copyright by Domenico R. Ferri, 2013 All rights reserved. ACKNOWLEDGEMENTS Painstakingly created over the course of several difficult and extraordinarily hectic years, this dissertation is the result of a sustained commitment to better grasping the cultural impact of Dr. Martin Luther King Jr.’s life and death. That said, my ongoing appreciation for contemporary American music, film, and television served as an ideal starting point for evaluating Dr. -
ANDRE WILLIAMS' 60Th Birthday Party
ANDRE WILLIAMS' 60th Birthday Party Nov. 8. 1996 Some people fall through the cracks. But Chicago soul singer Andre Williams broke off and blew away, like the last leaf of autumn in a bitter wind. A jive-talking songwriter-producer during the Chicago soul music renaissance of the mid-1960s, Williams had his own dance hits like "Jail Bait" and "Bacon Fat." He also discovered Alvin Cash, who in 1963 had a national hit with "Twine Time." In the fall of 1994, I tried to help songwriter-producer Ben Vaughn find Williams , a.k.a. "Mr. Rhythm." Vaughn wanted to include Williams in the critically acclaimed Elektra/Nonesuch American Explorer Series. The records championed overlooked taproot artists like Jimmie Dale Gilmore and zydeco star Boozoo Chavis. In 1993 Vaughn lovingly produced the late soul singer Arthur Alexander's "Lonely Just Like Me" for the series, and he wanted to produce Williams . The trail dried up with Cash, who said Williams was "in a hospital somewhere." On a recent Sunday, Williams sat alone at Beat Kitchen on the north side of Chicago, where he will front a five-piece band to celebrate his 60th birthday. Opening acts include Chicago doo-wop group legends the El Dorados and former Chess Records vocalist Jo Ann Garrett. Current El Dorados include lead vocalist Pirkle Lee Moses Jr., who founded the group in 1952, and second tenor Larry Johnson of the Moroccos. "I knew you were looking for me," Williams said as a sly smile crept out from under his tan wide-brim hat. "I was in drug rehabilitation and a super depression. -
Ing the I Needs of the Music & Record 1111 Ilindustry
record Dedicated To Serving The I Needs Of The Music & Record 1111 IlIndustry Vol. 21, No. 1017 December 3, 1966 in the opinion of the editors, this week the following records are the SINGLE PICKS OF THE WEEK WHO TELL IT TO THE RAIN IN THE ,THE 4 SEASONS The sensational 'Last Train to Always hardy perennials, the 4 Here's a pretty song Herman Clarksville" is followed by what Seasons have a new song, "Tell and the Hermits sing with a sounds like an even more sen- It to the Rain," that sounds strong tinge of melodic feeling. sational one-"I'm a Believer" very contemporary, very Bob "East West" should be a power- WORLD -penned by Neil Diamond (Col - Crewe. Never rains but it pours ful contender east to west gems 1002). (Philips 40412). (MGM 13639). SLEEPERS OF THE WEEK % LUCKY L1Nor WHAT IS SOUL? BEN E. KING ,4,44444......44444444444, One of the soul kings, Ben E. Keith Relf of the Yardbirds How '20s can you get? Here's a King, sets out to define an steps into the solo spotlight guy dubbed Stutz Bearcat (Mur- elusive term on "What is Soul." with this wildly -arranged side ray Roman) singing the Charles Will spur many a soul sell at- that has to be heard to be Lindbergh song, "Lucky Lindy." tack (Atco 6454). believed (Epic 5-10110). Should skidoo up the charts (Warner Bros. 5817). 1 LBI ".JIS OF THE WEEK Epic's Dave Clark 5 1AytAmcIRiCAfvs GREA-rIS1 Vl)i.klME 2 GcyiNç MaRia Slop The Clock & Their 14 Gold Disks MavdayMlondAy SundayAwl ME f.iviaí At>ovclfou* HeAd - Dave's Extraordinary TwEKry Fou« Hou«s F«oaºTidsa CRawada 'lit NArect Asour4d Silly Boy, Gist Business Achievements Why CANY'You &dog Me Home are "Crying," Discussed This Issue. -
PPCA Licensors Phonographic Performance Company of Australia Limited Control of Music on Hold and Public Performance Rights
PPCA Licensors Phonographic Performance Company of Australia Limited Control of Music on Hold and Public Performance Rights 88dB Bowles Production *ABC Music Brian Lord Entertainment ACMEC Bridge, Billy Adams, Clelia Broad Music AGR Television Records Buckley, Russell Aitken, Gregory A. Budimir, Mary Michelle AITP Records Bullbar P/L aJaymusic Bulletproof Records t/a Fighterpilot AJO Services Bulmer, Grant Matthew Allan, Jane Bunza Entertainment International Pty Ltd Aloha Management Pty Ltd Butler Brown P/L t/a The John Butler Trio Alter Ego Promotions Byrne, Craig Alston, Chris Byrne, Janine Alston, Mark *CAAMA Music Amber Records Aust. Pty Ltd. Cameron Bracken Concepts Amphibian *Care Factor Zero Recordz Anamoe Productions Celtic Records Anderson, James Gordon SA 5006 Angelik Central Station Pty Ltd Angell, Matt Charlie Chan Music Pty Ltd Anthem Pty Ltd Chart Records and Publishing Anvil Records Chase Corporation P/L Anvil Lane Records Chatterbox Records P/L Appleseed Cheshire, Kim Armchair Circus Music Chester, John Armchair Productions t/a Artworks Recorded Circle Records Music CJJM Australian Music Promotions Artistocrat P/L Clarke, Denise Pamela Arvidson, Daniel Clifton, Jane Ascension World Music Productions House Coggan, Darren Attar, Lior Col Millington Prodcutions *Australian Music Centre Collins, Andrew James B.E. Cooper Pty Ltd *Colossal Records of Australia Pty Ltd B(if)tek Conlaw (No. 16) Pty Ltd t/a Sundown Records Backtrack Music Coo-ee Music Band Camp Cooper, Jacki Bellbird Music Pty Ltd Coulson, Greg Below Par Records