XP-80 Quick Start Guide
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Digital Commons @ Columbia College Chicago
Columbia College Chicago Digital Commons @ Columbia College Chicago Alumni Newsletters Alumni Fall 9-2009 DEMO 10 Columbia College Chicago Follow this and additional works at: http://digitalcommons.colum.edu/alumnae_news This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation DEMO 10 (Autumn 2009), Alumni Magazine, College Archives & Special Collections, Columbia College Chicago. http://digitalcommons.colum.edu/alumnae_news/77 This Article is brought to you for free and open access by the Alumni at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Alumni Newsletters by an authorized administrator of Digital Commons @ Columbia College Chicago. ARTS + MEDI A = CULTURE A R TS + MEDIA = CULTURE F A L L 2 0 0 9 FLUO R A M N I & F RIE N D S O F C O L U M B I A C O L LE G E C H I CAG O 10 Teaching Funny Studying comedy with Chicago’s improv masters CU O L M B I A C O L LE G E C H I CA G O PRESE N T S CN O VERSATIONS in the Arts A year-long exploration of trends and issues in disciplines taught by Columbia’s School of Media Arts, focusing on social media, journalism, and the moving image. CENTURY ST Biz Stone A rianna Huffington Mira Nair T uesday, October 6, 2009 Wednesday, January 27, 2010 Wednesday, April 28, 2010 Co-founder of the social Co-founder and Editor-In-Chief of Director of Salaam Bombay!, network Twitter The Huffington Post News Website The Namesake, Mississippi Masala, Tweet with us at #bizstonecolum and Monsoon Wedding This series opens a three-year cycle of programs devoted to each President’s Club donors enjoy of Columbia’s three schools: Media Arts, Fine and Performing Arts, MEDIA ARTS IN THE 21 invitations to VIP receptions and Liberal Arts and Sciences. -
America's Hardcore.Indd 278-279 5/20/10 9:28:57 PM Our First Show at an Amherst Youth Center
our first show at an Amherst youth center. Scott Helland’s brother Eric’s band Mace played; they became The Outpatients. Our first Boston show was with DYS, The Mighty COs and The AMERICA’S HARDCORE FU’s. It was very intense for us. We were so intimidated. Future generations will fuck up again THE OUTPATIENTS got started in 1982 by Deep Wound bassist Scott Helland At least we can try and change the one we’re in and his older brother Eric “Vis” Helland, guitarist/vocalist of Mace — a 1980-82 — Deep Wound, “Deep Wound” Metal group that played like Motörhead but dug Black Flag (a rare blend back then). The Outpatients opened for bands like EAST COAST Black Flag, Hüsker Dü and SSD. Flipside called ’em “one of the most brutalizing live bands In 1980, over-with small cities and run-down mill towns across the Northeast from the period.” 1983’s gnarly Basement Tape teemed with bored kids with nothing to do. Punk of any kind earned a cultural demo included credits that read: “Play loud in death sentence in the land of stiff upper-lipped Yanks. That cultural isolation math class.” became the impetus for a few notable local Hardcore scenes. CANCEROUS GROWTH started in 1982 in drummer Charlie Infection’s Burlington, WESTERN MASSACHUSETTS MA bedroom, and quickly spread across New had an active early-80s scene of England. They played on a few comps then 100 or so inspired kids. Western made 1985’s Late For The Grave LP in late 1984 Mass bands — Deep Wound, at Boston’s Radiobeat Studios (with producer The Outpatients, Pajama Slave Steve Barry). -
What Is Post-Punk?
What is Post-Punk? A Genre Study of Avant-Garde Pop, 1977-1982 Mimi Haddon Schulich School of Music McGill University, Montréal April 2015 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Ph.D. in Musicology © Mimi Haddon 2015 iii TABLE OF CONTENTS Abstract ........................................................................................................................................... vi Résumé ......................................................................................................................................... vii Acknowledgements ..................................................................................................................... viii List of Musical Examples ................................................................................................................ x List of Diagrams and Tables ........................................................................................................... xi List of Figures ............................................................................................................................... xii INTRODUCTION ........................................................................................................................... 1 Historiography and Genre ........................................................................................................ 4 Genre as Musical Style .......................................................................................................... -
The Music (And More) 2019 Quarter 2 Report
The Music (and More) 2019 Quarter 2 Report Report covers the time period of April 1st to pencildive - "When I Go Outside" (EP) June 30th, 2019. I inadvertently missed a few [alternative punk rock] Glens Falls before that time period, which were brought to my attention by fans, bands & others. The Prince Daddy & The Hyena - "Cosmic Thrill missing are listed at the end, along with an End Note… Seekers" [garage punk] Albany RECORDINGS: Promiser - "Clarity" (EP) [pop punk rock] Albany Hard Rock / Metal / Punk Psychomanteum - "Worms of Empire" (single track) Banshee - "Lizard Conditions" (single) [alternative [thrash prog metal industrial] Albany hardcore heavy metal] Schenectady Self Defense Family - "Performative Guilt" Between Now and Forever - "Leave" (single) [melodic [experimental hardcore punk] Cohoes metal rock] Albany Senior Living - "35mm" (EP) [alternative grunge rock Comrade Nixon - "Plague Of The House Of The Wiggler" shoegaze] Albany [punk noise rock post-punk] Lyon Mountain Spell Runner - "Always On The Cool" [garage metal Drayuka - "The Prophet of Dreams & Chaos" [electronic power punk psychedelic hardcore] Albany industrial death punk] Glens Falls The Erotics - "The Songs Remain Deranged" [sleaze Eternal Crimes - "Cryptically Acclaimed" [death rock rock] Albany experimental post-punk] Troy The Slaughterhouse Chorus - "...In the Name of Ghost Chant - "Shapes In The Light" (EP) [melodic post Progress" (EP) [americana cowpunk rock] Albany hardcore] Hudson Valley The Spirit of Violence - "Ultimate Purification" (EP) Greasefire -
Directory of Everything Indie Promo, Labels, Marketing and Media Relations
Directory of Everything Indie Promo, Labels, Marketing and Media Relations Music-makers tap into this list to connect with indie labels, marketing experts and inside publicists. Plus there’s loads of contact info to aid in promoting your career: swag & t-shirt manufacturers, CD/vinyl duplicators, blog sites, social media tools and more. *Please request via email to submit API RECORDS Styles/Specialties: indie-rock, pop, INDIE LABELS material P.O. Box 7041 electronic and many more 1-2-3-4 GO! RECORDS Adam Moseley, Allison Wright Clark, Watchung, NJ 07069 Roster: Vampire Weekend, Sonic Youth, 420 40th Street #5 Emily Sonneborn, A&R Email: [email protected] Queens of the Stone Age, the National, Oakland, CA 94609 Web: apirecords.com Warpaint, the xx, Yo La Tengo and the 510-985-0325 A-F RECORDS New Pornographers Email: [email protected] P.O. Box 71266 APPLESEED RECORDINGS Distribution: ADA Web: 1234gorecords.com Pittsburgh, PA 15213 P.O. Box 2593 *not actively accepting demos Email: [email protected] West Chester, PA 19380 Additional location: Web: a-frecords.com 610-701-5755 300 ENTERTAINMENT *Currently accepting demos Email: [email protected] 2035 Hyperion Ave. 112 Madison Ave Web: appleseedmusic.com Los Angeles, CA 90027 New York, NY 10016 ACTIVATE ENTERTAINMENT 213-341-4823 Email: [email protected] 5062 Lankershim Bl. #174 ARCTIC SIREN PRODUCTIONS Web: 300ent.com N. Hollywood CA 91601pr 4105 Turnagain Blvd., Ste. L BIELER BROS. RECORDS Notable Artists: Young Thug, Shy Glizzy, 818-505-0669 Anchorage, AK 99517 4100 N. Powerline Rd., Ste. U-5 Famous Dex, Anna of the North Email: [email protected] 907-245-7311 Pompano Beach, FL Contact: Jay Arthur Email: [email protected] 954-979-4781 4AD RECORDS Genres: Pop, Hip-Hop, R&B/Soul, Rock, Web: arcticsiren.com Email: [email protected] 17-19 Alma Rd. -
The Local 518 Music
2020 Quarter 2 Report 2020 Quarter 2 Report Report covers the time period of April 1st to JJ Savage - "Junkyard Dogs / State of Mind" June 30th, 2020. I inadvertently missed a few (single) [hard rock] Albany/LA before that time period, which were brought to my attention by fans, bands & others. The Jo - "Live at QE2 - May 13, 1992" [emo punk missing is listed at the end, along with an End Note… metal] Scotia RECORDINGS Lame Dude - "Getting Tired, Getting Over It" (EP) [alt grunge emo punk rock] Troy Hard Rock / Metal / Punk 1313 Mockingbird Lane - "Unfinished Business (The Mike Vitali - "Homegrown Session: Vol 2" | Toilet Tapes)" [garage punk rock horror] Albany "Homegrown Session: Vol 1" [heavy stoner rock blues] Voorheesville Banshee - "Sunflower" (single) [hardcore metal] Schenectady Mind Reader - "Mortality Obsession" (3-tracks) [heavy metal trash] Troy Bendt - "Bendt Acoustic Sessions: Vol. 1" [alternative modern hard rock] Albany Moriah Formica - "Better Off Alone" (single) [hard rock] Albany Black Electric - "Utopian Hymns" [heavy stoner blues rock] Voorheesville Nice Try Kid - "Attics" [alt pop punk rock] Adams MA Broken Field Runner - "Broken" [electronic emo pop No More Death Stars - "Fear Song" (single) [pop punk punk] Albany / LA rock] Glens Falls Crafter - "No Renaissance" (single) [melodic hardcore] Postage / Mikey Erg - "Paranoia / Self Addressed Pittsfield MA Stamped Envelope" (split single [hardcore poer punk] Albany/NJ Concrete - "World Tomb" (single) [hardcore thrash metal] Albany Reprise - "Blackout" (single) [heavy -
U2's Creative Process
U2’S CREATIVE PROCESS: SKETCHING IN SOUND K. Paul Harris A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music Chapel Hill 2006 Approved by : Advisor: John Covach Reader: Allen Anderson Reader: David Garcia Reader: Jocelyn Neal Reader: Severine Neff © 2006 K. Paul Harris ALL RIGHTS RES ERVED ii ABSTRACT K. PAUL HARRIS: U2’s Creative Process: Sketching in Sound (Under the direction of John Covach) The music of Irish rock band, U2, evinces a compositional process developed by musicians of exceptional inexperience who underwent an equally exceptional insular development, to become one of the most critically acclaimed rock bands of all time. This dissertation uses a variety of resources —principally demos of mature songs from U2’s seventh studio album, Achtung Baby (1991), recordings of earl y performances surrounding the recording of their debut album, Boy (1980), and video documentary sources chronicling the recording of songs from The Unforgettable Fire (1984) and The Joshua Tree (1987) —as a comparative basis for an assessment of U2’s signa ture musical style, their aesthetic of song, and their use of the recording studio in the realization and development of that aesthetic. U2 arose from the post -punk milieu of the late 1970s, that took its lead from the slightly older punks, (the Sex Pisto ls and t he Clash ), to forge a style distinct from mainstream pop. The members of U2 had widely divergent musical tastes and abilities (some bordering on no ability at all) which compelled them to begin writing their own music from the outset, typically th rough interminable rehearsal —a form of live sketching. -
Protest and Survive: a Brief History and Analysis of the Politics of Punk
PROTEST AND SURVIVE: A BRIEF HISTORY AND ANALYSIS OF THE POLITICS OF PUNK A THESIS IN Musicology Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF MUSIC by DILLON PATRICK HENRY B.F.A., Carnegie Mellon University, 2010 M.M., University of Michigan, 2014 Kansas City, Missouri 2018 © 2018 DILLON PATRICK HENRY ALL RIGHTS RESERVED PROTEST AND SURVIVE: A BRIEF HISTORY AND ANALYSIS OF THE POLITICS OF PUNK Dillon Patrick Henry, Candidate for the Master of Music Degree University of Missouri-Kansas City, 2018 ABSTRACT Politics are an important aspect of most punk music, and many authors, avoiding concrete description, paint the genre with a nebulous left-ish brush. This, however, is insufficient at explaining how and why the genre has adapted to (as well as helped shape) geographically and culturally disparate communities across the globe over the last half- century. Moreover, most academic treatment of punk rock comes from a cultural and sociological perspective, lacking a theoretical and analytical discussion of the music itself. This document will synthesize the evolving genre’s musical and cultural entanglements with politics. To this end, the document will focus on landmark bands, albums, and locations around the world in a mostly chronological order with occasional overlap, documenting cultural development of the genre with supplemental musical analysis. With rigorous primary-source analysis of punk rock zines, this document will also recognize punk rock communities and transmission of ideas outside of the bands themselves. The elusive intertwining and occasionally paradoxical stances of the punk subculture are precisely why creating a single definition of punk rock is a difficult endeavor. -
2016 Music Preview Guide
The Independent Blogger’s Guide to SXSW 2016 MUSIC PREVIEW TORI HOWARD TORI Introduction “Who are you looking forward to seeing this year?” It’s a question I get asked almost every day. And each time without fail, there’s an awkward silence while my mind starts running through the 2000+ acts we’ve invited to perform at SXSW. No matter which ones I rattle off, there’s always a tinge of regret afterward once I slowly start remembering countless other artists I should have mentioned. I could have brought up how great everything I’ve heard from Pastel Ghost is or how amazingly epic Jambinai’s live show is. I forgot to mention how often I have WALL’s “Cuban Cigars” stuck in my head, and how proud I am that Austin has such great forward-thinking acts like Future Blondes, BOAN and Troller. I neglected to say how curious I am to see how people react to our first-ever Hip-Hop From Asia showcase, and how excited I am that everyone at SXSW will have the chance to see cult 80’s post-punk band Sad Lovers & Giants perform their first show on American soil. To be honest, I’m happy to have this problem. Once again in the spirit of discovery, we’ve asked a few of the many tastemakers we respect to share their voice. The following pages are a snapshot of the artists who we are all excited about. You’ve likely heard people talking about some of these in anticipation of the following weeks and days, while others are the “hidden gems” we’ve stumbled upon and feel passionate about. -
Punk in Austin, the Raul's
When We Were Young and There Were Rats on the Wall Punk in Austin, the Raul’s Years Mike Hooker 40 Margaret Moser at Raul’s. Photo by and courtesy of Kevin Vandivier (www.vandivierphotographers.com). This image appeared in the University of Texas Cactus Yearbook, 1980. The formative years of the Austin punk and new wave scene were creative and impactful times. From the beginning of 1978 through the spring of 1981, a small club called Raul’s served as the cornerstone of this innovative movement. Raul’s was situated along a section of Guadalupe Street known as “the Drag” on the western edge of the University of Texas. Its proximity to campus and the club’s willingness to give any new band a 41 stage on which to perform helped solidify the foundation of a unified, alternative network of fans and musicians. With a large share of its audience consisting of University of Texas students, the Raul’s scene expanded with each new semester as more young people became aware of the excitement within walking distance of student housing. At its peak, Raul’s hosted punk shows six nights a week. Many of the dedicated fans that frequented Raul’s eventually formed their own bands, even though a large portion of them had no prior musical training. They used their limitations and creative senses to develop some of the most diverse music and stage shows of the punk rock era.1 Austin’s punk scene emerged in the late 1970s, largely as a backlash against the progressive country music that had been so prevalent in town earlier in the decade.