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KMNR 89.7 FM Winter Semester 2001 Program Schedule Call: 341.4272 Email: [email protected] Online Requests: http://www.umr.edu/~kmnr Sunday Monday Tuesday Wednesday Thursday Friday Saturday am anarcho-agitprop metal, hard/classic rock rock, punk, jazz, hard rock, metal, punk new, indie, punk industrial, metal rock post/classic rock, rock THURSDAY rock help me Overthrow AMBER alternative Elvis has left the Wushu building, and NIGHT perky girl iamin TRICHROMES gonetothe God Radio bar... SHUTDOWN is dead HELL Mike T. Aaron Joel B. Don Kurt Katie Mike everything classic rock new, post, punk, am hard rock, ska Music for Sofa Have You the King Found Indecisive Jebus? Dave Paul Jay post rock, jam, folk, rock, hip-hop 6:00 eclectic 6:00 indie rock, hardcore, classic rock 6:00 everything am jazz, blues local Eatthis, Fievel goes localBig Al’s SLOBODAN Radio Bitchin’ AND The Early Show suckaduck! THE PARTY Jason Melissa anesthesia Broadcast RANGERS ska 8:30 Joel F. classic rock 8:30 Dan Bianca rock, classic rock classical new rock, ska 9:00 Allan classic rock 9:00 am I’ve Heard The power pop, 9:30 Phish phans, 12FU He Has A Very punk Shirts off Donkey Small Penis FIN From Rolla Mirage Now Punch - With Love Mike E. Matt A. Nick Omar Andy Cathy trance, acid 11:30 punk, hard classic rock, 11.30 funk, folk, jazz, 11.30 funk, reggae, jazz, Sachin bluegrass pm new, classic rock jazz, drum & bass rock, metal, ska mo-town jam, blues etc. 12:00 hip hop, ska, reggae OM MANI AVAILABLE FOR PUBLIC Jump Back FUNK LICK HERE REHAB IS FOR PADME . It’s Over, HUM TOUCHING Touch Yo’ Self QUITTERS Jason & UMR Prime. Cory Robbie Lizz Jay Josh information, Greg R. blues, rock 2:30 classical, 80’s, 2:30 rpm, eclectic 2:30 live jam, folk, 2:30 2:30 Jim grrl news pm post-rock, jazz, dance, ska, rock, Information classical, jazz, 3:00 experimental rpm ORANGE A blues, classic rock No Techno Split Supergravel Minimalist seeks JELLO Live Dr. Eclectic or How For You? Levels... Road Ian I Learned to Love country 4:30 woman William Richie Jason One Erin Plow-Boy Glen and The Bomb Banjo Mat’s Good Time ska rpm Adam rock, jam, indie 5:30 5:30 5:30blues 5:30 Country Jamboree Greg pm post rock, kraut i came. Down classic/hard rock other 6:00 lounge, avant-jazz i went. Donkey Not Flip O’ NRG Home my mind A Step The brain candy it got a dent Show Doug Cookin’ Glen Paul Kurt 8:00 Jason 8:00 Coin Artist Feature Mike & Brent power pop, 8:30 metal, industrial, Spotlight The Grotto Sandy pm blues, jazz, classic emo, activism hard/classic rock experimental 9:00 new, folk, punk, 9:00 Request funk, r&b 9:00 rock, folk, funk WHO THE new post/indie/math rock Show Release From Last Tango Farewell electronic/gothic10:00 Chili You are In F@#K bigger industrial, darkwave The Monkey than you WORLD IN Rolla Comrades Time Warp CARES Dave & MY EYES Matt S. Mat Chris Jingyu Josh Kaan Melvin.

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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.
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Here Are More Different Kinds of Tea Than You Can Imagine, and in Sip and Tuck, Cake and Cof- Fee to Die For
THE MINORIES The Gallery will be open this year for the BA (Hons) in Photography Exhibition . COLCHESTER BIKE KITCHEN at 15 Queen Street This friendly DIY community bike workshop at 15 Queen Street will be open for advice and a chat about bikes REPAIR, REUSE & RECYCLE CIC At 15 Queen Street will be open and promoting com- munity electronic and plastic FOOD At BIG SUNDAY: You will findVegan Food in the giant market in Firstite: All kinds of international foods on the Street Food Market on the square out- side: And dont forget “We Walk the Line” inside The Firstsite Foyer. The Batte Lay Tea Room at the Minories will be offering full meals as well as drinks and snacks plus a barbecue in the garden. In Queen Street you will find Cafe No 9 with an amazing offer of whole foods and home bakes. In jaquelines Tea Rooms there are more different kinds of tea than you can imagine, and in Sip and Tuck, cake and cof- fee to die for. And of course.... THE BEER TENT by Mersea Island Breweries is on Berryfields with many guest beers.. “THE REASON FOR THE DAY” STAGE BEHIND THE OLD BUS GARAGE Curated by Danny Hiles Musicians Supporting The Homeless On the Pallet Stage Timings are flexible- see signs on site for details Rosalind Harniess: Young singer songwriter with, catchy songs and honest lyrics. Matt Buckle : From the grey streets of Colchester, Matt delivers soulful and heartfelt material that one would expect of a more travelled musician.. Phillip Lagos : Playing a great mix of his own material and some great covers.
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ZEVIOUS Title: AFTER the AIR RAID (Cuneiform Rune 287)
Bio information: ZEVIOUS Title: AFTER THE AIR RAID (Cuneiform Rune 287) Cuneiform publicity/promotion dept.: 301-589-8894 / fax 301-589-1819 email: joyce [-at-] cuneiformrecords.com [press & world radio]; radio [-at-] cuneiformrecords.com [North American radio] www.cuneiformrecords.com FILE UNDER: JAZZ / JAZZ-ROCK / PUNK-JAZZ / ELECTRIC JAZZ "The music of Zevious shrewdly juxtaposes order and its opposite: structural intensity pushed to its breaking point in the most appealing way. These boys are brilliant and fearless." – Vijay Iyer Zevious is a genre-bursting, out/electric/punk-jazz trio based in New York City. It consists of cousins Mike Eber on guitar and Jeff Eber on drums, and Johnny DeBlase on bass. Zevious’ sound is equally influenced by the improvisational approach of contemporary jazz artists Vijay Iyer and Ben Monder, polymetric metal of bands like Meshuggah, and vintage jazz and rock by such jazz fusion groups as Mahavishnu Orchestra and avant-progressive/Rock in Opposition bands like Magma. Songs wind through odd-metered, groove-laden landscapes that morph into brooding, reflective passages. Interspersed with edgy, hard-riffing contrapuntal guitar and stop-on-a-dime breaks, such tunes tread treacherous sonic grounds and reveal Zevious’ ability to shred. Zevious is one of the most distinctive and aggressive genre-defiant/fusion bands in the burgeoning punk-jazz movement, a 21st century update on the compositional ferocity of bands like Fred Frith’s Massacre, Ronald Shannon Jackson’s Decoding Society, and James Blood Ulmer’s Music Revelation Ensemble. Mike Eber and DeBlase met in 1999 while attending Muhlenberg College in Allentown, Pennsylvania and instantly hit it off musically.
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Introduction to Jazz Studies: a Seminar
Columbia University Anthropology, African-American Studies, and American Studies Fall 2005 INTRODUCTION TO JAZZ STUDIES: A SEMINAR INSTRUCTOR: John Szwed COURSE REQUIREMENTS Regular attendance and full participation in the seminar, including a short presentation (15 minutes) in one session Read the three assigned texts and the xeroxed readings Write two short papers (3-5 pages) 1) comparing two histories OR two textbooks on jazz chosen from the list on pp. 320-321 of Jazz 101 or in consultation with the instructor 2) comparing two jazz biographies of different musicians OR two autobiographies OR one of each, chosen from the list on pp. 332-333 of Jazz 101 or in consultation with the instructor Write a final paper of at least 15 pp. on a topic determined after consultation with the instructor REQUIRED READING John Szwed, Jazz 101 Robert G. O'Meally, Brent Hayes Edwards, and Farah Jasmin Griffin, eds., Uptown Conversation: The New Jazz Studies David Ake, Jazz Cultures Xeroxed reading packet SCHEDULE OF TOPICS (Note: Readings that are not listed as being in Szwed, Ake or O'Meally, et al. are in the xeroxed readings) Week 1: Introduction Week 2: No class Read: John Szwed, pp. xi-75 "Introductory Notes" in O'Meally et al, pp. 1-6 "Compendium: Jazz -- Formal Definitions (1913-99)" from Andrew Clark, Riffs & Choruses Jed Rasula "The Jazz Audience," from The Cambridge Companion to Jazz (2002), pp.55-68 Clive Bell. "Plus de Jazz," New Republic, 28 (9/21/21), p. 92ff Ernst-Alexandre Ansemet. "Bechet and Jazz Visit Europe" (1919) Roger Pryor Dodge.
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Final Version
This research has been supported as part of the Popular Music Heritage, Cultural Memory and Cultural Identity (POPID) project by the HERA Joint Research Program (www.heranet.info) which is co-funded by AHRC, AKA, DASTI, ETF, FNR, FWF, HAZU, IRCHSS, MHEST, NWO, RANNIS, RCN, VR and The European Community FP7 2007–2013, under ‘the Socio-economic Sciences and Humanities program’. ISBN: 978-90-76665-26-9 Publisher: ERMeCC, Erasmus Research Center for Media, Communication and Culture Printing: Ipskamp Drukkers Cover design: Martijn Koster © 2014 Arno van der Hoeven Popular Music Memories Places and Practices of Popular Music Heritage, Memory and Cultural Identity *** Popmuziekherinneringen Plaatsen en praktijken van popmuziekerfgoed, cultureel geheugen en identiteit Thesis to obtain the degree of Doctor from the Erasmus University Rotterdam by command of the rector magnificus Prof.dr. H.A.P Pols and in accordance with the decision of the Doctorate Board The public defense shall be held on Thursday 27 November 2014 at 15.30 hours by Arno Johan Christiaan van der Hoeven born in Ede Doctoral Committee: Promotor: Prof.dr. M.S.S.E. Janssen Other members: Prof.dr. J.F.T.M. van Dijck Prof.dr. S.L. Reijnders Dr. H.J.C.J. Hitters Contents Acknowledgements 1 1. Introduction 3 2. Studying popular music memories 7 2.1 Popular music and identity 7 2.2 Popular music, cultural memory and cultural heritage 11 2.3 The places of popular music and heritage 18 2.4 Research questions, methodological considerations and structure of the dissertation 20 3. The popular music heritage of the Dutch pirates 27 3.1 Introduction 27 3.2 The emergence of pirate radio in the Netherlands 28 3.3 Theory: the narrative constitution of musicalized identities 29 3.4 Background to the study 30 3.5 The dominant narrative of the pirates: playing disregarded genres 31 3.6 Place and identity 35 3.7 The personal and cultural meanings of illegal radio 37 3.8 Memory practices: sharing stories 39 3.9 Conclusions and discussion 42 4.
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MTO 17.3: Osborn, Understanding Through-Composition
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KSKS55 AQA, OCR, Edexcel & Eduqas: a Jazz Primer, Part 2 Jonathan James is a freelance by Jonathan James music educator and teacher trainer who works with orchestras, concert venues and a variety INTRODUCTION of communities to explain classical In part one of this two-part jazz resource (Music Teacher, March 2017), we traced how jazz evolved from and jazz music. humble beginnings as a folk music into being the mainstream popular music of its day. By 1945, where we left off, the Glenn Miller Orchestra had become the sound of America, rallying record-breaking crowds and One Glenn Miller symbolising free-world values. dance at the London Palladium attracted over 6,750 people. The jazz community had never had it so good. Bandleaders such as Glenn Miller, Duke Ellington, Benny Goodman and Count Basie were musical idols. And yet there was a growing sentiment that the highly organised, impressively arranged swing bands were no longer true to the spirit of jazz. The genre had, after all, always thrived as a counterculture, giving a voice to the oppressed. Could this music really belong to the white-dominated establishment? What had happened to its founding identity? New factions inevitably appeared. Bebop, cool and hard bop all kicked back against the mainstream. And this fascinating reboot in the history of jazz is where we pick up in the second part of this primer. As before, the aim is to give A level students and teachers a concise overview of the main artists and ideas that shaped jazz’s development, this time from 1945 to the present day.
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Download Internet Service Channel Lineup
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Challenging Authenticity: Fakes and Forgeries in Rock Music
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Putting the Math in Math Rock Matt Chiu
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