MARCH 2013 Issue 19 Issue 19
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. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
BEACH BOYS Vs BEATLEMANIA: Rediscovering Sixties Music
The final word on the Beach Boys versus Beatles debate, neglect of American acts under the British Invasion, and more controversial critique on your favorite Sixties acts, with a Foreword by Fred Vail, legendary Beach Boys advance man and co-manager. BEACH BOYS vs BEATLEMANIA: Rediscovering Sixties Music Buy The Complete Version of This Book at Booklocker.com: http://www.booklocker.com/p/books/3210.html?s=pdf BEACH BOYS vs Beatlemania: Rediscovering Sixties Music by G A De Forest Copyright © 2007 G A De Forest ISBN-13 978-1-60145-317-4 ISBN-10 1-60145-317-5 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, recording or otherwise, without the prior written permission of the author. Printed in the United States of America. Booklocker.com, Inc. 2007 CONTENTS FOREWORD BY FRED VAIL ............................................... XI PREFACE..............................................................................XVII AUTHOR'S NOTE ................................................................ XIX 1. THIS WHOLE WORLD 1 2. CATCHING A WAVE 14 3. TWIST’N’SURF! FOLK’N’SOUL! 98 4: “WE LOVE YOU BEATLES, OH YES WE DO!” 134 5. ENGLAND SWINGS 215 6. SURFIN' US/K 260 7: PET SOUNDS rebounds from RUBBER SOUL — gunned down by REVOLVER 313 8: SGT PEPPERS & THE LOST SMILE 338 9: OLD SURFERS NEVER DIE, THEY JUST FADE AWAY 360 10: IF WE SING IN A VACUUM CAN YOU HEAR US? 378 AFTERWORD .........................................................................405 APPENDIX: BEACH BOYS HIT ALBUMS (1962-1970) ...411 BIBLIOGRAPHY....................................................................419 ix 1. THIS WHOLE WORLD Rock is a fickle mistress. -
The Beatles on Film
Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964 -
“Meaningful Lyrics, Close to Philosophical Activism!” Raymond
“CAUTION! Syl and Ric' songs provoke earworm! “Meaningful lyrics, Once you have heard them, they will get stuck in your head!” close to Philosophical Activism!” Laura André Raymond Gagnon “Their music stands out and is extremely 'Syl & Ric serve up a seventies-era sunflower of songs, imbued with all the likeable.” flowery charm of that long-vanished island of unsardonic art.' Tina Mary Britton Akademia Music Award - May 2015 1 Syl Chad (FR) Ric Meric (FR) plays the rhythm guitar and is the lead singer sings and plays the lead guitar. Ric writes most of the band. She has a colorful timbre of voice: of the band’s songs. His refreshing guitar solos with clear and ringing in its upper reaches, with are a blend of Carlos Santana and gravelly and profound low notes. Her unique Django Reinhardt styles, with a pinch of Indian way of singing is inspired by the greatest sitar. When he was a teen, he started his French singers, such as Edith Piaf, Nana musical career playing the bass in a Rock & Roll Mouskouri and Michel Jonasz. Among her band. When Syl & Ric recorded their first favorite female singer, Ella Fitzgerald albums, Ric played the bass too, for the comes in first place. occasion. Website: www.sylandric.com Youtube: www.youtube.com/sylandricmusic Facebook: www.facebook.com/SylAndRic ReverbNation: www.reverbnation.com/sylricfolkjazzband Email : [email protected] Tel : +34 669 113 486 :: A short introduction :: Audiences of all ages and styles find a quick connection to the lyric-driven songs, sound, and overall energy that Syl & Ric convey in the studio and during live performances. -
Record Dedicated to Serving the Needs of the Music & Record Worldindustry
record Dedicated To Serving The Needs Of The Music & Record worldIndustry May 11, 1969 60c In the opinion of the editors, this week the following records are the WHO IN SINGLE PICKS OF THE WEEK THE WORLD -.A.11111111." LOVE MI TONIGHT TON TOWS Tom Jones, clicking on Young -HoltUnlimited have JerryButlerhas a spicy Bob Dylan sings his pretty stateside TV these days, a new and funky ditty and moodyfollow-up in "I Threw ftAll Away" (Big shouldscoreveryheavily called "Young and Holtful" "Moody Woman" (Gold Sky, ASCAP), which has with"Love Me Tonight" (Dakar - BRC, BMI), which Forever-Parabut, BMI(,pro- caused muchtalkinthe (Duchess, BMI)(Parrot hassomejazzandLatin duced by Gamble -Huff (Mer- "NashvilleSkyline"elpee 40038(. init (Brunswick 755410). cury 72929). (Columbia 4-448261. SLEEPER PICKS OF THE WEEK TELLING ALRIGHT AM JOE COCKER COLOR HIM FATHER THE WINSTONS Joe Cocker sings the nifty The Winstons are new and Roy Clark recalls his youth TheFive Americans geta Traffic ditty that Dave will make quite a name for on the wistful Charles Az- lot funkier and funnier with Mason wrote, "FeelingAl- themselveswith"Color navour - Herbert Kretzmer, "IgnertWoman" (Jetstar, right" (Almo, ASCAP). Denny Him Father"(Holly Bee, "Yesterday,When I Was BMI(, which the five guys Cordell produced (A&M BMI), A DonCarrollPra- Young"(TRO - Dartmouth, wrote (Abnak 137(. 1063). duction (Metromedia117). ASCAP) (Dot 17246). ALBUM PICKS OF THE WEEK ONUTISNINF lUICICCIENS GOLD "Don Kirshner Cuts 'Hair' " RogerWilliams plays "MacKenna's Gold," one of Larry Santos is a newcomer is just what the title says "HappyHeart" andalso the big summer movies, has with a big,huskyvoice I hree Records from 'Hair' withHerbBernsteinsup- getsmuchivorymileage a scorebyQuincy Jones and a good way with tune- plying arrangements and from "Those Were the and singing byJoseFeli- smithing. -
The Wonder Years Episode & Music Guide
The Wonder Years Episode & Music Guide “What would you do if I sang out of tune … would you stand up and walk out on me?" 6 seasons, 115 episodes and hundreds of great songs – this is “The Wonder Years”. This Episode & Music Guide offers a comprehensive overview of all the episodes and all the songs played during the show. The episode guide is based on the first complete TWY episode guide which was originally posted in the newsgroup rec.arts.tv in 1993. It was compiled by Kirk Golding with contributions by Kit Kimes. It was in turn based on the first TWY episode guide ever put together by Jerry Boyajian and posted in the newsgroup rec.arts.tv in September 1991. Both are used with permission. The music guide is the work of many people. Shane Hill and Dawayne Melancon corrected and inserted several songs. Kyle Gittins revised the list; Matt Wilson and Arno Hautala provided several corrections. It is close to complete but there are still a few blank spots. Used with permission. Main Title & Score "With a little help from my friends" -- Joe Cocker (originally by Lennon/McCartney) Original score composed by Stewart Levin (episodes 1-6), W.G. Snuffy Walden (episodes 1-46 and 63-114), Joel McNelly (episodes 20,21) and J. Peter Robinson (episodes 47-62). Season 1 (1988) 001 1.01 The Wonder Years (Pilot) (original air date: January 31, 1988) We are first introduced to Kevin. They begin Junior High, Winnie starts wearing contacts. Wayne keeps saying Winnie is Kevin's girlfriend - he goes off in the cafe and Winnie's brother, Brian, dies in Vietnam. -
Autumn at Colston Hall
autumn at colston hall Colston-Hall_seasons_autumn_pocket-planner_5jt.indd 1 13/07/2016 14:34 02 | 0844 887 1500 supporters We would like to thank our sponsors and funders for their support principal sponsors major sponsors trusts corporate partners in kind support pp02-03_LOGOS_2re.indd 2 13/07/2016 13:53 www.colstonhall.org | 03 sponsors If you would like to find out more about supporting Colston Hall, please contact Development on 0117 204 7176 or email [email protected] pp02-03_LOGOS_2re.indd 3 13/07/2016 13:53 04 | 0844 887 1500 on sale now 3 little pigs monteverdi 450 families classical wed 24 – sun 28 aug wed 12 apr, mon 8 may 11am & 2pm, £13 incl. bf, groups & sun 28 may 2017 of 10+ £11.83 incl. bf, over 3s 7.30pm, premium ticket £64.99, £55, £45, £25, £15, u25s £8.50, u18s £1 incl. bf, series discount available Maestro Sir John Eliot Gardiner and his English Baroque Soloists and Monteverdi Choir present a landmark semi-staged series of Monteverdi’s three surviving operas – Il Ritorno d’Ulisse in Patria, I’Incoronazione di Poppea From the award-winning writers of the and L’Orfeo – to mark the composer’s international smash hits Mary Poppins 450th birthday. Together with his choir and Honk! comes a “great big little and period instrument ensemble plus a West End show” for audiences of three stellar cast of soloists including Krystian years old and up. He can huff and puff Adam, Hana Blažíková, Kangmin until the cows comes home, but will the Justin Kim, Lucile Richardot, and Furio big bad wolf get the better of the three Zanasi, Sir John Eliot Gardiner will take little superstar piglets in this brand new the audience on a voyage through nail- retelling of the classic story? Full of biting myth and murky Roman history. -
L-G-0003552750-0006830598.Pdf
GATHERED FROM COINCIDENCE __________________________________________ A singular history of Sixties’ pop by Tony Dunsbee Copyright © Tony Dunsbee 2014. All Rights Reserved An M-Y Books Production m-ybooks.co.uk Take what you have gathered from coincidence “It’s All Over Now, Baby Blue” – Bob Dylan (© 1965 Warner Bros. Inc., renewed 1993 by Special Rider Music) To my wife Nicky, with love and thanks for her patience and belief in my ability to give at least this much semblance of form and meaning to a lifetime’s obsession. Contents Chapter 1 The Intro … 5 Chapter 2 1960 14 Chapter 3 1961 36 Chapter 4 1962 61 Chapter 5 1963 95 Chapter 6 1964 158 Chapter 7 1965 246 Chapter 8 1966 355 Chapter 9 1967 464 Chapter 10 1968 560 Chapter 11 1969 615 Chapter 12 … and The Outro 678 Acknowledgements 684 Bibliography 686 Index 711 5 Chapter 1 The Intro … This may or may not turn out to be the book in my head but I’m still driven, even now in retirement, to write it by my undimmed passion for the music of the Sixties and a desire to set – no pun intended – the record straight. The one and only record? Well, all right then, by no means, but informed by my ambition to set down my record of the interweaving of the events of those tumultuous years and the impact of the music made in parallel to them, as I lived through the decade then and as I recall it now. Make no mistake, then: this is unashamedly a highly selective rather than a comprehensive account, dictated wholly by my own personal tastes and interests as they were shaped and developed by the consecutive twists and turns of the era. -
Rock & Roll's War Against
Rock & Roll’s War Against God Copyright 2015 by David W. Cloud ISBN 978-1-58318-183-6 Tis book is published for free distribution in eBook format. It is available in PDF, Mobi (for Kindle, etc.) and ePub formats from the Way of Life web site. See the Free eBook tab at www.wayofife.org. We do not allow distribution of our free books from other web sites. Published by Way of Life Literature PO Box 610368, Port Huron, MI 48061 866-295-4143 (toll free) - [email protected] www.wayofife.org Canada: Bethel Baptist Church 4212 Campbell St. N., London Ont. N6P 1A6 519-652-2619 Printed in Canada by Bethel Baptist Print Ministry ii Table of Contents Introduction ...........................................................................1 What Christians Should Know about Rock Music ...........5 What Rock Did For Me ......................................................38 Te History of Rock Music ................................................49 How Rock & Roll Took over Western Society ...............123 1950s Rock .........................................................................140 1960s Rock: Continuing the Revolution ........................193 Te Character of Rock & Roll .........................................347 Te Rhythm of Rock Music .............................................381 Rock Musicians as Mediums ...........................................387 Rock Music and Voodoo ..................................................394 Rock Music and Insanity ..................................................407 Rock Music and Suicide ...................................................429 -
National Register of Historic Places Registration Form
NPS Form 10-900 OMB No. 1024-0018 (Oct. 1990) United States Department of the Interior National Park Service National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in How to Complete the National Register of Historic Places Registration Form (National Register Bulletin 16A). Complete each item by marking "x" on the appropriate line or by entering the information requested. If an item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NPS Form 10-900a). Use a typewriter, word processor, or computer, to complete all items. 1. Name of Property historic name SURF BALLROOM other names/site number SURF BALLROOM & MUSEUM 2. Location street & number 460 NORTH SHORE DRIVE N/A not for publication city or town CLEAR LAKE N/A vicinity state IOWA code IA county CERRO GORDO code 033 zip code 50428 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this (X nomination _ request for determination of eligibility) meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property (X meets _ does not meet) the National Register criteria. I recommend that this property be considered significant (X nationally _ statewide X locally). -
She Got the Wrong End of the Stick, but the Stick Still Existed
She got the wrong end of the stick, but the stick still existed. ‘Winds of the world, give answer! They are whimpering to and fro - And what should they know of England Who only England know?' -The English Flag, Rudyard Kipling. The previous century started, arguably, not on New Year’s Day 1900 but 22 January 1901 when Queen Victoria, the personification of an age, died in the arms of her grandson, the Kaiser. Thus, as far as I’m concerned, 2013 left a mordant runway with the demise of Reg Presley on the 4th of February. Long before I was appointed official biography of The Troggs (Rock’s Wild Things: The Troggs Files [Helter Skelter, 2000] with Jacqueline Ryan), I entered Reg’s orbit in October 1985 at an extravaganza entitled Heroes And Villains at London's Dominion Theatre, perhaps the most pivotal event to nudge the 1960s revival out of neutral. It had, however, been long underway when I reeled into Dave Berry's dressing room in a flustered state after sunset had found me on the M4's hard shoulder, howling at the moon because of an overcharging alternator of a vehicle about one oil change away from the breaker’s yard. A sympathetic Dave steered me into licensed premises where Ronnie Bond, The Troggs’ drummer, was holding court. As a result, my recollections of the next few hours are now necessarily vague, but when roaming the backstage wastes of the Dominion, I passed a dozen famous faces along a single staircase; stood in the wings beside some stout cove who strode onstage to metamorphose into Chris Farlowe - and exchanged platitudes with a preoccupied Reg Presley.