Twin Peaks" Sizzles Your Old "Pretty in Pink" and "Pump up the Throughquick-Firedriff Changes, Swirling Volume" Disks As Beer Coasters
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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. -
SST Defies Industry, Defines New Music
Page 1 The San Diego Union-Tribune October 1, 1995 Sunday SST Defies Industry, Defines New Music By Daniel de Vise KNIGHT-RIDDER NEWSPAPERS DATELINE: LOS ALAMITOS, CALIF. Ten years ago, when SST Records spun at the creative center of rock music, founder Greg Ginn was living with six other people in a one-room rehearsal studio. SST music was whipping like a sonic cyclone through every college campus in the country. SST bands criss-crossed the nation, luring young people away from arenas and corporate rock like no other force since the dawn of punk. But Greg Ginn had no shower and no car. He lived on a few thousand dollars a year, and relied on public transportation. "The reality is not only different, it's extremely, shockingly different than what people imagine," Ginn said. "We basically had one place where we rehearsed and lived and worked." SST, based in the Los Angeles suburb of Los Alamitos, is the quintessential in- dependent record label. For 17 years it has existed squarely outside the corporate rock industry, releasing music and spoken-word performances by artists who are not much interested in making money. When an SST band grows restless for earnings or for broader success, it simply leaves the label. Founded in 1978 in Hermosa Beach, Calif., SST Records has arguably produced more great rock bands than any other label of its era. Black Flag, fast, loud and socially aware, was probably the world's first hardcore punk band. Sonic Youth, a blend of white noise and pop, is a contender for best alternative-rock band ever. -
Razorcake Issue #82 As A
RIP THIS PAGE OUT WHO WE ARE... Razorcake exists because of you. Whether you contributed If you wish to donate through the mail, any content that was printed in this issue, placed an ad, or are a reader: without your involvement, this magazine would not exist. We are a please rip this page out and send it to: community that defi es geographical boundaries or easy answers. Much Razorcake/Gorsky Press, Inc. of what you will fi nd here is open to interpretation, and that’s how we PO Box 42129 like it. Los Angeles, CA 90042 In mainstream culture the bottom line is profi t. In DIY punk the NAME: bottom line is a personal decision. We operate in an economy of favors amongst ethical, life-long enthusiasts. And we’re fucking serious about it. Profi tless and proud. ADDRESS: Th ere’s nothing more laughable than the general public’s perception of punk. Endlessly misrepresented and misunderstood. Exploited and patronized. Let the squares worry about “fi tting in.” We know who we are. Within these pages you’ll fi nd unwavering beliefs rooted in a EMAIL: culture that values growth and exploration over tired predictability. Th ere is a rumbling dissonance reverberating within the inner DONATION walls of our collective skull. Th ank you for contributing to it. AMOUNT: Razorcake/Gorsky Press, Inc., a California not-for-profit corporation, is registered as a charitable organization with the State of California’s COMPUTER STUFF: Secretary of State, and has been granted official tax exempt status (section 501(c)(3) of the Internal Revenue Code) from the United razorcake.org/donate States IRS. -
Twin Peaks #1.003
TWIN PEAKS #1.003 by Harley Peyton FIRST DRAFT: September 26, 1989 REVISIONS: October 3, 1989 Converted to PDF by Andre for PDFSCREENPLAYS.NET ACT ONE FADE IN: EXT. GREAT NORTHERN HOTEL - DAY Morning breaks over the stately hotel. CUT TO: INT. GREAT NORTHERN DINING ROOM - DAY DALE COOPER, at the corner table, takes a sip of coffee and orders breakfast from waitress TRUDY. COOPER Shortstack of griddlecakes, maple syrup, lightly heated and a slice of ham. Nothing beats the taste of maple syrup when it collides with ham. TRUDY Griddlecakes, side a' ham. Warmup? Cooper nods appreciatively. Trudy refills his cup, exits. Cooper takes a sip, nearly hums with approval. Then looks up to find AUDREY HORNE standing before him. Audrey smiles, beautiful, rubs a little sleep out of her eyes. AUDREY Good morning, Colonel Cooper. COOPER Just Agent, Audrey. Special Agent. AUDREY (caressing the words) Special Agent. COOPER Please. Sit down. AUDREY (unsure) I'm in a hurry. COOPER For what? She doesn't know what to say or do. So she offers a nervous shrug instead. 2. COOPER (CONT'D) Audrey, that perfume you're wearing is incredible. AUDREY Do you really think so? Cooper takes a pen from his pocket, hands it to her with a napkin. COOPER Write your name down for me. AUDREY (eager) Okay. She takes the pen and writes carefully, hands it back to Cooper. He looks at it. COOPER Audrey, there's something you'd like to tell me. AUDREY (blushing) There is? Beat. All she wants is to be close to him. -
Report Evaluates Gov. Engler
\!Glc nn Report Evaluates Gov. Engler by Adam DeVore Engl er' s 1992 record specifically Michigan's first brush with widespread principle to which more elected officials University of Michigan students are earned the Center's praise in over a dozen school choice, but educational choice re- ought to pay heed: it urges "an enlight- not the only ones who just received their tains important support ened perspective across state government, grades in the mail. The Mackinac Center within the State Depart- one that seeks to eradicate anything that for Public Policy, a non-partisan research ment of Education and suffocates peaceful, productive activity." A and educational organization based in the Michigan Board of careful review of "needless or overly bur- Midland, this Monday released The Engler Education, as well as the densome licenSing requirements," dam- Administration: A Mid-term Review, a criti legislature and, increas- aging zoning laws, and related ills is cal yet positive and optimistic evaluation ingly,amongst public consequently in order. of Michigan's current state government. school teachers them- One area the report refrains from Wherea'l Governor John Engler's perfor selves. addressing is the likely effect of the mance in 1991 earned him but a "B" from The Mackinac Cen- Clinton administration on Engler's re-, the Center, his second effort deserves an ter also criticized form efforts. Lawrence W. Reed, presi- "A-," the report maintains. Engler's mental health dent of the Mackinac Center and the Unlike President George Bush, care reforms, which have primary author of the report, wished to whom millions of Americans have"come "not been put forth in a withhold definitive judgment until to view .. -
Twin Peaks’ New Mode of Storytelling
ARTICLES PROPHETIC VISIONS, QUALITY SERIALS: TWIN PEAKS’ NEW MODE OF STORYTELLING MIKHAIL L. SKOPTSOV ABSTRACT Following the April 1990 debut of Twin Peaks on ABC, the TV’, while disguising instances of authorial manipulation evi- vision - a sequence of images that relates information of the dent within the texts as products of divine internal causality. narrative future or past – has become a staple of numerous As a result, all narrative events, no matter how coincidental or network, basic cable and premium cable serials, including inconsequential, become part of a grand design. Close exam- Buffy the Vampire Slayer(WB) , Battlestar Galactica (SyFy) and ination of Twin Peaks and Carnivàle will demonstrate how the Game of Thrones (HBO). This paper argues that Peaks in effect mode operates, why it is popular among modern storytellers had introduced a mode of storytelling called “visio-narrative,” and how it can elevate a show’s cultural status. which draws on ancient epic poetry by focusing on main char- acters that receive knowledge from enigmatic, god-like figures that control his world. Their visions disrupt linear storytelling, KEYWORDS allowing a series to embrace the formal aspects of the me- dium and create the impression that its disparate episodes Quality television; Carnivale; Twin Peaks; vision; coincidence, constitute a singular whole. This helps them qualify as ‘quality destiny. 39 SERIES VOLUME I, SPRING 2015: 39-50 DOI 10.6092/issn.2421-454X/5113 INTERNATIONAL JOURNAL OF TV SERIAL NARRATIVES ISSN 2421-454X ARTICLES > MIKHAIL L. SKOPTSOV PROPHETIC VISIONS, QUALITY SERIALS: TWIN PEAKS’ NEW MODE OF STORYTELLING By the standards of traditional detective fiction, which ne- herself and possibly The Log Lady, are visionaries as well. -
WHO's WHO in POP LP ENGINEERING the Following Is a List of ENGINEERS Credited on at Least One Album in the Top Pop 100 Charts from January 1993 to the Present
WHO'S WHO IN POP LP ENGINEERING The following is a list of ENGINEERS credited on at least one album in the Top Pop 100 Charts from January 1993 to the present.. (Please note that, due to computer restraints, ENGINEERS are NOT credited on an album that has more than 4 ENGINEERS listed)) This listing includes the ENGINEER'S Name (# of records credited) "Album Title" - Artist/ Other ENGINEERS credited on the record. Robbie Adams(1) - "Zooropa"- U2-/Flood Scott Hendricks(4) - "Don't Rock The Jukebox"-Alan Jackson-/ Gary Laney John Kelton + "Confederate John Agnello(1) - "Where You Been"- Dinosaur Jr.-/ Railroad"- Confederate Railroad-/ + "Hard Workin' Man"- Brooks & Dunn-/ John Kunz Mike Bradley + Elton Ahi(l) - "The Last Of The Mohigans'-Soundtrack-/ "Brand New Man"- Brooks & Dunn-/ Mike Brad Chuck Ainlay(3) - "Greatest Hits Vol. 2"-Reba McEntire-/ + "Easy Come, Easy Go"-George Strait-/ + Henry Hirsch(1) - "Are You Gonna Go My Way?"-Lenny Kravitz-/ "Sweetheart's Dance"-Pam Tillis-/ Dof Geoff Hunt(1) - "Don't Know How To Party"-The Mighty Mighty Bosstones-/Tony Platt David Albert(1) - "Soul Provider'-Michael Bolton-/Terry Christian Matt Hyde(1) - "Porno For Pyros"- Porno For Pyros-/ Rod Selfert Steve Albini(1) - "Meantime"- HelmetVAndy Wallace Ice Cube(1) - "The Predator"- Ice CubeVTorcha Chamba Tony Alvarez(1) - "It's On (Dr.Dre 187um) Killa"- Easy-E-/Donovan The Dirt Biker1 Sound Gregg Jackman(t) - "Shepherd Moons'- EnyaVNicky Ryan Ray Bardani(l) - "Never Let Me Go"-Luther Vandross-/ Rob Jacobs(l) - "Patty Smyth'-Patty Smyth-/ Ouane Baron(2) -
Precious but Not Precious UP-RE-CYCLING
The sounds of ideas forming , Volume 3 Alan Dunn, 22 July 2020 presents precious but not precious UP-RE-CYCLING This is the recycle tip at Clatterbridge. In February 2020, we’re dropping off some stuff when Brigitte shouts “if you get to the plastic section sharpish, someone’s throwing out a pile of records.” I leg it round and within seconds, eyes and brain honed from years in dank backrooms and charity shops, I smell good stuff. I lean inside, grabbing a pile of vinyl and sticking it up my top. There’s compilations with Blondie, Boomtown Rats and Devo and a couple of odd 2001: A Space Odyssey and Close Encounters soundtracks. COVER (VERSIONS) www.alandunn67.co.uk/coverversions.html For those that read the last text, you’ll enjoy the irony in this introduction. This story is about vinyl but not as a precious and passive hands-off medium but about using it to generate and form ideas, abusing it to paginate a digital sketchbook and continuing to be astonished by its magic. We re-enter the story, the story of the sounds of ideas forming, after the COVER (VERSIONS) exhibition in collaboration with Aidan Winterburn that brings together the ideas from July 2018 – December 2019. Staged at Leeds Beckett University, it presents the greatest hits of the first 18 months and some extracts from that first text that Aidan responds to (https://tinyurl.com/y4tza6jq), with me in turn responding back, via some ‘OUR PRICE’ style stickers with quotes/stats. For the exhibition, the mock-up sleeves fabricated by Tom Rodgers look stunning, turning the digital detournements into believable double-sided artefacts. -
Krist Novoselic
OVERNMENT G & E GRUNG KRIST NOVOSELIC THE ORAL HISTORY OF A WASHINGTON ROCKER WITH A CIVIC MISSION LEGACY PROJECT History through the people who lived it Krist Novoselic Research by John Hughes and Lori Larson Transcripti on by Lori Larson Interviews by John Hughes October 14, 2008 John Hughes: This is October 14, 2008. I’m John Hughes, Chief Oral Historian for the Washington State Legacy Project, with the Offi ce of the Secretary of State. We’re in Deep River, Wash., at the home of Krist Novoselic, a 1984 graduate of Aberdeen High School; a founding member of the band Nirvana with his good friend Kurt Cobain; politi cal acti vist, chairman of the Wahkiakum County Democrati c Party, author, fi lmmaker, photographer, blogger, part-ti me radio host, While doing reseach at the State Archives in 2005, Novoselic volunteer disc jockey, worthy master of the Grays points to Grays River in Wahkiakum County, where he lives. Courtesy Washington State Archives River Grange, gentleman farmer, private pilot, former commercial painter, ex-fast food worker, proud son of Croati a, and an amateur Volkswagen mechanic. Does that prett y well cover it, Krist? Novoselic: And chairman of FairVote to change our democracy. Hughes: You know if you ever decide to run for politi cal offi ce, your life is prett y much an open book. And half of it’s on YouTube, like when you tried for the Guinness Book of World Records bass toss on stage with Nirvana and it hits you on the head, and then Kurt (Cobain) kicked you in the butt . -
Victim-Naming in the Murder Mystery Tv Series Twin Peaks: a Corpus-Stylistic Study
NARRATIVES / AESTHETICS / CRITICISM VICTIM-NAMING IN THE MURDER MYSTERY TV SERIES TWIN PEAKS: A CORPUS-STYLISTIC STUDY. CARMEN GREGORI SIGNES Name Carmen Gregori Signes popular and proliferous, but no studies, to date, have Academic centre IULMA. Universitat de València used corpus-stylistics methodologies in the analysis of the E-mail address [email protected] pivotal character of the victim in the whole narrative. This paper applies said methodology in the hope of shedding KEYWORDS some light on the quantitative and qualitative relationship corpus-stylistics; crime; murder mystery series; Twin Peaks. between the participation roles of the characters, and the frequency and distribution of victim-naming choices in the dialogue of the first two seasons of the acclaimed ABSTRACT TV series Twin Peaks. The analysis proves that textual Corpus linguistics is advancing rapidly in the study of reference to the victim is a central genre-cohesive device a wide variety of genres but is still in its infancy in the which may serve as a waymark to guide the audience study of TV series, a genre consumed daily by millions throughout the many subplots of the series. of viewers. Murder mystery series are one of the most 33 SERIES VOLUME VI, Nº 2, WINTER 2020: 33-46 DOI https://doi.org/10.6092/issn.2421-454X/11218 INTERNATIONAL JOURNAL OF TV SERIAL NARRATIVES ISSN 2421-454X DIALOGUES WITH TECHNOLOGY NARRATIVES / AESTHETICS / CRITICISM > CARMEN GREGORI SIGNES VICTIM-NAMING IN THE MURDER MYSTERY TV SERIES TWIN PEAKS: A CORPUS-STYLISTIC STUDY. 1. INTRODUCTION The present paper is an attempt to contribute to this line of research by exploring the linguistic choices for ‘victim-nam- For centuries, true and fictional crime have been a matter of ing’ (Tabbert 2015) that characters use to refer to the victim study in a wide array of disciplines both outside and within of murder, Laura Palmer, in a corpus that contains the dia- criminology (e.g., psychology, economics, biology, medicine, logues of the first two seasons of the MMS Twin Peaks. -
November '92 Sound
mb Nove er ’92 . 2 , NoSS UUNN DD HHHH, YOU DON’T know the shape I’m “O in,” Levon Helm was wailing plaintively over the P.A. as the lights came up at Off Broad- way, a St. Louis nightclub. The DJ’s choice of that particular Band normally prohibits). Brian McTavish of the number couldn’t have been more Star’s “Nighthawk” column was on assign- relevant. Four days on the road ment, so no luck there. A television spot with the Tom Russell Band were wasn't in the budget, so we'd have to rely coming to a close, leaving me primarily on word of mouth for ticket sales. fatigued and exhilarated at the same time. Day 1 – Kansas City The show had run late, and The Tom Russell Band, standin’ on the corner: Barry the management was doing its Ramus (bass), Fats Kaplin (accordion, pedal steel, Waiting at the Comfort Inn for the band harmonica, and more), Tom Russell (guitar, vocals), to roll in to town provided a chance to see a best to herd patrons out the Mike Warner (drums, backing vocals), Andrew Hardin door. As the crowd congratulat- (guitar, harmony vocals). prima donna in action. A member of Lash ing the band dispersed, S LaRue’sband was pressuring the desk clerk staff cartoonist Dug joined me in ap- to change his room assignment, first to down the hall, then, deciding that wasn’t proaching Tom, and in our best Wayne and up a request for an interview left on his toll good enough, to a different floor. -
Melophobe Months 2012 Music Reviews
Melophobe Months 2012 Music Reviews Walter Biggins This is issue #6 of Afronaut. Published by Afronaut Press, February 2013. Text and design © 2013 Walter Biggins. The following issues are available at Quiet Bubble (http://quietbubble.wordpress.com/zines/): Demo Tapes: Essays by Walter Biggins, 2005-2010 (issues #4 & 5, May 2011). A Tribute to Whitney Balliett (issue #3, October 2010). The Patter of Raindrops: The Wonderful Worlds of Hayao Miyazaki (issue #2, February 2010). Letters to Mr. Konigsberg (issue #1, October 2009). Muñeco: A 24-Hour Comic (issue #0, November 2000). For more information, please contact me at [email protected] or check out my blog: quietbubble.wordpress.com. Introduction. Something’s happened to me over the last five years. I listen to, and trust, pop music far less than I did in my twenties, and the pop that I still listen to is radically different than what I grew up with. My ears cock, like a cat’s, more toward jazz, avant-garde, and instrumental hip-hop now than to the rock, rap, R&B, and beat-driven fare that sustained me for twenty years. To be fair, jazz was always there, ever since I bought a $20 CD of Miles Davis’s Capitol/Blue Note years in a cold January morning in 1994. I bought it from Sound Warehouse, a chain that’s long gone, because the cover was cool and Davis—with his close-cropped hair and natty suit—looked cooler than I could ever hope for. It was a sophistication to aspire toward, and to try and impress girls with.