Musical Imaginary, Identity and Representation: the Case of Gentleman the German Reggae Luminary
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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. -
Tenor Saxophone Mouthpiece When
MAY 2014 U.K. £3.50 DOWNBEAT.COM MAY 2014 VOLUME 81 / NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, -
Lila Iké | Biography Lila Ike (Pronounced Lee-Lah Eye-Kay) Is on the Brink of Stardom. the 26-Year-Old Jamaican Songbird
Lila Iké | Biography Lila Ike (pronounced Lee-lah Eye-kay) is on the brink of stardom. The 26-year-old Jamaican songbird has an edge and ease in her voice that creates an immediate gravitational pull with her listener, fusing contemporary reggae with elements of soul, hip-hop and dancehall. The free-spirited, easy-going singer has already released a handful of velvety smooth songs through In.Digg.Nation Collective, a record label and talent pool for Jamaican creatives, founded by reggae star Protoje. The ExPerience will be Lila Iké’s debut EP for Six Course/RCA Records in a new partnership with In.Digg.Nation Collective. She breathes a delicate testimony of love, infatuation, and spiritual guidance in the 7-track release out this Spring. The EP is padded with previously-released songs such as “Where I’m Coming From” and “Second Chance.” Pivoting from the singles that earned her international acclaim in 2018 and 2019, Lila Iké unveils playful seduction on “I Spy,” her first release of 2020 produced by Izy Beats (the hitmaker behind Koffee’s “Toast”). Beckoning with innocent flirtation over soft guitar licks, Lila in a sweet falsetto sings, “I spy I spy, that you see something you might like. Won’t you come over if you really mean it.” The layers to Lila are in full bloom as she opens up about the daily pressures she faces through her interaction with people and wanting peace of mind in “Solitude” — . On “Stars Align,” Lila flips the instrumental from Protoje’s “Bout Noon” into an anthem about falling in love through the metaphor of making music. -
Read Or Download
afrique.q 7/15/02 12:36 PM Page 2 The tree of life that is reggae music in all its forms is deeply spreading its roots back into Afri- ca, idealized, championed and longed for in so many reggae anthems. African dancehall artists may very well represent the most exciting (and least- r e c o g n i z e d ) m o vement happening in dancehall today. Africa is so huge, culturally rich and diverse that it is difficult to generalize about the musical happenings. Yet a recent musical sampling of the continent shows that dancehall is begin- ning to emerge as a powerful African musical form in its own right. FromFrom thethe MotherlandMotherland....Danc....Danc By Lisa Poliak daara-j Coming primarily out of West Africa, artists such as Gambia’s Rebellion D’Recaller, Dancehall Masters and Senegal’s Daara-J, Pee GAMBIA Froiss and V.I.B. are creating their own sounds growing from a fertile musical and cultural Gambia is Africa’s cross-pollination that blends elements of hip- dancehall hot spot. hop, reggae and African rhythms such as Out of Gambia, Rebel- Senegalese mbalax, for instance. Most of lion D’Recaller and these artists have not yet spread their wings Dancehall Masters are on the international scene, especially in the creating music that is U.S., but all have the musical and lyrical skills less rap-influenced to explode globally. Chanting down Babylon, than what is coming these African artists are inspired by their out of Senegal. In Jamaican predecessors while making music Gambia, they’re basi- that is uniquely their own, praising Jah, Allah cally heavier on the and historical spiritual leaders. -
Udr / Vertigo Berlin
UDR / VERTIGO BERLIN ::::: single “You Remember”, out April 5, 2013 album “New Day Dawn”, out April 19, 2013 GENTLEMAN - NEW DAY DAWN Let’s talk about personality. Let’s talk about splits. About love and responsibility. About doubt, gratitude and spirit. About change and new beginnings. Let’s talk about GENTLEMAN and his new album NEW DAY DAWN which will be out on April 19, 2013. It is the 38 year-old’s sixth studio album. Two decades ago, the Cologne-based artist first set foot on Jamaican soil and over the years he has been spreading reggae music all over the globe with his shows and is now an international reggae headliner. Over the past 20 years, the intensity of his vibes and his sincere and honest personality have earned him growing respect and the love of a global audience. He lives and shares with us his stories and his experiences. Undisguised and unpretentious. The album will come out as a standard and deluxe edition and with it GENTLEMAN invites us to join him for a “New Day Dawn”. It marks an impressive next step in the artist’s career and is the purest “Gentleman”-album that has ever been. For one, it is the first album that was created completely without collaborations or featured artists. And secondly, a lot of the ideas were developed and written by Gentleman himself. “I liked the idea of creating an album that would be purely Gentleman. There was no big plan behind it, it just sort of happened. I felt that “New Day Dawn” could work without featured artists. -
First Steps with the Drum Set a Play Along Approach to Learning the Drums
First Steps With The Drum Set a play along approach to learning the drums JOHN SAYRE www.JohnSayreMusic.com 1 CONTENTS Page 5: Part 1, FIRST STEPS Money Beat, Four on the Floor, Four Rudiments Page 13: Part 2, 8th NOTES WITH ACCENTS Page 18: Part 3, ROCK GROOVES 8th notes, Queen, R.E.M., Stevie Wonder, Nirvana, etc. Page 22: Part 4, 16th NOTES WITH ACCENTS Page 27: Part 5, 16th NOTES ON DRUM SET Page 34: Part 6, PLAYING IN BETWEEN THE HI-HAT David Bowie, Bob Marley, James Brown, Led Zeppelin etc. Page 40: Part 7, RUDIMENTS ON THE DRUM SET Page 46: Part 8, 16th NOTE GROOVES Michael Jackson, Erykah Badu, Imagine Dragons etc. Page 57: Part 9, TRIPLETS Rudiments, Accents Page 66: Part 10, TRIPLET-BASED GROOVES Journey, Taj Mahal, Toto etc. Page 72: Part 11, UNIQUE GROOVES Grateful Dead, Phish, The Beatles etc. Page 76: Part 12, DRUMMERS TO KNOW 2 INTRODUCTION This book focuses on helping you get started playing music that has a backbeat; rock, pop, country, soul, funk, etc. If you are new to the drums I recommend working with a teacher who has a healthy amount of real world professional experience. To get the most out of this book you will need: -Drumsticks -Access to the internet -Device to play music -Good set of headphones—I like the isolation headphones made by Vic Firth -Metronome you can plug headphones into -Music stand -Basic understanding of reading rhythms—quarter, eighth, triplets, and sixteenth notes -Drum set: bass drum, snare drum, hi-hat is a great start -Other musicians to play with Look up any names, bands, and words you do not know. -
Chant Down Babylon: the Rastafarian Movement and Its Theodicy for the Suffering
Verge 5 Blatter 1 Chant Down Babylon: the Rastafarian Movement and Its Theodicy for the Suffering Emily Blatter The Rastafarian movement was born out of the Jamaican ghettos, where the descendents of slaves have continued to suffer from concentrated poverty, high unemployment, violent crime, and scarce opportunities for upward mobility. From its conception, the Rastafarian faith has provided hope to the disenfranchised, strengthening displaced Africans with the promise that Jah Rastafari is watching over them and that they will someday find relief in the promised land of Africa. In The Sacred Canopy , Peter Berger offers a sociological perspective on religion. Berger defines theodicy as an explanation for evil through religious legitimations and a way to maintain society by providing explanations for prevailing social inequalities. Berger explains that there exist both theodicies of happiness and theodicies of suffering. Certainly, the Rastafarian faith has provided a theodicy of suffering, providing followers with religious meaning in social inequality. Yet the Rastafarian faith challenges Berger’s notion of theodicy. Berger argues that theodicy is a form of society maintenance because it allows people to justify the existence of social evils rather than working to end them. The Rastafarian theodicy of suffering is unique in that it defies mainstream society; indeed, sociologist Charles Reavis Price labels the movement antisystemic, meaning that it confronts certain aspects of mainstream society and that it poses an alternative vision for society (9). The Rastas believe that the white man has constructed and legitimated a society that is oppressive to the black man. They call this society Babylon, and Rastas make every attempt to defy Babylon by refusing to live by the oppressors’ rules; hence, they wear their hair in dreads, smoke marijuana, and adhere to Marcus Garvey’s Ethiopianism. -
THE INTERNATIONAL MAGAZINE of the AVEDIS ZILDJIAN COMPANY Welcome To
ZL326 THE INTERNATIONAL MAGAZINE OF THE AVEDIS ZILDJIAN COMPANY welcome to Z Time2011 edition issue 33 2011 Z Time Page two News & Events Page six Greatest Cymbal of All Time Page ten Legends Page fourteen Gen 16 Craigie Zildjian Page sixteen On the Road Page twenty Moving Forward Product Info Intro There are so many exciting new things going on here at Zildjian that I couldn’t wait to share this year’s Z-Time with you. 2011 represents our breakthrough into the digital Page twenty-one music making realm. Our new Gen16 product line is the result of our effort to bring our Cast Cymbals knowledge of cymbals and their sounds to the modern digital environment. You can learn more about this initiative on pages 14 and 15 or at our new website www.zildjian.com. Page fifty-five Sheet Cymbals Whether your music making is acoustic, digital, or both, our desire is to be there no matter where your music takes you. I sincerely hope you enjoy the journey. Page sixty-one Drumsticks Best regards, Page sixty-five Gear Page sixty-eight Scrapbook Craigie & Debbie Zildjian Contributing photographers: Sayre Berman Hadas Naoju Nakamura John Stephens cover artist: Volker Beushausen Heinz Kronberger Kacper Diana Nitschke Levi Tecofsky Dominic Howard - Joris Bulckens Kaminski Jimmy Katz Mario Pires Melissa Terry Muse Tina Korhonen Bernard Rosenberg Andreas Ulvo James Cumpsty photo: Calum Doris Scott Legato Tao Ruspoli JonVanDaal Richard Ecclestone Robert Downs Hyejin, Lee Bianca Scharroo Neil Zlozower Sergey Dudin H.J Lee Ronny Sequeira Ludwig Drums graphic designer: M.v.d. -
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. -
Reggae Bass Pdf, Epub, Ebook
REGGAE BASS PDF, EPUB, EBOOK Ed Friedland | 32 pages | 01 Nov 1998 | Hal Leonard Corporation | 9780793579945 | English | Milwaukee, United States Reggae Bass PDF Book Reggae Rock. Here's a cool trick I learned to get super sub dubby bass tone: use an envelope filter, but turn the sensitivity all the way down so that it never opens. Print this page Do you know your Reggae Bass? No effects. May 26, Chapel Hill, NC. Fender Mustang Amp Review. Walking lines and swung bass lines in reggae tend to stay behind the beat and generally play very relaxed. Reggae Guitar. Reggae Love Songs. All rights reserved. You can accomplish everything with a few basic EQ and technique changes. Mostly no effects, it is really about the groove, not the tone. Do you use effects in reggae? It was also during this time that bass players were given a little bit more musical freedom and bass lines during this period began to become more intricate — relatively speaking bearing the standards set by ska and rocksteady in mind from before. Extra sustain and super round, phat but clean bass. Reggae Bass Scales. Use the previous reggae grooves as a blueprint for creating your own and listen to a lot of reggae bands for inspiration. Reggae Instrumental. The earliest form of music to come from Jamaica was a mid-tempo style of music called ska. While the One Drop Rhythm is fundamentally a single strike of the kick and the snare at the same time, there is some ambiguity on whether or not the drop is on beat three or just on beats two and four. -
People with Disabilities Get Ready: Curtis Mayfield in the 1990S Ray Pence, Ph.D
People with Disabilities Get Ready: Curtis Mayfield in the 1990s Ray Pence, Ph.D. University of Kansas Abstract: This article breaks with precedent by emphasizing disability’s role in the life and work of Curtis Mayfield (1942-1999) and by arguing that his experience of quadriplegia had both positive and difficult dimensions. Analysis focuses on Mayfield’s representation by journalists and other writers in the 1990s, and on how Mayfield answered their portrayals as an interview subject and as a musician with his final studio album New World Order (1996). Considered within the whole of Mayfield’s career, quadriplegia is revealed as one among many difficulties that he answered with critical positive thinking and powerful music. Key Words: quadriplegia, African-American music, civil rights “When a celebrity is ‘stricken’... editors and producers of national news organizations fall all over each other to run a mass-market variation on the theme, but in terms of narrative structure the celebrity story is simply the same notes scored for a symphony orchestra rather than a string quartet” (Riley, 2005, p. 13). Introduction Curtis Lee Mayfield (1942-1999) was a master of soul, rhythm, and blues with enormous and positive cultural influence in the last forty years of the twentieth century. Mayfield was also a person with disabilities—diabetes and, more significantly, quadriplegia—that he acquired late in life. Images are as important as sounds to understanding relationships between Mayfield’s quadriplegia and his music. Three contrasting views of Mayfield lying flat on his back during the 1990s provide a sort of visual synopsis of public perceptions of his final years. -
“People Get Ready”
“People Get Ready” Excerpt from Lyrics By Curtis Mayfield People get ready, there's a train a comin' You don't need no baggage, you just get on board All you need is faith to hear the diesels hummin' Don't need no ticket, you just thank the Lord Excerpt from the Chapter Essay by Craig Werner No song captures the feel of the early Movement better than Curtis Mayfield’s gospel-inflected “People Get Ready,” which culminates in an invitation to “get on board.” The center of a vibrant Chicago soul scene, which in terms of pure talent rivaled Detroit and Memphis, Mayfield embodied the relationship between Civil Rights, gospel and soul. Known as "the gentle genius," Mayfield grew up attending the Traveling Souls Spiritualist Church, a storefront church pastured by his Grandmother on Chicago’s poverty-stricken West Side. The experienced shaped both his politics and his approach to music. “Gospel was your foundation,” Mayfield said when asked about the inspiration for his songwriting. “All you had to do was just change some few lyrics. ‘Keep on Pushing’ was intended, written as a gospel song. All I needed to do to lock it in with The Impressions was say ‘I’ve got my strength’ instead of “God gave me strength and it don’t make sense.’ Nothing else needed to be changed.” WWW.TEACHROCK.ORG That quiet determination was part of what made Mayfield’s music more than just background for the Movement. When Martin Luther King, Jr., launched an ultimately unsuccessful campaign targeting housing discrimination in Chicago, organizers tapped into The Impressions' local popularity even more directly.