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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. -
Bare Facts, Issue No. 863, 01.12.1995
Bare Facts ist December '95 University of Surrey Students' Newspaper issue 863 National.. In This Issue WORLD er..Demo? AIDS DAY iSTOBcmeeR them along the route, and stage, with Jim Murphy chants for more money being (President of NUS) on stage, HURSDAY interspersed with requests for Üiey began to shout abuse and T (mostly conservative) politi- throw half full cans of beer at 23RD OF cians to have various nasty the stage. With the speeches NUS Demo NOVEMBER. things done to them. One over the demo officially come Thousands of students point of potential conflict was to an end most students sim- Page 3 winding their way across Westminster Bridge where a ply went home, but many London from Malet group of students decided lo went on to a further meet Street to Kennington hold a sit down protest, but the while others, tried to go to stewards managed to guide Charring Cross police station Park. The reason for this the rest of the demo around to demonstrate for the release procession - the NUS the obstruction. Once past the of 3 students arrested during National Demo against obstruction the demo thinned the march. Many of this latter Student Hardship. out and may have gone silent group failed to tum up at the Fourteen Surrey students were it not for a group of pri- police station after Splitting joined others, from mary school children swing- up in an attempi to outwit the Student Unions around ing on the fences, yelling and police. participating the spirit of the country, to protest for things. -
Chart Book Template
Real Chart Page 1 become a problem, since each track can sometimes be released as a separate download. CHART LOG - F However if it is known that a track is being released on 'hard copy' as a AA side, then the tracks will be grouped as one, or as soon as known. Symbol Explanations s j For the above reasons many remixed songs are listed as re-entries, however if the title is Top Ten Hit Number One hit. altered to reflect the remix it will be listed as would a new song by the act. This does not apply ± Indicates that the record probably sold more than 250K. Only used on unsorted charts. to records still in the chart and the sales of the mix would be added to the track in the chart. Unsorted chart hits will have no position, but if they are black in colour than the record made the Real Chart. Green coloured records might not This may push singles back up the chart or keep them around for longer, nevertheless the have made the Real Chart. The same applies to the red coulered hits, these are known to have made the USA charts, so could have been chart is a sales chart and NOT a popularity chart on people’s favourite songs or acts. Due to released in the UK, or imported here. encryption decoding errors some artists/titles may be spelt wrong, I apologise for any inconvenience this may cause. The chart statistics were compiled only from sales of SINGLES each week. Not only that but Date of Entry every single sale no matter where it occurred! Format rules, used by other charts, where unnecessary and therefore ignored, so you will see EP’s that charted and other strange The Charts were produced on a Sunday and the sales were from the previous seven days, with records selling more than other charts. -
Pete Doherty (Ebury)
Early in 2004 Alan Mc introduced Pete to D Hart, who had played in the Creation Recor band The Jesus and M Chain. Hart had follow The LibertinesTEN to the of England on the tra with hisALBUM Super TWO 8 cam with a view to making music video for the ba Hart would later fly o Paris to direct the Fo‘ Lovers’ video to accom the single Pete was on verge of releasing wit Wolfman in the spring Pete was still playing Early in 2004 Alan McGee introduced Pete to Douglas Hart, who had played bass in the Creation Records band The Jesus and Mary Chain. Hart had followed The Libertines to the North of England on the train with his Super 8 camera with a view to making a music video for the band. Hart would later fly out to Paris to direct the ‘For Lovers’ video to accompany the single Pete was on the verge of releasing with Wolfman in the spring. Pete was still playing solo gigs, advertising them on his website a day or two before they took place. He’d already recorded ‘For Lovers’ and was desperate to record the B-side; it was a beautiful song and he was convinced it would be a hit. He’d also finished recording the debut Babyshambles single. But Pete and Carl still wanted to write together. They needed to collaborate and bond after the debacle of their trip to the Welsh valleys, and they had a second Libertines album to write. So they decided to head to Paris. -
Marc Brennan Thesis
Writing to Reach You: The Consumer Music Press and Music Journalism in the UK and Australia Marc Brennan, BA (Hons) Creative Industries Research and Applications Centre (CIRAC) Thesis Submitted for the Completion of Doctor of Philosophy (Creative Industries), 2005 Writing to Reach You Keywords Journalism, Performance, Readerships, Music, Consumers, Frameworks, Publishing, Dialogue, Genre, Branding Consumption, Production, Internet, Customisation, Personalisation, Fragmentation Writing to Reach You: The Consumer Music Press and Music Journalism in the UK and Australia The music press and music journalism are rarely subjected to substantial academic investigation. Analysis of journalism often focuses on the production of news across various platforms to understand the nature of politics and public debate in the contemporary era. But it is not possible, nor is it necessary, to analyse all emerging forms of journalism in the same way for they usually serve quite different purposes. Music journalism, for example, offers consumer guidance based on the creation and maintenance of a relationship between reader and writer. By focusing on the changing aspects of this relationship, an analysis of music journalism gives us an understanding of the changing nature of media production, media texts and media readerships. Music journalism is dialogue. It is a dialogue produced within particular critical frameworks that speak to different readers of the music press in different ways. These frameworks are continually evolving and reflect the broader social trajectory in which music journalism operates. Importantly, the evolving nature of music journalism reveals much about the changing consumption of popular music. Different types of consumers respond to different types of guidance that employ a variety of critical approaches. -
Ceremony Opens Plaza Art Exhibit Committee to Pick Grad Speaker
Volume 3, Number IS College At Lincoln Center, Fordham University, New York November 16-December 6,1983 CLC Blood Drive Nets SSA IS .«, » i irw" ^;:-:- 100 Pints By Marie Reres More than 100 pints of blood were collected in the CLC Blood Drive, held on November 7, 8 and 9 in the Pope Auditorium, according to Registered Nurse and Unit Manager of the Blood Drive, Alex- •^? : *i. *. ' • Win ander Mamon. The Blood Drive was sponsored by members of The Greater New York Blood Program. Studen! clubs Circle K and Res Ipsa Loquitur organized the event. "I was surprised to see such a good turnout, con- sidering the lack of student involvement in other events," said Bill Finneran, Vice President of Circle K. As donors came into the auditorium, they were greeted by a member of the Greater New York Blood Program who filled out an information sheet for each person. Next, a registered nurse took a Judith Brown's "Steel Images" will remain on exhibit for one year Photo Bv Doris Suen short medical history from each donor which in- cluded questions concerning hepatitis, malaria and general health. A blood sample was taken from the donor's finger to test for iron. Temperature and Ceremony Opens Plaza Art Exhibit blood pressure were taken, as well. Donors each gave one pint of blood and were then led to the can- By Doris Suen teen, where they were able to relax and have Judith Brown's metallic and menacing sculpture exhibition on the CLJC Plaza has been the talk refreshments. ' The official opening of artist Judith Brown's of the school lately. -
The Music of John Mellencamp, David Bowie and John Zorn Author(S): Ellie M
Postcolonialism on the Make: The Music of John Mellencamp, David Bowie and John Zorn Author(s): Ellie M. Hisama Source: Popular Music , May, 1993, Vol. 12, No. 2 (May, 1993), pp. 91-104 Published by: Cambridge University Press Stable URL: https://www.jstor.org/stable/931292 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Popular Music This content downloaded from 128.59.194.78 on Thu, 18 Mar 2021 15:42:13 UTC All use subject to https://about.jstor.org/terms Popular Music (1993) Volume 12/2. Copyright ( 1993 Cambridge University Press Postcolonialism on the make: the music of John Mellencamp, David Bowie and John Zorn ELLIE M. HISAMA China Girl Take me to your jasmine place Cool me with your subtle grace To know me is no sin And I won't break you, China Girl If you take me into your world It's been my good fortune to find you China Girl (John Cougar Mellencamp) When we acknowledge that an idea, history or tradition is not ours, we distance ourselves from it. When we then proceed to use, incorporate or represent it, we arrogate the right to employ what we acknowledge as not ours. -
You Gotta Fight (For Your Right to Make Music) | Nouse
Nouse Web Archives You gotta fight (for your right to make music) Page 1 of 4 News Comment MUSE. Politics Business Science Sport Roses Freshers Muse › Music › News Features Reviews Playlists You gotta fight (for your right to make music) By Robin Seaton Thursday 4 May 2006 Robin Seaton met Fightstar in Leeds on their third UK headline tour. They talked about the metal/punk scene and their attempts to forge a post-Busted fanbase You have to admire Charlie Simpson’s optimism, and his bravery. There’s something almost American about his desire for reinvention, something suicidal about his courage in forming a metal/punk band after having left Busted, a group who were one of the most successful manifestations of the legalised child exploitation racket that is pop music. There was almost something postmodern in their management’s attempts to create a patina of ‘rock respectability’ to cover the fundamentally teenager-targeted music. Their (unplugged) guitars, their ‘personalised’ clothes, that bloody endless ‘punk’ gurning. They weren’t fooling anyone, and they knew it. So how did the pretty-boy singer imagine that he could get away with forming a band playing music to punks and metalheads, two groups of music fans notorious for their abilities to sniff out anything fake, popular or safe, then gob on its face and kick its head in? Surely one man and his monobrow could not stand alone against such a tide of beered-up hatred? I went to Leeds to find out. Fightstar’s an appropriate name for a band who’ve had to fight against one kind of fame in order to achieve another. -
Babyshambles Albums Download Janie Jones (Strummerville) Purchase and Download This Album in a Wide Variety of Formats Depending on Your Needs
babyshambles albums download Janie Jones (Strummerville) Purchase and download this album in a wide variety of formats depending on your needs. Buy the album Starting at £0.99. Janie Jones (Strummerville) Copy the following link to share it. You are currently listening to samples. Listen to over 70 million songs with an unlimited streaming plan. Listen to this album and more than 70 million songs with your unlimited streaming plans. 1 month free, then £14,99/ month. Mick Jones, ComposerLyricist - JOE STRUMMER, ComposerLyricist - Tom Aitkenhead, Engineer, StudioPersonnel - Drew McConnell, Producer - The Kooks, Additional Vocals, AssociatedPerformer - We Are Scientists, Additional Vocals, AssociatedPerformer - Babyshambles, MainArtist - Mystery Jets, Additional Vocals, AssociatedPerformer - Ladyfuzz, Additional Vocals, AssociatedPerformer - Pete Doherty, Vocalist, AssociatedPerformer - Larrikin Love, Additional Vocals, AssociatedPerformer - Iain Gore, Mixer, StudioPersonnel - Statik, Producer, Engineer, StudioPersonnel - Jeremy Warmsley, Additional Vocals, AssociatedPerformer - Jamie T, Additional Vocals, AssociatedPerformer - Laura Marling, Additional Vocals, AssociatedPerformer - The Paddingtons, Additional Vocals, AssociatedPerformer - Dirty Pretty Things, Additional Vocals, AssociatedPerformer - Guillemots, Additional Vocals, AssociatedPerformer - The Maccabees, Additional Vocals, AssociatedPerformer - Andy Boyd, Producer, Executive Producer - The Rakes, Additional Vocals, AssociatedPerformer - Matt Paul, Assistant Mixer, StudioPersonnel -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
[email protected] Website: Nightshift.Oxfordmusic.Net Free Every Month
email: [email protected] website: nightshift.oxfordmusic.net Free every month. NIGHTSHIFT Issue 122 September Oxford’s Music Magazine 2005 SupergrassSupergrassSupergrass on a road less travelled plus 4-Page Truck Festival Review - inside NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWNEWSS Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 email: [email protected] THE YOUNG KNIVES won You Now’, ‘Water and Wine’ and themselves a coveted slot at V ‘Gravity Flow’. In addition, the CD Festival last month after being comes with a bonus DVD which picked by Channel 4 and Virgin features a documentary following Mobile from over 1,000 new bands Mark over the past two years as he to open the festival on the Channel recorded the album, plus alternative 4 stage, alongside The Chemical versions of some tracks. Brothers, Doves, Kaiser Chiefs and The Magic Numbers. Their set was THE DOWNLOAD appears to have then broadcast by Channel 4. been given an indefinite extended Meanwhile, the band are currently in run by the BBC. The local music the studio with producer Andy Gill, show, which is broadcast on BBC recording their new single, ‘The Radio Oxford 95.2fm every Saturday THE MAGIC NUMBERS return to Oxford in November, leading an Decision’, due for release on from 6-7pm, has had a rolling impressive list of big name acts coming to town in the next few months. Transgressive in November. The monthly extension running through After their triumphant Truck Festival headline set last month, The Magic th Knives have also signed a publishing the summer, and with the positive Numbers (pictured) play at Brookes University on Tuesday 11 October. -
ANSAMBL ( [email protected] ) Umelec
ANSAMBL (http://ansambl1.szm.sk; [email protected] ) Umelec Názov veľkosť v MB Kód Por.č. BETTER THAN EZRA Greatest Hits (2005) 42 OGG 841 CURTIS MAYFIELD Move On Up_The Gentleman Of Soul (2005) 32 OGG 841 DISHWALLA Dishwalla (2005) 32 OGG 841 K YOUNG Learn How To Love (2005) 36 WMA 841 VARIOUS ARTISTS Dance Charts 3 (2005) 38 OGG 841 VARIOUS ARTISTS Das Beste Aus 25 Jahren Popmusik (2CD 2005) 121 VBR 841 VARIOUS ARTISTS For DJs Only 2005 (2CD 2005) 178 CBR 841 VARIOUS ARTISTS Grammy Nominees 2005 (2005) 38 WMA 841 VARIOUS ARTISTS Playboy - The Mansion (2005) 74 CBR 841 VANILLA NINJA Blue Tattoo (2005) 76 VBR 841 WILL PRESTON It's My Will (2005) 29 OGG 841 BECK Guero (2005) 36 OGG 840 FELIX DA HOUSECAT Ft Devin Drazzle-The Neon Fever (2005) 46 CBR 840 LIFEHOUSE Lifehouse (2005) 31 OGG 840 VARIOUS ARTISTS 80s Collection Vol. 3 (2005) 36 OGG 840 VARIOUS ARTISTS Ice Princess OST (2005) 57 VBR 840 VARIOUS ARTISTS Lollihits_Fruhlings Spass! (2005) 45 OGG 840 VARIOUS ARTISTS Nordkraft OST (2005) 94 VBR 840 VARIOUS ARTISTS Play House Vol. 8 (2CD 2005) 186 VBR 840 VARIOUS ARTISTS RTL2 Pres. Party Power Charts Vol.1 (2CD 2005) 163 VBR 840 VARIOUS ARTISTS Essential R&B Spring 2005 (2CD 2005) 158 VBR 839 VARIOUS ARTISTS Remixland 2005 (2CD 2005) 205 CBR 839 VARIOUS ARTISTS RTL2 Praesentiert X-Trance Vol.1 (2CD 2005) 189 VBR 839 VARIOUS ARTISTS Trance 2005 Vol. 2 (2CD 2005) 159 VBR 839 HAGGARD Eppur Si Muove (2004) 46 CBR 838 MOONSORROW Kivenkantaja (2003) 74 CBR 838 OST John Ottman - Hide And Seek (2005) 23 OGG 838 TEMNOJAR Echo of Hyperborea (2003) 29 CBR 838 THE BRAVERY The Bravery (2005) 45 VBR 838 THRUDVANGAR Ahnenthron (2004) 62 VBR 838 VARIOUS ARTISTS 70's-80's Dance Collection (2005) 49 OGG 838 VARIOUS ARTISTS Future Trance Vol.