AXS TV Schedule for Mon. August 11, 2014 to Sun. August 17, 2014
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Marketing Lessons I Learned from Working with Kiss
MARKETING LESSONS I LEARNED FROM WORKING WITH KISS BY: MICHAEL BRANDVOLD Copyright 2011 Michael Brandvold Marketing • www.MichaelBrandvold.com "Quite eloquent. You're a powerful and attractive man." Gene Simmons Copyright 2011 Michael Brandvold Marketing • www.MichaelBrandvold.com CONTENTS • About • Acknowledgements • Testimonials • No Denying the Influence • All Press is Good Press • Love Me or Hate Me, Just Spell My Name Right • Wait for the Right Time • It’s All Branding • Everything You Do Will Not Succeed • Treat the Media with Respect • Listen to Your Fans You Work for Them • The Secret to Success is to Offend the Greatest Number of People • If You Don’t Ask For It You Won’t Get It • Separate Business and Pleasure • They Aren’t Afraid to Change Their Minds • The Takeaway • Contact Copyright 2011 Michael Brandvold Marketing • www.MichaelBrandvold.com ABOUT In both mainstream and adult entertainment, Michael Brandvold’s marketing talents, skills and savvy are vital assets that numerous companies rely upon to expand, prosper and operate effectively, efficiently and profitably in the online economy. Upon graduating from Mankato State University in 1987, Michael accepted the position of Director of Marketing with DKP Productions, an artist management firm in Chicago, before joining Red Light Records 1990, as National Radio Promotions manager. A self-taught master of HTML, Michael launched websites for Perris Records, Creative Communications, Sportmart, and Montgomery Ward. But it was KISS Otaku – his KISS fan site launched in 1995 – that would change his fortunes forever. In 1998, Gene Simmons of KISS discovered KISS Otaku and personally tapped Michael as the Director of Web Services at Signatures Network, a Sony/CMGi company, where he built-from-scratch, managed and grew KISSonline into a multi-million dollar enterprise with over of a half million visitors a month. -
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. -
Iris (Standard)
IRIS (STANDARD) As recorded by Goo Goo Dolls (From the 1998 Album DIZZY UP THE GIRL) Transcribed by zekeyheathy and edited by Words and Music by John Rzeznik Jarryd Conrad V Bm 4 fr. Bmadd9 4 fr. Bm/G D/F Aadd11 4 fr. Bm 5 fr. Bm/A G Dsus2/C 7 fr. Dsus2/B 5 fr. xx xx x x x xb x xx x xx x x x x x xxb x xx A Intro Slow Ballad = 80 Bm P G 1 g I g J }V }V }V }V }V }V }V }V }V }V }V }V VV VV VV VV VV VV VV V} V} V} V} V} VV VV VV VV VV VV VV VV VV VV VV VV V V V V V V V V V V V V Gtr I V} V} V} V} V} V} V} V V V V V T x x x x x x x x x x 0 0 0 0 0 x x x x x 7 7 7 7 7 6 6 6 6 6 4 4 4 4 4 (4) 2 2 2 2 2 A 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 B 5 5 5 5 5 5 5 5 5 5 x x x x x 0 0 0 0 0 7 7 7 7 7 7 7 7 7 7 3 3 3 3 3 (3) 2 2 2 2 2 sl. sl. V V V V V V V V V V V V V V V V V V V V V gg J V V V V V V V V V V V I Gtr II 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 T 10 10 10 8 8 7 7 7 A 7 7 7 9 9 9 7 7 B B 1st Verse D E G Bm Asus4 3 gg 6 V V V I 8 V V V V V V V V V V V V V V V V V V V V V V V V V T V V 7 7 6 4 2 2 A 0 0 0 0 0 0 0 B 5 5 7 7 7 7 0 0 0 0 0 7 5 5 3 2 2 sl. -
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HOT ROCK SONGSTM TOP ROCK ALBUMST" 1 WKS. SALT THIS TITLE CERTIFICATION Artist PEAK WKS., LAST LAS ARTIST CER,FiCALION Title ASKS. ON A. RE. WEEK PRODUCER (SONGWRITER) IMPRINT/PROMOTION LABEL POS. CHART VYEfk ff.) 1.7FF1).7cHSTRICutifiL LABEL !117,Upf.teD HTHE MOON HALESTORM Into The Wild Life DG AG 32 AltaA.,AL 01 0 AGANAVWALK0. EITT 2 TAKE ME TO CHURCH 0 Hozier 1 8, NEW DANCE GAVIN DANCE Instant Gratification 2 2 RISE A.HOZIER.8YRNE (A MODER...AD RUEIYWORKSICOLUMBIA ALL TIME LOW Future Hearts 3 RIPTIDE A 2 4 3 3 HOPELESS 1CASTLE,LNEOGN.E.WIliTE NANCE /OW ,21p',5.V.T`c 2 61 O 4 SUFJAN STEVENS Carrie & Lowell 3 4 BUDAPEST George ASTHMATIC KITTY 0 BLACKWOCO C. (GEORGE EZRAIPOTT) IMAGINE DRAGONS Smoke + Mirrors 9 CENTURIES A Fall Out Boy KIDINAKORNERANIERSCOPEAGA 3 5 2 32 IRAWKIIIIHAMOIELIIYMAPANINUIRRHIWOOMMIN tHA4LLIKAIMUIR1140.171(41 NIDOKIROVitall HOZIER Hozier 28 Women I BET MY LIFE RUBYWORKS/COLUMWA O 6 6 6 25 IMAGINE DRAGONS (IMAGINE DRAGONS) KrANnrRgrgsgipSr 3 FALLOUT BOY American Beauty / American Psycho 7 13 Mumford & Sons 0,01/ISLAND Win At BELIEVE 4 6 LfORD (MUY FORO G SONS) GENTLEMEN OF 7HE ROAD/GLASSNOTE 0 0 SOMMTRACK A Guardians Of The Galaxy. Awesome Mix Moll 38 IMAGINE Sawyer Fredericks MARVEL/HOLLYWOOD Rock BAPPLEBERRY ...ENRON) oC NEEDTOBREATNE Live From The Woods At Fontanel NEW 0 ATLANTIC/AG Two female-ironted hard RENEGADES X Ambassadors 9 4 ALEX OA OD (A.GRAN74.HARRIS.N FELDSHUH.C.IIARRIS.A.HIEVINE) XIDINAKORNER/INTERSCOPE rock bands continue to 10 DEATH CAB FOR CUTIE Kintsugi 3 BARSUK/ATLANTIUAG make waves in the heavily HOUSE OF THE RISING SUN Kimberly NREPie, i.f) 10 0 °WIEDER. -
School Nixes Leasing Agreement with Township
25C The Lowell Volume IS, Issue 2 Serving Lowell Area Readers Since 1893 Wednesday, November 21, 1990 earns The Lowell Ledger's "First Buck Contest" turnout was a.m., bagged the buck at 7:45 a.m. better than voter turnout on election day. On Saturday, Vezino bagged a four-point buck with a Well, not quite, but 10 area hunters did walk through the bow. Ledger d(X)r between 7:30 a.m. and 12:30 p.m. on Wednes- Don Post. Ada. was along the Grand River on the flats, day. when he used one shot from his 16-gauge to drop a seven- The point sizes varied from four to eight-point. The weight point. 160-165 pound buck at 8 a.m. Post, hunting since of the bucks fluctuated from 145-200 pounds and the spreads the age of 14. said the seven is the biggest point size buck on the rack were anywhere from eight to 15 inches. he has ever shot. Lowell's Jack Bartholomew was the first hunter to hag Chuck Pfishner, Lowell, fired his winning shot at 7:50 and drag his buck to the Ledger office at 7:35 a.m. Barth- a.m. east on Four Mile. Using a 12-gauge, Pfishner shot olomew was out of the house by 6 a.m., saw his first buck an eight-point, 145-150 pound buck with a nine-inch spread. at 6:55 and shot it at 7:10. Randy Mclntyre. Lowell, was in Delton when he dropped "When I first saw the buck it was about 100 yards away. -
A Shaman, a Sherpa, and a Healer: a Post-Intentional
A SHAMAN, A SHERPA, AND A HEALER: A POST-INTENTIONAL PHENOMENOLOGY OF SONGWRITING by BRIAN E. KUMM (Under the Direction of Corey W. Johnson) ABSTRACT The purpose of this study was to explore the phenomenon of songwriting. Through a series of in depth interviews, three songwriters provided rich descriptions of their lived experiences with the phenomenon. Post-intentional phenomenology was used as the primary guiding theoretical framework for this study, which negotiated the tenets of both phenomenology and poststructuralism. Songwriting was described in terms of portaling, everesting, and gravitating-levitating and was revealed as a complex phenomenon of cathartic and transcendent experiences. The findings highlight the need for unstructured, expressive, and artistic leisure, which can be transformative in times of personal or social unrest. INDEX WORDS: Songwriting, Post-intentional phenomenology, Creativity, Leisure A SHAMAN, A SHERPA, AND A HEALER: A POST-INTENTIONAL PHENOMENOLOGY OF SONGWRITING by BRIAN E. KUMM B.S., University of West Georgia, 1999 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2011 © 2011 Brian E. Kumm All Rights Reserved A SHAMAN, A SHERPA, AND A HEALER: A POST-INTENTIONAL PHENOMENOLOGY OF SONGWRITING by BRIAN E. KUMM Major Professor: Corey W. Johnson Committee: Janette R. Hill Diane M. Samdahl Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia December 2011 iv DEDICATION This thesis is dedicated to the memory of Dianne Kendall Hickly (mom number 2). March 1, 1947 – July 23, 2011 v ACKNOWLEDGEMENTS I sincerely want to say thank you to everyone who contributed to the successful completion of this thesis. -
Postmodernism in Anglo-American Fiction
i Table of Contents Christophe Den Tandt Professor Université Libre de Bruxelles Postmodernism in Anglo-American Fiction VOL II: First-Generation Postmodernism: Thomas Pynchon; Kurt Vonnegut, Jr.; Julian Barnes v Table of Contents 0.1 Online Information ............................................................................................................................... vii 0.2 Scope of the Present Notes ................................................................................................................... vii 0.3 Bibliographical Sources ....................................................................................................................... vii 0.4 Formatting and Style Sheet .................................................................................................................. vii 2.3 First-Generation Postmodernist Fiction ........................................................................................ 114 2.3.1 US Fiction from the 1950 to the '70s ............................................................................................... 114 2.3.2 Thomas Pynchon (1937-) ............................................................................................................. 119 2.3.2.1 Biography .................................................................................................................................... 119 2.3.2.2 Pynchon’s Works ....................................................................................................................... -
Guest Host: Pitbull Show Date: Weekend of July 6-7, 2013 Disc One/Hour One Opening Billboard: None Seg
Show Code: #13-27 INTERNATIONAL Guest Host: Pitbull Show Date: Weekend of July 6-7, 2013 Disc One/Hour One Opening Billboard: None Seg. 1 Content: #40 “COME & GET IT” – Selena Gomez #39 “SHOULD'VE GONE TO BED” – Plain White T's #38 “SOMEBODY THAT I USED TO KNOW” – Gotye Outcue: JINGLE OUT Segment Time: 11:36 Local Break 2:00 Seg. 2 Content: #37 “TOO CLOSE” – Alex Clare #36 “OUR SONG” – Matchbox Twenty #35 “EVERYBODY TALKS” – Neon Trees #34 “ONE MORE NIGHT” – Maroon 5 Outcue: JINGLE OUT Segment Time: 14:37 Local Break 2:00 Seg. 3 Content: #33 “HERE'S TO NEVER GROWING UP” – Avril Lavigne Extra: “WE RUN THE NIGHT” – Havana Brown f/Pitbull #32 “I KNEW YOU WERE TROUBLE.” – Taylor Swift #31 “LOCKED OUT OF HEAVEN” – Bruno Mars On The Verge: “IT’S A BEAUTIFUL DAY” – Michael Bublé Outcue: JINGLE OUT Segment Time: 20:07 Local Break 1:00 Seg. 4 ***This is an optional cut - Stations can opt to drop song for local inventory*** Content: AT40 Extra: “TAKE A BOW” – Rihanna Outcue: “…to everybody in Brazil, [Spanish], ha ha.” (sfx) Segment Time: 3:21 Hour 1 Total Time: 49:41 END OF DISC ONE Show Code: #13-27 INTERNATIONAL Show Date: Weekend of July 6-7, 2013 Disc Two/Hour Two Opening Billboard: None Seg. 1 Content: #30 “IT'S TIME” – Imagine Dragons #29 “MY SONGS KNOW WHAT YOU DID IN THE DARK (LIGHT EM UP)” – Fall Out Boy On The Verge: “GET LUCKY” – Daft Punk f/Pharrell Williams #28 “SOME NIGHTS” – fun. Outcue: JINGLE OUT Segment Time: 16:06 Local Break 2:00 Seg. -
The Winonan - 1990S
Winona State University OpenRiver The inonW an - 1990s The inonW an – Student Newspaper 11-6-1996 The inonW an Winona State University Follow this and additional works at: https://openriver.winona.edu/thewinonan1990s Recommended Citation Winona State University, "The inonW an" (1996). The Winonan - 1990s. 167. https://openriver.winona.edu/thewinonan1990s/167 This Newspaper is brought to you for free and open access by the The inonW an – Student Newspaper at OpenRiver. It has been accepted for inclusion in The inonW an - 1990s by an authorized administrator of OpenRiver. For more information, please contact [email protected]. What's Going On? Sexual assault and Did WSU students BoDeans and Goo Warriors of the Week: robbery in Winona, exercise their right to Goo Dolls rock WSU's Sister Act and Pre-registration vote? WSU continues See Page 2 See Page 5 See Page 7 See Pa e 10 The Iw 11A1111U1IVERIIT11)1RAI VI 3 0106 00362 4706 inonan Wednesday, November 6, 1996 Vol. 75 Issue/ '1 Winona State's First Student Paper Established 1922 WSU in the BODEANS AND GOO GOO DOLLS ROCK STUDENTS dark over lighting bill By ARIEL M. BLAHA The parking lot, located between News Reporter Sheehan and the cafeteria, is IRHC' s top concern, according to Hoff. Winona State University students Five other IRHC members were have seen the light—at least they will involved as well as one student senate when the University installs new se- officer. curity lighting totaling $88,000. During the walk-through, Ferden Spring of 1997 is the installation explained the preliminary plan and date for the lighting, which will focus the concerns, then asked if the stu- on areas around Kryzsko Commons dents wanted to add anything. -
Olivia Rodrigo's 'Sour' Returns to No. 1 on Billboard 200 Albums Chart
Bulletin YOUR DAILY ENTERTAINMENT NEWS UPDATE JUNE 28, 2021 Page 1 of 24 INSIDE Olivia Rodrigo’s ‘Sour’ Returns to • BTS’ ‘Butter’ Leads Hot 100 for Fifth No. 1 on Billboard 200 Albums Chart Week, Dua Lipa’s ‘Levitating’ Becomes BY KEITH CAULFIELD Most-Heard Radio Hit livia Rodrigo’s Sour returns to No. 1 on five frames (charts dated Jan. 23 – Feb. 20). (It’s worth • Executive of the the Billboard 200 chart for a second total noting that Dangerous had 30 tracks aiding its SEA Week: Motown Records Chairman/ week, as the album steps 3-1 in its fifth and TEA units, while Sour only has 11.) CEO Ethiopia week on the list. It earned 105,000 equiva- Polo G’s Hall of Fame falls 1-2 in its second week Habtemariam Olent album units in the U.S. in the week ending June on the Billboard 200 with 65,000 equivalent album 24 (down 14%), according to MRC Data. The album units (down 54%). Lil Baby and Lil Durk’s former • Will Avatars Kill The Radio Stars? debuted at No. 1 on the chart dated June 5. leader The Voice of the Heroes former rises 4-3 with Inside Today’s Virtual The Billboard 200 chart ranks the most popular 57,000 (down 21%). Migos’ Culture III dips 2-4 with Artist Record Labels albums of the week in the U.S. based on multi-metric 54,000 units (down 58%). Wallen’s Dangerous: The consumption as measured in equivalent album units. Double Album is a non-mover at No. -
12 the Way.Pdf
Hi Soulful Song Lovers and Story Tellers, This is the twelfth Friday PDF that we’re emailing or posting on the webpage about songs, stories, storytelling, community, or personal/spiritual growth until we meet again. Sharing our stories, beliefs, and experiences around a theme suggested by a song is a pathway to our higher, better selves. Some who have been exemplars of what this journey could look like—Jesus, Lao Tzu, and others—have had the path they followed/emblazoned referred to as “The Way.” When we seek or walk The Way, sometimes we have company (a mentors, a book, etc.) but in the final analysis, in the words of the song “Lonesome Valley,” “Nobody here can walk it for you, You gotta walk it by yourself.” Some of the people who shine their light so we can find The Way include singer/songwriter Tift Merritt, Thoreau, Rachel Naomi Remen, Sophia Lyon Fahs, John Steinbeck, James Baldwin, Barbara Holmes, and more. If you’d like to get these PDFs emailed to you, register with Jessica Pond, [email protected]. We sorely miss you and your stories. We miss hugs and laughter and coffee/tea with you. We know these mailings are no substitute for meeting face-to-face, but hope that they, in some small way, may fill the gap until we meet again. Take the spirit of Soulful Songs and Stories with you wherever you go; share it, and we hope to see you all, healthy and happy, sooner rather than later. Namasté, Alice and Steve The Way / Lonesome Valley The idea for this week’s piece came from Eliza grimages leading to the shrine of the apostle Saint Borné, -
Aint Gonna Study War No More / Down by the Riverside
The Danish Peace Academy 1 Holger Terp: Aint gonna study war no more Ain't gonna study war no more By Holger Terp American gospel, workers- and peace song. Author: Text: Unknown, after 1917. Music: John J. Nolan 1902. Alternative titles: “Ain' go'n' to study war no mo'”, “Ain't gonna grieve my Lord no more”, “Ain't Gwine to Study War No More”, “Down by de Ribberside”, “Down by the River”, “Down by the Riverside”, “Going to Pull My War-Clothes” and “Study war no more” A very old spiritual that was originally known as Study War No More. It started out as a song associated with the slaves’ struggle for freedom, but after the American Civil War (1861-65) it became a very high-spirited peace song for people who were fed up with fighting.1 And the folk singer Pete Seeger notes on the record “Waist Deep in the Big Muddy and Other Love Songs”, that: "'Down by the Riverside' is, of course, one of the oldest of the Negro spirituals, coming out of the South in the years following the Civil War."2 But is the song as we know it today really as old as it is claimed without any sources? The earliest printed version of “Ain't gonna study war no more” is from 1918; while the notes to the song were published in 1902 as music to a love song by John J. Nolan.3 1 http://myweb.tiscali.co.uk/grovemusic/spirituals,_hymns,_gospel_songs.htm 2 Thanks to Ulf Sandberg, Sweden, for the Pete Seeger quote.