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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. -
T-Iourglass O 8 at 2154
HIGH TIDE LOW TIDE 7-27-69 7-27-69 5 8 at 0330 o £> at 1006 4 5 at 1606 t-IOURGlASS o 8 at 2154 J\.. .. ', I ~~.!,.I;~ ... "':,~ !! KWAJALEIP, ISLAl'JlJS Saturday, July 26, 1969 I, VOL 9, No 8458 L Moon Rocks, Soil Go on Display ost Massachusetts Residents For Select Audience of Scientists Want red to Retain Seat (UPI) -- Most Massachusetts residents SPACE CENTER, HOUSTON (UPI) -- Pampered with all the tender care technology can _apparently feel Sen Edward M Kennedy muster, the Moon rocks and s011 Apollo 11 brought home go on d1splay today for "'" ",,~;" should retain his seat in the Senate a select aud1ence of scientists ~ Initial response from other parts of The first v1ewing--through glass portholes in a special vacuum chamber - was ~ the country to his plea for advice ap eagerly awa1ted by SC1ent1sts who were chosen to analyze them to try to deter peared, however, to be more widely di m1ne the or1g1n of the Moon and perhaps the Universe vided "It's very frustratlng," said Jeff Warner, a geologist who works at the Moon Boston's three da1ly newspapers, the Isolatlon BUlldlng at the Space Center Record American, Globe and Feral Tra "The flrst box came at noon yesterday, veler, reported telephone calls "~2_to and we won't get to look at it unt11 10 Administration Talks 1" in favor of Kennedy am tOllorrow (today)" The Spr1ngfield Union reported less 1he long-awal ted Moon samples--t',o Tough to Business than three hours after the Senator's boxes \"1 th more than 50 pounds of Moon nationally televised speech, they had rock and dlrt--arrlved -
Adult Contemporary Radio at the End of the Twentieth Century
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
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. -
{PDF} Electric Ladyland, Jimi Hendrix Experience Ebook Free Download
ELECTRIC LADYLAND, JIMI HENDRIX EXPERIENCE PDF, EPUB, EBOOK Victor Villar Hauser | none | 24 Jan 2017 | Audible Studios on Brilliance | 9781536633757 | English | none Electric Ladyland, Jimi Hendrix Experience PDF Book Long Hot Summer Night demo 4 Original album remastered by Bernie Grundman from the original analog tapes! It's still quite a trip, half a century later. Burning of the Midnight Lamp Voodoo Chile 6. The Beginning Long Hot Summer Night Newswire Powered by. Print this Page. Electric Ladyland stands as the last album Jimi Hendrix recorded with the Experience, and the last studio effort released in his lifetime. For the first time, a 5. Self Noel Redding Haven't signed up for an account? Romantic Sad Sentimental. Voodoo Chile 6. To help keep your account secure, please log-in again. Long Hot Summer Night 7. Rate This. On the night of May 2nd, , after encountering Steve Winwood and Jack Casady at the Scene — both of their bands were in town for gigs at the Fillmore East — he brought them back to the studio and instructed Eddie Kramer to set up the microphones for a Scene-style jam session with Mitch Mitchell on drums. It is filled with detailed recording information and unpublished photos, including many taken by Eddie Kramer during the recording of the album. Originally produced in as part of the Classic Albums television series, this expanded edition features almost 40 minutes of additional content not seen in the original feature. Electric Ladyland, Jimi Hendrix Experience Writer To help keep your account secure, please log-in again. We Accept. -
My Bloody Valentine's Loveless David R
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 My Bloody Valentine's Loveless David R. Fisher Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MY BLOODY VALENTINE’S LOVELESS By David R. Fisher A thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the thesis of David Fisher on March 29, 2006. ______________________________ Charles E. Brewer Professor Directing Thesis ______________________________ Frank Gunderson Committee Member ______________________________ Evan Jones Outside Committee M ember The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables......................................................................................................................iv Abstract................................................................................................................................v 1. THE ORIGINS OF THE SHOEGAZER.........................................................................1 2. A BIOGRAPHICAL ACCOUNT OF MY BLOODY VALENTINE.………..………17 3. AN ANALYSIS OF MY BLOODY VALENTINE’S LOVELESS...............................28 4. LOVELESS AND ITS LEGACY...................................................................................50 BIBLIOGRAPHY..............................................................................................................63 -
GRAMMY Salute to Music Legends ™ Comes to THIRTEEN’S Great Performances Friday, October 14 at 9 P.M
Press Contacts: Harry Forbes, WNET 212-560-8027 or [email protected] Neda Azarfar, The Recording Academy 310-392-3777 or [email protected] Press materials: http://pressroom.pbs.org or http://www.thirteen.org/13pressroom Website: http://www.pbs.org/wnet/gperf Facebook: http://www.facebook.com/GreatPerformances Twitter: @GPerfPBS GRAMMY Salute to Music Legends ™ Comes to THIRTEEN’s Great Performances Friday, October 14 at 9 p.m. on PBS Ruth Brown, Celia Cruz, Earth, Wind & Fire, Herbie Hancock, Jefferson Airplane, Linda Ronstadt, Run-DMC, and John Cage Among Distinguished Honorees Live performances by Ry Cooder, Lila Downs, Earth, Wind & Fire, Andy Garcia and The CineSon All Stars, Herbie Hancock, Jefferson Airplane, Kris Kristofferson, Lucrecia, Martina McBride, Magnolia Sisters, JD Souther, and more In collaboration with The Recording Academy, Great Performances presents "GRAMMY Salute To Music Legends ™," a special all-star concert offering a primetime spotlight for The 2 Academy's 2016 Special Merit Awards recipients. The celebration and tribute concert features rare performances by honorees and never-before-seen renditions by those they've inspired. The celebration, recorded at Dolby Theatre in Los Angeles, will air Friday, October 14 from 9-11:30 p.m. on PBS. (Check local listings.) Previously held during GRAMMY ® Week, this is the first time The Recording Academy has celebrated the Special Merit Awards with a stand- alone event and musical tribute. This year's Lifetime Achievement Award honorees are Ruth Brown, Celia Cruz, Earth, Wind & Fire, Herbie Hancock, Jefferson Airplane, Linda Ronstadt , and Run- DMC . John Cage, Fred Foster , and Chris Strachwitz are Trustees Award honorees; and EMT and Dr. -
Eric Clapton
ERIC CLAPTON BIOGRAFIA Eric Patrick Clapton nasceu em 30/03/1945 em Ripley, Inglaterra. Ganhou a sua primeira guitarra aos 13 anos e se interessou pelo Blues americano de artistas como Robert Johnson e Muddy Waters. Apelidado de Slowhand, é considerado um dos melhores guitarristas do mundo. O reconhecimento de Clapton só começou quando entrou no “Yardbirds”, banda inglesa de grande influência que teve o mérito de reunir três dos maiores guitarristas de todos os tempos em sua formação: Eric Clapton, Jeff Beck e Jimmy Page. Apesar do sucesso que o grupo fazia, Clapton não admitia abandonar o Blues e, em sua opinião, o Yardbirds estava seguindo uma direção muito pop. Sai do grupo em 1965, quando John Mayall o convida a juntar-se à sua banda, os “Blues Breakers”. Gravam o álbum “Blues Breakers with Eric Clapton”, mas o relacionamento com Mayall não era dos melhores e Clapton deixa o grupo pouco tempo depois. Em 1966, forma os “Cream” com o baixista Jack Bruce e o baterista Ginger Baker. Com a gravação de 4 álbuns (“Fresh Cream”, “Disraeli Gears”, “Wheels Of Fire” e “Goodbye”) e muitos shows em terras norte americanas, os Cream atingiram enorme sucesso e Eric Clapton já era tido como um dos melhores guitarristas da história. A banda separa-se no fim de 1968 devido ao distanciamento entre os membros. Neste mesmo ano, Clapton a convite de seu amigo George Harisson, toca na faixa “While My Guitar Gently Weeps” do White Album dos Beatles. Forma os “Blind Faith” em 1969 com Steve Winwood, Ginger Baker e Rick Grech, que durou por pouco tempo, lançando apenas um album. -
Compound AABA Form and Style Distinction in Heavy Metal *
Compound AABA Form and Style Distinction in Heavy Metal * Stephen S. Hudson NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hudson.php KEYWORDS: Heavy Metal, Formenlehre, Form Perception, Embodied Cognition, Corpus Study, Musical Meaning, Genre ABSTRACT: This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (Aas 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill 2016). Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory “Your favorite songs all sound the same — and that’s okay . -
“Raising Hell”—Run-DMC (1986) Added to the National Registry: 2017 Essay by Bill Adler (Guest Post)*
“Raising Hell”—Run-DMC (1986) Added to the National Registry: 2017 Essay by Bill Adler (guest post)* Album cover Label Run-DMC Released in May of 1986, “Raising Hell” is to Run-DMC what “Sgt. Pepper’s” is to the Beatles--the pinnacle of their recorded achievements. The trio--Run, DMC, and Jam Master Jay--had entered the album arena just two years earlier with an eponymous effort that was likewise earth-shakingly Beatlesque. Just as “Meet the Beatles” had introduced a new group, a new sound, a new language, a new look, and a new attitude all at once, so “Run-DMC” divided the history of hip-hop into Before-Run-DMC and After-Run-DMC. Of course, the only pressure on Run-DMC at the very beginning was self-imposed. They were the young guns then, nothing to lose and the world to gain. By the time of “Raising Hell,” they were monarchs, having anointed themselves the Kings of Rock in the title of their second album. And no one was more keenly aware of the challenge facing them in ’86 than the guys themselves. Just a year earlier, LL Cool J, another rapper from Queens, younger than his role models, had released his debut album to great acclaim. Run couldn’t help but notice. “All I saw on TV and all I heard on the radio was LL Cool J,” he recalls, “Oh my god! It was like I was Richard Pryor and he was Eddie Murphy!” Happily, the crew was girded for battle. Run-DMC’s first two albums had succeeded as albums, not just a collection of singles--a plan put into effect by Larry Smith, who produced those recordings with Russell Simmons, the group’s manager. -
Finding Aid to the Historymakers ® Video Oral History with Darryl "DMC" Mcdaniels
Finding Aid to The HistoryMakers ® Video Oral History with Darryl "DMC" McDaniels Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: DMC (Musician) Title: The HistoryMakers® Video Oral History Interview with Darryl "DMC" McDaniels, Dates: August 26, 2016 Bulk Dates: 2016 Physical 5 uncompressed MOV digital video files (2:35:49). Description: Abstract: Hip hop artist Darryl "DMC" McDaniels (1964 - ) was a founding member of the hip hop group Run DMC. McDaniels was interviewed by The HistoryMakers® on August 26, 2016, in Chicago, Illinois. This collection is comprised of the original video footage of the interview. Identification: A2016_018 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Hip hop artist Darryl “DMC” McDaniels was born on May 31, 1964 in Harlem, New York. He graduated from Rice High School in Manhattan in 1982, and enrolled at St. John’s University in Queens, New York, but did not graduate. In 1982, McDaniels formed Run DMC with group mates Joseph “Rev Run” Simmons and Jason “Jam Master Jay” Mizell. In 1984, Run DMC signed to Profile Records under the management of Russell Simmons, and released their first album, Run DMC. That same year, the group’s music video “Rock Box” became first rap music video played on MTV. In 1985, Run DMC released the King of Rock album. They became only the second rap group to appear on American Bandstand, performing the hit “Jam Master Jammin.” In 1986, Run DMC released the critically acclaimed Raising Hell album, which was their top selling album, reaching certified triple platinum status. -
Ex Plore September 2019
COUNTRY READ MUSIC LIST WATCH Ken Burns’ Country Music New Eight-part Series September 15-25, 2019 EX PLORE SEPTEMBER 2019 SUGGESTED READING LIST COUNTRY MUSIC is a uniquely American art form that has deep roots in ballads, blues and hymns that evolved from small rural and mountain settings in the South and West during the 20th century. In many ways, this music has become known to Americans through the stories and music of artists like Hank Williams, Patsy Cline, Johnny Cash, Loretta Lynn, Willie Nelson, Dolly Parton, Garth Brooks, and many others. In September 2019, PBS will debut the documentary film “Country Music.” Directed and produced by Ken Burns, this film is aneight-part, 16 hour documentary series that explores the evolution of country music, while focusing on the biographies of fascinating characters and their unforgettable stories. While the complementary “Country Music” book by Ken Burns and Dayton Duncan will release this September, PBS Books has compiled a list of books for you to explore your curiosity in “Country Music” further. Honky Tonk Angel: The Intimate Story bit of swagger to the table. Nelson, Jennings, a culturally constructed music style. Issues of of Patsy Cline « Ellis Nassour, Dottie West and Kristofferson began vying for record deals identity and integration are explored, as well The “Honky Tonk Angel” was able to secure an in the tumultuous 60’s and made a substantial as revealing lesser-known subgenres like “hick- elevation to legendary status even though her impact on the recording industry, as well as hop,” along with the influence “southern soul” time on Earth was tragically shortened to just their signature genre; establishing a prominent had on country music.