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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. -
Tribute to Three Giants Figures of the Sixties' Pop
TRIBUTE TO THREE GIANTS FIGURES OF THE SIXTIES’ POP MUSIC IN THE 50th ANNIVERSAIRE OF THEIR DEATH. ALAN WILSON, JIMI HENDRIX AND JANIS JOPLIN: ASTROLOGICAL REVIEW OF THREE 27’ CLUB MEMBERS. We were at the end of the “sixties”, a remarkable decade of 20th century for popular music, revolutionary movements, technological achievements and radical changes in human relationships. It was also the time of “hippie liberation”, the spread of drugs through young people. Everything was fine when, just in the span of thirty days, three outstanding members of musical background suddenly died. 1970, September the 3th: Alan Wilson, “Canned Heat” guitar, harmonica and vocal, commit suicide at home of another member group, Bob Hite, in Topanga Canyon, California. An overdose was the cause of his death. He was 27 years old. 1970, September the 18th: Jimi Hendrix, one of the bests guitarrist of all times, share his last night with Monica Dannemann in Samarkand Hotel, London. When she woke up Jimi was inconscious, yet breathe. He was moved at St. Mary Abbot Hospital, but he was not alive. The cause of his death: asphyxia per vomit. His partner declared that Jimi had had seven tablets of Vesparax, a barbituric, say, 18 times the recommended dose. He was 27 years old. 1970, October the 4th: Janis Joplin, a singer and contraculture icon of the sixties was found dead in her hotel room, at Los Angeles, just when she was going to record the vocal part of Buried Alive in the Blues next morning. A portent, maybe a synchronicity. The official cause of her death was an heroine overdose, probably combined with alcohol effects. -
Robert Randolph & the Family Band
artist bio ROBERT RANDOLPH & THE FAMILY BAND When Robert Randolph talks about his new album, Lickety Split, a few words come up over and over—"joy," "freedom," "energy." Which is no surprise, really, because those are the same things that immediately spring into a listener's mind when these twelve tracks from the virtuoso pedal steel guitarist and his longtime accompanists, the Family Band, explode out of the speakers. "My thing is really upbeat, uptempo, with great guitar riffs," says Randolph, summarizing his musical ambitions, "but also catchy choruses and lyrics that someday will make this music into classic tunes." “Robert Randolph is an American Original," says Don Was, President of Randolph's new label, Blue Note Records. "He has mastered what is, arguably, the most complex instrument in the world and developed a unique voice that is equal parts street-corner church and Bonnaroo. This album finally captures the energy and excitement of his legendary live performances.” But for Randolph, the road to Lickety Split—his first studio recording in three years—wasn't an easy path. Though his distinctive mix of rock, funk, and rhythm & blues continued to earn a rapturous response from a fervent, international audience, he felt that he had lost some of the enthusiasm and intensity that had driven him to make music in the first place. "We just weren't being creative musically," he says. "Being on the road 280 days a year, you wind up playing too much and it isn't fun anymore. Soon, you stop being that concerned about how good you can be, how important it is to create and write. -
Waves Unveils the Eddie Kramer Collection
PRESS RELEASE Contact: Clyne Media, Inc. Tel: (615) 662-1616 Fax: (615) 662-1636 FOR IMMEDIATE RELEASE WAVES UNVEILS THE EDDIE KRAMER COLLECTION — Legendary producer/engineer collaborates with Waves to create five Application-Specific Audio Plug-ins — TEL AVIV, ISRAEL, August 18, 2009 — Waves Audio announces the latest entry in the Waves Signature Series, The Eddie Kramer Collection. These five application-specific plug-ins, with dedicated tools for guitar, drums, vocals, bass and effects, are the result of close collaboration between Waves’ R&D team and legendary producer/engineer Eddie Kramer. Over the course of a production and engineering career that spans more than four decades, Eddie Kramer was the man behind the board for some of the biggest names in music history, including Jimi Hendrix, Led Zeppelin, Kiss, The Beatles, David Bowie and many more. Now, with the Waves Eddie Kramer Collection, producers and engineers around the world have access to Kramer’s personalized processing chains. The only tools of their kind, the Signature Series is Waves’ exclusive line of Application-Specific Audio Processors, created in collaboration with the world’s top producers, engineers and mixing engineers. Each and every Signature Series plug-in has been precision-crafted to capture the artist’s distinct sound and production style, using custom multi-effect processing chains designed by the artists themselves. For experienced and aspiring audio professionals alike, the Waves Signature Series streamlines the mixing process, delivering high- quality results, instantly. The Eddie Kramer Collection plug-ins feature intuitive graphic interfaces, a retro- modern look, and optimized control ranges that deliver Kramer’s distinctive, unmistakable sound. -
RELACIONES ENTRE ARTE Y ROCK. APECTOS RELEVANTES DE LA CULTURA ROCK CON INCIDENCIA EN LO VISUAL. De La Psicodelia Al Genoveva Li
RELACIONES ENTRE ARTE Y ROCK. APECTOS RELEVANTES DE LA CULTURA ROCK CON INCIDENCIA EN LO VISUAL. De la Psicodelia al Punk en el contexto anglosajón, 1965-1979 TESIS DOCTORAL Directores: Genoveva Linaza Vivanco Santiago Javier Ortega Mediavilla Doctorando Javier Fernández Páiz (c)2017 JAVIER FERNANDEZ PAIZ Relaciones entre arte y rock. Aspectos relevantes de la cultura rock con incidencia en lo visual. De la Psicodelia al Punk en el contexto anglosajón, 1965 - 1979 INDICE 1- INTRODUCCIÓN 1-1 Motivaciones y experiencia personal previa Pág. 5 1-2 Objetivos Pág. 6 1-3 Contenidos Pág. 8 2- CARACTERÍSTICAS ESTILÍSTICAS, TENDENCIAS Y BANDAS FUNDAMENTALES 2-1 ORÍGENES DEL ROCK 2-1-1 Características fundaMentales del rock priMitivo Pág. 11 2-1-2 La iMagen del rock priMitivo Pág. 15 2-1-2-1 El priMer look del Rock 2-1-2-2 El caudal de iMágenes del priMer Rock y el color 2-1-3 PriMeros iconos del Rock Pág. 17 2-2 BRITISH INVASION Pág. 22 2-3 MODS 2-3-1 Características principales Pág. 26 2-3-2 El carácter visual de la cultura Mod Pág. 29 2-4 PSICODELIA Y HIPPISMO 2-4-1 Características principales Pág. 32 2-4-2 El carácter visual de la Psicodelia y el Arte Psicodélico Pág. 42 2-5 GLAM 2-5-1 Características principales Pág. 55 2-5-2 El carácter visual del GlaM Pág. 59 2-6 ROCK PROGRESIVO 2-6-1 Características principales Pág. 65 2-6-2 El carácter visual del Rock Progresivo Pág. 66 2-7 PUNK 2-7-1Características principales Pág. -
FOXY LADY As Recorded by Jimi Hendrix (From the 1967 Album ARE YOU EXPERIENCED?) Transcribed by Roadkill Words and Music by Jimi Hendrix
FOXY LADY As recorded by Jimi Hendrix (From the 1967 Album ARE YOU EXPERIENCED?) Transcribed by Roadkill Words and Music by Jimi Hendrix A Intro Moderate Rock = 100 1 P 4 UU W gV V } V V I 4 gV V Gtr I gVf V [1/2[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[ (0) 5 x 5 5 T (10)M 10 5 x 5 5 10 ((10)) 11 A 4 4 B 2 2 sl. 4 gV V gV j V V j V j V I Gtr II mf T 14[[ 14[[[[[ 14[[[[[ A 14 14 14 14 B sl. } eV V V V V V V V } eV I V V V R V V gV V V V V gV V V V P gV gV V fV V gV GtgVr I V V gV V gV V x 5 5 5 5 5 x T x 4 4 4 5 5 5 5 5 x 4 4 4 4 4 4 A 4 4 4 4 4 4 2 4 4 4 B 0 2 2 2 2 4 7 3 4 2 2 2 2 2 2 H sl. 1967 Six Continents Music Publishing, Inc. Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org PDF created with FinePrint pdfFactory trial version www.pdffactory.com FOXY LADY - Jimi Hendrix Page 2 of 10 B 1st Verse 7 V V V V eV V V V V V I gV V V V gV V V V V gV V V V V GtgVr I V gV V 1/2 gV V 5 5 5 5 5 5 5 T 5 5 5 5 4 (4)M 5 5 5 4 4 (4) A 4 4 4 4 4 4 (4) O 4 4 2 B 0 2 O 2 2 2 2 O 2 2 gV gV V j V j V V j V V j V I Gtr II T 14[[[[[[ [[ 14[[ 14 [[[[[[ A 14 14 14 14 14 14 B 10 V } V V gVV VV V } eV V V I } V V V gV V fV gV gV V gV V V V V gV V gV V gV V V 1/2 5 x 5 5 2 2 5 x T 5 x 5 5 5 5 5 x 4 M 4 4 4 A 4 4 4 4 O 4 B 4 2 3 4 0 2 O 2 5 2 2 2 2 O gV gV V V } V V V P gV V V I j gV V u k j j z j tr T 14[[[[[ [ 14[[ 14 [[[[[ 14 14 (16) 14 14 14 14 A x 14 16 14 B 16 14 sl. -
The Racialization of Jimi Hendrix Marcus K
Eastern Michigan University DigitalCommons@EMU Senior Honors Theses Honors College 2007 The Racialization of Jimi Hendrix Marcus K. Adams Follow this and additional works at: http://commons.emich.edu/honors Part of the African American Studies Commons Recommended Citation Adams, Marcus K., "The Racialization of Jimi Hendrix" (2007). Senior Honors Theses. 23. http://commons.emich.edu/honors/23 This Open Access Senior Honors Thesis is brought to you for free and open access by the Honors College at DigitalCommons@EMU. It has been accepted for inclusion in Senior Honors Theses by an authorized administrator of DigitalCommons@EMU. For more information, please contact lib- [email protected]. The Racialization of Jimi Hendrix Abstract The period of history immediately following World War Two was a time of intense social change. The nde of colonialism, the internal struggles of newly emerging independent nations in Africa, social and political changes across Europe, armed conflict in Southeast Asia, and the civil rights movement in America were just a few. Although many of the above conflicts have been in the making for quite some time, they seemed to unite to form a socio-political cultural revolution known as the 60s, the effects of which continues to this day. The 1960s asw a particularly intense time for race relations in the United States. Long before it officially became a republic, in matters of race, white America collectively had trouble reconciling what it practiced versus what it preached. Nowhere is this racial contradiction more apparent than in the case of Jimi Hendrix. Jimi Hendrix is emblematic of the racial ideal and the racial contradictions of the 1960s. -
Album Cover Art Price Pages.Key
ART OF THE ALBUM COVER SAN FRANCISCO ART EXCHANGE LLC Aretha Franklin, Let Me In Your Life Front Cover, 1974 $1,500 by JOEL BRODSKY (1939-2007) Not including frame Black Sabbath, Never Say Die Album Cover, 1978 NFS by HIPGNOSIS 1968-1983 Blind Faith Album Cover, London, 1969 $17,500 by BOB SEIDEMANN (1941-2017) Not including frame Bob Dylan & Johnny Cash Performance, The Dylan Cash Session Album Cover, 1969 $1,875 by JIM MARSHALL (b.1936 - d.2010) Not including frame Bob Dylan, Blonde on Blonde Album Cover, NYC, 1966 $25,000 by JERRY SCHATZBERG (b.1927) Not including frame Bob Dylan, Greatest Hits Album Cover, Washington DC, 1965 $5,000 by ROWLAND SCHERMAN (b.1937) Not including frame Bob Dylan, Nashville Skyline Album Cover, 1969 $1,700 by ELLIOT LANDY (b.1942) Not including frame Booker T & the MGs, McLemore Ave Front Cover Outtake, 1970 $1,500 by JOEL BRODSKY (1939-2007) Not including frame Bruce Springsteen, As Requested Around the World Album Cover, 1979 $2,500 by JOEL BERNSTEIN (b.1952) Not including frame Bruce Springsteen, Hungry Heart 7in Single Sleeve, 1980 $1,500 by JOEL BERNSTEIN (b.1952) Not including frame Carly Simon, Playing Possum Album Cover, Los Angeles, 1974 $3,500 by NORMAN SEEFF (b.1939) Not including frame Country Joe & The Fish, Fixin’ to Die Back Cover Outtake, 1967 $7,500 by JOEL BRODSKY (1939-2007) Not including frame Cream, Best of Cream Back Cover Outtake, 1967 $6,000 by JIM MARSHALL (b.1936 - d.2010) Not including frame Cream, Best of Cream Back Cover Outtake, 1967 Price on Request by JIM MARSHALL (b.1936 -
Spartan Daily Across Campus on Their Skate- 60 Percent of the SJSU Student Boards and They fl Ip and They Body Is Served in One Way Or An- Hurt
JIMI HENDRIX Men’s Basketball New album from deceased After up-and-down season, SJSU guitar king released prepares for WAC Tournament SEE PAGE 5 SEE PAGE 4 Serving San José State University since 1934 Wednesday, March 10, 2010 www.TheSpartanDaily.com Volume 134, Issue 22 Health center off ers services for students Amaris Dominguez, Health Center for as many basic Melissa Sabile medical appointments as they’d Staff Writers like at no cost.” Elrod said a general offi ce visit The Student Health Center of- off campus can have a $20 co-pay fers a wide variety of services to or a $200 charge, and that seeing students, most of which are avail- a health center provider for free able for no additional charge. is a signifi cant benefi t of being an But there can be extra fees SJSU student. for specialty services, said Paula “This is especially true in dif- Hernandez, senior operations of- fi cult fi nancial times, when even fi cer for the health center. more students are making diffi - Many of the charges are paid cult choices between health vis- for by the mandatory health fee, its and other basic needs,” Elrod Hernandez said, but students pay said. “Right on the campus with a on their own for prescriptions relatively short wait, students can and labs. be seen for aches, pains, injuries “We get athletes in here,” she and illnesses at no cost by a doc- said. “They get hurt while play- tor or nurse practitioner.” Jeff Lee, a designer and tester at Halo Guitars, works on a guitar in his shop in Cupertino. -
Lives & Legends
UNIT 2 Lives & Legends Coursebook Unit 2 Language Texts Communicative skills Part 1 Grammar Listening Speaking SB page 18 Past simple and past continuous An interview with a ghostwriter Ghostwriting Vocabulary and Pronunciation Writing -ing and -ed adjectives Ghostwriting a partner’s Word stress experience Part 2 Vocabulary Reading SB page 20 Relationships White Teeth Grammar Past perfect and past simple Pronunciation Weak forms Part 3 Grammar Reading and Speaking Speaking and Listening SB page 22 Modifiers Grimms’ fairy tales A fairy tale Vocabulary and Pronunciation Extreme adjectives Word stress Part 4 Vocabulary Reading Writing SB page 24 Prepositions Legendary places A mini saga Extend your vocabulary Ways of talking about meaning Grammar used to and would Function globally Generalising and giving examples SB page 26 Talking about philosophy Talking about likes / dislikes and family / friends Global voices Listening to people talk about influences on their lives SB page 27 Talking about stuff Talking about people who have influenced your life Writing A narrative SB page 28 Complex sentences Writing a story Global review Grammar and vocabulary review SB page 29 Extra speaking practice Study skills Improving your reading skills SB page 29 Additional resources eWorkbook Interactive and printable grammar, vocabulary, listening and pronunciation practice Extra reading and writing practice Additional downloadable listening and audio material TB resource CD Communication activity worksheets to print and photocopy Go global Lives Ideas for further Ask students to find an American or British online genealogy or family history site and try to find research anybody with the same family name as you (without registering). -
Hendrix Hits London Educator Gallery Guide
Table of Contents: Background Information Education Goals Exhibition Walkthrough Extension Resources Background Information Hear My Train a Comin’: Hendrix Hits London The purpose of this guide is to present questions and offer information that help lead students through the exhibition and instigate a conversation about the dynamic themes highlighted therein. Hear My Train a Comin’: Hendrix Hits London delves deep into one of the most important and formative time periods in Jimi Hendrix’s career. During a nine-month period beginning in September 1966, Hendrix released three hit singles, an iconic debut album, and transformed into one of the most popular performers in the British popular music scene. In June 1967 he returned to America a superstar. This new exhibition furthers EMP Museum’s ongoing efforts to explore, interpret, and illuminate the life, career, and legacy of Jimi Hendrix. Before its installation in Seattle, Hear My Train a Comin’: Hendrix Hits London debuted at the Hospital Club, a creative exhibition facility and private club located in the heart of London. The show was on view in the UK for two months before returning to the US. While the overall theme remains the same, EMP sought to convey the look and feel of swinging London with the addition of richly patterned wall fabrics evocative of the era, interactive elements, and a chronological large-scale concert map. Hendrix: Biographical Information Students may benefit from a discussion of Hendrix’s personal history prior to the period covered in the exhibition. Born -
Now Here Live Internet Bidding with Special Auction
NOW HERE LIVE INTERNET BIDDING WITH SPECIAL AUCTION SERVICES We are delighted to announce that you are now able to bid online directly with SAS We have now launched the new SAS Live bidding platform Visit: auctions.specialauctionservices.com for more details Hugo Marsh Neil Thomas Forrester (Director) Shuttleworth (Director) (Director) Music & Entertainment Auction Tuesday 17th September 2019 at 10.00 Viewing: For enquiries relating to the auction please contact: Monday 16th September 2019 10:00 - 16:00 09:00 morning of auction Otherwise by Appointment Saleroom One 81 Greenham Business Park NEWBURY RG19 6HW Christopher David Martin David Howe Proudfoot Music & Music & Telephone: 01635 580595 Mechanical Entertainment Entertainment Fax: 0871 714 6905 Music Email: [email protected] www.specialauctionservices.com Buyers Premium: 17.5% plus Value Added Tax making a total of 21% of the Hammer Price SAS Live Premium: 20% plus Value Added Tax making a total of 24% of the Hammer Price Internet Buyers Premium: 22.5% plus Value Added Tax making a total of 27% of the Hammer Price As per our Terms and Conditions and with particular reference to autograph material or works, it is imperative that potential buyers or their agents have inspected pieces that interest them to ensure satisfaction with the lot prior to auction; the purchase will be made at their own risk. Special Auction Services will give indications of the provenance where stated by vendors. Subject to our normal Terms and Conditions, we cannot accept returns. ORDER OF AUCTION GRAMOPHONES & PHONOGRAPHS 1-143 VINYL RECORDS 144-448 CDs / CD BOX SETS 449-494 PSYCHEDELIC POSTERS 495-562 OTHER MUSIC POSTERS 563-577 MUSIC MEMORABILIA 578-627 FILM POSTERS 628-653 FILM & TV MEMORABILIA 654-661 MUSICAL INSTRUMENTS 662-690 HI-FI 691-703 LOT 126 www.specialauctionservices.com 3 Gramophones & Phonographs 11.