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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. -
Marty Willson-Piper Rolling Stone Review
Marty Willson-Piper of The Church – martywillsonpiper.net Marty Willson-Piper With a career that has spanned over 20 years, Marty has won a world wide audience and has influenced an ocean of guitarists. "Hanging Out In Heaven" , his first solo release in nearly five years continues to prove Marty's knack for a writing finely designed pop songs with witty, intelligent and meaninful lyrics. Rolling Stone Review : The Church - 'After everything…now this' Few rock bands have adored and explored the orchestral vocabulary and singing ring of the electric guitar with the commitment and distinguished touch of the Church. For founding members singer-bassist Steve Kilbey and guitarists Peter Koppes and Marty Willson-Piper, the art of jangle has been a life's work. After Everything Now This is the Australian group's twelfth studio album since 1981 and true to precedent in its rippling gleam. After Everything is also a masterpiece of stealth, a quiet killer in which subtle exquisite shocks of tonal theater -- the doomsday ticktock and gently abrasive fuzz in "Numbers"; the ice-water drip of the arpeggios in "Chromium" -- puncture the reverb without scarring it. The seamless-dream quality of After Everything is no small accomplishment; the Church, with drummer-producer Tim Powles, made the record in studios on three continents. But in these songs of dislocation and disconnection, intoned by Kilbey in a silken-lava baritone, Koppes' and Willson-Piper's guitars are a seductive counterweight, piercing the tension with an elegantly disruptive twang in -
Chamorro Faces Conflicts In
The Observer VOL. XXIII NO. 131 WEDNESDAY . APRIL 25, 1990 THE INDEPENDENT NEWSPAPER SERVING NOTRE DAME AND SAINT MARY’S Chamorro faces conflicts in UNO MANAGUA, Nicaragua (AP) — President-elect Violeta Bar Bush sends aid/ page 5 rios de Chamorro takes office Wednesday already facing divi sion in the ranks of her victori Cesar to encourage a split in ous coalition over government UNO ranks, even though Cesar posts and treatment of is not a Sandinista favorite be Nicaragua’s outgoing Sandin- cause of his Contra connec istas. tions. The United National Opposi Barricada, official newspaper tion faces a test of unity in the of the Sandinista Front, ran an National Assembly while cabi editorial Tuesday saying the net appointees, due to be sworn Sandinistas would of necessity in shortly after Chamorro’s in play a critical role in the auguration, have yet to be offi emerging political landscape in cially announced. this nation of 3.5 million resi The 14-party coalition dents. brought together everyone “ The Sandinista Front, from communists to conserva although it is not part of the tives in the successful effort to new government, and placing oust President Daniel Ortega’s itself strictly within the terrain Sandinistas, in power since of a committed opposition, 1979. But some parties feel cannot renounce playing the they are not getting enough say role of a national arbiter and a in Chamorro administration decisive force in the crisis from policies and appointments. which the new government The first test comes Tuesday emerges,” the editorial said. afternoon, when the new Na Many in UNO’s political coun tional Assembly is due to elect a cil, which represents the 14 president. -
THE YOUNG GODS Bio 2010
THE YOUNG GODS Bio 2010 Twenty five years and still no sign of wearing out. However youthful and godlike your name claims you are, it is still quite an impressive feat. Bigger, stronger, higher, the Young Gods chose a manic pace five years ago and they are taking no break in 2010. Never let routine get the best of you, always go forward, this is the new moto of the Swiss trio, now a fourtet since Vincent Hänni, the creative sidekick of many years, has become a full time member. Let us be clear, 2010 is going to be quite the year in the band’s prolific history; not only because of their fascinating new album („Everybody Knows“) but also because of the audio-video boxset of their recent and diverse sonic adventures. Their twentieth anniversary, celebrated on the prestigious stage of the Montreux Jazz Festival two nights in a row with, amongst others, the participation of a symphonic orchestra, marked the beginning of a frantic course of action for the band. After a best of ("XX Years 1985-2005" packed with surprises) and a musical magazine soundtrack for Truce Diaries, they went straight into the excellent "Super Ready / Fragmenté" album, where they bravely linked psychedelic experimentations with brutal punk abandon. Even then, the biggest shocks were to come on stage. The Young Gods took their audiences on a faux- acoustic musical journey, creating in the same breath one of their most impressive albums: the timeless "Knock On Wood". Once again, they turned the whole musical formula on its back and, for one mythical show at Les Eurockéennes, unleashed their collaboration with electro hip-hop pioneers Dälek, followed closely with the Barbouze De Chez Fior string quartet performances and finishing the collaborative trilogy with Koch-Schuetz-Studer ("More To Come" in 2010). -
The Music of Tim and Jeff Buckley
A State of Grace: The Music of Tim and Jeff Buckley: A World Premiere Event “Jeff Buckley was a pure drop in an ocean of noise.” Bono “Tim Buckley embodied all the virtue of grace.” Rolling Stone Tim and Jeff Buckley’s legacy has inspired generations of musicians and listeners. The world premiere event A State of Grace celebrates their brilliant, complicated lives and music, bringing together six peerless singers — and musicians with an intimate understanding of the music of the Buckleys — teamed with images and stories. It is a moving, definitive portrait of two of the most beloved voices in rock, overseen by Gary Lucas, the legendary New York guitarist / composer who worked closely with Jeff, co-writing the immortal songs ‘Grace’ and ‘Mojo Pin’. “The music of Jeff and Tim Buckley is timeless and gracefully transcendental,” says Gary. Assembled to recapture the magic of Tim and Jeff Buckley’s songs are musicians with the depth, breadth and empathy to do them justice: Martha Wainwright, Casper Clausen (of Efterklang), Willy Mason, Camille O’Sullivan, Steve Kilbey (The Church) and Cold Specks, with Gary Lucas as musical director, backed by his renowned New York ensemble Gods and Monsters. Tim and Jeff’s music becomes a point of departure for an evening of soul- stirring reinterpretation and exploration in this trailblazing event. PERFORMANCE DATES Wednesday 23 September 2015 Melbourne Recital Centre, Melbourne Victoria melbournerecital.com.au box office: 03 9699 3333 Friday 25 and Saturday 26 September 2015 QPAC Concert Hall, Brisbane -
Após Cinco Shows Nostálgicos, Midnight Oil Se Despede Do Brasil
Após cinco shows nostálgicos, Midnight Oil se despede do Brasil Entre os anos 80 e a primeira década do novo século, o Midnight Oil saiu da Austrália para ganhar o mundo, transformando-se em uma das referências do rock´n roll mundial, não só pela qualidade de seu som, mas também pela força de suas ideias. Suas fortes convicções políticas, sua defesa das principais causas ambientais e dos direitos do povo aborígene transformaram seus hits em hinos, seus shows em eventos que ressuscitaram a mítica do espírito contestador e inconformista do rock’n roll. Fundada em 1972, como The Farm (o grupo mudou o nome para Midnight Oil em 76), a banda lançou 13 álbuns entre 1978 e 2002 (ano do lançamento de seu último trabalho, Capricornia), esteve no topo das paradas em todo o mundo, fez turnês por todos os continentes e viveu momentos memoráveis, como quando se apresentou para um público estimado em mais de 1 bilhão de pessoas no encerramento das Olimpíadas de Sidney, em 2000. Após a turnê de lançamento do último álbum e a saída do vocalista Peter Garrett (que deixou a banda para seguir uma carreira política em tempo integral), o Midnight Oil decidiu encerrar suas atividades. Em fevereiro, em uma coletiva de imprensa realizada no porto de Sidney, a banda anunciou uma nova turnê mundial - The Great Circle 2017 World Tour - que começa com um show em um pub em Sydney e, em seguida, passará pelo Brasil, América do Norte, Europa e Nova Zelândia, antes de retornar à Austrália para um encerramento culminante. -
The History of Rock Music: 1976-1989
The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The Golden Age of Heavy Metal (These are excerpts from my book "A History of Rock and Dance Music") The pioneers 1976-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Heavy-metal in the 1970s was Blue Oyster Cult, Aerosmith, Kiss, AC/DC, Journey, Boston, Rush, and it was the most theatrical and brutal of rock genres. It was not easy to reconcile this genre with the anti-heroic ethos of the punk era. It could have seemed almost impossible to revive that genre, that was slowly dying, in an era that valued the exact opposite of machoism, and that was producing a louder and noisier genre, hardcore. Instead, heavy metal began its renaissance in the same years of the new wave, capitalizing on the same phenomenon of independent labels. Credit goes largely to a British contingent of bands, that realized how they could launch a "new wave of British heavy metal" during the new wave of rock music. Motorhead (1), formed by ex-Hawkwind bassist Ian "Lemmy" Kilminster, were the natural bridge between heavy metal, Stooges/MC5 and punk-rock. They played demonic, relentless rock'n'roll at supersonic speed: Iron Horse (1977), Metropolis (1979), Bomber (1979), Jailbait (1980), Iron Fist (1982), etc. -
Theatre • 33 W
Cultural Diversity in One Act...pg. 6A I L wWa THE ARTS AND ENTERTAINMENT SECTION OF THE DAILY NEXUS 2A Thursday, May 14,1992 ore Tom Ball Kenny Sultan Collaboration of Musicians Creates Downhome Blues some reason or another, go through a slow period, and de Bv Jeanine Natale cide to give up music altogether,” Ball said. “It’s a loss for the art world that so many good musicians are stuck being y | ^ om Ball and Kenny Sultan have made music — real estate agents. The key is just don’t ever plan to do any downhome, old-fashioned, good-time blues, to be thing else.” exact — their lives. Both having taken up guitar Sultan agreed with Ball, recalling how he was consider before the age of 12, Ball and Sultan began a rela ing a career in environmental science, but wasn’t really tionship with the blues that has taken diem around the happy with it. “Here I was, having played guitar since I was world, and has seen them play with hundreds of fellow mu seven, and I really hadn’t even played in front of anyone at sicians ranging from Willie Dixon to Bonnie Raitt. HILLARY KAPLOWITZ/Dúly Nema 19. I was terrified,” he said. Becoming a team in 1979, Sultan and Ball say that UCSB Our men Tom Ball (left) and Kenny Sultan. has been a big part of their lives. Their first “big gigs” were Although he went on to graduate as a music major, he playing on the air at KCSB, and with Randy Newman at Stevie Ray Vaughn. -
X AMENDED COMPLAINT X JURISDICTION
Case 1:17-cv-01471-DLC Document 38 Filed 06/26/17 Page 1 of 11 THE LAW OFFICE OF THOMAS M. MULLANEY 489 5rH Avenue, 19rH FLooR New York, New York 10017 212-223-0800 Attorneys for Plaintiff Paul Rose UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEV/ YORK ---------x PAUL ROSE, Case No. : I :17 -cv-147 1 (DLC) Plaintiff, -against AMENDED COMPLAINT PAUL DAVID HEWSON p/k/a BONO, DAVID HOÌVELL EVANS p/k/a THE EDGE or EDGE, ADAM CLAYTON, LAURENCE JOSEPH MULLEN.TR., and UMG RECORDINGS, INC. Defendants X Plaintiff PAUL ROSE ("Plaintiff'or Rose), by his attorney, Thomas M. Mullaney, as and for his complaint against Defendants PAUL DAVID HEWSON p/k/a BONO, DAVID HOWELL EVANS p/k/a THE EDGE or EDGE, ADAM CLAYTON, LAURENCE JOSEPH MULLEN JR., and UMG RECORDINGS, INC., (collectively "Defendants"), alleges as follows: JURISDICTION AND VENUE 1. This is an action is brought and subject matter jurisdiction lies within this Court, pursuant to 28 U.S.C. Sections 1331 and 1338. This Court has federal question jurisdiction in this matter in that Plaintiff seeks damages and injunctive relief against Defendants under Sections 501,502,504 and 505 of the Copyright Act of 1976,17 U.S.C. Section 101 et seq. The Court has pendent jurisdiction over the claims asserted herein that arise under state law, including the claim for quantum meruit and unjust enrichment, in that such claims flow from a Case 1:17-cv-01471-DLC Document 38 Filed 06/26/17 Page 2 of 11 common nucleus of operative facts. -
Krist Novoselic, Dave Grohl, and Kurt Cobain
f Krist Novoselic, Dave Grohl, and Kurt Cobain (from top) N irvana By David Fricke The Seattle band led and defined the early-nineties alternative-rock uprising, unleashing a generation s pent-up energy and changing the sound and future of rock. THIS IS WHAT NIRVANA SINGER-GUITARIST KURT Cobain thought of institutional honors in rock & roll: When his band was photographed for the cover of Rolling Stone for the first time, in early 1992, he arrived wearing a white T-shirt on which he’d written, c o r p o r a t e m a g a z i n e s s t i l l s u c k in black marker. The slogan was his twist on one coined by the punk-rock label SST: “Corporate Rock Still Sucks.” The hastily arranged photo session, held by the side of a road during a manic tour of Australia, was later recalled by photogra pher Mark Seliger: “I said to Kurt, T think that’s a great shirt... but let’s shoot a couple with and without it.’ Kurt said, ‘No, I’m not going to take my shirt off.’” Rolling Stone ran his Fuck You un-retouched. ^ Cobain was also mocking his own success. At that moment, Nirvana - Cobain, bassist Krist Novoselic, and drummer Dave Grohl - was rock’s biggest new rock band, propelled out of a long-simmering postpunk scene in Seattle by its incendiary second album, N everm ind, and an improbable Top Ten single, “Smells Like Teen Spirit.” Right after New Year’s Day 1992, Nevermind - Nirvana’s first major-label release and a perfect monster of feral-punk challenge and classic-rock magne tism, issued to underground ecstacy just months before - had shoved Michael Jackson’s D angerous out of the Number One spot in B illboard. -
Complaint 12-9-2019
Case 1:19-cv-25045-JEM Document 1 Entered on FLSD Docket 12/09/2019 Page 1 of 24 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF FLORIDA MIAMI DIVISION CASE NO. 1:19cv25045 Vicky Cornell, individually, and in her JURY TRIAL DEMANDED capacity, and as the Personal Representative of the Estate of Christopher John Cornell a/k/a Chris Cornell, Plaintiffs, v. Soundgarden, a purported Washington General Partnership, Kim A. Thayil, Matt D. Cameron, Hunter Benedict Shepherd, Rit Venerus and Cal Financial Group, Inc., Defendants. ______________________________________________/ COMPLAINT Plaintiff, Vicky Cornell, individually and in her capacity as the personal representative of the Estate of Christopher John Cornell (collectively, “Plaintiffs”) through counsel, hereby files the following complaint against the defendants, Soundgarden, Kim Thayil, Matt Cameron, Hunter Benedict Shepherd, Rit Venerus and Cal Financial Group, Inc. (collectively, “Defendants”). I. INTRODUCTION “Everybody out for my blood, everybody want my percent … They just want to take what is mine, how much more can they get.” - Sweet Revenge 1. In 2009, Chris Cornell penned these lyrics about his former Soundgarden bandmates after they unlawfully (and unsuccessfully) attempted to deprive him of his rights in connection with the valuable musical works that he created for the band. Ten years later, and after Chris’ untimely passing, these lyrics hauntingly resonate as his former bandmates, once Case 1:19-cv-25045-JEM Document 1 Entered on FLSD Docket 12/09/2019 Page 2 of 24 again, have attempted to “take what is his” – or, more aptly, to steal from his widow and minor children. This wrongful conduct shockingly started shortly after Chris’ untimely death and ultimately forced his widow, Vicky Cornell, to bring this lawsuit. -
The Young Gods, Des Dieux Toujours Jeunes
UNE PUBLICATION No 10 DU COLLECTIF MAI 2007 MENSUEL Daily Rock GRATUIT TOUTE L’ACTUALITÉ BRÛLANTE DU ROCK EN ROMANDIE Edito THE YOUNG GODS, DES Rockeuses, Rockeurs, Alors que la mode des chaussures à roulettes qui débarque nous agace DIEUX TOUJOURS JEUNES déjà, sans compter le dernier single de ce morveux de Timberlake qui est Conférences soniques, tournée génial et que le CD de Cascada qui acoustique ou relecture du film semble avoir lobotomisé une grande ‘Woodstock’. On avait croisé ces partie de la planète, je me dis qu’on dernières années les Young Gods est mal barré en ce mois de mai. dans des univers à la fois calmes et passablement éloignés de ce Heureusement quelques valeurs sûres nous sauvent qui leur avait ouvert les portes d’une dépression post-lobo certaine. L’ami Reznor qui, soit dit en passant, s’y connaît en dépression, de la notoriété. Voilà qu’un peu arrive à point nommé avec son Year Zero, sans prévenir, Franz Treichler, Al électroniquement vôtre, talonné par les culteux Comet et Bernard Trontin nous locaux Young Gods, qui la méritaient cette couv’ ! balancent un bon vieux coup de rock derrière la tête. Avec les douze Et si les festivals s’en mêlent, on ne va plus savoir où donner de la tête. En vrac, NIN aux Arènes titres d’une efficacité renversante d’Avenches, Arctic Monkeys, Eiffel, Arcade Fire de ‘Super Ready/Fragmenté’, ils et le dieu Rob Plant, sur la plaine de l’Asse, sans prouvent que la jeune garde a compter le toujours très Black-eyed rassemblement encore pas mal de boulot pour sacré d’Interlaken, Greenfield de son prénom et la leur piquer la place.