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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. -
Prospectus & Price List
PROSPECTUS & PRICE LIST Gwent Music exists to provide a complete range of music tuition and music services which meet the needs and aspirations of all pupils, educational establishments and local communities in Blaenau Gwent, Monmouthshire, Newport, Torfaen and surrounding areas. This document summarises the services available and applicable charges. If you have specific needs not listed here, please contact us to arrange a telephone or face-to-face consultation. MUSIC TUITION High quality tuition on the full range of instruments: Brass Celtic Guitar Percussion Cornet Penny Whistle Classical Drum kit Trumpet Fife Rock & Pop lead Tuned percussion: Trombone Fiddle Rock & Pop bass Xylophone French horn Bodhran Ukulele Glockenspiel Tuba Banjo Blues Tubular bells Euphonium Mandolin Jazz Timpani Tenor horn Folk Guitar Snare drum Flugelhorn Piano/Keyboard Strings Voice Woodwind Piano Violin Individual Flute Keyboard Viola Choral Piccolo Jazz piano Cello Musical theatre Clarinet Piano Double bass Glee club style Bass clarinet accompaniment Harp Classical Recorder Operatic Saxophone: Gospel Tenor Alto World Music Music technology Live Ensembles Baritone Steel pans iPad School of rock Oboe Samba Sound production Curriculum recitals Bassoon Taiko Sound recording Brass Cor Anglais African drumming DVD production Celtic Guitar Supporting Skills Staff Development Percussion Music Therapy Aural training Staff well being Piano/keyboard Individual sessions Music theory CPD Strings Intervention Orchestral training Voice programmes Accompaniment Woodwind -
59Th Annual Critics Poll
Paul Maria Abbey Lincoln Rudresh Ambrose Schneider Chambers Akinmusire Hall of Fame Poll Winners Paul Motian Craig Taborn Mahanthappa 66 Album Picks £3.50 £3.50 .K. U 59th Annual Critics Poll Critics Annual 59th The Critics’ Pick Critics’ The Artist, Jazz for Album Jazz and Piano UGUST 2011 MORAN Jason DOWNBEAT.COM A DOWNBEAT 59TH ANNUAL CRITICS POLL // ABBEY LINCOLN // PAUL CHAMBERS // JASON MORAN // AMBROSE AKINMUSIRE AU G U S T 2011 AUGUST 2011 VOLUme 78 – NUMBER 8 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed Associate Editor Aaron Cohen Contributing Editor Ed Enright Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
Nirvana W Latach 80
seria Z WEHIKUŁEM, tom I: 80s AGAIN! MONOGRAFIA POŚWIĘCONA LATOM 80. XX WIEKU redakcja: Aneta Jabłońska i Mariusz Koryciński Pewne prawa zastrzeżone | Klub Filmowy im. Jolanty Słobodzian | Warszawa 2017 ISBN (wersja elektroniczna): 978-83-64111-79-2 ISBN (wersja drukowana): 978-83-64111-75-4 ABSTRAKT | Paweł Jaskulski w artykule Początki nicości. Nirvana w latach 80. opisuje mniej znany okres istnienia Nirvany. Wprowadzając w tematykę, zastanawia się nad recepcją muzyki rockowej, postrzeganej przez niektórych jako gorszy rodzaj sztuki; przedstawia także narodziny grunge’u – nurtu, który powstał w Stanach Zjednoczonych właśnie w latach 80. XX wieku. Zarysowuje również historię pierwszych – przygotowywanych w chałupniczych warunkach – sesji nagraniowych; genezę debiutanckiej płyty oraz ulubione piosenki Kurta Cobaina. Jaskulski analizuje następnie dokonania Cobaina i Krisa Novoselica z tamtej dekady, wyróżniając następujące obszary refleksji: strategię związaną z nazewnictwem utworów zespołu, sposób kontaktu zespołu z jego odbiorcami oraz autokreację lidera grupy. Pojawia się także wątek płyty Nevermind, pochodzącej wprawdzie z 1991 roku, stanowiącej jednak podsumowanie działalności zespołu z poprzedniej dekady. Paweł Jaskulski [email protected] doktorant na Wydziale Polonistyki Uniwersytetu Warszawskiego, gdzie prowadzi zajęcia o kinie. Współredaktor interaktywnego tomu Różne oblicza edukacji audiowizualnej. Autor rozdziałów w monografiach Kultura rocka. Twórcy-tematy-motywy (2); NieZwykłe inspiracje spoza kadru oraz Różne oblicza edukacji audiowizualnej. Publikował na łamach m.in. „Twórczości”, „Odry”, „Nowego Folderu” oraz portali historia.org.pl i publica.pl. Współorganizator konferencji ogólnopolskich („O poprawie polskiego kina”) i międzynarodowych („Edukacja audiowizualna i medialna w Polsce i świecie”); współrealizator kursu „Jak przygotować projekt filmu dokumentalnego?”. Należy do Polskiego Towarzystwa Badań nad Filmem i Mediami. Klub Filmowy im. Jolanty Słobodzian powstał, aby upamiętnić polską reżyserkę i niestrudzoną edukatorkę filmową. -
Krist Novoselic
OVERNMENT G & E GRUNG KRIST NOVOSELIC THE ORAL HISTORY OF A WASHINGTON ROCKER WITH A CIVIC MISSION LEGACY PROJECT History through the people who lived it Krist Novoselic Research by John Hughes and Lori Larson Transcripti on by Lori Larson Interviews by John Hughes October 14, 2008 John Hughes: This is October 14, 2008. I’m John Hughes, Chief Oral Historian for the Washington State Legacy Project, with the Offi ce of the Secretary of State. We’re in Deep River, Wash., at the home of Krist Novoselic, a 1984 graduate of Aberdeen High School; a founding member of the band Nirvana with his good friend Kurt Cobain; politi cal acti vist, chairman of the Wahkiakum County Democrati c Party, author, fi lmmaker, photographer, blogger, part-ti me radio host, While doing reseach at the State Archives in 2005, Novoselic volunteer disc jockey, worthy master of the Grays points to Grays River in Wahkiakum County, where he lives. Courtesy Washington State Archives River Grange, gentleman farmer, private pilot, former commercial painter, ex-fast food worker, proud son of Croati a, and an amateur Volkswagen mechanic. Does that prett y well cover it, Krist? Novoselic: And chairman of FairVote to change our democracy. Hughes: You know if you ever decide to run for politi cal offi ce, your life is prett y much an open book. And half of it’s on YouTube, like when you tried for the Guinness Book of World Records bass toss on stage with Nirvana and it hits you on the head, and then Kurt (Cobain) kicked you in the butt . -
Ready Player One by Ernest Cline
Ready Player One by Ernest Cline Chapter 1 Everyone my age remembers where they were and what they were doing when they first heard about the contest. I was sitting in my hideout watching cartoons when the news bulletin broke in on my video feed, announcing that James Halliday had died during the night. I’d heard of Halliday, of course. Everyone had. He was the videogame designer responsible for creating the OASIS, a massively multiplayer online game that had gradually evolved into the globally networked virtual reality most of humanity now used on a daily basis. The unprecedented success of the OASIS had made Halliday one of the wealthiest people in the world. At first, I couldn’t understand why the media was making such a big deal of the billionaire’s death. After all, the people of Planet Earth had other concerns. The ongoing energy crisis. Catastrophic climate change. Widespread famine, poverty, and disease. Half a dozen wars. You know: “dogs and cats living together … mass hysteria!” Normally, the newsfeeds didn’t interrupt everyone’s interactive sitcoms and soap operas unless something really major had happened. Like the outbreak of some new killer virus, or another major city vanishing in a mushroom cloud. Big stuff like that. As famous as he was, Halliday’s death should have warranted only a brief segment on the evening news, so the unwashed masses could shake their heads in envy when the newscasters announced the obscenely large amount of money that would be doled out to the rich man’s heirs. 2 But that was the rub. -
The Harmonica Its Evolution, Variety and Beauty for Players, Collectors, and the Curious
The Harmonica Its Evolution, Variety and Beauty For Players, Collectors, And the Curious A Presentation for the Members of the Lyncean Group by John Whiteman La Jolla, CA eMail: [email protected] Mobile Phone: (858) 922-3750 July 11, 2018 Outline 1. About harmonicas • Definition • History 2. Harmonica as a musical instrument • Types • Demonstration 3. Harmonica as a “collectible” • Show and tell 3 Definition of “Harmonica” • “Free reed” instrument that is played by blowing/drawing with the mouth. – Also known as mouth organ (UK mostly), mundharmonika (Germany), harp • Other popular free reed instruments: – Accordion (button box, concertina, handharmonika, piano accordion) – Jew’s harp – Reed organ (pump organ) – Melodica (evolved from the blow accordion) 4 Standard Harmonica I’ll explain this later Typical “Diatonic” Harmonica With 10 holes and 20 reeds (2 per hole) (Disassembled on the next slide!) A harmonica reed Organ reeds Air Reed is “offset” from the reed plate; air must pass in direction of arrow for reed to vibrate and make sound 5 The Insides Comb – it is sandwiched between the reed plates Plastic: good Lower CoverPlate Wood: bad Upper Cover Plate Upper Reed Lower Reed Plate - Plate - Blow Draw 27 September 2017 6 Brief History of the Harmonica • ~1821 – first harmonica was made in Berlin from pitch pipes by Christian Buschmann – a mere 196 years ago • ~1830 – first U.S. harmonicas made by James Bazin • 1857 – Hohner starts to manufacture (700 first year) • 1887 – Hohner produces 1 million per year • 1920s – Golden age of harmonicas, 20 million/year • 1932 – Peak production of 25m despite Depression • 1938 – Recorded music and world situation decreases Hohner production back to 20 million, steadily declining ever since; Germany eventually cedes harmonica preeminence to Japan and China. -
Theamica News Bulletin of the Automatic Musical Instrument Collectors' Association
TheAMICA News Bulletin of the Automatic Musical Instrument Collectors' Association )982 August/September 1982 Volume 19 Number 7 AMICA MEMBERSHIP RATES: Continuing Members: $20 Annual Dues CHAPTER OFFICERS Overseas Members: $26 Dues FOUNDING CHAPTER New Members, add $5 processing fee Pres.: Phil McCoy '- (Write to Membership Secretary, address at Vice Pres.: Isadora Koff Sec.: jack & Dianne Edwards left) Treas.: Bob Wilcox Reporter: jim Ponder INTERNATIONAL SOUTHERN CALIFORNIA OFFICERS THE AMICA NEWS BULLETIN Pres.: Roy Shelso PRESIDENT Vice Pres.: Warren & Rosemary Deasy Terry Smythe Sec.: Olive jones 619 Niagara St. Published by the Automatic Musical Instrument Collectors' Treas.: Les Cordell Winnipeg, Manitoba Association, a non-profit club devoted to the restoration, Reporter: Bill Toeppe Canada R3N OV9 distribution and enjoyment of musical instruments using TEXAS perforated paper music rolls. I •• , VICE PRESIDENT Pres.: Richard Tonnesen AMICA was founded in San Francisco in 1963. Molly Yeckley Vice Pres.: Bill Flynt 612 Main St. Sec./Treas.: Betty Plonien Castalia, OH 44824 DOROTHY BROMAGE, Publisher Reporter: Carole Beckett SECRETARY P.O. Box 387 MIDWEST Richard Reutlinger La Habra, CA 90631 Pres.: jim Weisenborne 824 Grove St. 213/697-1545 Vice Pres.: Ed joswick San Francisco, CA 94117 Contributions: All subjects of interest to readers of the Sec.: lim Needler Treas.: Alvin Wulfekuhl PUBLISHER Bulletin are encouraged and invited by the publisher. All Reporter: Ahti Petaja Dorothy Bromage articles must be received by the 10th of the preceding P.O. Box 387 month. Every attempt will be made to publish all articles of PHILADELPHIA AREA Pres.: Bob Rosencrans La Habra, CA 90631 general interest to AMICA members at the earliest possible Vice Pres.: Barbara McCartney MEMBERSHIP SECRETARY time and at the discretion of the publisher. -
Music and Children's Literature
AN IBBY UK PUBLICATION SUMMER 2019 ISSUE 55 Music and Children’s Literature From Moon River. Illustration © 2019 Tim Hopgood. Published by Oxford University Press. Book based on the song by Johnny Mercer and Henry Mancini. Editorial Music surrounds us. Whether it is comes from the voice as an instrument, something we have chosen for ourselves music that uses words. from our own personal playlist or the Music is not just of the past but is very music – or should that be muzak – that much of today, and is as important to the bombards us when we shop. We can enjoy young as it is to older audiences. In her music as part of an audience or we can young adult novel Love Song, Sophia make music ourselves, perhaps playing an Bennett explores the world of the instrument or even more personally using boyband: the relationships, passions and our own voice; you do not have to be a commitment are all forged through music diva, singing is something that comes and music making, and affecting not just naturally. those making the music but also the fans How does music translate onto the page – who listen. not as a score with the coded symbols to It is perhaps not too difficult to make the be unlocked by musicians – but as words? link between music and words, the How do authors and illustrators rise to this musician and the author. How does an challenge? How important is it for music to illustrator bring music into the picture? be present in the written text? These are Synaesthesia is a known condition and in some of the themes touched on in this his picture book Here Comes Frankie! Tim latest IBBYLink as our contributors explore Hopgood explores this visually, allowing an often personal response to music and his readers to see the sounds. -
Goths, Spooky Kids, and the American School Shooting Panic Allen Berres
"EVERYBODY IS THEIR ENEMY": GOTHS, SPOOKY KIDS, AND THE AMERICAN SCHOOL SHOOTING PANIC ALLEN BERRES One of the earliest details to leak out about Eric Harris and Dylan Klebold following their horrifying shooting spree at Columbine High School was that they were supposedly members of a clique that called itself "The Trench Coat Mafia." This name was readily snapped up by the journalists covering the story, and by the evening following the shootings, numerous news organizations were running pieces about this group in an attempt to shed greater light on the reasons why Harris and Klebold killed thirteen people and themselves. Although the Trench Coat Mafia clique was confined to Columbine High School, journalists quickly pointed out many supposed links between this clique and two larger music fan cultures whose members occasionally wear black trench coats that are found in almost every American high school: goths and Marilyn Manson fans. A wave of anti-goth, anti-Marilyn Manson sentiment immediately followed this over-hasty association, motivated by the overwhelming fear that any member of these black-clad legions could turn out to be the next school shooter. The label "goth" (an abbreviation of "gothic") was adopted by a culture of music fans that started in the late 70s and early 80s as an offshoot of punk. Goths are fans of a variety of generally gloomy bands, including the Sisters of Mercy, Bauhaus, Siouxsie and the Banshees, and the Cure. They are also known for favoring black clothing, ranging from lacy gowns to biker jackets to band t-shirts. One of the bands that is occasionally included in the list of goth musical acts is a band named Marilyn Manson. -
Punk Rock and the Socio-Politics of Place Dissertation Presented
Building a Better Tomorrow: Punk Rock and the Socio-Politics of Place Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University by Jeffrey Samuel Debies-Carl Graduate Program in Sociology The Ohio State University 2009 Dissertation Committee: Townsand Price-Spratlen, Advisor J. Craig Jenkins Amy Shuman Jared Gardner Copyright by Jeffrey S. Debies-Carl 2009 Abstract Every social group must establish a unique place or set of places with which to facilitate and perpetuate its way of life and social organization. However, not all groups have an equal ability to do so. Rather, much of the physical environment is designed to facilitate the needs of the economy—the needs of exchange and capital accumulation— and is not as well suited to meet the needs of people who must live in it, nor for those whose needs are otherwise at odds with this dominant spatial order. Using punk subculture as a case study, this dissertation investigates how an unconventional and marginalized group strives to manage ‘place’ in order to maintain its survival and to facilitate its way of life despite being positioned in a relatively incompatible social and physical environment. To understand the importance of ‘place’—a physical location that is also attributed with meaning—the dissertation first explores the characteristics and concerns of punk subculture. Contrary to much previous research that focuses on music, style, and self-indulgence, what emerged from the data was that punk is most adequately described in terms of a general set of concerns and collective interests: individualism, community, egalitarianism, antiauthoritarianism, and a do-it-yourself ethic. -
G:\Packets Backup\Fact & Info Sheets and Guidance Notes\Fact & Info
Information Resource (http://smhp.psych.ucla.edu/pdfdocs/youth/youthgloss.pdf) A Series of Information Resources on Youth Subcultures: Glossary of Terms Related to Understanding Subgroups to Better Address Barriers to Learning Youth Culture Subgroups & Improve Schools Given that we are in the process of learning, our intent As calls for addressing barriers to student learning and improving schools increase, is to build a glossary over time. We begin here by better understanding of youth subculture is adopting/adapting descriptions and student quotes from essential. This series is intended to M. Milner’s 2004 book Freaks, Geeks, and Cool Kids: stimulate thinking about the implications for policy and practice of the complex, American Teenagers, Schools, and the Culture of multifaceted subgroups with which youth Consumption (Routledge Press). come to be identified and/or assigned by peers. And, in the spirit of youth subculture’s immersion in 21st Public health and education policy makers, century technology, we also provide some additional practitioners, researchers, and educators terms from Wikipedia. need to know as much as they can about the factors that lead youth to manifest behaviors stemming from group defined Note: Many of the terms used by youth in values, beliefs, attitudes, and interests. referring to subgroups often are not well- Such understanding is basic to promoting articulated and may be pejorative and offensive. healthy development, preventing We do not suggest imprecision is good nor do problems, intervening as soon as problems arise, and enhancing intervention impact we condone repugnant language. We do, on severe and chronic problems. however, recognize the need to go beyond adultcentric definitions and descriptions of youth To these ends, the Center is producing a subgroups if we are to understand youth series of resources, such as this one, as aids for policy and practice analyses, perceptions and perspectives.