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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. -
Världsartisten John Corabi Kommer Till Örebro
Pressmeddelande Världsartisten John Corabi kommer till Örebro Den forna Mötley Crue sångaren John Corabi ger en akustisk spelning på Clarion Hotel i november. På sin Europaturné läggs nu kanske John Corabis enda Sverigebesök i Örebro. Med andra ord ett unikt tillfälle för Sveriges rock och hårdrock publik att se och uppleva John Corabi live och unplugged. John Corabi slog igenom med bandet The Scream, men hans största genombrott blev som sångare i Mötley Crue, mitten av 90- talet. Han var med och släppte det självbetitlade albumet Mötley Crue med bl.a. sånger som ”Holigan´s Holiday”, Misunderstood”, ”Smoke The Sky” och ”Power to The Music” Han bildade också bandet Union tillsammans med den förre gitarristen i Kiss, Bruce Kulick. Med gruppen Ratt spelade han gitarr och turnerade i 6 år. John skrev musik till albumet Infestation som släpptes år 2010. Nu är han med som en av tre medlemmar i Eric Singers (Kiss) Projekt E.S.P. I höst turnerar John genom Europa inför hans skivsläpp av soloalbum ”John Corabi Unplugged”. Onsdag den 21 nov kl 20.00 Biljetter: 175 kr + förköp via Ticnet Konsert: Clarion Hotel Örebro Mer information: Benjamin Solvold, 076 3053334 mail:[email protected] --------------------------------------------------------------------------- Fakta Musical Genre: Hard Rock / Blues Rock Latest Release: ESP: Live In Japan (2006), ESP: Live At The Marquee (DVD 2006), Butchering The Beatles (2006) Singles Released: Angora: “Shake, Shake”, The Scream: “I Believe In Me” , “Man In The Moon” Father, Mother, Son“, Motley Crue: “Hooligan’s Holiday” Misunderstood” “Smoke The Sky” Union: “Old Man Wise” “October Morning Wind” “Love (I Don’t Need It Anymore)” “Do Your Own Thing” “Who Do You Think You Are?” “Hypnotized” Other Artists Worked With: Glenn Hughes (Trapeze, Deep Purple), Bruce Kulick (Kiss, Grand Funk Railroad), Eric Singer (Alice Cooper, Kiss), Karl Cocharan, Ratt, Rikki Rockett (Poison), Bob Kulick (Grammy Winning Producer), Billy Sheehan, Pat Torpey, Tracii Guns (L.A. -
Lieder, Die Ein Deutschlehrer Braucht
Lieder, die ein Deutschlehrer braucht DOLORES RODRÍGUEZ CEMILLÁN Escuela Oficial de Idiomas de Fuenlabrada, Madrid s gibt viele und wichtige Gründe zum Einsatz Beispiele und Quellen von Liedern im Deutschunterricht: Lieder sind vor Allem authentische Texte, man kann mit Von der unten vorgestellten Liste sind bestimmte Lieder unt - ihnen die vier Fertigkeiten trainieren, sie er - entbehrlich und sehr empfehlenswert: so ist «1,2 Polizei« von leichtern die Ausprache und sie vermitteln Lan - Modo ist immer ein Erfolg, wenn man die Zahlen von 1 bis deskunde. Man kann Lieder fast für jede Un - 10 beibringen will. Oder «MFG» von den Fantastischen Vier terrichts− oder Lehrwerkseinheit gezielt ein - ist ein Rap-Hit zum üben des Alfabets und der Abkürzungen. setzen, da sie einen kreativen und motivieren - Immer wieder einsetzbar sind auch die deutschen Versionen den Umgang mit der deutschen Sprache er - von den Beatles, «Sie liebt dich» und «Komm, gib mir deine lauben und emotionale und kommunikative Hand», zwei bekannte Erfolge, mit denen man sehr schön Per - Kompetenzen ansprechen. Mit Liedern und sonalpronomen im Akkusativ und Dativ üben kann. Gram - Musik verbessern sich die kommunikativen matisch sehr interessant ist auch das Lied «Durch den Mon - und sozialen Kompetenzen der Lerner; man sun«, von Tokio Hotel, da hier viele Präpositionen kontextua - regt sie zu Leistungsbereitschaft an und hat lisiert vorkommen. Thematisch und landeskundlich gesehen, die Möglichkeit, Konzentrationsschwächen zu kompensie - ist das Lied «Deutschland» von den -
The Yes Catalogue ------1
THE YES CATALOGUE ----------------------------------------------------------------------------------------------------------------------------------------------------- 1. Marquee Club Programme FLYER UK M P LTD. AUG 1968 2. MAGPIE TV UK ITV 31 DEC 1968 ???? (Rec. 31 Dec 1968) ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- 3. Marquee Club Programme FLYER UK M P LTD. JAN 1969 Yes! 56w 4. TOP GEAR RADIO UK BBC 12 JAN 1969 Dear Father (Rec. 7 Jan 1969) Anderson/Squire Everydays (Rec. 7 Jan 1969) Stills Sweetness (Rec. 7 Jan 1969) Anderson/Squire/Bailey Something's Coming (Rec. 7 Jan 1969) Sondheim/Bernstein 5. TOP GEAR RADIO UK BBC 23 FEB 1969 something's coming (rec. ????) sondheim/bernstein (Peter Banks has this show listed in his notebook.) 6. Marquee Club Programme FLYER UK m p ltd. MAR 1969 (Yes was featured in this edition.) 7. GOLDEN ROSE TV FESTIVAL tv SWITZ montreux 24 apr 1969 - 25 apr 1969 8. radio one club radio uk bbc 22 may 1969 9. THE JOHNNIE WALKER SHOW RADIO UK BBC 14 JUN 1969 Looking Around (Rec. 4 Jun 1969) Anderson/Squire Sweetness (Rec. 4 Jun 1969) Anderson/Squire/Bailey Every Little Thing (Rec. 4 Jun 1969) Lennon/McCartney 10. JAM TV HOLL 27 jun 1969 11. SWEETNESS 7 PS/m/BL & YEL FRAN ATLANTIC 650 171 27 jun 1969 F1 Sweetness (Edit) 3:43 J. Anderson/C. Squire (Bailey not listed) F2 Something's Coming' (From "West Side Story") 7:07 Sondheim/Bernstein 12. SWEETNESS 7 M/RED UK ATL/POLYDOR 584280 04 JUL 1969 A Sweetness (Edit) 3:43 Anderson/Squire (Bailey not listed) B Something's Coming (From "West Side Story") 7:07 Sondheim/Bernstein 13. -
PASIC 2010 Program
201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space. -
Nueva Mordida De La Serpiente Blanca
Image not found or type unknown www.juventudrebelde.cu Image not found or type unknown El CD Forevermore, de Whitesnake, nos pone ante una banda aguerrida.Autor: Internet Publicado: 21/09/2017 | 05:13 pm Nueva mordida de la serpiente blanca Publicado: Miércoles 21 septiembre 2011 | 09:37:42 pm. Publicado por: Joaquín Borges-Triana Después de tres años de la salida al mercado del disco titulado Good to be bad, el vocalista David Coverdale y su tropa de Whitesnake vuelven a la carga en el presente 2011. El pasado 25 de marzo fue puesto en circulación a nivel mundial el fonograma denominado Forevermore, decimoprimero en la carrera de esta vieja agrupación británica que, pese al tiempo transcurrido desde su aparición y a los muchos cambios de alineación en su nómina, persiste en reinventarse una y otra vez. Desde que uno empieza a escuchar los 14 temas recogidos en el CD, se da cuenta de que este es un material con profundo sabor retro, pletórico en reminiscencias de álbumes grabados por el ensemble entre fines de los 70 y la década de los 80. En tal sentido, cabe afirmar que estamos ante un puñado de composiciones e interpretaciones signadas por un sonido gordo y cortante, con una base rítmica bien empastada. Asimismo, es evidente que Coverdale y sus compañeros de grupo se propusieron al enfrentarse a la producción de este nuevo fonograma, hacer un retorno a lo que pudiera definirse como una propuesta del más clásico rock y blues metalero. Con una actual nómina en la que acompañan al vocalista David Coverdale los guitarristas Doug Aldrich y Reb Beach, así como el baterista Brian Tichy, Michael Devin en el bajo y el teclista Brian Ruedy, Forevermore se inicia con Steal your heart away, corte cuya introducción me lleva a evocar los tiempos ya lejanos de Love Hunter, uno de los trabajos discográficos de la banda que más he disfrutado personalmente, junto al afamado 1987. -
Waya&R People Do Their
THE MOST TRUSTED NAME IN RADIO ISSUE 1985 DECEMBER 17 1993 This Week The future is in your hands. At least, i:'s the future as a group of record executives, along with a gaggle of Gavin types, see it. Hey, if Jeane Dixon and the Amazing Peskin can do it, why can't we? And so we get the jump on '94 from Craig LAW! (above), who sees less virtual "I predict that the reality than simple reality com- ing to the music business. On the GAVIN side of the crystal hall, Album Adult Alternative CEO David Dalton sees and hears free -form radio in the new year-or he'll reduce subscrip- tion rates (Just kidding!). And format will change the Ron Fel has a disturbing vision about Billy Joel wayA&R people do their (right). Our Newss.ection is given cver to a wrap-up of a o G.qey'll be ableto phat and crazy year, as managing editor Ben Fong -Torres steals liberally from ook at a4C 50year hisrootsgROMMIlle(which or stole liberally from Esquire) to do the honors. Re -live such great moments as Prince's old artist and think earth -shaking name change and a certa n pretty woman making Lyle Lovett (below) an honest man. F nally, we predict a sea- about workIng with sonal feature in the Gavin Yellow Pages them." of Radio, as Natalie Duitsman canvasses THESE AND OTHER PREDICTIONS, several radio stations- MINX-Amherst, Mass., WHAI- Greenfield, Mass., and Live 105 - BY RECORD INDUSTRY SEERS, ARE San Francisco-to learn how they handle Christmas music. -
To Design and Development of a Cost Effective Electronic Drum Kit
International Journal of Engineering Research and Applications (IJERA) ISSN: 2248-9622 th International Conference on Industrial Automation and Computing (ICIAC- 12-13 April 2014) RESEARCH ARTICLE OPEN ACCESS To Design and Development of a Cost Effective Electronic Drum Kit Vikas Barai*, Prof. T.H.Nagrare** *(Department Of Computer Science, G H Raisoni College Of Engineering Nagpur, India Email: [email protected]) **(Assistant Professor, Department of Information Technology G H Raisoni College Of Engineering Nagpur, India Email: [email protected]) ABSTRACT The goal of the project is to create a Cost Effective electronic drum kit using piezoelectric sensors for various percussion instruments. The inputs to the kit are small drum pads, which house a piezoelectric transducer. The output voltage from this device is detected and its output is interfaced with microcontroller . This information is processed through a Drum sound controller module which controls audio playback. The background work focuses on the concepts of tracking the timing of musical signals, deriving information from them, and creating a musical accompaniment. The system will then generate an expressive drum beat to accompany the audio signal in real time. The system is intended as a practice tool as well as a means to observe the musical interaction that may occur between humans and machine. It would involve implementing on an EEPROM for additional sound storage. It will contain a single module which will carry all sound database and allow the player to make their own patches and it will make it independent from interfacing with a computer. Keywords - Arduino, Cost efficient drum kit, Electronic Drums, Home made percussion, Midi controllers, Piezo sensors. -
Def Leppard – 02
DEF LEPPARD – 02. Juli 2019 – Berlin – Zitadelle Spandau – Support: EUROPE – JOHN DIVA and the Rockets of Love – Text und Fotos: Holger Ott Im Zeichen des Retro rufen die Bands der guten alten 80er Jahre und die Fans pilgern in die Zitadelle Spandau von Berlin. Das alte Gemäuer ist beliebt, gibt es neben sehr guter Akustik auch von allen Plätzen eine hervorragende Sicht auf die schöne große Bühne. Das Wetter spielt heute auch mit. Weder zu heiß noch zu kalt und bei einem kleinen Lüftchen lässt es sich einige Stunden aushalten. Dieses Stehvermögen braucht das Publikum, denn mit drei Bands stehen, abgesehen von den Umbaupausen, geschlagene drei Stunden Musik auf dem Programm Eröffnet wird der Abend von einer, mir bis dato, unbekannten Band. JOHN DIVA mit seinen 'Rockets of Love' geben sich die Ehre und präsentieren in dreißig Minuten eine beeindruckende musikalische und optische Darbietung unter dem Motto: „Mama said, Rock is dead". Frontman JOHN DIVA und seine Mannen turnen in extravagantem Outfit über die Bühne. Schön grell und bunt darf es sein und sieht man dazu DIVAS passenden Hüftschwung, weiß der Fan sofort, dass es hier nur um Sex, Drugs and Rock 'n' Roll geht. Ohne Zweifel, die Truppe ist gut und rockt auch richtig fett ab. Also, im Auge behalten. Ein gelungener Einstand in den heutigen Abend. Zu EUROPE muss man nicht viel sagen. JOEY TEMPEST ist in top Form und schmettert seine bekanntesten Songs in die Menge. Das Gedränge vor der Bühne wird größer und der Hype wächst mit jedem Song ihrer einstündigen Show. Leider fällt durch die Supporterstellung einiges unter den Tisch, aber Hits wie „Carrie", „Superstitius" und natürlich das abschließende "The Final Countdown" reißen wieder alles heraus. -
Online Streaming and the Chart Survival of Music Tracks
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Kaimann, Daniel; Tanneberg, Ilka; Cox, Joe Article — Published Version “I will survive”: Online streaming and the chart survival of music tracks Managerial and Decision Economics Provided in Cooperation with: John Wiley & Sons Suggested Citation: Kaimann, Daniel; Tanneberg, Ilka; Cox, Joe (2020) : “I will survive”: Online streaming and the chart survival of music tracks, Managerial and Decision Economics, ISSN 1099-1468, Wiley, Hoboken, NJ, Vol. 42, Iss. 1, pp. 3-20, http://dx.doi.org/10.1002/mde.3226 This Version is available at: http://hdl.handle.net/10419/230292 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von -
To Download the Independent September 2018 Digital Issue (.PDF)
In print September 2018 - Vol. 23, #7 the 1st Friday FREE of each month Online at SUindependent.com PLEASE RECYCLE A voice for Utah ESCALANTE CANYONS ART FESTIVAL: 10 DAYS OF ART, MUSIC, FILM, & MORE - See page 3 ALSO THIS ISSUE: KARMA FEST OFFERS SEVEN HOURS, SIX BANDS, FAMILY ROOTS CONFERENCE FEATURES KINETIC, TOMTEN, HALOGYNS, BRYAN JOHN AND TWO STAGES AT KAYENTA JASON HEWLITT APPLEBY PLAY INAUGURAL CEDAR MUSIC FEST - See Page 4 - See Page 4 - See Page 4 September 2018 Volume 23, Issue 7 VOTE ROBERT E. FORD for Washington County Commissioner EVENTS ................................3 DOWNTOWN SECTION .......12 OUTDOORS ..........................7 ALBUM REVIEWS ................15 OPINION .............................9 MOVIE REVIEWS .................17 CLIP-N-SAVE SECTION CALENDAR OF EVENTS ........19 ON THE COVER: ESCALANTE CANYON ARTS FESTIVAL: 10 DAYS OF ART, MUSIC, FILM, AND MORE! SEE STORY ON NEXT PAGE Robert E. Ford has been a Utah property owner and resident for 30+ years. Since 2013 he has served on the Rockville Planning Commission and recently joined the Rockville/Springdale Fire Protection District Board. He operates his own small business located along the Virgin River on land protected by a conservation easement. The Independent ~ SUIndependent.com Top Priority Issues: Color Country’s Complete Guide To Arts, Music, Entertainment, Culture & More • Protection of public lands and natural resources • Planning for smart growth in ways that moves us toward a clean-energy future The Independent is published the first Friday of each STAFF • Promotion of job growth that benefi ts the working class and poor month. All copies are distributed free of charge at over three hundred area locations throughout St. -
Book Review with TTU Libraries Cover Page
BOOK REVIEW: BEYOND AND BEFORE: THE FORMATIVE YEARS OF YES BY PETER BANKS The Texas Tech community has made this publication openly available. Please share how this access benefits you. Your story matters to us. Citation Weiner, R.G. (2008). [Review of the book Beyond and Before: The Formative Years of Yes by Peter Banks]. Popular Music and Society, 31(1), 136-139. https://doi.org/10.1080/03007769908591748 Citable Link http://hdl.handle.net/2346/1546 Terms of Use CC-BY Title page template design credit to Harvard DASH. 136 Book Reviews Hammond’s myopic vision, his unrelenting determination, and his deep personal sorrows, but to his friends and supporters Hammond was a trying project. Perhaps, as Prial suggests, Hammond’s relationship to the Vanderbilts did him more good in his early years in music than his social skills. There are questions unanswered and undeveloped in this biography related to Hammond the man, such as his falling out with Aretha Franklin or his quick parting with Dylan. Each chapter of this book comes (another assault on your pocketbook) with a wonderful ‘‘discography’’ that should slow down the pace of reading but will contribute to a great start in building a library of American music of the 20th century. It is quite something how much music Hammond had a role in, and this portion of the book is an important reminder of the times and genres Hammond touched. As with all biographies there are problems and limitations. For those of us raised in the second half of the century, The Producer fails to deliver the same magic surrounding the discovery and signing of ‘‘our’’ heroes as it does around the early stars.