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“Grunge Killed Glam Metal” Narrative by Holly Johnson
The Interplay of Authority, Masculinity, and Signification in the “Grunge Killed Glam Metal” Narrative by Holly Johnson A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario © 2014, Holly Johnson ii Abstract This thesis will deconstruct the "grunge killed '80s metal” narrative, to reveal the idealization by certain critics and musicians of that which is deemed to be authentic, honest, and natural subculture. The central theme is an analysis of the conflicting masculinities of glam metal and grunge music, and how these gender roles are developed and reproduced. I will also demonstrate how, although the idealized authentic subculture is positioned in opposition to the mainstream, it does not in actuality exist outside of the system of commercialism. The problematic nature of this idealization will be examined with regard to the layers of complexity involved in popular rock music genre evolution, involving the inevitable progression from a subculture to the mainstream that occurred with both glam metal and grunge. I will illustrate the ways in which the process of signification functions within rock music to construct masculinities and within subcultures to negotiate authenticity. iii Acknowledgements I would like to thank firstly my academic advisor Dr. William Echard for his continued patience with me during the thesis writing process and for his invaluable guidance. I also would like to send a big thank you to Dr. James Deaville, the head of Music and Culture program, who has given me much assistance along the way. -
2018 Iowa Association of Track Officials Manual
IOWA ASSOCIATION of TRACK OFFICIALS MEMO FROM: Cornie Wassink, Alton TO: IHSAA & IGHSAU Member High Schools DATE: February, 2019 RE: IATO Recommended Procedure Manual The updated materials for your 2019 Iowa Association of Track Officials Recommended Procedures Manual follow in this PDF file. Each year we update the contents of the manual as needed. These updates are based primarily on rule changes and also suggestions from our membership, the Iowa Association of Track Coaches, the Iowa High School Athletic Association (IHSAA) and the Iowa Girls’ High School Athletic Union (IGHSAU). Please feel free to suggest improvements for either the content or the format of this manual. The manual contains important suggestions pertaining to the use of red and white flags by field event officials and the Iowa uniform undergarment exception to the National Federation rules. Also note the change in the height of the boy’s shuttle hurdle relay to 36”, the need for manual timing backup for meets with just a single FAT timing system, and the addition of the 800m race in wheelchair competition. The officials’ edition of this manual contains five (5) additional sections of information pertaining specifically to starters and IATO members. This edition is only available to current IATO members from the IATO. Do not discard any materials from your current manual unless you have replacement material for it in this packet. Visit the official websites of the IHSAA and the IGHSAU for the current order of events for all 2019 girl’s, boy’s, and coed track and field meets. The primary objective of our organization is to improve the officiating and administration of the track and field meets in the state of Iowa. -
Austinmusicawards2017.Pdf
Jo Carol Pierce, 1993 Paul Ray, Stevie Ray Vaughan, and PHOTOS BY MARTHA GRENON MARTHA BY PHOTOS Joe Ely, 1990 Daniel Johnston, Living in a Dream 1990 35 YEARS OF THE AUSTIN MUSIC AWARDS BY DOUG FREEMAN n retrospect, confrontation seemed almost a genre taking up the gauntlet after Nelson’s clashing,” admits Moser with a mixture of The Big Boys broil through trademark inevitable. Everyone saw it coming, but no outlaw country of the Seventies. Then Stevie pride and regret at the booking and subse- confrontational catharsis, Biscuit spitting one recalls exactly what set it off. Ray Vaughan called just prior to the date to quent melee. “What I remember of the night is beer onto the crowd during “Movies” and rip- I Blame the Big Boys, whose scathing punk ask if his band could play a surprise set. The that tensions started brewing from the outset ping open a bag of trash to sling around for a classed-up Austin Music Awards show booking, like the entire evening, transpired so between the staff of the Opera House, which the stage as the mosh pit gains momentum audience visited the genre’s desired effect on casually that Moser had almost forgotten until was largely made up of older hippies of a Willie during “TV.” the era. Blame the security at the Austin Stevie Ray and Jimmie Vaughan walked in Nelson persuasion who didn’t take very kindly About 10 minutes in, as the quartet sears into Opera House, bikers and ex-Navy SEALs from with Double Trouble and to the Big Boys, and the Big “Complete Control,” security charges from the Willie Nelson’s road crew, who typical of the proceeded to unleash a dev- ANY HISTORY OF Boys themselves, who were stage wings at the first stage divers. -
NATIVE PLANT FIELD GUIDE Revised March 2012
NATIVE PLANT FIELD GUIDE Revised March 2012 Hansen's Northwest Native Plant Database www.nwplants.com Foreword Once upon a time, there was a very kind older gentleman who loved native plants. He lived in the Pacific northwest, so plants from this area were his focus. As a young lad, his grandfather showed him flowers and bushes and trees, the sweet taste of huckleberries and strawberries, the smell of Giant Sequoias, Incense Cedars, Junipers, pines and fir trees. He saw hummingbirds poking Honeysuckles and Columbines. He wandered the woods and discovered trillium. When he grew up, he still loved native plants--they were his passion. He built a garden of natives and then built a nursery so he could grow lots of plants and teach gardeners about them. He knew that alien plants and hybrids did not usually live peacefully with natives. In fact, most of them are fierce enemies, not well behaved, indeed, they crowd out and overtake natives. He wanted to share his information so he built a website. It had a front page, a page of plants on sale, and a page on how to plant natives. But he wanted more, lots more. So he asked for help. I volunteered and he began describing what he wanted his website to do, what it should look like, what it should say. He shared with me his dream of making his website so full of information, so inspiring, so educational that it would be the most important source of native plant lore on the internet, serving the entire world. -
Sir Douglas Quintet
Sir Douglas Quintet The Sir Douglas Quintet: Emerging from San Antonio‟s “West Side Sound,” The Sir Douglas Quintet blended rhythm and blues, country, rock, pop, and conjunto to create a unique musical concoction that gained international popularity in the 1960s and 1970s. From 1964 to 1972, the band recorded five albums in California and Texas, and, although its founder, Doug Sahm, released two additional albums under the same group name in the 1980s and 1990s, the Quintet never enjoyed the same domestic success as it had during the late 1960s. A big part of the Sir Douglas Quintet‟s distinctive sound derived from the unique musical environment in which its members were raised in San Antonio. During the 1950s and 1960s, the “moderate racial climate” and ethnically diverse culture of San Antonio—caused in part by the several desegregated military bases and the large Mexican-American population there—allowed for an eclectic cross- pollination of musical styles that reached across racial and class lines. As a result, Sahm and his musical friends helped create what came to be known as the “West Side Sound,” a dynamic blending of blues, rock, pop, country, conjunto, polka, R&B, and other regional and ethnic musical styles into a truly unique musical amalgamation. San Antonio-based artists, such as Augie Meyers, Doug Sahm, Flaco Jiménez, and Sunny Ozuna, would help to propel this sound onto the international stage. Born November 6, 1941, Douglas Wayne Sahm grew up on the predominately-black east side of San Antonio. As a child, he became proficient on a number of musical instruments and even turned down a spot on the Grand Ole Opry (while still in junior high school) in order to finish his education. -
A Case Study of Kurt Donald Cobain
CORE Metadata, citation and similar papers at core.ac.uk Provided by South East Academic Libraries System (SEALS) A CASE STUDY OF KURT DONALD COBAIN By Candice Belinda Pieterse Submitted in partial fulfilment of the requirements for the degree Magister Artium in Counselling Psychology in the Faculty of Health Sciences at the Nelson Mandela Metropolitan University December 2009 Supervisor: Prof. J.G. Howcroft Co-Supervisor: Dr. L. Stroud i DECLARATION BY THE STUDENT I, Candice Belinda Pieterse, Student Number 204009308, for the qualification Magister Artium in Counselling Psychology, hereby declares that: In accordance with the Rule G4.6.3, the above-mentioned treatise is my own work and has not previously been submitted for assessment to another University or for another qualification. Signature: …………………………………. Date: …………………………………. ii ACKNOWLEDGEMENTS There are several individuals that I would like to acknowledge and thank for all their support, encouragement and guidance whilst completing the study: Professor Howcroft and Doctor Stroud, as supervisors of the study, for all their help, guidance and support. As I was in Bloemfontein, they were still available to meet all my needs and concerns, and contribute to the quality of the study. My parents and Michelle Wilmot for all their support, encouragement and financial help, allowing me to further my academic career and allowing me to meet all my needs regarding the completion of the study. The participants and friends who were willing to take time out of their schedules and contribute to the nature of this study. Konesh Pillay, my friend and colleague, for her continuous support and liaison regarding the completion of this study. -
Read Razorcake Issue #27 As A
t’s never been easy. On average, I put sixty to seventy hours a Yesterday, some of us had helped our friend Chris move, and before we week into Razorcake. Basically, our crew does something that’s moved his stereo, we played the Rhythm Chicken’s new 7”. In the paus- IInot supposed to happen. Our budget is tiny. We operate out of a es between furious Chicken overtures, a guy yelled, “Hooray!” We had small apartment with half of the front room and a bedroom converted adopted our battle call. into a full-time office. We all work our asses off. In the past ten years, That evening, a couple bottles of whiskey later, after great sets by I’ve learned how to fix computers, how to set up networks, how to trou- Giant Haystacks and the Abi Yoyos, after one of our crew projectile bleshoot software. Not because I want to, but because we don’t have the vomited with deft precision and another crewmember suffered a poten- money to hire anybody to do it for us. The stinky underbelly of DIY is tially broken collarbone, This Is My Fist! took to the six-inch stage at finding out that you’ve got to master mundane and difficult things when The Poison Apple in L.A. We yelled and danced so much that stiff peo- you least want to. ple with sourpusses on their faces slunk to the back. We incited under- Co-founder Sean Carswell and I went on a weeklong tour with our aged hipster dancing. -
2008 Smithsonian Folklife Festival
Smithsonian Folklife Festival records: 2008 Smithsonian Folklife Festival CFCH Staff 2017 Ralph Rinzler Folklife Archives and Collections Smithsonian Center for Folklife and Cultural Heritage 600 Maryland Ave SW Washington, D.C. [email protected] https://www.folklife.si.edu/archive/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Historical note.................................................................................................................. 2 Scope and Contents note................................................................................................ 2 Arrangement note............................................................................................................ 2 Introduction....................................................................................................................... 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Program Books, Festival Publications, and Ephemera, 2008................... 6 Series 2: Bhutan: Land of the Thunder Dragon....................................................... 7 Series 3: NASA: Fifty Years and Beyond............................................................. -
San Antonio's West Side Sound
Olsen: San Antonio's West Side Sound San Antonio’s SideSound West Antonio’s San West Side Sound The West Side Sound is a remarkable they all played an important role in shaping this genre, Allen O. Olsen amalgamation of different ethnic beginning as early as the 1950s. Charlie Alvarado, Armando musical influences found in and around Almendarez (better known as Mando Cavallero), Frank San Antonio in South-Central Texas. It Rodarte, Sonny Ace, Clifford Scott, and Vernon “Spot” Barnett includes blues, conjunto, country, all contributed to the creation of the West Side Sound in one rhythm and blues, polka, swamp pop, way or another. Alvarado’s band, Charlie and the Jives, had such rock and roll, and other seemingly regional hits in 1959 as “For the Rest of My Life” and “My disparate styles. All of these have Angel of Love.” Cavallero had an influential conjunto group somehow been woven together into a called San Antonio Allegre that played live every Sunday sound that has captured the attention of morning on Radio KIWW.5 fans worldwide. In a sense, the very Almendarez formed several groups, including the popular eclectic nature of the West Side Sound rock and roll band Mando and the Chili Peppers. Rodarte led reflects the larger musical environment a group called the Del Kings, which formed in San Antonio of Texas, in which a number of ethnic during the late 1950s, and brought the West Side Sound to Las communities over the centuries have Vegas as the house band for the Sahara Club, where they exchanged musical traditions in a remained for nearly ten years.6 Sonny Ace had a number of prolific “cross-pollination” of cultures. -
Transizioni E Dissoluzioni Di Fine Anno Electroshitfing
SENTIREASCOLTARE online music magazine GENNAIO N. 27 The Shins 2006: transizioni e dissoluzioni di fine anno Electroshitfing Fabio Orsi Alessandro Raina Coaxial Jessica Bailiff Larkin Grimm The Low Lows Deerhunter Cul De Sac The Long Blondess e n tTerry i r e a s c o lRiley t a r e sommario 4 News 8 The Lights On The Low Lows, Coaxial, Larkin Grimm, Deerhunter 8 2 Speciali The Long Blondes, Alessandro Raina, Jessica Bailiff, Fabio Orsi, Electroshifting, The Shins, Il nostro 2006 9 Recensioni Arbouretum, Of Montreal, Tin Hat, James Holden, Lee Hazlewood, Ronin, The Earlies, Ghost, Field Music, Hella, Giardini Di Mirò, Mira Calix, Deerhoof... 8 Rubriche (Gi)Ant Steps Miles Davis We Are Demo Classic Ultravox!, Cul De Sac Cinema Cult: Angel Heart Visioni: A Scanner Darkly, Marie Antoinette, Flags Of Our Fathers… 2 I cosiddetti contemporanei Igor Stravinskij Direttore Edoardo Bridda Coordinamento Antonio Puglia 9 Consulenti alla redazione Daniele Follero Stefano Solventi Staff Valentina Cassano Antonello Comunale Teresa Greco Hanno collaborato Gianni Avella, Gaspare Caliri, Andrea Erra, Paolo Grava, Manfredi Lamartina, Andrea Monaco, Massimo Padalino, Stefano Pifferi, Stefano Renzi, Costanza Salvi, Vincenzo Santarcangelo, Alfonso Tramontano Guerritore, Giancarlo Turra, Fabrizio Zampighi, Giusep- pe Zucco Guida spirituale Adriano Trauber (1966-2004) Grafica Paola Squizzato, Squp, Edoardo Bridda 94 in copertina The Shins SentireAscoltare online music magazine Registrazione Trib.BO N° 7590 del 28/10/05 Editore Edoardo Bridda Direttore responsabile Ivano Rebustini Provider NGI S.p.A. Copyright © 2007 Edoardo Bridda. Tutti i diritti riservati. s e n t i r e a s c o l t a r e La riproduzione totale o parziale, in qualsiasi forma, su qualsiasi supporto e con qualsiasi mezzo, è proibita senza autorizzazione scritta di SentireAscoltare news a cura di Teresa Greco E’ morto “Mr. -
Bon Iver Holocene Mp3, Flac, Wma
Bon Iver Holocene mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Folk, World, & Country Album: Holocene Country: US Released: 2011 Style: Folk Rock, Indie Rock MP3 version RAR size: 1736 mb FLAC version RAR size: 1680 mb WMA version RAR size: 1122 mb Rating: 4.2 Votes: 736 Other Formats: AHX DXD MPC DTS WAV VOX VQF Tracklist Hide Credits Holocene Alto Saxophone, Clarinet [Clarinets] – Colin StetsonGuitar [High Strung Guitar], Guitar [Guitars], Baritone Guitar, Synth, Drums, Cymbal [Cymbals], Voice – Justin VernonSnare [Snare Drums], Percussion [Brushes], Bass Drum, Other [Thighs], Handclaps, Other A 5:37 [Granular Synthesis], Synth – Matt McCaughanTenor Saxophone [Tenor Saxophones], Soprano Saxophone [Soprano Saxophones] – Mike Lewis*Trumpet [Pedal Trumpets], French Horn [French Horns] – C. J. CamerieriVibraphone, Vibraphone [Bowed Vibraphone] – Sean Carey Voice – Mike NoyceWritten-By – Justin Vernon Come Talk To Me B Drums – Sean Carey Performer [All Other] – Justin VernonVoice – Kimberly Lockwood, Rick 6:57 LockwoodWritten-By – Peter Gabriel Companies, etc. Copyright (c) – Jagjaguwar Phonographic Copyright (p) – Jagjaguwar Published By – April Base Publishing Published By – Pentagon Lipservices Published By – Real World Music Ltd. Lacquer Cut At – Sterling Sound Credits Artwork – Gregory Euclide Lacquer Cut By – Ray Janos Notes © & ℗ 2011 Jagjaguwar Side A: © 2011 April Base Publishing (ASCAP) Side B: © 1992 Pentagon Lipservices/Real World Music Ltd. Barcode and Other Identifiers Barcode (Scanned): 656605221113 Barcode (Printed): -
Purple Snow: Forecasting the Minneapolis
Numero group Purple Snow: Forecasting The Minneapolis Sound Catalog Number: NUM050 Artist: V/A Title: Forecasting the Minneapolis Sound Release Date: 11/12/13 UPC: 825764105019 (lp) UPC: 825764105026 (cd) Available formats: 4lp+book / 2cd+book Genre: Funk Vinyl is not returnable In the late 1970s, a peculiar sound began bubbling up from the land of 10,000 lakes. Buried beneath 50 solid inches of annual snow, Minneapolis made a Sound quite different than what the pop world foresaw. It issued forth as a slick, black, technologically advanced fusion, poised to storm the charts. Never known for sizable African-American populations, the Twin Cities of Minneapolis and St. Paul in fact harbored a tight-knit community of musicians working feverishly through the late ’70s and early ’80s toward a radical manipulation of American dance music, coating futuristic funk with the glamorous sheen of guitar rock. Synthetic ebony and ivory met Track Listing electricity, with sexed-up results sent shockingly across the pop heavens like violet lightning. 1. 94 East If You See Me 2. Aura Taste Of Love On 4 LPs or 2 CDs, Purple Snow: Forecasting the Minneapolis Sound—the 3. Herman Jones I Love You Oh Lover Numero Group’s breathlessly anticipated 50th mainline release—chronicles 4. Orville Shannon the scene’s first steps, false starts, and follow-throughs, sourcing the life’s 5. Mind & Matter I’m Under Your Spell work of known quantities and shadowy figures alike. In the beginning, there 6. Haze Waiting For The Moment 7. Prophets Of Peace Get It On was Purple Haze, whose billing as Haze on two obscure albums left the color 8.