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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. -
Vinyls-Collection.Com Page 1/222 - Total : 8629 Vinyls Au 05/10/2021 Collection "Artistes Divers Toutes Catã©Gorie
Collection "Artistes divers toutes catégorie. TOUT FORMATS." de yvinyl Artiste Titre Format Ref Pays de pressage !!! !!! LP GSL39 Etats Unis Amerique 10cc Windows In The Jungle LP MERL 28 Royaume-Uni 10cc The Original Soundtrack LP 9102 500 France 10cc Ten Out Of 10 LP 6359 048 France 10cc Look Hear? LP 6310 507 Allemagne 10cc Live And Let Live 2LP 6641 698 Royaume-Uni 10cc How Dare You! LP 9102.501 France 10cc Deceptive Bends LP 9102 502 France 10cc Bloody Tourists LP 9102 503 France 12°5 12°5 LP BAL 13015 France 13th Floor Elevators The Psychedelic Sounds LP LIKP 003 Inconnu 13th Floor Elevators Live LP LIKP 002 Inconnu 13th Floor Elevators Easter Everywhere LP IA 5 Etats Unis Amerique 18 Karat Gold All-bumm LP UAS 29 559 1 Allemagne 20/20 20/20 LP 83898 Pays-Bas 20th Century Steel Band Yellow Bird Is Dead LP UAS 29980 France 3 Hur-el Hürel Arsivi LP 002 Inconnu 38 Special Wild Eyed Southern Boys LP 64835 Pays-Bas 38 Special W.w. Rockin' Into The Night LP 64782 Pays-Bas 38 Special Tour De Force LP SP 4971 Etats Unis Amerique 38 Special Strength In Numbers LP SP 5115 Etats Unis Amerique 38 Special Special Forces LP 64888 Pays-Bas 38 Special Special Delivery LP SP-3165 Etats Unis Amerique 38 Special Rock & Roll Strategy LP SP 5218 Etats Unis Amerique 45s (the) 45s CD hag 009 Inconnu A Cid Symphony Ernie Fischbach And Charles Ew...3LP AK 090/3 Italie A Euphonius Wail A Euphonius Wail LP KS-3668 Etats Unis Amerique A Foot In Coldwater Or All Around Us LP 7E-1025 Etats Unis Amerique A's (the A's) The A's LP AB 4238 Etats Unis Amerique A.b. -
Cashbox Subscription: Please Check Classification;
July 13, 1985 NEWSPAPER $3.00 v.'r '-I -.-^1 ;3i:v l‘••: • •'i *. •- i-s .{' *. » NE RIAA CERTIFICATIONS ANNOUNCED R.E.M. AFFILIATES LIVE-AID Crass Roots Audience Blossoms TWORK, GEAR FOR Story on Page 13 WEHIND THE BULLETS: TEARS FOR FEARS #1 MTV AWARDS ENTER NEXT PHASE GUEST EDITORIAL: AL KOOPER SUBSCRIPTION ORDER: PLEASE ENTER MY CASHBOX SUBSCRIPTION: PLEASE CHECK CLASSIFICATION; RETAILER ARTIST I NAME VIDEO JUKEBOXES DEALER AMUSEMENT GAMES COMPANY TITLE ONE-STOP VENDING MACHINES DISTRIBUTOR RADIO SYNDICATOR ADDRESS BUSINESS HOME APT. NO. RACK JOBBER RADIO CONSULTANT PUBLISHER INDEPENDENT PROMOTION CITY STATE/PROVINCE/COUNTRY ZIP RECORD COMPANY INDEPENDENT MARKETING RADIO OTHER: NATURE OF BUSINESS PAYMENT ENCLOSED SIGNATURE DATE USA OUTSIDE USA FOR 1 YEAR I YEAR (52 ISSUES) $125.00 AIRMAIL $195.00 6 MONTHS (26 ISSUES) S75.00 1 YEAR FIRST CLASS/AIRMAIL SI 80.00 01SHBCK (Including Canada & Mexico) 330 WEST 58TH STREET • NEW YORK, NEW YORK 10019 ' 01SH BOX HE INTERNATIONAL MUSIC / COIN MACHINE / HOME ENTERTAINMENT WEEKLY VOLUME XLIX — NUMBER 5 — July 13, 1985 C4SHBO( Guest Editorial : T Taking Care Of Our Own ^ GEORGE ALBERT i. President and Publisher By A I Kooper MARK ALBERT 1 The recent and upcoming gargantuan Ethiopian benefits once In a very true sense. Bob Geldof has helped reawaken our social Vice President and General Manager “ again raise an issue that has troubled me for as long as I’ve been conscience; now we must use it to address problems much closer i SPENCE BERLAND a part of this industry. We, in the American music business do to home. -
TYR103 Pp Va Bene.Indd
It’s OK, It’s All Right A respectful refi t that went well the yacht report 81 YACHT REPORT – VA BENE YACHT REPORT – VA BENE An old adage among shipbuilders is that is all in a day’s work. The yard’s refi t they would rather build a new yacht than experience began back in 1991 with Adix rebuild an old one. Because you never and since then it has completed over 80 know what you’re letting yourself in for refi t projects, including many high-profi le until you get down to bare metal. The yachts such as Fair Lady, Elisabeth F, logistical challenge of a major refi t, with Ranger, Shamrock V and – last but not all the interdependent skills it involves, least – Va Bene. This 47.8-metre motor can easily turn into a nightmare for both yacht is not as well known as some of the owner and the shipyard. Ensuring the names in the Pendennis resumé, but delivery on time and on budget relies on it has an intriguing background and a expert project and fi nancial management, very famous owner. For those of you who which in turn requires planning of realistic were not already aware of it, the man in deadlines and effective communication question is Eric Clapton. But instead of with reliable suppliers and owners’ reps. focusing on the guitar legend like some articles in the yachting press have to date, For the Pendennis Shipyard in Falmouth Justin Ratcliffe’s report gets down to the juggling such multifaceted disciplines nuts and bolts (pun intended) of the refi t. -
Billtxxlirdlc HK11:111) .,,Ii.,..,I.Yrit1984billboard Publications 1,N
FOR WEEK ENDING APRIL 28, 1984 56 Billtxxlirdlc HK11:111) .,,ii.,..,i.yrit1984Billboard Publications 1,N.. hr' or thispub cationmay be reproduced stored in d ,- ?neva'systemor transmitted. in any form or by ai, meanselectronicmechanical, photocopying, record- ing orotherwisewithout the prior written permission of thepub) shat O. - ,ti Y2,,5 ,,5 TITLE-Artist ..,:..,.. TITLE-Artist100.,,t, .,-..,..;: .,... TITLE-Artist I- n it I Produceri Writer, Label & Number i Distributing Label) i-i 5 17 i Producer) Writer, Label & Number (Distributing Label) - fe .O'-' (Producer) Writer, Label & Number (Distributing Label) 1 111 AGAINST ALL ODDS (TAKE A 100K Al' WEEKS HOLDING OUT FOR A HERO -Bonnie Tyler AT 9 1 34 3410 882 DANCE HALL DAYS -wane Chung ME NOW) -o,,.r (Jim Steinman) 1. Steinman. D. Pitchford; Columbia 38-04370 67 2 (Chris Hughes. Ross Cullum). Hues. Geffen 7.29310(Warner Bros.) !,! o , Ait i: it,- .i.. .. ' 8.I' 3537 8 BORDERLINE -Madonna 3 10 HELLO -Lionel Richre (Reggie Lucas, John "Jellybean- Benitez), R. Lucas; Sire 7-29354(Warner 6 8 68 4 RELAX -f rankle Goes To Hollywood O (Lionel Richre, James Anthony Carmichael) L. Riche. Motown 1722 Bros) (Trevor Horn), Gill, Johnson, O'Toole: Island 7.99805(Atco) 3 2 14 FOOTLOOSE -Kenny Loggins 11111 (38)462 THE REFLEX -Duran Duran (69)852 WHISPER TO A SCREAM (BIRDS FLY)-locle Works (Kenny Loggins. Lee DeCarlo), KLoggins, D. Pitchford; Columbia (AlexSadkin, Ian Little, Duran Duran), Duran Duran; Capitol 5345 (Hugh Jones), McNabb, Arista 1-9155 38-04310 (37)4510 WHITE HORSE -Laid Back BELIEVE IN ME -Dan Fogelberg ( 4 )4 12 HOLD ME NOW -Thompson Twins (Laid Back, Seven Dwarfs) T. -
OUT of the EVER AFTER and OTHER STORIES by Claudia
OUT OF THE EVER AFTER AND OTHER STORIES by Claudia AmadoriSegree Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters Masters of Fine Arts Florida Atlantic University Boca Raton, Florida August 2008 PREFACE Nel mezzo del cammin di nostra vita Mi ritrovai per una selva oscura, Che la retta via era smarrita... In the middle of the journey of our life, I found myself in a dark wood, For the straight way was lost… Dante Alighieri, The Divine Comedy, Inferno I iii ACKNOWLEDGEMENTS I would like to thank Prof. Papatya Bucak, my thesis advisor, who I consider my mentor from the drafting of my first stories as an undergraduate English Major, to my current work as a Master of Fine Arts candidate. Prof. Bucak helped me grow immensely as a writer and encouraged me to pursue creative writing when I lacked confidence in my skills. I am indebted to Prof. Bucak for her dedication over the years, her helpful feedback and the work she put in the careful reading of this thesis. I truly value all her comments and suggestions. I also would like to thank the other members of my committee for accepting to read my fiction. I am thankful to Prof. Wenying Xu because she introduced me to postcolonial theory and to the work of US ethnic women writers which has influenced my creative writing. I hope to become a good scholar as well as write creatively, and Prof. Xu is a role model in the study of literature, research and academic writing. -
Robert Walser Published Titles My Music by Susan D
Running With the Devil : Power, Gender, title: and Madness in Heavy Metal Music Music/culture author: Walser, Robert. publisher: Wesleyan University Press isbn10 | asin: 0819562602 print isbn13: 9780819562609 ebook isbn13: 9780585372914 language: English Heavy metal (Music)--History and subject criticism. publication date: 1993 lcc: ML3534.W29 1993eb ddc: 781.66 Heavy metal (Music)--History and subject: criticism. Page i Running with the Devil Page ii MUSIC / CULTURE A series from Wesleyan University Press Edited by George Lipsitz, Susan McClary, and Robert Walser Published titles My Music by Susan D. Crafts, Daniel Cavicchi, Charles Keil, and the Music in Daily Life Project Running with the Devil: Power, Gender, and Madness in Heavy Metal Music by Robert Walser Subcultural Sounds: Micromusics of the West by Mark Slobin Page iii Running with the Devil Power, Gender, and Madness in Heavy Metal Music Robert Walser Page iv WESLEYAN UNIVERSITY PRESS Published by University Press of New England, Hanover, NH 03755 © 1993 by Robert Walser All rights reserved Printed in the United States of America 5 4 3 2 1 CIP data appear at the end of the book Acknowledgments for song lyrics quoted: "Electric Eye": Words and music by Glenn Tipton, Rob Halford, and K. K. Downing, © 1982 EMI APRIL MUSIC, INC. / CREWGLEN LTD. / EBONYTREE LTD. / GEARGATE LTD. All rights controlled and administered by EMI APRIL MUSIC, INC. International copyright secured. All rights reserved. Used by permission. "Suicide Solution": Words and music by John Osbourne, Robert Daisley, and Randy Rhoads, TRO© Copyright 1981 Essex Music International, Inc. and Kord Music Publishers, New York, N.Y. -
“The Stories Behind the Songs”
“The Stories Behind The Songs” John Henderson The Stories Behind The Songs A compilation of “inside stories” behind classic country hits and the artists associated with them John Debbie & John By John Henderson (Arrangement by Debbie Henderson) A fascinating and entertaining look at the life and recording efforts of some of country music’s most talented singers and songwriters 1 Author’s Note My background in country music started before I even reached grade school. I was four years old when my uncle, Jack Henderson, the program director of 50,000 watt KCUL-AM in Fort Worth/Dallas, came to visit my family in 1959. He brought me around one hundred and fifty 45 RPM records from his station (duplicate copies that they no longer needed) and a small record player that played only 45s (not albums). I played those records day and night, completely wore them out. From that point, I wanted to be a disc jockey. But instead of going for the usual “comedic” approach most DJs took, I tried to be more informative by dropping in tidbits of a song’s background, something that always fascinated me. Originally with my “Classic Country Music Stories” site on Facebook (which is still going strong), and now with this book, I can tell the whole story, something that time restraints on radio wouldn’t allow. I began deejaying as a career at the age of sixteen in 1971, most notably at Nashville’s WENO-AM and WKDA- AM, Lakeland, Florida’s WPCV-FM (past winner of the “Radio Station of the Year” award from the Country Music Association), and Springfield, Missouri’s KTTS AM & FM and KWTO-AM, but with syndication and automation which overwhelmed radio some twenty-five years ago, my final DJ position ended in 1992. -
Music Copyright in Theory and Practice: an Improved Approach for Determining Substantial Similarity
Duquesne Law Review Volume 31 Number 2 Article 4 1993 Music Copyright in Theory and Practice: An Improved Approach for Determining Substantial Similarity Stephanie J. Jones Follow this and additional works at: https://dsc.duq.edu/dlr Part of the Law Commons Recommended Citation Stephanie J. Jones, Music Copyright in Theory and Practice: An Improved Approach for Determining Substantial Similarity, 31 Duq. L. Rev. 277 (1993). Available at: https://dsc.duq.edu/dlr/vol31/iss2/4 This Article is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Duquesne Law Review by an authorized editor of Duquesne Scholarship Collection. Music Copyright in Theory and Practice: An Improved Approach for Determining Substantial Similarity Stephanie J. Jones* INTRODUCTION Of the three elements necessary to prove copyright infringe- ment-copyright ownership, access, and substantial similar- ityl-the last is not only the most important component, but also the most difficult to define and apply. Copyright ownership is a statutory formality easily satisfied prior to the institution of litiga- tion.2 Access is a straightforward proof question that can be dis- posed of by a showing of striking similarity.' However, no copy- right action can succeed without a showing of substantial similarity, making the concept the theoretical and practical corner- stone of copyright litigation. Unfortunately, substantial similarity is impossible to define, and nearly as onerous to apply. The substantial similarity standard is particularly difficult to de- fine and implement in the litigation of music copyright actions. Despite numerous attempts, the federal courts have failed to for- mulate a fully utilitarian framework for determining musical sub- stantial similarity. -
Life on Mars
Appendix 2 Life on Mars 722 Life on Mars Translation strategies Loan Official translation Calque Hypernym Hyponym Explicitation Substitution Lexical recreation Compensation Elimination Creative addition 723 LIFE ON MARS Season 1 Episode 1 (Pilot) 1/1 ORIGINAL FILM DIALOGUE 13.47-13.53 SAM: Who the hell are you? GENE: Gene Hunt, your DCI, and it's 1973. Almost dinner time. I'm 'avin' 'oops. ITALIAN ADAPTATION BACK-TRANSLATION SAM: Chi sei tu? SAM: Who are you? GENE: Gene Hunt, il tuo ispettore capo. E’ GENE: Gene Hunt, your chief inspector. il 1973, ora di cena. E muoio dalla fame. It’s 1973, dinner time. And I’m starving. 1/2 ORIGINAL FILM DIALOGUE 14.21-14.33 OPERATOR: Operator. SAM: No, I want a mobile number. OPERATOR: What? SAM: A mobile number. 0770 813- OPERATOR: Is that an international number? SAM: No, it… I....I need you to connect me to a Virgin... number. Virgin mobile. OPERATOR: Don't you start that sexy business with me, young man. I can trace this call. ITALIAN ADAPTATION BACK-TRANSLATION CENTRALINISTA: Centralino. OPERATOR: Operator. SAM: Senta. Vorrei il numero di un SAM: Listen. I would like to have the cellulare. number of a mobile. CENTRALINO: Cosa? OPERATOR: What? SAM: Il numero di un cellulare. 0770 813… SAM: The number of a mobile. 0770 813… CENTRALINO: E’ un numero OPERATOR: Is it an international number internazionale forse? perhaps? SAM: No. Io ho bisogno che lei mi metta in SAM: No. I need you to connect me to a contatto con un numero di… un cellulare, mobile… number, a mobile phone. -
Text-Based Description of Music for Indexing, Retrieval, and Browsing
JOHANNES KEPLER UNIVERSITAT¨ LINZ JKU Technisch-Naturwissenschaftliche Fakult¨at Text-Based Description of Music for Indexing, Retrieval, and Browsing DISSERTATION zur Erlangung des akademischen Grades Doktor im Doktoratsstudium der Technischen Wissenschaften Eingereicht von: Dipl.-Ing. Peter Knees Angefertigt am: Institut f¨ur Computational Perception Beurteilung: Univ.Prof. Dipl.-Ing. Dr. Gerhard Widmer (Betreuung) Ao.Univ.Prof. Dipl.-Ing. Dr. Andreas Rauber Linz, November 2010 ii Eidesstattliche Erkl¨arung Ich erkl¨are an Eides statt, dass ich die vorliegende Dissertation selbstst¨andig und ohne fremde Hilfe verfasst, andere als die angegebenen Quellen und Hilfsmittel nicht benutzt bzw. die w¨ortlich oder sinngem¨aß entnommenen Stellen als solche kenntlich gemacht habe. iii iv Kurzfassung Ziel der vorliegenden Dissertation ist die Entwicklung automatischer Methoden zur Extraktion von Deskriptoren aus dem Web, die mit Musikst¨ucken assoziiert wer- den k¨onnen. Die so gewonnenen Musikdeskriptoren erlauben die Indizierung um- fassender Musiksammlungen mithilfe vielf¨altiger Bezeichnungen und erm¨oglichen es, Musikst¨ucke auffindbar zu machen und Sammlungen zu explorieren. Die vorgestell- ten Techniken bedienen sich g¨angiger Web-Suchmaschinen um Texte zu finden, die in Beziehung zu den St¨ucken stehen. Aus diesen Texten werden Deskriptoren gewon- nen, die zum Einsatz kommen k¨onnen zur Beschriftung, um die Orientierung innerhalb von Musikinterfaces zu ver- • einfachen (speziell in einem ebenfalls vorgestellten dreidimensionalen Musik- interface), als Indizierungsschlagworte, die in Folge als Features in Retrieval-Systemen f¨ur • Musik dienen, die Abfragen bestehend aus beliebigem, beschreibendem Text verarbeiten k¨onnen, oder als Features in adaptiven Retrieval-Systemen, die versuchen, zielgerichtete • Vorschl¨age basierend auf dem Suchverhalten des Benutzers zu machen. -
Commodores Live! Mp3, Flac, Wma
Commodores Live! mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: Live! Country: US Released: 1981 Style: Soul, Disco MP3 version RAR size: 1130 mb FLAC version RAR size: 1930 mb WMA version RAR size: 1618 mb Rating: 4.6 Votes: 251 Other Formats: DXD VQF WAV MMF AA MIDI MP2 Tracklist Hide Credits Won't You Come Dance With Me A1 3:36 Written-By – Lionel Richie, Thomas McClary Slippery When Wet A2 3:00 Written-By – Thomas McClary Come Inside A3 3:12 Written-By – Lionel Richie, Thomas McClary Just To Be Close To You A4 7:17 Written-By – Lionel Richie Funny Feelings B1 5:16 Written-By – Lionel Richie, Thomas McClary Fancy Dancer B2 4:44 Written-By – Lionel Richie, Ronald LaPread Sweet Love B3 8:39 Written-By – Lionel Richie Zoom C1 10:00 Written-By – Lionel Richie, Ronald LaPread Easy C2 7:23 Written-By – Lionel Richie I Feel Sanctified D1 Written-By – Bill Miller , Jeffrey Bowen, Lionel Richie, Milan Williams, Ronald LaPread, 2:58 Thomas McClary, Walter Orange, William King Brick House D2 Written-By – Lionel Richie, Milan Williams, Ronald LaPread, Thomas McClary, Walter 11:18 Orange, William King Too Hot Ta Trot D3 Written-By – Lionel Richie, Milan Williams, Ronald LaPread, Thomas McClary, Walter 5:38 Orange, William King Companies, etc. Phonographic Copyright (p) – Motown Record Corporation Copyright (c) – Motown Record Corporation Published By – Jobete Music Co., Inc. Published By – Commodores Entertainment Publishing Corp. Credits Engineer [Mastering] – Jack Andrews Engineer [Recording] – Cal Harris, Jane Clark Photography By – Neal Zlozower* Producer – Commodores, James Anthony Carmichael Notes Printed in U.S.A.