The guardian gender
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The document discusses the exclusion of female rock artists from the mainstream rock canon and their celebration in isolation rather than as part of the larger rock tradition. It argues that while pioneering black and female musicians helped establish rock music's roots, the genre has been portrayed as the domain of white male bands. Recent innovative female artists like EMA, St Vincent, and Anna Calvi have been praised for their work but denied connection to their major male influences and seen as flashes of brilliance separate from the larger rock scene. By separating female musicians into a distinct "women in rock" category rather than integrating them as part of rock history alongside influential male artists, the music press maintains a divided view of rock that excludes women from its core tradition.
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The document summarizes the evolution of several music genres from the 1970s through the early 1990s, including glam rock, heavy metal, hardcore punk, thrash metal, disco, funk, hip hop, and gangsta rap. It describes the emergence of ego-centric glam rock bands in the 1970s that borrowed from sci-fi imagery. Heavy metal developed from hard rock in the 1970s, exemplified by bands like Led Zeppelin. Punk genres like hardcore and thrash metal featured very fast, chaotic styles. Disco was a diluted form of funk that became popular for dancing, while hip hop originated as a reaction to disco and emphasized DJs and rapping. Early rap focused on
The Evolution of Jazz Instruments
- Early jazz bands in New Orleans featured musicians playing cornets, trombones, clarinets, and washboards, laying the foundation for the genre.
- As jazz migrated north, technological advancements like the phonograph and microphone amplified instruments and expanded their range.
- The 1930s-1940s saw the golden age of big bands led by Count Basie and Duke Ellington, featuring trumpets, trombones, saxophones and more blending together. The electric guitar began emerging during this time as well.
- Contemporary jazz musicians seamlessly blend electronic elements like synthesizers and samplers into their music to further expand the language of jazz.
Crossing Over: The Embrace of Gospel in a Pop World
Rebekah Kim’s Crossing Over: The Embrace of Gospel in a Pop World is one of the 14 pieces that comprises the Senior Essay Edition of The Yale Historical Review.
POKEYcoverstory
Pokey LaFarge is an American musician from St. Louis, Missouri who performs vintage-inspired American music styles like ragtime, country, and jazz. He and his band play on authentic vintage instruments from the early 20th century. While drawing from traditional American musical roots, LaFarge sees his music as modern since he writes songs from his contemporary perspective. He aims to preserve American musical traditions but also move them forward. LaFarge will be touring New Zealand and headlining at the WOMAD festival in March 2014.
The Jazz Lifestyle
Wrap yourself in the rhythm of Jazz with our stylish and comfortable Jazz T-shirts, a perfect fusion of music and fashion.
Music
This document provides a summary and critique of the modern rock music industry. It discusses how rock music has changed significantly since its origins in the 1950s, with a focus on how it has become more commercialized, vulgar, and focused on sexuality and shock value. The author argues that rock music now promotes anti-rational and self-centered values that are hostile to traditional morality and conservatism. Overall, the summary criticizes how rock music has degraded from its original artistic roots into a tasteless and profit-driven industry.
Journey to Discover the First Rock 'n' Roll Record.docx
In the vibrant tapestry of musical history, the birth of rock 'n' roll remains a subject of fascination and debate. Jim Dawson and DJ Steve Propes embark on a rhythmic journey, posing a question that echoes through time: "What Was the First Rock 'n' Roll Record?" Their exploration takes us back to the roots, unravelling the sonic evolution that paved the way for a cultural revolution.
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Pop music of the 70s and 80s heavy metal, glam rock, funk, disco and rap
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Crossing Over: The Embrace of Gospel in a Pop World
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What the boys said
The article discusses a lack of gender balance and representation of women in music magazines like The Wire. It notes that between 2006 and 2009, The Wire only featured 7 female artists on its covers compared to 41 male artists. It also discusses how magazines aimed at musicians like guitarists and bassists rarely featured women on their covers. While some magazines have made efforts to increase representation of women, overall there remains an imbalance and an acceptance that underrepresentation of women in music media "is just how it is." The lack of representation can discourage women from entering music fields like performing and music writing.
Uncut media pack
The document summarizes information about Uncut magazine, its readers, and advertising opportunities. Uncut targets music and movie enthusiasts with a focus on indie, rock, and Americana genres. Its readers, who are mostly middle-aged men, spend significant amounts of money annually on music, movies, and concerts. They are highly engaged with digital music and spend over an hour daily on music websites. The document provides advertising rates and specifications for Uncut magazine.
Source media kit
The document outlines marketing opportunities and events for 2011 with The Source magazine, including issue release parties celebrating cover artists and themes, concerts, showcases, and partnerships with sports and music events like the NBA All-Star Weekend and SXSW to promote brands and artists. It also provides details on the magazine's audience demographics, reporting a readership of 1.5 million people who are mostly 18-44 years old and interested in hip hop music and culture. The Source is positioning itself as the top brand in hip hop media across both print and digital platforms.
Q media pack-2011
Q magazine is the UK's largest music magazine with a circulation of over 88,000. It has a young, affluent readership that it influences with its trusted opinions on music. The magazine and its brand have a wide reach through additional platforms like a website, radio show, and live music events. Advertisers are attracted to Q because of its influential readership and ability to associate their brands with Q's credible voice in the music industry.
Q music magazine print deconstruction
The document summarizes the front cover design of Q Music Magazine. It begins with a large, bold, white letter "Q" occupying 15% of the top left corner of the cover, departing from the typical masthead across the top. The unconventional masthead placement and single letter name was intended to look original and stand out on newsstands. The white letter signifies simplicity while the red background hints at danger, reflecting the founders' view that the music press was ignoring older, male music buyers. Beneath the letter is the tagline "A DIFFERENT TAKE ON MUSIC" to signal the magazine's independent perspective to audiences.
Prelim task
Magic Sound Ltd owns several popular music publications in the UK and is giving 20 students the opportunity to work on a new teen music publication and website. To be considered, students must submit their ideas by December 10th and demonstrate their knowledge of music publications and websites, clearly understand their target audience, refer to media language concepts, and use industry terminology in their planning.
Nme music magazine print deconstruction
NME has been one of the longest running weekly music magazines in history since its founding in 1952. It originally competed with magazines like Sounds and Melody Maker in a broadsheet newspaper format. Throughout the 1970s and 1980s, NME championed punk rock and independent music while promoting anti-establishment, socialist views through writers like Danny Baker and Tony Parsons. In 1998, NME switched to a color magazine format and tabloid size as it is now owned by an international publishing group, though it still supports independent artists.
Music press history
The history of music press began in the late 19th century with publications like Billboard magazine that reported on music industry news and charts. In the 1950s-60s, magazines like Melody Maker and New Musical Express became popular weekly publications in the UK covering new releases and concerts. The 1960s saw the rise of music fanzines and Rolling Stone magazine addressing youth culture. Major changes in the 1970s included more political coverage and the rise of glossier magazines like Smash Hits catering to younger audiences. Independent music labels produced more fanzines in the 1980s, while new magazines explored genres and styles. Digital technologies in the 1990s-2000s disrupted the music press industry, leading to more specialized niche publications and declining
Music press exam prep
This document provides an overview and guidelines for analyzing music press publications like magazines and websites. It introduces the CLAIR framework for examining codes and conventions, language, audience, institutions, and representation. It discusses exploring features, genres, design elements, portrayed audiences, funding sources, regulations, and how artists and other groups are depicted. The exam will ask students to analyze what appeals to audiences, create their own music publication for a specific demographic, and design/evaluate an element to appeal to that audience.
Mojo media pack-2011
Mojo is a UK-based music magazine known for its in-depth coverage of music across genres and decades. It aims to provide an authentic connection to music for passionate fans through long-form journalism, photography, and curated playlists. With a circulation of nearly 95,000 and a readership of over 200,000, Mojo's audience is predominantly affluent and highly influential music enthusiasts. The magazine seeks to celebrate both classic and cutting-edge artists through a hand-crafted experience.
Mm mediapack 2013
This document provides information about Mixmag, a magazine and media company focused on dance music and club culture. It details Mixmag's print magazine, digital platforms and mobile apps which reach over 350,000 unique users and 800,000 impressions per month. The document also profiles Mixmag's readers, outlines advertising options and rates across print, online and events, and provides production details.
Mastheads titles
The document provides guidance on analyzing magazine mastheads and covers. It prompts the reader to consider things like facial expressions, clothing, interactions, props, framing, camera angle, title meaning, title associations, typography descriptions, masthead size, color, font connotations, and changes to mastheads over time. It uses the examples of the mastheads of magazines called "New Musical Express" and "XXL" to illustrate aspects to analyze regarding the visual design and meaning of a magazine's branding.
Kerrang! media pack-2011
Kerrang! is the UK's largest music magazine with over 42,000 circulation and 400,000 readership. It has a median reader age of 22 and 52% of readers fall within the ABC1 socioeconomic group. Kerrang! readers are heavily engaged with music, purchasing on average over 6 albums per month and are 5.5 times more likely to attend rock concerts than the national average. The magazine is a multi-platform brand including the print publication, website, radio station, awards shows, and festival partnerships.
How the fanzine refused to die
Fanzines are making a resurgence despite the dominance of blogs and digital media. Some writers and readers prefer the tangible, handmade nature of fanzines which foster a sense of community. A new generation of fanzine writers value limited print runs and handcrafted aesthetics. While blogs allow easy, constant updates to large audiences, fanzines encourage deeper engagement with niche underground music scenes through their focused long-form coverage and distribution to dedicated readers. The resurgence shows that some seek analog experiences and curated communities in a digital world that feels impersonal and out of individual control.
Guardian why are we so hard on our music press
The document discusses the state of the British music press and magazines. It notes that while publications frequently argue over which was better in the past, the current market features many competing magazines, websites, and short attention spans. Mainstream publications now also cover music. The document discusses prominent weekly and monthly magazines that take different approaches to music coverage and notes specialist magazines focused on genres like rock, dance, and hip-hop. It acknowledges magazines with independent origins and short lifespans in the industry before concluding the UK has the best music press thanks to its free-spirited and passionate writing.
Clash media kit
This document provides information about Clash Music Ltd, a leading UK media brand representing music, fashion, and film. It operates platforms in print (Clash Magazine), digital (ClashMusic.com), outdoor advertising, live events, and creative projects. Clash Magazine has a circulation of over 47,000 and is known for its in-depth features, interviews, and reviews across various music and culture genres. ClashMusic.com attracts over 320,000 unique users and complements the magazine with daily online content. The document outlines Clash's offerings across its various platforms and provides statistics and contact information.
Appendix 4 music magazine industry
Music magazines are publications dedicated to music and music culture. They typically include music news, interviews, photo shoots, essays, and record reviews. The two largest conglomerate companies dominating the UK magazine market are Bauer and IPC Media. Most mainstream music magazines are produced by these large conglomerate companies, while some independent magazines produced by smaller companies focus on local music scenes or niche genres. Music magazines aim to advertise bands and music to readers while also selling advertising space to appeal to their target demographics, most often readers aged 16-34 interested in various music genres.
2013 gcse media studies exam sow
Louis Stewart is a fashion accessories brand. Magazines which may advertise Louis Stewart include:
- Cosmopolitan - Targets women aged 18-34. Louis Stewart offers fashionable accessories that would appeal to Cosmo's audience.
- Elle - Also targets women aged 18-34 with a focus on fashion and lifestyle. Louis Stewart's accessories are fashion-forward.
- InStyle - Another women's fashion and lifestyle magazine aimed at readers aged 25-45. InStyle readers would be interested in Louis Stewart's products.
- Vogue - High-end fashion magazine targeting affluent women aged 25-45. Louis Stewart could advertise in Vogue to target prestige-seeking readers.
- Graz
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The guardian gender
- 1. The Guardian When it comes to rock, women are a gender not a genre In denying EMA, St Vincent and Anna Calvi a link to their male forebears, the music press is guilty of keeping rock divided. Who owns rock? It was a woman, Sister Rosetta Tharpe, who subverted sacred music with the secular to forge one of the first rock records, Strange Things Happening Every Day, but it's men – specifically that four-white-guys stereotype – that we celebrate as rock's ultimate chalice-bearers today. Rock's narrative is written in a way that excludes women who noodle, shred and expand the music in new directions. Where the roots of rock were sewn by black and female musicians, the genre has been whitewashed, evolving its sound but narrowing its gaze, pwnd by the male quartet. Music's cyclical nature means rock flourishes and wanes. During the ebbs, rock's death knell is proclaimed, mostly by a music press written by, about and for men, but to perceive last year's ebb in the rock-boy-band flow as a some sort of crisis ignores the large amount of exciting rock being made by women. I wasn't alone in appreciating EMA's Past Life Martyred Saints, St Vincent's Strange Mercy and Anna Calvi's Mercury-nominated debut. Then there was a wonderful album and thrilling live shows from Wild Flag, and the emergence of the Alabama Shakes. Those artists excited critics and fans with their inventive take on rock. In Anna Calvi's circular picking technique, rock took a gothic, grandiose turn, swirling with orchestra-sized tensions. In St Vincent's cerebral, film-inspired narratives, chords were out and muscular, fret-shattering licks ruled. In EMA's Past Life Martyred Saints, droning, Midwest-to-California blues voyages took both classic rock and feedback-drenched noise to new heights. As far as I could see, rock was being hewn in to huge, fantastical new shapes. Rock sounded brilliant, and very much alive, from where I was standing. When virtuoso female guitarists appear on the rock radar, they tend to gain the spotlight in the lulls between dominant, malecentric scenes (Britpop, grunge, glam rock), celebrated in isolation as brief, intermittent flashes of brilliance that flare up between the wider, collective scenes. When these women are innovative enough to operate successfully outside a zeitgeist, and gain an audience without the legitimacy and safety of a wider scene, they are seen as ancillary to rock's larger, holistic pantheon. They are rounded up for "women in rock" trend pieces where "gender is genre", a rock press narrative that creates a separate, and implicitly lesser, form of rock. PJ Harvey's record-breaking contributions to indie rock are redoubtable, but rock's one-in one-out policy for women has made her an inescapable comparison for any rock woman standing alone with a six string and toe pressed to a distortion pedal. EMA, St Vincent and Calvi continually cite male inspirations when interviewed, from Jimi Hendrix and Scott Walker to Lou Reed and Bo Diddley, direct, explicit statements that they're creating in the tradition of rock gods, yet each of these artists have been cast, at one point or another, as indebted to Harvey, sometimes in the face of polite protestations. Creating a separate (slow) lane for women, where rock matriarchs, however hallowed, are women's only forebears, keeps rock divided. It divorces female musicians from their privileged forefathers, denies them their artistic lineage, and creates a system where women with electric guitars can only be as good as the women that came before them, celebrated on pedestals but never shoulder to shoulder with favoured male peers. If rock learned to celebrate more than one image as authentic and valuable, maybe that old death bell wouldn't ring quite so regularly.