Relevant bibliographies by topics / American rock bands

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'American rock bands'

Author: Grafiati
Published: 19 February 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'American rock bands.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "American rock bands"

1

Laksono, Arido. "Paradox of Life, Liberty and the Pursuit of Happiness in Guns N’ Roses “Civil War”." Culturalistics: Journal of Cultural, Literary, and Linguistic Studies 3, no. 2 (December 10, 2019): 1–6. http://dx.doi.org/10.14710/culturalistics.v3i2.6723.

Full text
Abstract:
The United States of America has long been known as the pioneer of freedom and democracy. The country promotes the idea of acquiring self-fulfillment without interfering others. Man can have his freedom upon life, liberty and the pursuit of happiness given to him ever since he was born. The long history of the United States of America recorded events and tumults testing the loftiness of American Dream. One of the American rock bands portraying the aforementioned situation is Guns N’ Roses. The lyric of “Civil War” clearly describes the paradox of life, liberty and the pursuit of happiness. Protest against war was increasing. Thus, the waves of strike and demonstration occurred as critics toward Government policy. At this point, rock bands also have important roles in accommodating people’s hopes and wishes. By using several elements of poetry, an argumentative analysis is developed and elaborated in order to reveal the attitude of people regarding government policy on war.. Keywords: Paradox; War, Government policy; Guns N’ Roses;
APA, Harvard, Vancouver, ISO, and other styles
2

Mezquita Fernández, María Antonia. "Social and Environmental Awareness In the Lyrics Of Mike Shinoda: ‘Kenji’ And ‘Nothing Makes Sense Anymore’ /." Revista Canaria de Estudios Ingleses, no. 84 (2022): 183–97. http://dx.doi.org/10.25145/j.recaesin.2022.84.13.

Full text
Abstract:
A third-generation mix-raced Japanese American, Mike Shinoda is a renowned rock and rap musician. Thanks to his two bands, Linkin Park and Fort Minor, Shinoda has been able to raise his voice to condemn social injustices or environmental damage and degradation. The following paper will focus on two of his songs “Kenji” and “Nothing makes Sense Anymore,” which include references to those issues. By analyzing the lyrics, we will evince how they distill criticism on social discrimination and environmental damage.
APA, Harvard, Vancouver, ISO, and other styles
3

Shuker, Roy, and Michael Pickering. "Kiwi rock: popular music and cultural identity in New Zealand." Popular Music 13, no. 3 (October 1994): 261–78. http://dx.doi.org/10.1017/s0261143000007194.

Full text
Abstract:
The New Zealand popular music scene has seen a series of high points in recent years. Published in 1989 were John Dix's labour of love, Stranded in Paradise, a comprehensive history of New Zealand rock'n'roll; an influential report by the Trade Development Board, supportive of the local industry; and the proceedings of a well-supported Music New Zealand Convention held in 1987 (Baysting 1989). In the late 1980s, local bands featured strongly on the charts, with Dave Dobbyn (‘Slice of Heaven’, 1986), Tex Pistol (‘The Game of Love’, 1987) and the Holiday Makers (‘Sweet Lovers’, 1988) all having number one singles. Internationally, Shona Laing (‘Glad I'm Not A Kennedy’, 1987) and Crowded House (‘Don't Dream It's Over’, 1986) broke into the American market, while in Australia many New Zealand performers gathered critical accolades and commercial success.
APA, Harvard, Vancouver, ISO, and other styles
4

Brown, Andy R. "Heavy metal justice? Calibrating the economic and aesthetic accreditation of the heavy metal genre in the pages of Rolling Stone 1980–91: Part one 1980–851." Metal Music Studies 7, no. 1 (March 1, 2021): 61–84. http://dx.doi.org/10.1386/mms_00032_1.

Full text
Abstract:
Given the genre name heavy metal can be traced to a negative adjective that emerges out of 70s rock journalism and which reflects a widespread dissensus among rock critics about its value and impact on North American rock music, how are we to explain the gradual or cumulative shift away from this majority aesthetic disapprobation, in the 1980–85 period, towards a widespread economic accreditation, particularly in the pages of leading rock magazine, Rolling Stone? Is it simply a belated recognition of the longevity of the genre and its resurgent popularity with majority audiences? If so, how are we to explain the subsequent shift, clearly evident in the Rolling Stone coverage in the 1986–91 period, from economic to aesthetic approbation of selective bands, particularly those identified with a thrash metal underground, which is nevertheless seen to emerge from within the genre or to be an aesthetic development of some of its key musical features, while rejecting others? Drawing on a comprehensive survey, composed of album reviews, lead or feature articles and interviews, drawn from the Rolling Stone archive, my research reports, in Part One of this article, a definite shift in the critical reception of heavy metal to economic accreditation in the 1980–85 period, based not only on the genre’s persistence and sustained economic success but also its ability to appeal beyond its core metal audience and therefore challenge the dominant rock and pop aesthetic. For some critics this means that a selective set of popular bands, such as AC/DC, the Scorpions and Def Leppard, can be afforded a degree of aesthetic approbation, even the status of ‘artists’. But this praise also leads to the Great Metal Question: can they now seek to move beyond the musical and lyrical conventions of heavy metal in order to appeal to a wider audience beyond their core fanbase?
APA, Harvard, Vancouver, ISO, and other styles
5

MCCLUSKEY, JOHN MICHAEL. "“This Is Ghetto Row”: Musical Segregation in American College Football." Journal of the Society for American Music 14, no. 3 (August 2020): 337–63. http://dx.doi.org/10.1017/s175219632000022x.

Full text
Abstract:
AbstractA historical overview of college football's participants exemplifies the diversification of mainstream American culture from the late nineteenth century to the twenty-first. The same cannot be said for the sport's audience, which remains largely white American. Gerald Gems maintains that football culture reinforces the construction of American identity as “an aggressive, commercial, white, Protestant, male society.” Ken McLeod echoes this perspective in his description of college football's musical soundscape, “white-dominated hard rock, heavy metal, and country music—in addition to marching bands.” This article examines musical segregation in college football, drawing from case studies and interviews conducted in 2013 with university music coordinators from the five largest collegiate athletic conferences in the United States. These case studies reveal several trends in which music is used as a tool to manipulate and divide college football fans and players along racial lines, including special sections for music associated with blackness, musical selections targeted at recruits, and the continued position of the marching band—a European military ensemble—as the musical representative of the sport. These areas reinforce college football culture as a bastion of white strength despite the diversity among player demographics.
APA, Harvard, Vancouver, ISO, and other styles
6

Thomson, Andrew. "Right hand up, left hand down: The New Satanists of rock n’ roll, evil and the underground war on the abject." Metal Music Studies 7, no. 1 (March 1, 2021): 43–60. http://dx.doi.org/10.1386/mms_00031_1.

Full text
Abstract:
Satan has long served as the ultimate evil, the world’s primary scapegoat. The Devil’s role in music, especially extreme music and heavy metal, has been to shock, terrify and enrage. But what if the imagery and ideology of Satan is used to combat an immoral societal evil? Is it then possible that the radical evil could itself become a force for good? This article intends to examine the music and philosophy of three modern bands, dubbed The New Satanists: Ghost, Twin Temple and Zeal & Ardor. Each band uses varying degrees of satanic influence to raise awareness of their perceived objectionable and abject issues in society: a harsh and unjust patriarchy, the Christian conversions and role of religion during the era of American slavery and suppression of individuality from the Catholic Church. Through the examination of these bands, social issues and Jean Baudrillard’s concept of symbolic evil, this article will examine theories of traditional evil potentially becoming a force for good when it combats the moral sickness existent in society. An alternate perspective – that of Satan as a liberator – could serve as a cure for a gamut of ills.
APA, Harvard, Vancouver, ISO, and other styles
7

Stahl, Matthew. "Authentic boy bands on TV? Performers and impresarios in The Monkees and Making the Band." Popular Music 21, no. 3 (October 2002): 307–29. http://dx.doi.org/10.1017/s0261143002002209.

Full text
Abstract:
Boy bands embody contradictory representations of their own individuality and authenticity and the corporate nature of their genesis and presentation. Boy band members, the impresarios and entrepreneurs behind them, and the producers of television shows about them must contend in their work and relationships with the social and symbolic conventions of their historical moment. In this article I analyse representations of boy bands on the American TV shows The Monkees (1966-8) and Making the Band (2000-) in order to highlight shifts in the ways the performers and production personnel have been represented and have sought to represent themselves. The internal push for legitimacy and autonomy of the young stars of these shows, acting from within a perceived but unstable gap between ‘musician’ and ‘employee’, exists in tension with the external push of TV and music producers, network, record label and marketing departments for rational, predictable products and behaviours that fit within an overall business plan. While the rock ideology of authenticity has lost much of the force it had in the 1960s and change in representational conventions seem to indicate a general acceptance of the overt commercialism of chart-busting pop, this article shows that even within the mainstream flows a strong current of concern over issues of authenticity, legitimacy and autonomy.
APA, Harvard, Vancouver, ISO, and other styles
8

Stoikiv, Andrii. "THE ROLE OF THRASH METAL IN THE FORMATION OF EXTREME HEAVY MUSIC (BASED ON THE INTERVIEW OF MUSICIANS)." Scientific Herald of Uzhhorod University. Series: History, no. 1 (44) (June 27, 2021): 160–68. http://dx.doi.org/10.24144/2523-4498.1(44).2021.232681.

Full text
Abstract:
The article is devoted to defining the role of thrash metal music in the foundation of extreme heavy music in the late 1980s and early 1990s. Attention focused on the importance of a separate sub-genre of heavy metal music in forming a new style of heavy music, including new vocal techniques, building more complex compositions, and expanding the lyrics' themes. Analyzed the criteria by which extreme heavy music can attribute among other sub-genres of heavy metal and defined thrash metal as a transitional stage between heavy metal and extreme music. The work is interdisciplinary, which manifested in the use of methodological approaches to history and cultural studies. The article examined various areas of development of thrash metal music, particularly the United States, where the phenomenon has appeared; Germany and Switzerland, which differed qualitatively from the American scene; and Brazil, whose musicians have set recording standards for much of the extreme music. The article identified the reasons for the popularity decline of thrash metal in the early 1990s in the context of the general development of rock music and identified the features of the evolution into extreme metal. In addition to the musical component, the article outlined the social and behavioral elements of thrash metal fans during bands' performances, which also formed the image of the extremity of metal music. Special attention in the article is devoted to the Slayer and Megadeth bands, the foundation of controversy in the subject of lyrics, which, in turn, is characterized by extreme metal. Evolving from the New Wave of British heavy metal, American thrash metal develop new features in heavy music, including fast, aggressive riffs, and sharpened the lyrics' themes, primarily political and anti-religious. Rebelled against the dominance of glam metal, thrash metal fans developed their image, which consisted of aggression and appropriate behavior during concerts. Developed in the United States, thrash metal has gained popularity in other parts of the world, whose scenes have developed their characteristics, which, in the future, influenced the formation of extreme heavy music. In the late 1980s, the US radio format shifted the demand for grunge, which supplanted thrash metal from the radio. The sub-genre began to decline and was replaced by death and black metal in the heavy metal music underground.
APA, Harvard, Vancouver, ISO, and other styles
9

Costa, Helder De lima. "Newkey-Burden, Chas. The Wanted: a biografia não autorizada. Tradução de Mariana Varella. São Paulo: Prumo, 2013. 200 p." Cadernos de Tradução 37, no. 3 (September 5, 2017): 373. http://dx.doi.org/10.5007/2175-7968.2017v37n3p373.

Full text
Abstract:
THE WANTED The Unauthorized Biography, livro escrito pelo jornalista e biógrafo americano, Chas Newkey-Burden, e publicado em 2012. Esta obra não ficcional, que foi traduzida para o vernáculo por Mariana Varella e lançada pela Prumo em 2013, com o título de The Wanted: A Biografia Não Autorizada, descreve a trajetória de cinco jovens do Reino Unido que se juntaram em 2009 para formar uma banda juvenil de pop rock. Até hoje, The Wanted é considerada uma das boy bands que mais tempo permaneceu no show business.
APA, Harvard, Vancouver, ISO, and other styles
10

Đorđević, Ana. "“The soundtrack of their lives”: The Music of Crno-bijeli svijet." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 25. http://dx.doi.org/10.25038/am.v0i17.267.

Full text
Abstract:
Crno-bijeli svijet [Black-White World, HRT, 2015–] is an on-going Croatian television series set in the early 1980s depicting the then-current pop music scene in Zagreb. The storyline follows several characters whose lives are intertwined by complex family relations, while also following the beginnings of new wave/punk rock bands and artists, and their influence on the Yugoslav youth who almost religiously listened to their music, like some of the series’ characters do.The role of music in television series is a complicated question that caught the attention of film music scholars in recent years. The significance – and, at the same time, the complexity – that music produces or can produce, as the bearer of cultural, social and/or political meanings in television series brings its own set of difficulties in setting out possible frameworks of research. In the case of Crno-bijeli svijet that is even more challenging considering that it revolves around popular music that is actively involved in, not just the series soundtrack, but several aspects of different narrative elements.Jon Burlingame calls the music of American television “The soundtrack of our lives”, and I find this quote is appropriate for this occasion as well. The quote summarizes and expresses the creators’ personal note that is evident in the use of music in this television series and myriad ways music is connected to other narrative and extra-narrative elements, and in a way, grasps the complicity of the problem I will address. Article received: March 31, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Original scholarly paper How to cite this article: Đorđević, Ana. “'The soundtrack of their lives': The Music of Crno-bijeli svijet." AM Journal of Art and Media Studies 17 (2018): 25−36. doi: 10.25038/am.v0i17.267
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "American rock bands"

1

O'Regan, Jade Simone. "When I Grow Up: The Development of the Beach Boys’ Sound (1962-1966)." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/367243.

Full text
Abstract:
The Beach Boys are an American rock group whose career has spanned over fifty years. However, it was between 1962 and 1966 that the group had most of their chart success and that their unique ‘sound’ was crystallised. This study takes a broad, big- picture overview of the Beach Boy’s repertoire from this period and charts the development of their sound through the apprentice-craft-art (ACA) framework. The concept of a ‘sound’ is able to draw together the musical, technological, sociological and historical elements that, when combined, create the sound of the Beach Boys during the 1962-1966 period. The flexibility of this concept means that areas often overlooked in popular music studies and in studies on the Beach Boys in general (particularly the roles of production and instrument types), are able to be woven into analyses of more traditional musical elements (such as song structure or chord progressions). To investigate their sound, this study analyses song structure, rhythmic feels, instrumentation, chord progressions, lyrical themes and vocals from 101 songs that the Beach Boys released on nine studio albums from the 1962-1966 period. The aim of these analyses is to give a detailed understanding of how the Beach Boys’ sound developed over time. Included in these musical analyses is a discussion of instrument types and production styles, which also have an impact on the Beach Boys’ sound. Musical findings are contextualised with important socio-cultural considerations that also contribute to the Beach Boys’ sound, such as their home in Southern California, their complicated personal histories, their relationship to surf music, and the construction of their “California myth”. The combination of the musical, the social and the historical gives a cohesive understanding of the way they constructed their sound.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
Full Text
APA, Harvard, Vancouver, ISO, and other styles
2

Melendez, Elisa M. "For Those About to Rock: Gender Codes in the Rock Music Video Games Rock Band and Rocksmith." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3685.

Full text
Abstract:
This dissertation explores gender codes within the intersection of two American pop culture staples, video games and rock music, by conducting a feminist analysis of two video games (Rock Band and Rocksmith). Both video games and rock music have had their share of feminist academic critique: Musicologists point out how lack of canonical inclusion, gendered attitudes towards instruments, and messages from supporting media create an unwelcome environment for women to pursue a rock music career. Game studies scholars have examined similar attitudes, including a lack of women represented in both the video games and the studios that create them. Through a mix of creator and player interviews, participant observation, content analysis, and autoethnography, I look at the intersection of these two literatures (the rock music video game) to see how gender is hard-coded into the game, and what opportunities, if any, exist for subversion of societal and industry gender norms. Through not just looking at the game as text, I present a more “thick description” of a video game that takes into account the creators of the games, the players that play them, and a researcher that occupies multiple identities within the space. I argue that, in an effort to replicate an authentic rock musician experience in a video game, Rock Band and Rocksmith often replicate a lot of these gendered messages. The games’ text and set list emphasize a male-centric rock music canon. Rocksmith’s original whiskey-soaked visual design and marketing skew heavily towards an older male demographic. However, resistances to these codes exist in both the players who defy expectations by showing up to perform and compete, as well as the creators who actively work to make these games more inclusive via changes to future games as well as inclusive hiring practices, marketing, and music sourcing (with varying degrees of success).
APA, Harvard, Vancouver, ISO, and other styles
3

Seng, Sophea. "The Soriya Band| A Case Study of Cambodian American Rock Music in Southern California." Thesis, University of California, Riverside, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10153682.

Full text
Abstract:

Following the 1975-1979 genocide, Cambodian exiles in the U.S. recreated cultural institutions through music. Music remains significant in rebuilding cultural life in diasporic Cambodian communities. Live bands perform contemporary and classic ballads during Cambodian New Year in April, at wedding parties and in restaurants on weekend nights. Live rock bands continue to dot community celebrations as survivors collectively create musical repertoires and schedule practices to perform at festive community events. Despite the ubiquity of live musical performance in Cambodian communities, this aspect of Cambodian American cultural formation has been scarcely addressed in the literature. This Thesis addresses the deficiency in the literature through ethnographic fieldwork with a Southern California rock band called the Soriya Band, comprised of three guitarists, a keyboardist, a drummer and two vocalists who are all first generation Cambodian survivors. Music persists as a vehicle for cultural creation and change for Cambodian American refugee-survivors.

APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "American rock bands"

1

Levitt, Ellen. Land of a thousand bands: The current American independent label rock 'n roll band experience. Brooklyn, N.Y. (1121 E. 22nd St., Dept. M., Brooklyn 11210): Midwood Pub., 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Tow, Stephen. The strangest tribe: How a group of Seattle rock bands invented grunge. Seattle: Sasquatch Books, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

John, Gilmore. Who's Who of Jazz in Montreal: Ragtime to 1970. Montréal (Québec) Canada: Véhicule Press, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Hoskyns, Barney. Across the great divide: The Band and America. London: Penguin, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Across the Great Divide: The Band and America. New York: Hyperion, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

DeRogatis, Jim. Let it blurt: The life and times of Lester Bangs, America's greatest rock critic. New York: Broadway Books, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Hoobler, Dorothy. The 1950's: Music. Brookfield, CT: Millbrook Press, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Budnick, Dean. Jam bands: North America's hottest live groups plus how to tape and trade their shows. Toronto: ECW Press, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Budnick, Dean. Jam bands: North America's hottest live groups plus how to tape and trade their shows. Toronto: ECW Press, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Killer show: The Station nightclub fire, America's deadliest rock concert. Hanover: University Press of New England, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "American rock bands"

1

Menconi, David. "Y’alternative." In Step It Up and Go, 200–215. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469659350.003.0013.

Full text
Abstract:
In the shadow of alternative rock, another generation went back to country music with a punk edge. In the 1990s it was called alternative country, and North Carolina had the highest and best concentration of such bands in America -- from old-timers like Red Clay Ramblers and Southern Culture on the Skids to newcomers like Backsliders and 6 String Drag. That has persisted into the present-day Americana age with bands including Hiss Golden Messenger, American Aquarium and Mandolin Orange.
APA, Harvard, Vancouver, ISO, and other styles
2

Wright, Jonathan, and Dawson Barrett. "Montage of Madness." In Punks in Peoria, 88–97. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043802.003.0010.

Full text
Abstract:
This chapter examines the growing Peoria music scene of the late 1980s, which primarily relied on renting out American Legion, VFW, and other banquet halls. These types of DIY shows required young people to take responsibility for promotion and security, and they relied on often-fragile relationships with hall proprietors. In the meantime, the Peoria scene grew steadily, spawning bands across an increasing range of genres. Among others, the chapter discusses Leviathan, a heavy metal band whose drummer was later in the famed metal band Mudvayne, and introduces Dollface, the most prominent Peoria band of the “alternative” rock era.
APA, Harvard, Vancouver, ISO, and other styles
3

Wright, Jonathan, and Dawson Barrett. "Introduction." In Punks in Peoria, 1–10. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043802.003.0001.

Full text
Abstract:
This chapter frames the history of punk rock within the broader historical context of Peoria, Illinois, a conservative, mid-sized city in the American Midwest. The chapter touches on the city’s history as the whiskey capital of the world, a staple of the American vaudeville circuit, the world headquarters of Caterpillar, Inc., and a popular American test market. Before punk rock bands such as Fugazi and the Jesus Lizard passed through the city, its complicated history already included ties to figures as varied as Richard Pryor, Ronald Reagan, Charles Manson, and George Wallace.
APA, Harvard, Vancouver, ISO, and other styles
4

Milward, John. "Punks, God, and Urbane Cowboys." In Americanaland, 180–93. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043918.003.0014.

Full text
Abstract:
This chapter examines how popular music began to splinter during the 1970s, with the rise of punk rock and disco reflecting the increased bifurcation of the mass audience. Punk rock was a conscious response to the slick professionalism of popular bands like the Eagles and Fleetwood Mac. Though the musical elements of punk can be traced from Chuck Berry and rockabilly through such 1960s rock bands as the Who and the Rolling Stones, the music pointedly embraced politics, anger, and irony. British punk met Americana when singer-songwriter Joe Ely from Lubbock, Texas, toured with the Clash. The unlikely alliance was struck when the Clash arranged to meet Ely, whose 1977 debut caused a buzz in England with its rocky spin on country, blues, and folk.
APA, Harvard, Vancouver, ISO, and other styles
5

Bažant, Zdeněk P., Jia-Liang Le, and Marco Salviato. "Quasibrittle Size Effect Analysis in Practical Problems." In Quasibrittle Fracture Mechanics and Size Effect, 187–259. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192846242.003.0007.

Full text
Abstract:
This chapter demonstrates applications to size effect analysis in a cornucopia of important practical problems of concrete, rock, sea ice, bone, fiber composites, nanocomposite, sandwich structures, and metal composite joints. Keen attention is devoted to the formidable problem of shear failure of RC beams and slabs. This failure, which is actually triggered by crack-parallel compression, underlies the size effect factor recently incorporated into the design code of American Concrete Institute. The analysis of compression failure and size effect is extended to the breakout of deep boreholes and the propagation of kink bands in fiber-polymer composites. Stable measurement of postpeak softening in textile composites and size effects in delamination fracture composites are also analyzed. Further discussion deals with sideways cracks in highly orthotropic fiber composites, and with size effects observed in bone fracture, nanocomposites and hybrid metal-composite joints. Reliability of polycrystalline silicon MEMS is shown to require quasibrittle size effect analysis.
APA, Harvard, Vancouver, ISO, and other styles
6

Eckenroth, Lindsey. "Cars and Guitars, or, Detroit and the MC5: On Representations of Music and Place In MC5: A True Testimonial." In Mapping the Rockumentary, 276–88. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474478021.003.0021.

Full text
Abstract:
In this chapter, Lindsey Eckenroth explores the rockumentary as a form of psychogeography. Focusing on Detroit band MC5, Eckenroth discusses the relationship between rock music and American urban culture.
APA, Harvard, Vancouver, ISO, and other styles
7

Milward, John. "Turn! Turn! Turn!" In Americanaland, 73–88. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043918.003.0006.

Full text
Abstract:
This chapter begins by addressing the Beatles, to whom America meant music and cowboys. Ringo Starr loved Gene Autry, while George Harrison discovered the music of Jimmie Rodgers. But it was Buddy Holly (along with Gerry Goffin and Carole King) who inspired John Lennon and Paul McCartney to start writing their own songs. In the beginning, Lennon, McCartney, and Harrison were smitten by “skiffle,” a synthesis of folk and blues that developed in the UK at virtually the same time Elvis Presley was helping create rock and roll. The Beatles' lengthy stays in Hamburg amounted to rock-and-roll boot camp, with the group playing every night for up to eight hours. The chapter then looks at Jim McGuinn and his band, the Byrds. Desperate for a hit, McGuinn thought of “Turn! Turn! Turn!,” a Pete Seeger song that he had recorded with both the Limelighters and Judy Collins. In this season of folk rock and the British Invasion, it was only natural for McGuinn to open his band's second (and last) number-1 record with the reverberating sound of the twelve-string Rickenbacker that he had bought after falling for the Beatles.
APA, Harvard, Vancouver, ISO, and other styles
8

Oliart, Patricia. "Fusion Rock Bands and the “New Peru” on Stage." In Music and Youth Culture in Latin America, 174–203. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199986279.003.0007.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Bertrand, Karine. "U2’s Rattle and Hum : God, Sex, Rock ‘n’ Roll and God Again." In Mapping the Rockumentary, 157–72. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474478021.003.0012.

Full text
Abstract:
In this chapter, Karine Bertrand explores the ways in which the film Rattle and Hum represents the band U2’s fall from innocence, their attempt at exporting and incorporating the American Dream, and how the band avoids re-addressing political issues raised throughout the 1980s.
APA, Harvard, Vancouver, ISO, and other styles
10

Smith, Robert B., and Lee J. Siegel. "How Yellowstone Works." In Windows into the Earth. Oxford University Press, 2000. http://dx.doi.org/10.1093/oso/9780195105964.003.0008.

Full text
Abstract:
Most people who visit Yellowstone are blissfully unaware they are standing on top of an active, breathing volcano. They visit geysers and hot springs, and may feel some of the numerous earthquakes that rattle the region. Few realize the seemingly solid ground beneath them is slowly stretching apart and huffing and puffing upward and downward. Nor are many visitors aware of the large chamber of molten and partially molten rock several miles beneath their feet, or of the even deeper plume of hot rock moving up from deep within Earth. Indeed, it is easy to enjoy the national park’s geysers and other scenery without stopping to consider they are merely the uppermost, most visible parts of one of the world’s geological wonders: the Yellowstone hotspot. Even fewer tourists realize the same forces driving Yellowstone’s renowned geysers also reshaped the landscape of 25 percent of the northwestern United States—a broad band stretching from Yellowstone almost 500 miles southwest to the Idaho—Oregon—Nevada border. As North America drifted southwest over the hotspot during the past 16.5 million years, the immense heat and molten rock rising from Earth’s mantle melted, rearranged, and blew apart the overlying crust. Today, the hotspot is beneath Yellowstone, making the national park a field laboratory of active geologic process: volcanism, earthquakes, faulting, and large-scale movement and deformation of Earth’s crust. Let us examine how this system works—how heat and magma, or molten rock, from within the Earth drive small-scale features such as geysers and hot springs, contribute to the most intense earthquake and volcanic activity in the Rocky Mountains, and help mold the topography of the region. The amount of heat flowing from the ground in the Yellowstone caldera is thirty to forty times more than the heat emitted by an average piece of ground elsewhere on Earth’s continents. This enormous heat flow provides the energy that melted rock under the caldera and helped lift Yellowstone to its lofty altitude. Heat powers Yellowstone’s volcanic activity by melting rock in Earth’s mantle and crust. In turn, the molten rock heats groundwater to produce geysers and hot springs.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'American rock bands' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography