Search Results for bill-graham-presents

The late rock promoter recounts his life as a refugee from the Holocaust, his rise to fame in the recording industry, and his launching of such stars as Janis Joplin, Otis Redding, and the Grateful Dead. 75,000 first printing. $75,000 ...

Author: Bill Graham

Publisher: New York : Doubleday

ISBN: UOM:49015001418962

Category: Biography & Autobiography

Page: 568

View: 636

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The late rock promoter recounts his life as a refugee from the Holocaust, his rise to fame in the recording industry, and his launching of such stars as Janis Joplin, Otis Redding, and the Grateful Dead. 75,000 first printing. $75,000 ad/promo. Tour.
1992 By Bill Graham

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ISBN: OCLC:1253796488

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Page: 568

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2004 By

Collection contains press release file.

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ISBN: OCLC:430362053

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Collection contains press release file.
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Author: Bill Graham

Publisher: Delta

ISBN: 0440609496

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1992-09 By Bill Graham

Shockingly, Bill Graham Presents was not even involved in this evening's show. Less than a decade before, this fact would have been unimaginable. For more than thirty years, Graham dominated and controlled the Bay Area rock scene to ...

Author: Alec Foege

Publisher: Farrar, Straus and Giroux

ISBN: 9781429923675

Category: Business & Economics

Page: 320

View: 326

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In Right of the Dial, Alec Foege explores how the mammoth media conglomerate evolved from a local radio broadcasting operation, founded in 1972, into one of the biggest, most profitable, and most polarizing corporations in the country. During its heyday, critics accused Clear Channel, the fourth-largest media company in the United States and the nation's largest owner of radio stations, of ruining American pop culture and cited it as a symbol of the evils of media monopolization, while fans hailed it as a business dynamo, a beacon of unfettered capitalism. What's undeniable is that as the owner at one point of more than 1,200 radio stations, 130 major concert venues and promoters, 770,000 billboards, 41 television stations, and the largest sports management business in the country, Clear Channel dominated the entertainment world in ways that MTV and Disney could only dream of. But in the fall of 2006, after years of public criticism and flattening stock prices, Goliath finally tumbled—Clear Channel Inc. sold off one-third of its radio holdings and all of its television concerns while transferring ownership to a consortium of private equity firms. The move signaled the end of an era in media consolidation, and in Right of the Dial, Foege takes an insightful look at the company's successes and abuses, showing the ways in which Clear Channel reshaped America's cultural and corporate landscapes along the way.
2009-04-14 By Alec Foege

BILL GRAHAM PRESENTS IN SAN FRANCISCO GODSMACK 21403 Godsmack Signed Warfield Concert Poster BGP - 223 ( Bill Graham Presents , 1999 ) . Godsmack are one of the current kings of Heavy Metal , playing 10,000 seat arenas around the ...

Author: Ivy Press

Publisher: Heritage Capital Corporation

ISBN: 159967081X

Category:

Page: 484

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2006-08 By Ivy Press

“At 9:30 there": Quoted in John Blatt, Rage & Roll: Bill Graham and the Selling of Rock (New York: Birch Lane Press, 1988). ... “Total, wall-to-wall, gonzo": Quoted in Bill Graham and Robert Greenfield, Bill Graham Presents (New York: ...

Author: Dean Budnick

Publisher: Penguin

ISBN: 9781101580554

Category: Music

Page: 400

View: 604

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“A clear, comprehensive look at a murky business.” —The Wall Street Journal Your favorite band has just announced their nationwide tour. Should you pay to join their fan club and get in on the pre-sale? No, you decide to wait. But the on-sale date arrives, and the site is jammed. You can’t get on—and the concert is sold out in six minutes. What happened? What now? Music journalists Dean Budnick and Josh Baron chronicle the behind-the-scenes history of the modern concert industry. Filled with entertaining rock-and-roll anecdotes about The Rolling Stones, The Grateful Dead, Pearl Jam, and more—and charting the emergence of players like Ticketmaster, StubHub, Live Nation, and Outbox—Ticket Masters will transfix every concertgoer who wonders just where the price of admission really goes. This edition has an updated epilogue that covers recent industry developments.
2012-04-24 By Dean Budnick

Bill Graham and Robert Greenfield, Bill Graham Presents: My Life Inside Rock and Out (1992; New York: Da Capo, 2004), 219. 21. Graham and Greenfield, Bill Graham Presents, 135, 143. 22. Quoted in Graham and Greenfield, Bill Graham ...

Author: Steve Waksman

Publisher: Univ of California Press

ISBN: 9780520253100

Category: Music

Page: 391

View: 167

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"Waksman brings a new understanding to familiar material by treating it in an original and stimulating manner. This book tells 'the other side of the story.'"—Philip Auslander, author of Performing Glam Rock: Gender and Theatricality in Popular Music "While there are a number of histories of punk and metal and numerous biographies of important bands within each genre, there is no comparable book to This Ain't the Summer of Love. The ultimate contribution the book makes is to provoke the reader into rethinking the ongoing fluid relationship between punk, a music that enjoyed considerable critical support, and metal, a music that has been systematically denigrated by critics. This book is the product of superior scholarship; it truly breaks fresh ground and as such it is an important book that will be regularly cited in future work."—Rob Bowman, Professor of Music at York University and author of Soulsville USA: The Story of Stax Records "Debunking simplistic assumptions that punk rebelled and heavy metal conformed, Steve Waksman demonstrates with precisely chosen examples that for decades the two shared strategies and concerns. As a result, this important volume is among the first to extend to rock history the same much-needed revisionism that elsewhere has transformed our understanding of minstrelsy, blues, country music, and pop."—Eric Weisbard, author of Use Your Illusion I & II
2009-02-04 By Steve Waksman

Author: Ayush Vats

Publisher:

ISBN: OCLC:870951865

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2007 By Ayush Vats

Graham and Greenfield, Bill Graham Presents, 256. 133. Graham and Greenfield, Bill Graham Presents, 257. 134. Howard Smith, The Smith Tapes: Lost Interviews with Rock Stars and Icons 1969–1972, ed. Ezra Bookstein (New York: Princeton ...

Author: Patrick Burke

Publisher: University of Chicago Press

ISBN: 9780226768359

Category: Music

Page: 256

View: 188

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From the earliest days of rock and roll, white artists regularly achieved fame, wealth, and success that eluded the Black artists whose work had preceded and inspired them. This dynamic continued into the 1960s, even as the music and its fans grew to be more engaged with political issues regarding race. In Tear Down the Walls, Patrick Burke tells the story of white American and British rock musicians’ engagement with Black Power politics and African American music during the volatile years of 1968 and 1969. The book sheds new light on a significant but overlooked facet of 1960s rock—white musicians and audiences casting themselves as political revolutionaries by enacting a romanticized vision of African American identity. These artists’ attempts to cast themselves as revolutionary were often naïve, misguided, or arrogant, but they could also reflect genuine interest in African American music and culture and sincere investment in anti-racist politics. White musicians such as those in popular rock groups Jefferson Airplane, the Rolling Stones, and the MC5, fascinated with Black performance and rhetoric, simultaneously perpetuated a long history of racial appropriation and misrepresentation and made thoughtful, self-aware attempts to respectfully present African American music in forms that white leftists found politically relevant. In Tear Down the Walls Patrick Burke neither condemns white rock musicians as inauthentic nor elevates them as revolutionary. The result is a fresh look at 1960s rock that provides new insight into how popular music both reflects and informs our ideas about race and how white musicians and activists can engage meaningfully with Black political movements.
2021-05-10 By Patrick Burke