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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. -
Henry Jenkins Convergence Culture Where Old and New Media
Henry Jenkins Convergence Culture Where Old and New Media Collide n New York University Press • NewYork and London Skenovano pro studijni ucely NEW YORK UNIVERSITY PRESS New York and London www.nyupress. org © 2006 by New York University All rights reserved Library of Congress Cataloging-in-Publication Data Jenkins, Henry, 1958- Convergence culture : where old and new media collide / Henry Jenkins, p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8147-4281-5 (cloth : alk. paper) ISBN-10: 0-8147-4281-5 (cloth : alk. paper) 1. Mass media and culture—United States. 2. Popular culture—United States. I. Title. P94.65.U6J46 2006 302.230973—dc22 2006007358 New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. Manufactured in the United States of America c 15 14 13 12 11 p 10 987654321 Skenovano pro studijni ucely Contents Acknowledgments vii Introduction: "Worship at the Altar of Convergence": A New Paradigm for Understanding Media Change 1 1 Spoiling Survivor: The Anatomy of a Knowledge Community 25 2 Buying into American Idol: How We are Being Sold on Reality TV 59 3 Searching for the Origami Unicorn: The Matrix and Transmedia Storytelling 93 4 Quentin Tarantino's Star Wars? Grassroots Creativity Meets the Media Industry 131 5 Why Heather Can Write: Media Literacy and the Harry Potter Wars 169 6 Photoshop for Democracy: The New Relationship between Politics and Popular Culture 206 Conclusion: Democratizing Television? The Politics of Participation 240 Notes 261 Glossary 279 Index 295 About the Author 308 V Skenovano pro studijni ucely Acknowledgments Writing this book has been an epic journey, helped along by many hands. -
Spiritual Reality Or Obsession
Spiritual Reality or Obsession WATCHMAN NEE Christian Fellowship Publishers, Inc. New York Copyright ©1970 Christian Fellowship Publishers, Inc. New York All Rights Reserved ISBN 0-435008-41-1 Available from the Publishers at: 11515 Allecingie Parkway Richmond, Virginia 23235 PRINTED IN U.S.A. CONTENTS 1 Spiritual Reality: What It Is 5 2 Spiritual Reality: Its Relationships 23 3 Spiritual Reality: How to Enter In 35 4 Obsession: What It Is 43 5 Obsession: Causes and Deliverance 53 Scripture quotations are from the American Standard Version (1901) of the Bible unless otherwise indicated. Spiritual Reality: What It Is God is a Spirit: and they that worship him must worship in spirit and truth. (John 4.24) 1 Howbeit when he, the Spirit of truth, is come, he shall 1 guide you into all the truth. (John 16.13) And it is the Spirit that beareth witness, because the Spirit is the truth. (1 John 5.7) One thing which God’s people should take note of is that every spiritual matter has its reality before God. If what we have touched is mere appearance and not reality we shall find that it is of no spiritual value whatsoever. What then is spiritual reality? The reality of a spiritual thing is something spiritual not material. Although spiritual reality is often expressed in words, those words, however many, are not the reality. Although spiritual reality needs to be disclosed in our lives, the set formalities of our lives are not reality. Although spiritual reality must be manifested in conduct, human-manufactured pretension is not reality. -
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MySpace.com - WWW.RECORDCASTLE.COM - 43 - Male - PHILAD... http://www.myspace.com/recordcastle Sponsored Links Gear Ink JazznBlues Tees Largest selection of jazz and blues t-shirts available. Over 100 styles www.gearink.com WWW.RECORDCASTLE.COM WWW.RECORDCASTLE.COM is in your extended "it's an abomination that we are in an network. obama nation ... ron view more paul 2012 ... balance the budget and bring back tube WWW.RECORDCASTLE.COM's Latest Blog Entry [ Subscribe to this Blog ] amps" [View All Blog Entries ] Male 43 years old PHILADELPHIA, Pennsylvania WWW.RECORDCASTLE.COM's Blurbs United States About me: I have been an avid music collector since I was a kid. I ran a store for 20 years and now trade online. Last Login: 4/24/2009 I BUY PHONOGRAPH RECORDS ( 33 lp albums / 45 rpms / 78s ), COMPACT DISCS, DVD'S, CONCERT MEMORABILIA, VINTAGE POSTERS, BEATLES ITEMS, KISS ITEMS & More Mood: electric View My: Pics | Videos | Playlists Especially seeking Private Pressings / Psychedelic / Rockabilly / Be Bop & Avant Garde Jazz / Punk / Obscure '60s Funk & Soul Records / Original Contacting WWW.RECORDCASTLE.COM concert posters 1950's & 1960's era / Original Beatles memorabilia I Offer A Professional Buying Service Of Music Items * LPs 45s 78s CDS DVDS Posters Beatles Etc.. Private Collections ** Industry Contacts ** Estates Large Collections / Warehouse finds ***** PAYMENT IN CASH ***** Over 20 Years experience buying collections MySpace URL: www.myspace.com/recordcastle I pay more for High Quality Collections In Excellent condition Let's Discuss What You May Have For Sale Call Or Email - 717 209 0797 Will Pick Up in Bucks County / Delaware County / Montgomery County / Philadelphia / South Jersey / Lancaster County / Berks County I travel the country for huge collections Print This Page - When You Are Ready To Sell Let Me Make An Offer ----------------------------------------------------------- Who I'd like to meet: WWW.RECORDCASTLE.COM's Friend Space (Top 4) WWW.RECORDCASTLE.COM has 57 friends. -
Stairway to Heavy
# 2004/08 dschungel https://jungle.world/artikel/2004/08/stairway-heavy Stairway to Heavy Von jens thomas Probot und Transformer Di Roboter beweisen, dass Heavy Metal auch heute noch bestens funktionieren kann. von jens thomas Kurt Cobain ist tot. Seinem ehemaligen Umfeld dagegen geht es ziemlich gut. Dave Grohl zum Beispiel, Nirvanas Ex-Drummer und heutiger Sänger der Foo Fighters, wirkt fröhlich, grinst ständig und freut sich wie ein junger Bub. Der wahrscheinliche Grund dafür: Er hat gerade eine Metal-Platte mit seinem neuen Band-Projekt veröffentlicht. Probot heißt das rockende Geschöpf und ist eine Hommage an die Metal-Kultur an sich. Auf der Platte hat Grohl alle Stücke selbst eingespielt und nicht wenige Koryphäen des richtig harten bis brutalen Metal brüllen dazu. Mit dabei sind: Lemmy (Motörhead), Max Cavalera (Sepultura, Soulfly), King Diamond (Mercyful Fate) und viele andere. Dave Grohl meint es wirklich ernst mit seinem Projekt. Er zelebriert auf seiner Scheibe eine Vorliebe für Heavy Metal, ohne dass ihm daran irgendetwas peinlich ist. »Als Drummer habe ich von den Platten dieser Typen gelernt. Das ist ein großer Teil meines musikalischen Lebens«, klärt der 34jährige in der Spex auf. Das klingt seltsam. Als würde Andy Borg plötzlich zugeben, schon immer ein Liebhaber von Hamburgs Vorzeige-Punkband Slime gewesen zu sein. Schließlich stammt Grohl aus dem Genre Hardcore, spielte in den achtziger Jahren bei Scream, einer melodiösen Schrabbelband aus Washington DC, gab sich dann dem Grunge hin und trommelte schließlich bei Nirvana. Er kommt also aus jenen Szene-Zusammenhängen, die Heavy Metal aufgrund seiner Plakativität eher belächelten. Hardcore, möchtegernpolitischkorrekt, wütete gegen die böse Welt, schnitt diskursive Themen wie Drogenfreiheit und Tierschutz an. -
Compound AABA Form and Style Distinction in Heavy Metal *
Compound AABA Form and Style Distinction in Heavy Metal * Stephen S. Hudson NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hudson.php KEYWORDS: Heavy Metal, Formenlehre, Form Perception, Embodied Cognition, Corpus Study, Musical Meaning, Genre ABSTRACT: This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (Aas 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill 2016). Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory “Your favorite songs all sound the same — and that’s okay . -
The Metal Minute Awarded 2009 Best Personal Blog by Metal Hammer Magazine
The Metal Minute Awarded 2009 Best Personal Blog By Metal Hammer Magazine http://rayvanhornjr.blogspot.com/2010/02/dvd-review-bill-zebub- metal-retardation.html Monday, February 15, 2010 DVD Review: Bill Zebub - Metal Retardation Bill Zebub - Metal Retardation 2009 Bill Zebub Productions Ray Van Horn, Jr. Under the definition of "politically incorrect," you're quite possibly going to find Bill Zebub's name listed under the antonym bracket. The nation isn't quite the same as it was during the late sixties and early seventies when the Dean Martin roasts were, by today's defintions, as unpolitically correct as a Klan gathering. However, there was always a line of respect drawn between the panel of roasters and of course, the roastees. America was a bruised country in the midst of civil rights violence, and the healing motif as mainstream culture worked itself into a mode celebrating all walks of life, race and creed culminated in hilarious back-and-forth banter at Sammy Davis, Jr. on Martin's roast. Eventually this gave sway to the era of Archie Bunker and George Jefferson, which forever changed the social tide. History lessons aside, Bill Zebub, mastermind of the east coast underground metal rag The Grimoire of Exalted Deeds, has also released a slew of independent films and documentaries. If you're familiar with some of his homegrown horror videos such as The Crucifer, Kill the Scream Queen, Dolla Morte, Bad Acid, Jesus Christ: Serial Rapist, Dirtbags and The Worst Horror Movie Ever Made, you'll attest there's no experience in underground film like a Bill Zebub experience. -
System of a Down Molds Metal Like Silly Putty, Bending and Shaping Its Parame- 12 Slayer's First Amendment Ters to Fit the Band's Twisted Vision
NEW: LOUD ROCK CRUCIAL SPINS CHART LOW TORTOISE 1111 NEW MUSIC REPORT Uà NORTEC JACK COSTANZO February 12, 20011 www.cmj.com COLLECTIVE The Twisted Art-Metal Of SYSTEM OF ADOWN 444****************444WALL FOR ADC 90138 24438 2/28/388 KUOR - REDLAHDS FREDERICK SUER S2V3HOD AUE unr G ATASCADER0 CA 88422-3428 IIii II i ti iii it iii titi, III IlitlIlli lilt ti It III ti ER THEIR SELF TITLED DEBUT AT RADIO NOW • FOR COLLEGE CONTACT PHIL KASO: [email protected] 212-274-7544 FOR METAL CONTACT JEN MEULA: [email protected] 212-274-7545 Management: Bryan Coleman for Union Entertainment Produced & Mixed by Bob Marlette Production & Engineering of bass and drum tracks by Bill Kennedy a OADRUNNEll ACME MCCOWN« ROADRUNNER www.downermusic.com www.roadrunnerrecords.com 0 2001 Roadrunner Records. Inc. " " " • Issue 701 • Vol 66 • No 7 FEATURES 8 Bucking The System member, the band is out to prove it still has Citing Jane's Addiction as a primary influ- the juice with its new release, Nation. ence, System Of A Down molds metal like Silly Putty, bending and shaping its parame- 12 Slayer's First Amendment ters to fit the band's twisted vision. Loud Follies Rock Editor Amy Sciarretto taps SOAD for Free speech is fodder for the courts once the scoop on its upcoming summer release. again. This time the principals involved are a headbanger institution and the parents of 10 It Takes A Nation daughter who was brutally murdered by three Some question whether Sepultura will ever of its supposed fans. be same without larger-than-life frontman 15 CM/A: Staincl Max Cavalera. -
Family Tree the Beatles
pre-metal JOHANN SEBASTIAN BACH RICHARD WAGNER NICCOLO PAGANINI ROBERT JOHNSON BUDDY RICH CHUCK BERRY ELVIS PRESLEY LITTLE RICHARD FAMILY TREE THE BEATLES THE KINKS THE WHO CREAM JIMI HENDRIX progressive rock early metal us early metal uk shock rock original punk JETHRO TULL VANILLA FUDGE DEEP PURPLE SCREAMIN’ JAY HAWKINS RAMONES STEPPENWOLF LED ZEPPELIN ARTHUR BROWN KING CRIMSON IRON BUTTERFLY THE DAMNED BLACK SABBATH ALICE COOPER BLUE CHEER EMERSON LAKE & PALMER THE MC5 BUDGIE NEW YORK DOLLS SEX PISTOLS THE STOOGES THE SWEET KISS YES THE CLASH ALICE COOPER SLADE OZZY OSBOURNE MOUNTAIN GENESIS STATUS QUO VENOM THE VIBRATORS ZZ TOP NAZARETH W.A.S.P. URIAH HEEP BLUE OYSTER CULT THE SAINTS AEROSMITH THIN LIZZY KING DIAMOND MAHAVISHNU ORCHESTRA MONTROSE QUEEN GWAR DEAD BOYS KISS JUDAS PRIEST MARILYN MANSON JOURNEY TED NUGENT RAINBOW SLIPKNOT Y&T STYX VAN HALEN WHITESNAKE RAMMSTEIN KANSAS progressive metal power metal new wave of british heavy metal hardcore RUSH SCORPIONS AC/DC D.O.A. ACCEPT SAVATAGE MOTÖRHEAD DEAD KENNEDYS QUEENSRYCHE MAN O WAR DEF LEPPARD DIO DISCHARGE FATES WARNING QUARTZ MARJORIE J. WALLERSTEIN BLACK FLAG VOIVOD HELLOWEEN SAXON DREAM THEATER BLIND GUARDIAN IRON MAIDEN CIRCLE JERKS MESHUGGAH TYGERS OF PAN TANG STRATOVARIUS THE EXPLOITED PORCUPINE TREE ICED EARTH DIAMOND HEAD TOOL KAMELOT ANGEL WITCH MINOR THREAT DILLINGER ESCAPE PLAN HAMMERFALL GIRLSCHOOL CHARGED G.B.H RHAPSODY OF FIRE OPETH RAVEN NIGHTWISH MISFITS GOJIRA FIST PRIMAL FEAR BAD BRAINS MASTODON SONATA ARCTICA HOLOCAUST COHEED & CAMBRIA DRAGON FORCE TANK -
Masterarbeit / Master's Thesis
d o n e i t . MASTERARBEIT / MASTER’S THESIS R Tit e l der M a s t erarbei t / Titl e of the Ma s t er‘ s Thes i s e „What Never Was": a Lis t eni ng to th e Genesis of B lack Met al d M o v erf a ss t v on / s ubm itted by r Florian Walch, B A e : anges t rebt e r a k adem is c her Grad / i n par ti al f ul fi l men t o f t he requ i re men t s for the deg ree of I Ma s ter o f Art s ( MA ) n t e Wien , 2016 / V i enna 2016 r v i Studien k enn z ahl l t. Studienbla t t / A 066 836 e deg r ee p rogramm e c ode as i t appea r s o n t he st ude nt r eco rd s hee t: w Studien r i c h tu ng l t. Studienbla tt / Mas t er s t udi um Mu s i k w is s ens c ha ft U G 2002 : deg r ee p r o g r amme as i t appea r s o n t he s tud e nt r eco r d s h eet : B et r eut v on / S uper v i s or: U ni v .-Pr o f. Dr . Mi c hele C a l ella F e n t i z |l 2 3 4 Table of Contents 1. -
Spiritually Uncontrolled Art
Spiritually uncon trolled art: Exploring aesthetics of evil in contemporary music Robert Andersson 2011 Uppsats, magisternivå , 15 hp Religionsvetenskap Människa, natur och religionsprogrammet Handledare: Juan Carlos Gumucio Examinator: Peder Thalén Abstract This essay investigates interpretations of evil as expressed in contemporary music, focusing mainly on lyrics in contemporary popular music. The purpose is to analyze whether there is a certain aesthetic embracing of risk and innovation on display when discussing such subject matters, and to relate such aesthetic connotations to cultural and religious aspects. Lyrical interpretations of evil in a musical context appear to be existent in different forms and are in various ways attempts to integrate the existence of evil acts, as leading to suffering and pain, by incorporating such themes into lyrical material. There appears to be a possible aesthetic embraced when artists are advocating evil acts, however, not totally separable from the aesthetics of the extreme metal scene. Such forms of creative practice appear as reliant on the dialectic between historical perceptions of morality, modern society as globalized, segmented and restructured and the reoccurrence of religion in a secularized perspective. Themes regarding evil appear in this form of aesthetic in different ways to traditional discourse; making use of historical and contemporary images of evil and portraying them as desirable in various ways. In some instances such creative release is also linked to religious belief and practice, making the artistic performance equivalent of a transcendental event. Keywords Aesthetics, contemporary music, culture, extreme metal, evil, modernism, music lyrics. 2 Table of contents Abstract ...................................................................................................................................... 2 Table of contents........................................................................................................................ 3 1. -
Crinew Music Re Uoft
CRINew Music Re u oft SEPTEMBER 11, 2000 ISSUE 682 VOL. 63 NO. 12 WWW.CMJ.COM MUST HEAR Universal/NIP3.com Trial Begins With its lawsuit against MP3.com set to go inent on the case. to trial on August 28, Universal Music Group, On August 22, MP3.com settled with Sony the only major label that has not reached aset- Music Entertainment. This left the Seagram- tlement with MP3.com, appears to be dragging owned UMG as the last holdout of the major its feet in trying to reach a settlement, accord- labels to settle with the online company, which ing to MP3.com's lead attorney. currently has on hold its My.MP3.com service "Universal has adifferent agenda. They fig- — the source for all the litigation. ure that since they are the last to settle, they can Like earlier settlements with Warner Music squeeze us," said Michael Rhodes of the firm Group, BMG and EMI, the Sony settlement cov- Cooley Godward LLP, the lead attorney for ers copyright infringements, as well as alicens- MP3.com. Universal officials declined to corn- ing agreement allowing (Continued on page 10) SHELLAC Soundbreak.com, RIAA Agree Jurassic-5, Dilated LOS AMIGOS INVIWITI3LES- On Webcasting Royalty Peoples Go By Soundbreak.com made a fast break, leaving the pack behind and making an agreement with the Recording Word Of Mouth Industry Association of America (RIAA) on aroyalty rate for After hitting the number one a [digital compulsory Webcast license]. No details of the spot on the CMJ Radio 200 and actual rate were released.