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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. -
Razorcake Issue #82 As A
RIP THIS PAGE OUT WHO WE ARE... Razorcake exists because of you. Whether you contributed If you wish to donate through the mail, any content that was printed in this issue, placed an ad, or are a reader: without your involvement, this magazine would not exist. We are a please rip this page out and send it to: community that defi es geographical boundaries or easy answers. Much Razorcake/Gorsky Press, Inc. of what you will fi nd here is open to interpretation, and that’s how we PO Box 42129 like it. Los Angeles, CA 90042 In mainstream culture the bottom line is profi t. In DIY punk the NAME: bottom line is a personal decision. We operate in an economy of favors amongst ethical, life-long enthusiasts. And we’re fucking serious about it. Profi tless and proud. ADDRESS: Th ere’s nothing more laughable than the general public’s perception of punk. Endlessly misrepresented and misunderstood. Exploited and patronized. Let the squares worry about “fi tting in.” We know who we are. Within these pages you’ll fi nd unwavering beliefs rooted in a EMAIL: culture that values growth and exploration over tired predictability. Th ere is a rumbling dissonance reverberating within the inner DONATION walls of our collective skull. Th ank you for contributing to it. AMOUNT: Razorcake/Gorsky Press, Inc., a California not-for-profit corporation, is registered as a charitable organization with the State of California’s COMPUTER STUFF: Secretary of State, and has been granted official tax exempt status (section 501(c)(3) of the Internal Revenue Code) from the United razorcake.org/donate States IRS. -
9/11 Report”), July 2, 2004, Pp
Final FM.1pp 7/17/04 5:25 PM Page i THE 9/11 COMMISSION REPORT Final FM.1pp 7/17/04 5:25 PM Page v CONTENTS List of Illustrations and Tables ix Member List xi Staff List xiii–xiv Preface xv 1. “WE HAVE SOME PLANES” 1 1.1 Inside the Four Flights 1 1.2 Improvising a Homeland Defense 14 1.3 National Crisis Management 35 2. THE FOUNDATION OF THE NEW TERRORISM 47 2.1 A Declaration of War 47 2.2 Bin Ladin’s Appeal in the Islamic World 48 2.3 The Rise of Bin Ladin and al Qaeda (1988–1992) 55 2.4 Building an Organization, Declaring War on the United States (1992–1996) 59 2.5 Al Qaeda’s Renewal in Afghanistan (1996–1998) 63 3. COUNTERTERRORISM EVOLVES 71 3.1 From the Old Terrorism to the New: The First World Trade Center Bombing 71 3.2 Adaptation—and Nonadaptation— ...in the Law Enforcement Community 73 3.3 . and in the Federal Aviation Administration 82 3.4 . and in the Intelligence Community 86 v Final FM.1pp 7/17/04 5:25 PM Page vi 3.5 . and in the State Department and the Defense Department 93 3.6 . and in the White House 98 3.7 . and in the Congress 102 4. RESPONSES TO AL QAEDA’S INITIAL ASSAULTS 108 4.1 Before the Bombings in Kenya and Tanzania 108 4.2 Crisis:August 1998 115 4.3 Diplomacy 121 4.4 Covert Action 126 4.5 Searching for Fresh Options 134 5. -
BIOGRAPHICAL DICTIONARY of THEATRE ORGANISTS Hillfasig
scale lowered a half-step to the major triad. chords do not have to be played in root posi The following are some of the most frequent tion (with the name of the chord as the lowest ly used four-note chords: note). Once you have found the correct notes for any chord, practice it in all positions (in 7 1 3 5 7b versions) in both hands, e.g. 07 = G B D F 6 1 3 5 6 in Root Position, B D F G in First Inversion, Major 7 (maj. 7) 1 3 5 7 D F G B in Second Inversion, and F G B D in Minor 7 (m7) 1 3b 7b 5 Third Inversion. Minor 6 (m6) 1 3b 5 6 As a very general note: Most organists pre Diminished 7 (dim. 7) 1 3b 5b 7bb fer to play all of their accompaniment chords (7bb 6) = between the two Fs on either side of Middle C. The above ten formulas represent the ten Chords normally sound best in this range. basic types of chords. There are many others Also keeping them close together enables the necessary for advanced study. But consider, player to connect one chord smoothly into the by memorizing these ten rules you will be able next. As you practice your chords in all inver to form 120 chords! Of course, the most easily sions, remember to use finger substitution to With recalled chords will be those you use most achieve an unbroken, legato sound. often in your repertoire. We will continue with some of the more ad- HILLfASIG It is also important to note that these vanced chords in the next issue. -
The Clash and Mass Media Messages from the Only Band That Matters
THE CLASH AND MASS MEDIA MESSAGES FROM THE ONLY BAND THAT MATTERS Sean Xavier Ahern A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill © 2012 Sean Xavier Ahern All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis analyzes the music of the British punk rock band The Clash through the use of media imagery in popular music in an effort to inform listeners of contemporary news items. I propose to look at the punk rock band The Clash not solely as a first wave English punk rock band but rather as a “news-giving” group as presented during their interview on the Tom Snyder show in 1981. I argue that the band’s use of communication metaphors and imagery in their songs and album art helped to communicate with their audience in a way that their contemporaries were unable to. Broken down into four chapters, I look at each of the major releases by the band in chronological order as they progressed from a London punk band to a globally known popular rock act. Viewing The Clash as a “news giving” punk rock band that inundated their lyrics, music videos and live performances with communication images, The Clash used their position as a popular act to inform their audience, asking them to question their surroundings and “know your rights.” iv For Pat and Zach Ahern Go Easy, Step Lightly, Stay Free. v ACKNOWLEDGMENTS This thesis would not have been possible without the help of many, many people. -
Boston Symphony Orchestra Concert Programs, Season 46,1926-1927, Trip
E. F. ALBEE THEATRE . PROVIDENCE Tuesday Evening, February 15, at 8.15 PRSGRKttttE 5* c « ill . // cries tuhen IfeeI like cry- ing, it singsjoyfully when Ifeel like singing. It responds—like a human being—to every mood. " 1 love the Baldivin Piano. V^-^^ rn- a-^-v^j Vladimir de Pachmann loves the Baldwin piano. Through the medium of Baldwin tone, this most lyric of contemporary pianists discovers complete revealment of his musical dreams. For a generation de Pachmann has played the Baldwin; on the concert stage and in his home. That love- liness and purity of tone which appeals to de Pach- mann and to every exacting musician is found in all Baldwins, alike in the Concert Grand, in the smaller Grands, in the Uprights. The history of the Baldwin is the history of an ideal. jfctitarin AM. Hume Music Co. 194-196 Boylston Street Boston E. F. ALBEE THEATRE PROVIDENCE FORTY-SIXTH SEASON, 1926-1927 INC. SERGE KOUSSEVITZKY, Conductor A 1 ]f 1 ill 'W \J) 1% L^» j&i C\ 11 TUESDAY EVENING, FEBRUARY 15, at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1927, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President ERNEST B. DANE Treasurer FREDERICK P. CABOT FREDERICK E. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager After more than half a century on Fourteenth Street, Steinway Hall is now located at 109 West 57th Street. -
The Channel for Gay America? a Cultural Criticism of the Logo Channel’S Commercial
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 7-14-2008 The hC annel for Gay America? A Cultural Criticism of The Logo Channel’s Commercial Success on American Cable Television Michael Johnson Jr. University of South Florida Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Studies Commons Scholar Commons Citation Johnson, Michael Jr., "The hC annel for Gay America? A Cultural Criticism of The Logo Channel’s Commercial Success on American Cable Television" (2008). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/321 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. The Channel for Gay America? A Cultural Criticism of The Logo Channel’s Commercial Success on American Cable Television by Michael Johnson Jr. A thesis submitted in partial fulfillment of the requirements for the degree of Master of Liberal Arts Department of Humanities & American Studies College of Arts and Sciences University of South Florida Major Professor: Elizabeth Bell, Ph.D. David Johnson, Ph.D. Sara Crawley, Ph.D. Date of Approval: July 14, 2008 Keywords: Advertisement, Programming, Queer, Sexuality, Activism © Copyright 2008, Michael Johnson Jr. Acknowledgements I can’t begin to express the depth of appreciation I have for everyone that has supported me throughout this short but exhausting intellectual endeavor. Thanks to David Johnson, Ph.D. & Sara Crawley, Ph.D. -
Mass Murderers: a Case Study Analysis of Social Media Influence and Copycat Suicide
Walden University ScholarWorks Walden Dissertations and Doctoral Studies Walden Dissertations and Doctoral Studies Collection 2020 Mass Murderers: A Case Study Analysis of Social Media Influence and Copycat Suicide Stephanie Ann McKay Walden University Follow this and additional works at: https://scholarworks.waldenu.edu/dissertations Part of the Social and Behavioral Sciences Commons This Dissertation is brought to you for free and open access by the Walden Dissertations and Doctoral Studies Collection at ScholarWorks. It has been accepted for inclusion in Walden Dissertations and Doctoral Studies by an authorized administrator of ScholarWorks. For more information, please contact [email protected]. Walden University College of Social and Behavioral Sciences This is to certify that the doctoral dissertation by Stephanie McKay has been found to be complete and satisfactory in all respects, and that any and all revisions required by the review committee have been made. Review Committee Dr. Eric Hickey, Committee Chairperson, Psychology Faculty Dr. Jerrod Brown, Committee Member, Psychology Faculty Dr. Victoria Latifses, University Reviewer, Psychology Faculty Chief Academic Officer and Provost Sue Subocz, Ph.D. Walden University 2020 Abstract Mass Murderers: A Case Study Analysis of Social Media Influence and Copycat Suicide by Stephanie McKay MS, Walden University, 2012 BS, Francis Marion University, 1996 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Forensic Psychology Walden University May 2020 Abstract The frequency of mass murder has increased over the past decade, with nearly half of all mass murderers committing suicide. Previous researchers have found imitations of mass murderers which relate to suicide contagion, media contagion, and copycat effects; however, there remains a gap in the literature pertaining to the connection between copycat suicides of mass killers and the influence of social media. -
Bahs May 2009.Indd
Berlin Brats Alumni Association Newsletter April 2009 Volume 6, Issue 2 Berlin Topples Wall all Over Again to Celebrate Anniversary Berlin officials are counting on the domino effect as the city celebrates the twentieth anniversary of the fall of the Berlin Wall this November. Over 1,000 2Oth ANNIVERSARY eight foot tall Styrofoam tiles will be stacked along a 1.2-mile section of the former border between Potsdamer Platz and the iconic Brandenburg Gate and of the FALL of the toppled during celebrations on November 9, 2009. While the Berlin Wall stood for 28 years before it came down on November 9, 1989, the dominoes will be BERLIN WALL set up on November 7th and collapse in about a half hour during the November 9th “Freedom Fest” celebrating the fall of the Wall. www.mauerfall09.de (***Attendees of “Homecoming 2001” may remember we, the Berlin Brats, did a similar project to compete against other Michael Mieth paints a domino tile in Berlin DoDDs school for the “School Spirit Award.” Under the (© picture-alliance/dpa) creative eye of Cate Speer ‘85, we built the Berlin Wall out of uniformed cardboard boxes. One side of the wall had The dominoes are to be decorated by students and young artists in “Berlin” stamped on each brick (each box) with the other side Berlin and around the world with motives relating to the fall of the of the wall appearing blank. As Homecoming attendees entered Berlin Wall. Students can apply to participate by submitting an the Exhibit Hall.....they were handed a sharpie and asked to application including a sketch on the project’s Website. -
Boston Symphony Orchestra Concert Programs, Season 43,1923-1924, Trip
SANDERS THEATRE • . CAMBRIDGE HARVARD UNIVERSITY Thursday Evening, December 6, at 8.00 %. S§V r's'i W ffM^p BOSTON SYMPHONY ORQ1ESTRK INC. FQRTY-THIRD SEASON I923-J924 PR5GRHAME 13 % M. STEINERT &. SONS New England Distributors for STEINWAY STEINERT JEWETT WOODBURY PIANOS Duo -ART Reproducing Pianos Pianola Pianos JIMITTflTflti VICTROLAS VICTOR RECORDS DeForest Radio Merchandise STEINERT HALL 162 Boylston Street IH)s]()N MASS. SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY FORTY-THIRD SEASON, 1923-1924 INC. PIERRE MONTEUX, Conductor SEASON 1923-1924 THURSDAY EVENING, DECEMBER 6, at 8.00 o'clock WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1923, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE ....:. Vice-President ERNEST B. DANE . Treasurer ALFRED L. AIKEN ARTHUR LYMAN FREDERICK P. CABOT HENRY B. SAWYER ERNEST B. DANE GALEN L. STONE M. A. DE WOLFE HOWE BENTLEY W. WARREN JOHN ELLERTON LODGE E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager l — '-BEETHOYt \ and c \itu/x ' Ar J\T : STEINWAY T/7£ INSTRUMENT OF THE IMMORTAL T the 26th of March, 1827, died Liszt and Rubinstein, for \X agncr, Ber ONLudwig van l'>cthovcn,of whom and Gounod. And today, a still grc it has been said that he was the Steinway than these great men kn« st of all musicians. A generation responds to the touch of Pa. lati-r was born the Stein way Piano, which Rachmaninoff and Hofmann. Such if ackno" tO be the greatest of all fact, are the fortunes ol time, that tod pianofortes. -
Moscow by Night: Musical Subcultures, Identity Formation, and Cultural Evolution in Russia, 1977–2008
MOSCOW BY NIGHT: MUSICAL SUBCULTURES, IDENTITY FORMATION, AND CULTURAL EVOLUTION IN RUSSIA, 1977–2008 BY GREGORY R. KVEBERG DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Diane Koenker, Chair Professor Kathryn Oberdeck Professor Craig Koslofsky Professor John McKay Professor Mark Steinberg Abstract This dissertation examines the history of musical subcultures in Moscow from 1977 to 2008. It argues that subcultures were not forces for revolutionary change, or natural loci of opposition to the state. Only during the brief period from 1982 to 1984 did the state actively seek to impose a unitary vision of culture on the Soviet Union. Throughout the rest of these three decades, the state allowed a significant range of subcultural expression. This policy won either loyalty or toleration for Brezhnev’s government from a majority of Muscovite subculturalists. It proved similarly successful when re- introduced by Vladimir Putin. This dissertation asserts that this policy of tolerance allowed official culture and subcultures to evolve together in a dialectical process. This work also charts key trends in the development of subcultural identities in Moscow. Subculturalists responded to shifting political and economic situations. They generally greeted the arrival of the market with ambivalence, as many felt that musical legitimacy required artists to eschew commercial success. Subculturalists eagerly embraced the Internet, and used it to form connections to other groups of subculturalists and to archive collective memories. Contact with the west produced a variety of different responses among subculturalists, and these responses speak to larger divisions within Russian society. -
Symphony Hall. Boston Huntington and Massachusetts Avenues
SYMPHONY HALL. BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephones Ticket Office j ]^^^^ g ' 1492 Branch Exchange | Administration Unices ) THIRTY- THIRD SEASON. 1913 AND 1914 Dr. KARL MUCK. Conductor etiKeaif^;'SJ(SIH. Q£)(BJ icer WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON. DECEMBER 26 . AT 2.30 O'CLOCK SATURDAY EVENING. DECEMBER 27 AT 8.00 O'CLOCK COPYRIGHT, 1913, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS. MANAGER " u S>P teir the Symplhoiiy Concert a prolonging of musical pleasure by home-firelight awaits the owner of a " Baldw^in. The strongest impressions of the concert season are linked with Baldwintone, exquisitely exploited by pianists eminent in their art. Schnitzer, Pugno, Scharwenka, Bachaus — De Pachmann! More than chance attracts the finely-gifted amateur to this keyboard. Among people who love good music, w^ho have a culti- vated knowledge of it, and who seek the best medium for producing it, the Baldwin is chief. In such an atmosphere it is as happily "at home" as are the Preludes of Chopin, the Liszt Rhapsodies upon a virtuoso's programme. THE BOOK OF THE BALDWIN free upon request. 366 FIFTH AVENUE. NEW YORK CITY 614 Thirty-third Season, 1913-1914 Dr. KARL MUCK. Conductor PEEf lEL Violins. Witek, A. Roth, 0. Concert-master. Kuntz, D. Noack, S. ^ •16g-TREM0?{T-3T- • • D05T0?lMfl5S- The leadership of the Chlckering Piano has never been better exemplified than in our Anniversary Grand, here shown. Its moderate size but serves to impress the user with its power and brilliancy of tone, while the de- sign and finish of the case fit it to a niche in any home.