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Page 1 of 2 Lollipop Contests Indie/Alternative Enter below to win some cool from stuff from Lollipop and our sponsors! Want to promote your band/company with a Lollipop Contest? Contact Manda to set it up. Stoner/Hard Rock Punk/Power Pop Click here for Free Show Tickets Metal/Hardcore Electro/Industrial Compilations Moonspell Metal's Dark Side Memorial (SPV) The Hard and The Furious Vol. 1 (MVD) Memorial is a ground-breaking Packed with uncensored videos, album which shocking interviews, a tribute to prominently Dimebag Darrell, and seriously displays the scandalous bonus footage. From eternal spark of backstage at the Key Club in L.A., Moonspell's creativity. A work of the finest to the infamous Antfarm in art where power and soul flow together in a Denmark, sexy host Jasmin St. heavy, dark and atmospheric album. Claire invades the minds of metal Memorial is a feast to the senses, food for legends such as George thought and a light for the soul. "Corpsegrinder" Fisher, Death Angel, Himsa, and Vinnie & Paul during one of the last Damageplan interviews ever! Contest item provided by SPV Records Contest item provided by Music Video Distributors Threat Threat: The Music that Inspired Soundtrack Music That Inspired The Movie Original Motion (Halo8) Picture Soundtrack (Halo8) Most Precious Blood vs. Alec Empire, Agnostic Front vs. Schizoid, Inside Out vs. Oktopus Alec Empire, Atari from Dalek, Killswitch Engage vs. Teenage Riot, Edgey, Terror vs. Enduser, Atari Teenage Riot featuring Tom Morello Eighteen Visions vs. Otto Von Schirach, Gorilla Biscuits vs. & D-Story, Panic DHH, EC8OR, Bleeding Defragmentation, The Icarus Line vs. The End, V.O.D. vs. Through, Most Precious Blood, Eighteen The Tyrant, Judge vs. Bill Youngman, Youth Of Today vs. Visions, Terror, Eyes Like Knives, Queque, Edgey, Bleeding Through vs. Hecate, Today Is The Day vs. King David darph/nadeR, Glassjaw vs. Enduser, Minor Threat vs. Holocaust Contest item provided by Kings Mob Contest item provided by Kings Mob Fans HTML Sepultura The Casualties Subscribe Dante XXI (SPV) Can't Stop Us (SideOneDummy) Hell, Purgatory, Can't Stop Us showcases The Paradise... and Casualties' live show (and if you back! Brazilian thought circle pits died in the '80s, thrash masters think again), as well as their Sepultura return connection with their fans. From with the epic new screen printing T-shirts in Jake's album, Dante XXI, based on Dante mom’s garage to being one of the Alighieri's 14th Century masterpiece, The Vans Warped Tour's biggest acts, Divine Comedy. Featuring merciless tracks The Casualties, Jorge, Jake, Rick such as "Convicted In Life," "Buried and Meggers, have accomplished Words," "False." Sepultura are back with a more than any street-punk band in history over the past ten vengeance! years. And this DVD is a brief snapshot of what their lives were like in 2005. http://www.lollipop.com/article.php3?text=pages/contest_menu.html 5/5/2006.

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Atari Teenage Riot Sick to Death EP Mp3, Flac
Atari Teenage Riot Sick To Death E.P. mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Sick To Death E.P. Country: UK & Europe Released: 1997 Style: Hardcore, Downtempo, Breakcore MP3 version RAR size: 1753 mb FLAC version RAR size: 1889 mb WMA version RAR size: 1290 mb Rating: 4.9 Votes: 431 Other Formats: MOD ASF VOC MP2 AC3 AU VQF Tracklist 1 Sick To Death 3:44 2 We've Got The Fucking Power 4:44 3 Sick To Death (Remix) 6:00 4 Waves Of Disaster 5:11 Companies, etc. Marketed By – Intercord Record Service Distributed By – Intercord Record Service Licensed To – Intercord Record Service Phonographic Copyright (p) – Digital Hardcore Recordings Ltd. Copyright (c) – Digital Hardcore Recordings Ltd. Published By – Digital Hardcore Music Credits Artwork [Video Pix] – Phillip Virus* Cover [From] – Hell* Engineer [Assistant] – Janek S.* (tracks: 1, 2) MC – Carl Crack Producer, Programmed By, Vocals [Shouts] – Alec Empire Vocals – Hanin Elias Written-By – Alec Empire, Carl Crack (tracks: 2) Notes All tracks produced at Empire Studios, Berlin 1996. Vocal recordings on track 1 and 2 at MK Audio, Berlin. ©+℗ 1997 DHR Ltd. All tracks published by Digital Hardcore Music. Marketed and distributed by Intercord Record Service, Licensee. Barcode and Other Identifiers Barcode (Scanned): 724388359320 Barcode (Printed): 7 24388 35932 0 Label Code: LC 4396 Rights Society: bel BIEM Other versions Category Artist Title (Format) Label Category Country Year Atari Sick To Death Digital Hardcore DHR 12 DHR 12 Germany 1997 Teenage Riot E.P. (12", EP) Recordings (DHR) Atari Sick To Death Digital Hardcore none none 1997 Teenage Riot E.P.
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Heavy Metal and Classical Literature
Lusty, “Rocking the Canon” LATCH, Vol. 6, 2013, pp. 101-138 ROCKING THE CANON: HEAVY METAL AND CLASSICAL LITERATURE By Heather L. Lusty University of Nevada, Las Vegas While metalheads around the world embrace the engaging storylines of their favorite songs, the influence of canonical literature on heavy metal musicians does not appear to have garnered much interest from the academic world. This essay considers a wide swath of canonical literature from the Bible through the Science Fiction/Fantasy trend of the 1960s and 70s and presents examples of ways in which musicians adapt historical events, myths, religious themes, and epics into their own contemporary art. I have constructed artificial categories under which to place various songs and albums, but many fit into (and may appear in) multiple categories. A few bands who heavily indulge in literary sources, like Rush and Styx, don’t quite make my own “heavy metal” category. Some bands that sit 101 Lusty, “Rocking the Canon” LATCH, Vol. 6, 2013, pp. 101-138 on the edge of rock/metal, like Scorpions and Buckcherry, do. Other examples, like Megadeth’s “Of Mice and Men,” Metallica’s “For Whom the Bell Tolls,” and Cradle of Filth’s “Nymphetamine” won’t feature at all, as the thematic inspiration is clear, but the textual connections tenuous.1 The categories constructed here are necessarily wide, but they allow for flexibility with the variety of approaches to literature and form. A segment devoted to the Bible as a source text has many pockets of variation not considered here (country music, Christian rock, Christian metal).
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Catholics and Lutherans Has Intprmpdiatp Court Hinged on the Doctrine of Justification
love lessons Spicy_Hot A student writes about her younger brother, Red Hot Chili Peppers sizzled in their April 8 Tuesday who recently died of meningitis, and concert. according to music critic Dave Fulton. encourages everyone to embrace life as he did. APRIL 18, Scene + page 10 Viewpoint+ page 9 2000 THE The Independent Newspaper Serving Notre Dame and Saint Mary's VOL XXXIII NO. 124 HTTP://OBSERVER.ND.EDU NEWS ANALYSIS Theologians Bauer: Microsoft could face 01ore lawsuits been absolutely what I expected," discuss By COLLEEN McCARTHY Bauer said. Associate News Editor The third ruling, which Bauer Highlights of the expects could come this summer, justification Tlw April 3 ruling by a federal judge would deal with remedies to the situa Microsoft Case that t~omputnr giant Microsoft violated tion, since Jackson declared Microsoft By ERIN PIROUTEK U.S. antitrust laws dons not mean that in violation of antitrust laws. Associate News Editor tlw ease is ovPr. "The range of remedies extends to the breakup of Microsoft to ending dif In fact. appeals by For centuries the disagreement \1irrosort to the ferent kinds of conduct to changing May 1998 contracts it has with competitors and between Catholics and Lutherans has intPrmPdiatP court hinged on the Doctrine of Justification. of appnals in eustomt'rs," Bauer said. "The ruling Judge Thomas Penfield could also deal with Microsoft's licens Traditionally Lutherans have empha Washington, D.C. Jackson rules Microsoft sized that salvation is by faith alone, and tlwn possibly to ing codes regarding placement of their Web browser. while Catholics maintained that good thP U.S.
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Acta Universitatis Sapientiae, Philologica, 3, 2 (2011) 224-235 A Common Image Loss, A Common Memory Image Attempt for an Anthropology of Art Emese EGYED Babeş-Bolyai University Department of Hungarian Literary Studies [email protected] Orsolya LÁNG Sapientia Hungarian University of Transylvania Faculty of Sciences and Arts [email protected] Abstract. Teilhard de Chardin writes: “Man, ever since he has existed, offers himself as a spectacle for himself. In fact, he has been regarding nothing else for millennia than himself”.1 In search for the meanings of regard, spectacle, and vision, we have chosen the syncretic field of art since works of art initiate mechanisms of cognition the duration of which goes beyond perception. This is what we have experienced in the case of Federico Fellini’s (1920-1993) film Rome (1972), and János Géczi A.’s (1953-2005) short story Mint szénagyűjtéskor az árnyékban [Like at Hay Gathering, in the Shade]. Fellini is a legendary figure in the history of film, while János Géczi A., the outstanding Transylvanian writer, editor of Kriterion and Polis Publishing Houses, founder and head of Kalota Publishing House, who passed away tragically early, is only known by few. His individual volumes are: Holdfényben (In Moonlight, 1987), and Patthelyzetek (Deadlocks, 1992). Keywords: knowledge, hypogeum, image vision, cognition, double author Writing changes in time even within a given sign system, it is simplified, its logic becomes different. An image however has the same elementary and immediate effect on its onlooker even after thousands of years. Cave paintings, to the best of our present knowledge, primarily had a role in community building, with mystical 1 Quoted by Péter Nádas as a motto to his lecture Az égi és földi szerelemről (On Heavenly and Worldly Love).
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From No Future to Delete Yourself (You Have No Chance to Win)
Journal of Popular Music Studies, Volume 25, Issue 4, Pages 504–536 From “No Future” to “Delete Yourself (You Have No Chance to Win)”: Death, Queerness, and the Sound of Neoliberalism Robin James University of North Carolina, Charlotte Introduction Death is one of the West’s oldest philosophical problems, and it has recently been the focus of heated debates in queer theory. These debates consider the political and aesthetic function of a specific concept of death— death as negation, failure, an-arche, or creative destruction. However, as Michel Foucault (1990) argues, death is an important component of the discourse of sexuality precisely because it isn’t a type of negation. The discourse of sexuality emerges when “the ancient right to take life or let live was,” he argues, “replaced by a power to foster life or disallow it to the point of death” (Foucault 138).1 “Sexuality is the heart and lifeblood of biopolitics” (Winnubst 2012: 79) because it—or rather, as other scholars like Laura Ann Stoler (1995), LaDelle McWhorter (2009), and Jasbir Puar (2013) have demonstrated, racialized sexuality—is one of the main instruments through which liberalism “fosters” or “disallows” life. So, insofar as it pertains to sexuality, death isn’t a negation or a subtraction of life, but a side effect of a particular style of life management. In late capitalist neoliberalism, “death” only appears indirectly, not as a challenge to or interruption of life, but as its unthinkable, imperceptible limit.2 What are the theoretical, political, and aesthetic implications of neoliberalism’sreconceptualization of death as divested, or “bare,” life?3 What if we reframe ongoing debates about queer death, futurity, and antisociality by replacing the punk metaphorics of “No Future” with the cyberpunk/digital hardcore mantra “Delete Yourself (You Have No Chance To Win)”? Asking the question in this way, I use some methods, concepts, and problems from queer theory to think about a few pieces of music; I then use my analyses of these musical works to reflect back on that theory.
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From Silver Apples of the Moon to a Sky of Cloudless Sulphur: V Morton Subotnick & Lillevan 2015 US, Europe & JAPAN
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Adolescenti Italiani
LUCA TOCCACELI (Università Bicocca- Milano) Cantare i canti oggi: tra kolossal e opere rock* 1. L’EREDITA’ CLASSICA Confesso che, quando mi è giunta l’offerta di partecipare a questo dibattito con un intervento che mettesse in relazione Dante e la musica, ero davvero un po’ perplesso. Se la richiesta fosse stata quella di occuparmi di musica classica o lirica, quella che viene solitamente definita musica colta, il gioco sarebbe stato più semplice: anche limitandoci ai soli personaggi della Commedia, possiamo annoverare le Francesca da Rimini di Rachmaninoff, Staffa, Fournier-Gorre, Morlacchi, Borgatta, Devasini, Canetti, Marcarini, Götz, Napravnik, Zandonai, Mercadante. Per non parlare dei due lavori più notevoli sotto il titolo di Francesca da Rimini: il Poema sinfonico op. 77 del violinista bresciano Antonio Bazzini e la Fantasia op. 32 di Cajkovskij, la più famosa, anche in sede coreografica, delle composizioni dedicate al famoso personaggio femminile del quinto canto dell'Inferno. Altri personaggi danteschi: Pia de' Tolomei e il Conte Ugolino hanno sedotto Donizetti; Gianni Schicchi compare nel teatro di Giacomo Puccini. Ci sono stati autori che si sono cimentati con la Commedia nella sua completezza: il pensiero corre verso la Sinfonia Dante in quattro parti di Giovanni Pacini e, soprattutto, alla Dante-Symphonie di Franz Liszt, con la sua sinfonia in tre movimenti: Inferno, Purgatorio e Magnificat. Fu Wagner a dissuadere il compositore ungherese dal musicare il Paradiso; per la conclusione, pertanto, Liszt utilizzò il testo del Magnificat (tratto dal Vangelo secondo Luca), affidandolo ad un coro esclusivamente femminile. A Liszt dobbiamo anche una Fantasia quasi sonata Après une lecture de Dante.
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Stereo Total Bio English
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University of Idaho Digital Collections
'f'I-I F UN IVF RSITV AF ID~H(3 j J <,<'( 4/i ri '! .4 THF S I UDFNTs VDIcE The 1nngesf www.ui(Iaho,<'du>'argonaut continuously pub1isked college newspaper in the Northwest Tuesday, January Z6, I 999 V'olunvc IOO, I'io. 39 Moscow, Idaho, r<JYA <and I»y sf i.~- ArgoIIBUlf JVaI1 > <-,--..8'XV1 1'(:IsofIa1s... I'.xpcct clouds, j ( (iuess vvh;it wc I'ound witll p«<>E so<lie I tie C hap<.'I iii (lie i>i<i< I- breaks of even (g Argon<i<it bag? A pack;ige I'ruin, goes willi tile more clouds. r highI rl nsk an aliininus.... s~iP I l ~" 0<.ti) goes n>ctdJ w lili nlii<ieuver iil 13ralils ill <1 V<<< this i'ssuc iVews, A2 e,r I ()J>ini< n, A6 Pcfsoilals, rl. I 2 I UI and seven " <<<crt.i<on<(<if A4 gage p~epeygd'gI noI g Crisis line seeks vojunteers schools unite By Beth Green e<ill in ii profess<<><1<<i (I('lll'lir llllgr rrli Umvers<r>r of /dai>o itrgonaai for grants thc. n;it»re of'the e ill. ( o;ilir<in s<ilcl tlic 1)'pc <>I rcso»rces As.rocialed Thc neiv volunteer I'r Press training the they pool I'r<>rn include p<>lice;i»d Palouse Regional (.'risis I.ine ambulance seri iccs. "It's real l) a Un i vcrsi (PRCLJ has it's ties in Washington, Idaho, begun, but not too judgment call Jor us," slic said.
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Grand Tour E Turismo a Venezia 1.1
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Titre Construit 1Er Responsable Série Edith Piaf
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Dante Xxi: Uma Ponte Entre a Idade Média E a Contemporaneidade
PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO DA UNIVERSIDADE FEDERAL DE SANTA MARIA DANTE XXI: UMA PONTE ENTRE A IDADE MÉDIA E A CONTEMPORANEIDADE DANTE XXI: A BRIDGE BETWEEN THE AVERAGE AGE AND THE CONTEMPORANEITY DANTE XXI: UM PUENTE ENTRE LA EDAD MEDIA Y LA CONTEMPORANEIDAD Alexandro Buffon Universidade Feevale- [email protected] Cristina Ennes da Silva Docente Historia Medieval - Universidade Feevale – [email protected] Resumo Este estudo tem como tema a obra medieval A Divina Comedia de Dante Alighieri. O objetivo é identificar e analisar a apropriação dos elementos constantes na obra e reinterpretados pela banda Sepultura em seu registro sonoro Dante XXI. Produtos culturais de tempos e sociedades distintas, com características próprias de suas épocas, buscamos compreender semelhanças e diferenças que apresentam, veiculadas, é claro, aos seus respectivos contextos de produção. A análise se dará dentro da seguinte perspectiva: como Dante percebia o tema aqui escolhido em sua época e como a banda Sepultura reinterpreta e atualiza em seu registro sonoro esta visão para os dias atuais. Palavras-chave: Dante. Heavy Metal. Política. Abstract This study has as subject the medieval work Divine Comedy of Dante Alighieri. The objective is to identify and to analyze the appropriation of the elements constant in the medieval work and reinterpreted by the band Sepultura in its cd Dante XXI. Cultural products of times and distinct societies, with proper characteristics of its times, we search to understand similarities and differences that present, propagated, clearly, to its respective contexts of production. This analysis will be inside of the following perspective: how Dante perceived them at his time and how the band Sepultura reinterprets them and updates it in its sound recording with a vision of the current days.
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