Audio+Nasty+Issue+1+Fanzine.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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 #09
PO Box 42129, Los Angeles, CA 90042 www.razorcake.com #9 know I’m supposed to be jaded. I’ve been hanging around girl found out that the show we’d booked in her town was in a punk rock for so long. I’ve seen so many shows. I’ve bar and she and her friends couldn’t get in, she set up a IIwatched so many bands and fads and zines and people second, all-ages show for us in her town. In fact, everywhere come and go. I’m now at that point in my life where a lot of I went, people were taking matters into their own hands. They kids at all-ages shows really are half my age. By all rights, were setting up independent bookstores and info shops and art it’s time for me to start acting like a grumpy old man, declare galleries and zine libraries and makeshift venues. Every town punk rock dead, and start whining about how bands today are I went to inspired me a little more. just second-rate knock-offs of the bands that I grew up loving. hen, I thought about all these books about punk rock Hell, I should be writing stories about “back in the day” for that have been coming out lately, and about all the jaded Spin by now. But, somehow, the requisite feelings of being TTold guys talking about how things were more vital back jaded are eluding me. In fact, I’m downright optimistic. in the day. But I remember a lot of those days and that “How can this be?” you ask. -
Episode 2 - Agenda Made 20140822
Episode 2 - Agenda Made 20140822 Intro Welcome to Point Radio Cast. Contact Info [email protected] Links to music on pointradiocast.com Click through the site to buy it, and support us and the bands. Show intro - Theme Best CDs I currently own, part one. If on a deserted island with a CD player and a solar power source, which CDs would I want to have? 2 songs from each disc. This will be a 2 part episode. Chronological order. The Misfits - Static Age Recorded 1978. Loved by millions. Classic and great. Some Kinda Hate Last Caress Minor Threat - Complete Discography. Recorded between 1981-1983. Godfathers of straight edge hardcore. Odd for me, but awesome and raw. Filler Out of Step The Pogues - The Best of the Pogues Recorded between 1984-1991. Dog through painting on cover. Godfathers of punk edge irish. Many bands spring from them, like the Tossers, Flogging Molly, anything of that ilk. Fairytale of New York Streams of Whiskey Guns N Roses - Appetite for Destruction Release 1987. A bit mainstream, but awesome. Nuff said. It's So Easy My Michelle Sloppy Seconds - Destroyed Released 1989. Classic bad attitude obnoxious midwest punk rock. Black Mail Steal your Beer Mid-show Interruption Can we fuck off with the ice bucket shit? Remember when people did their share without needing recognition for it from the world? Fuck ALS, it sucks. All the toolbox ice bucket bullshit sucks too. Try and do your part without needing a pat on the back from all your FB friends. Bad Religion - Against the Grain Released 1990. -
Read Razorcake Issue #27 As A
t’s never been easy. On average, I put sixty to seventy hours a Yesterday, some of us had helped our friend Chris move, and before we week into Razorcake. Basically, our crew does something that’s moved his stereo, we played the Rhythm Chicken’s new 7”. In the paus- IInot supposed to happen. Our budget is tiny. We operate out of a es between furious Chicken overtures, a guy yelled, “Hooray!” We had small apartment with half of the front room and a bedroom converted adopted our battle call. into a full-time office. We all work our asses off. In the past ten years, That evening, a couple bottles of whiskey later, after great sets by I’ve learned how to fix computers, how to set up networks, how to trou- Giant Haystacks and the Abi Yoyos, after one of our crew projectile bleshoot software. Not because I want to, but because we don’t have the vomited with deft precision and another crewmember suffered a poten- money to hire anybody to do it for us. The stinky underbelly of DIY is tially broken collarbone, This Is My Fist! took to the six-inch stage at finding out that you’ve got to master mundane and difficult things when The Poison Apple in L.A. We yelled and danced so much that stiff peo- you least want to. ple with sourpusses on their faces slunk to the back. We incited under- Co-founder Sean Carswell and I went on a weeklong tour with our aged hipster dancing. -
Library 3398 Songs, 7.2 Days, 12.30 GB
Library 3398 songs, 7.2 days, 12.30 GB Song Name Artist Album _Secret Agent - Guster Keep It Together – Celtic Twilight Loreena McKennitt '85 Radio Special Thank You They Might Be Giants Then: The Earlier Years (CD 1) 'Ama'ama Israel "IZ" Kamakawiwo'ole Facing Future 'Round Springfield (Medley) The Simpsons Songs In The Key Of Spring… 'S Wonderful Ella Fitzgerald The Best Of the Song Books 'Til Him The Producers "Badge OF Honor"- Jerry Goldsmith Jerry Goldsmith L.A. Confidential "Chief Wiggum, P.I." Main Title The Simpsons Go Simpsonic With The Sim… "Eye On Springfield" Theme The Simpsons Songs In The Key Of Spring… "Itchy & Scratchy" End Credits Theme The Simpsons Songs In The Key Of Spring… "Itchy & Scratchy" Main Title Theme The Simpsons Songs In The Key Of Spring… "Kamp Krusty" Theme Song The Simpsons Go Simpsonic With The Sim… "Krusty The Clown" Main Title The Simpsons Go Simpsonic With The Sim… "Oh, Streetcar!" (The Musical) The Simpsons Songs In The Key Of Spring… "Quimby" Campaign Commercial The Simpsons Go Simpsonic With The Sim… "Scorpio" End Credits The Simpsons Go Simpsonic With The Sim… "Simpsoncalifragilisticexpiala(Annoyed Grunt)Cio… The Simpsons Go Simpsonic With The Sim… "Skinner & The Superintendent" Theme The Simpsons Go Simpsonic With The Sim… "The Itchy & Scratchy & Poochie Show" Theme The Simpsons Go Simpsonic With The Sim… "The Love-Matic Grampa" Main Title The Simpsons Go Simpsonic With The Sim… "The Simpsons" End Credits Theme The Simpsons Go Simpsonic With The Sim… "The Simpsons" End Credits Theme (Jazz Quartet -
Philadelphia Punk Gigography 1977-1987
Philadelphia Punk Gigography 1977-1987 1966 December 10 – Velvet Underground @ YMHA Auditorium December 11 – Velvet Underground @ YMHA Auditorium 1967 July 19 – Velvet Underground @ The Trauma July 20 – Velvet Underground @ The Trauma July 21 – Velvet Underground @ The Trauma July 22 – Velvet Underground @ The Trauma July 26 – Velvet Underground @ The Trauma July 27 – Velvet Underground @ The Trauma July 28 – Velvet Underground @ The Trauma July 29 – Velvet Underground @ The Trauma 1968 March 15 – Velvet Underground @ The Trauma March 16 – Velvet Underground @ The Trauma March 17 – Velvet Underground @ The Trauma May 1 – Blue Cheer @ Electric Factory May 2 – Blue Cheer @ Electric Factory May 3 – Blue Cheer @ Electric Factory September 20 – Velvet Underground @ Electric Factory September 21 – Velvet Underground @ Electric Factory 1969 May 9 – MC5 @ Mitten Hall, Temple University June 27 – Velvet Underground @ Electric Factory June 28 – Velvet Underground @ Electric Factory August 1 - Velvet Underground @ Electric Factory August 27 – Velvet Underground @ Second Fret August 28 – Velvet Underground @ Second Fret August 29 – Velvet Underground @ Second Fret August 30 – Velvet Underground @ Second Fret September 19 – Stooges @ Electric Factory September 20 – Stooges @ Electric Factory September 26 – MC5 @ Electric Factory September 27 – MC5 @ Electric Factory October 8 – Velvet Underground @ Second Fret October 9 – Velvet Underground @ Second Fret October 10 – Velvet Underground @ Second Fret October 11 – Velvet Underground @ Second Fret December -
Exemplar Texts for Grades
COMMON CORE STATE STANDARDS FOR English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects _____ Appendix B: Text Exemplars and Sample Performance Tasks OREGON COMMON CORE STATE STANDARDS FOR English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects Exemplars of Reading Text Complexity, Quality, and Range & Sample Performance Tasks Related to Core Standards Selecting Text Exemplars The following text samples primarily serve to exemplify the level of complexity and quality that the Standards require all students in a given grade band to engage with. Additionally, they are suggestive of the breadth of texts that students should encounter in the text types required by the Standards. The choices should serve as useful guideposts in helping educators select texts of similar complexity, quality, and range for their own classrooms. They expressly do not represent a partial or complete reading list. The process of text selection was guided by the following criteria: Complexity. Appendix A describes in detail a three-part model of measuring text complexity based on qualitative and quantitative indices of inherent text difficulty balanced with educators’ professional judgment in matching readers and texts in light of particular tasks. In selecting texts to serve as exemplars, the work group began by soliciting contributions from teachers, educational leaders, and researchers who have experience working with students in the grades for which the texts have been selected. These contributors were asked to recommend texts that they or their colleagues have used successfully with students in a given grade band. The work group made final selections based in part on whether qualitative and quantitative measures indicated that the recommended texts were of sufficient complexity for the grade band. -
Artist Song Weird Al Yankovic My Own Eyes .38 Special Caught up in You .38 Special Hold on Loosely 3 Doors Down Here Without
Artist Song Weird Al Yankovic My Own Eyes .38 Special Caught Up in You .38 Special Hold On Loosely 3 Doors Down Here Without You 3 Doors Down It's Not My Time 3 Doors Down Kryptonite 3 Doors Down When I'm Gone 3 Doors Down When You're Young 30 Seconds to Mars Attack 30 Seconds to Mars Closer to the Edge 30 Seconds to Mars The Kill 30 Seconds to Mars Kings and Queens 30 Seconds to Mars This is War 311 Amber 311 Beautiful Disaster 311 Down 4 Non Blondes What's Up? 5 Seconds of Summer She Looks So Perfect The 88 Sons and Daughters a-ha Take on Me Abnormality Visions AC/DC Back in Black (Live) AC/DC Dirty Deeds Done Dirt Cheap (Live) AC/DC Fire Your Guns (Live) AC/DC For Those About to Rock (We Salute You) (Live) AC/DC Heatseeker (Live) AC/DC Hell Ain't a Bad Place to Be (Live) AC/DC Hells Bells (Live) AC/DC Highway to Hell (Live) AC/DC The Jack (Live) AC/DC Moneytalks (Live) AC/DC Shoot to Thrill (Live) AC/DC T.N.T. (Live) AC/DC Thunderstruck (Live) AC/DC Whole Lotta Rosie (Live) AC/DC You Shook Me All Night Long (Live) Ace Frehley Outer Space Ace of Base The Sign The Acro-Brats Day Late, Dollar Short The Acro-Brats Hair Trigger Aerosmith Angel Aerosmith Back in the Saddle Aerosmith Crazy Aerosmith Cryin' Aerosmith Dream On (Live) Aerosmith Dude (Looks Like a Lady) Aerosmith Eat the Rich Aerosmith I Don't Want to Miss a Thing Aerosmith Janie's Got a Gun Aerosmith Legendary Child Aerosmith Livin' On the Edge Aerosmith Love in an Elevator Aerosmith Lover Alot Aerosmith Rag Doll Aerosmith Rats in the Cellar Aerosmith Seasons of Wither Aerosmith Sweet Emotion Aerosmith Toys in the Attic Aerosmith Train Kept A Rollin' Aerosmith Walk This Way AFI Beautiful Thieves AFI End Transmission AFI Girl's Not Grey AFI The Leaving Song, Pt. -
Hybrid Moments: an Interdisciplinary Conference 1
Hybrid Moments: An Interdisciplinary Conference 1 Hybrid Moments: An Interdisciplinary Conference 2 Hybrid Moments: An Interdisciplinary Conference 3 If you seek simply the sententious or the exegetical, you will not grasp the hybrid moment outside the sentence—not quite experience, not yet concept; part dream, part analysis; neither signifier nor signified. This intermediate space between the- ory and practice disrupts the disciplinary semioligcal demand to enumerate all the languages within earshot. - Homi Bhabha, The Location of Culture Hybrid Moments: An Interdisciplinary Conference 4 Table of Contents Conference Schedule………………………………………………………………………………………....5 Welcome Statement from SAGSA……………………………………...……………………..…………....6 Welcome Statement from SASU……………………………………...…………………………..………...7 Keynote Address……………………………………………………………………………………………….8 Session Abstracts Earth A.D.: Gender, Sexuality and Power…………………………………………….…..………...9 American Nightmare: Canada in Context………………………………………………………….11 Brain Eaters: Theory and Practice………………………………………………………………….13 Where Eagles Dare: Aesthetics, Communication and Seduction……………………………….15 Walk Among Us: Migration and Global Movement………………………………………………..17 Static Age: Media in the 21st Century……………………………………………………...……....19 In the Doorway: Interdisciplinary Methods………………………………………...……………….20 We Bite: Risk and Othering……………………………………………………………………..…...21 Workshop Abstracts Night of the Living Dead: Surviving Grad School………………………………………………….24 Horror Business: Getting Grants, Scholarships and Other Finding………………………….…..24 -
UNIVERSAL MUSIC • Mark Knopfler – Altamira OST • Whitehorse
Mark Knopfler – Altamira OST Whitehorse – The Northern South Vol. 1 Disney – The Jungle Book Check out new releases in our Vinyl Section! New Releases From Classics And Jazz Inside!!! And more… UNI16-17 UNIVERSAL MUSIC 2450 Victoria Park Ave., Suite 1, Willowdale, Ontario M2J 5H3 Phone: (416) 718.4000 *Artwork shown may not be final UNIVERSAL MUSIC CANADA NEW RELEASE Artist/Title: MIKE POSNER/ At Night, Alone Cat. #: B002470402 Price Code: JSP Bar Code: Order Due: April 7, 2016 Release Date: May 6, 2016 File: Dance Genre Code: 17 Box Lot: 25 Key Tracks: I Took A Pill In Ibiza Be As You Are Key Points: Mike Posner leapt onto 2010's music scene with the catchy pop track “Cooler Than Me.” He's back on the charts with “I Took A Pill In Ibiza (SeeB Remix),” which was inspired by a drug‐fueled experience at an Avicii concert years ago. "Ibiza" began topping Scandinavian charts thanks to an EDM remix by Norwegian duo SeeB. The dance version recently took hold in the U.S., already peaking at No. 14 on the Hot 100. The track is the #1 Most Shazamed track in Canada, and is racing up the charts at Top 40 radio. ‘At Night, Alone’ has the acoustic vibe of the original version of "Ibiza," with a handful of "bonus remixes" for his dance fans. "The first 10 songs, they're meant to be listened to as they are written — at night and alone," he said. "And the remixes after are just fun." ‘At Night, Alone’ is full of monster hit singles and is expected to be one of the breakout hit albums of the Spring/ Summer. -
1 Ervin Jarek 2017 PHD.Pdf
ii © Copyright by Jarek Paul Ervin All Rights Reserved May 2017 iii ABSTRACT My dissertation takes a speculative cue from the reception of 1970s New York punk, which is typically treated as both rule – the symbolic site of origin – and exception – a protean moment before the crystallization of punk proper. For this reason, artists such as Velvet Underground, Patti Smith, the Ramones, and Blondie are today afforded the simultaneous status of originators, interlopers, innovators, and successors. This has led both to the genre’s canonicity in the music world and its general neglect within scholarship. I argue that punk ought to be understood less as a set of stylistic precepts (ones that could be originated and then developed), than as a set of philosophical claims about the character of rock music in the 1970s. Punk artists such as Patti Smith, Jayne County, and the Ramones developed an aesthetic theory through sound. This was an act of accounting, which foregrounded the role of historical memory and recast a mode of reflexive imagination as musical practice. At times mournful, at times optimistic about the possibility of reconciliation, punk was a restorative aesthetics, an attempt to forge a new path on memories of rock’s past. My first chapter looks at the relationship between early punk and rock music, its ostensible music parent. Through close readings of writing by important punk critics including Greil Marcus, Lester Bangs, and Ellen Willis – as well as analyses of songs by the Velvet Underground and Suicide – I argue that a historical materialist approach offers a new in-road to old debates about punk’s progressive/regressive musical character. -
Deutsche Nationalbibliografie 2014 T 06
Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2014 T 06 Stand: 18. Juni 2014 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2014 ISSN 1613-8945 urn:nbn:de:101-ReiheT06_2014-7 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde.