Aktuelle Playlist POWERLORD (Stand 10/2018) Alphabetisch Geordnet

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Aktuelle Playlist POWERLORD (Stand 10/2018) alphabetisch geordnet Programm variiert und wird auf die jeweilige Veranstaltung abgestimmt! Auf Wunsch kann auch ein 2-stündiges RAMMSTEIN-Tribute Programm dargeboten werden! AMON AMARTH PURSUIT OF VIKINGS BAD WOLFES ZOMBIE BILLY IDOL WHITE WEDDING BILLY IDOL REBELL YELL BIOHAZARD PUNISHMENT DEEP PURPLE PERFECT STRANGER DIE APOKALYPTISCHEN REITER GHOSTRIDERS IN THE SKY DIE KRUPPS TO THE HILT DROWNING POOL BODIES EKTOMORF I KNOW THEM FIVE FINGER DEATH PUNCH GOT YOUR SIX FIVE FINGER DEATH PUNCH WASH IT ALL AWAY FIVE FINGER DEATH PUNCH BAD COMPANY GRAVE DIGGER REBELLION H-BLOCKX RING OF FIRE IN EXTREMO VOLLMOND IN EXTREMO KÜSS MICH IN FLAMES ONLY FOR A WEAK IRON MAIDEN FEAR OF THE DARK LIMP BIZKIT TAKE A LOOK AROUND LINKIN PARK IN THE END LINKIN PARK NUMB MANOWAR HEART OF STEEL MANOWAR WARRIORS OF THE WORLD MEGADETH SYMPHONY OF DESTRUCTION MEGAHERZ MISTSTÜCK METALLICA SAD BUT TRUE METALLICA NOTHING MATTERS METALLICA CREEPING DEATH METALLICA FOR WHOM THE BELL TOLLS PAIN SAME OLD SONG PAIN SHUT YOUR MOUTH POWERWOLF DEMONS PRO PAIN STATE OF MIND RAGE AGAINST THE MACHINE KILLING IN THE NAME OF RAMMSTEIN PUSSY RAMMSTEIN HEIRATE MICH RAMMSTEIN DU HAST RAMMSTEIN ICH WILL RAMMSTEIN REISE REISE RAMMSTEIN MEIN HERZ BRENNT RAMMSTEIN OHNE DICH RAMMSTEIN WAIDMANNS HEIL RAMMSTEIN LOS RAMMSTEIN LINKS 234 RAMMSTEIN AMERIKA RAMMSTEIN MEIN LAND RAMMSTEIN SONNE RAMMSTEIN ICH TU DIR WEH RAMMSTEIN div. SABATON PRIMO VICTORIA SEPULTURA TERRITORY SEPULTURA ROOTS STONE SOUR SONG #3 SYSTEM OF A DOWN ATWA SYSTEM OF A DOWN TOXICITY SYSTEM OF A DOWN LONELY DAY SYSTEM OF A DOWN AERIALS VOLBEAT SAD MANS TONGUE VOLBEAT FOR EVIGT.

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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.
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BA Oppgave.Pages
! ! ! ! ! ! ! ! ! «…It’s nothing but torture» It’s time for a serious reaction to music torture ! Inger-Maren Helliksen Fjeldheim May 18th! 2018 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! "1 av "17 !Abstract For years music has been used as a method of torture in American run prisons such as Bagram and Guantanamo. The American government calls it harsh interrogation and claim the music torture is kinder and less severe as it does not inflict physical damage on the prisoner. ! It is not within our power to know whether death is worse a fate for humans than a life of trauma. !Before we know this for certain, we cannot to claim that one fate is better or worse than the other. Musicians have known for a long time that their music is used for torture, and yet there as been little to no reaction. As musicians and music lovers we cannot sit idly by while what is supposed to be a source of comfort and happiness, is used for such deplorable purpose. It is time for a serious reaction to music torture. ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! "2 av "17 Index ! Abstract 2 ! I Introduction 3 ! II Music and Torture- What it is and where it comes from 4 ! III The Use of a Song- Drowning Pool and their song Bodies 5 ! IV What happens in Guantanamo 8 ! V Discussion- Time to react 8 ! VII Bibliography 11 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! "3 av "17 Introduction Music as a phenomenon is universal to all humans and can be found in every human culture past and present.1 It has been used through history for pleasure, and for sorrow, in religion and everyday life alike.
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Who Is This Colorful Pair? Mercyhurst Buys Land for $1.8 Million
THE STUDENT NEWSPAPER OF MERCYHURST COLLEGE SINCE 1929 The MERCIAD Vol. 78 No. 21 Mercyhurst College 501 E. 38th St. Erie, Pa. 16546 May 4, 2005 Mercyhurst buys land for $1.8 million began when Fairview and Girard High By Josh Wilwohl School superintendents, who, accord- Layout assistant ing to McQuillen, spoke to Mercyhurst about mirroring a North East to stu- With the decision to purchase 400- dents in the west county. acres of land in the western county for “They were an important voice in the new Girard campus, Mercyhurst set urging the college to offer programs (in into motion only the beginning stages that area),” he said. of a lengthy and difﬁ cult process. McQuillen feels that with the expan- Last week, the board of trustees voted sion of such programs will help increase to pay $4,500 per acre, or $1.8 million, the student population. to the Society of the Divine Word, in “With this new campus, we hope to order to purchase the land. attract a regional and national student According to Interim President population,” he said. Michael McQuillen, the purchase was However, in contrast to North East, ﬁ nanced by transferring monies to the which has around 1200 students, Mer- endowment fund. cyhurst West plans to only begin with The idea, according to McQuillen, is 500 to 600 students and “later expand,” to sell a part of the land to regain the said McQuillen. money. Even with the buying of such a large “We can sell a portion of the property property, McQuillen noted that there to other developers and form more seemed to be “no opposition,” just money from the land in the endowment, some concern.
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Sowjetische Verstellungen in London Und Washington Stalin Fordert Einen Sofortigen Angriff Der Westmächte
Einzelpreis 10 Rpl., Sonnlag 15 Rpl. DIE GROSSE HEIMATZEITUNG III OSTEN DES REICHSGAUES WARTHE LAND MIT DEN AMTLICHEN BEKANNTMACHUNGEN Monatlich 2,50 RM. (einschließlich 40 Rpt. Trlgerlohn), bei Postbezug 2,92 RM. elnschlleBllch 42 Rpl. Postgebühr und Nachlieferung ton Einzelnummern nur nach Vorelntendung des Betrages elnschlleBllch Porto tür Streilband. Verlag 21 Rpl. Zeitungsgebflhr bzw. die entsprechenden Beiorderungskosten hei Postzeitungsgut oder BahnhotztltungsTersand Lltzmannstadt, Adoll-Hltler-StraBe 8«. Fernruf 254-20. Schrlltleltung: Ulrlch-von-Hutten-Str. 35, Fernrul 195-80/81. 26. Jahrgang / Nr. 86 Sonnahend, 27. März 1943 Sowjetische Verstellungen in London und Washington Stalin fordert einen sofortigen Angriff der Westmächte Sch. Lissabon, 27. März (LZ.-Drahtbericht) zeltig verstärkte diplomatische Vorstellungen Viel besprochen wird in London die ge• Moskaus in London und Washington erfolgt strige Frühstücksrede des sowjetischen Bot• sind, um die Eröffnung eines Angriffes der schafters Maisky. Maisky wandte sich >n sei• Westmächte zu erzwingen. Stalin sieht be• ner Rede auf das heftigste gegen die „Ver• kanntlich aut dem Standpunkt, daß die Offen• nachlässigung" der Sowjetunion und erklärte sive in Nordafrika keine Erfüllung seiner Wün• u. a.: „Mein Land und mein Volk erwarten, sche ist. daß alle unsere Verbündeten, besonders aber Der amerikanische Vizepresident Wallace, Sturmgeschütze laden nette Munition England und die Vereinigten Staaten, nun• Nach erfolgreichem Einsatz an der Mlusfront Übernehmen Sturmgeschütze von einem I.KW. neue mehr ihr Möglichstes, und zwar In unmittel• der sich auf einer Reise durch Südamerika Munition. Jede freie Ecke In dem Panzerlelb wird mit den bei aen Sowjets gefürchtet,?» Spreng- barer Zukunft tun, um eine Verkürzung die• befindet, gedenkt nach einer allerdings noch granaten vollgepackt.
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Drummer Bracket Template
First Round Second Round Sweet 16 Elite 8 Final Four Championship Final Four Elite 8 Sweet 16 Second Round First Round Peter Criss-Kiss Robert Bourbon-Linkin Park Neal Sanderson-Three Days Grace Neal Sanderson-Three Days Grace Morgan Rose-Sevendust Morgan Rose-Sevendust Matt Sorem-GNR Paul Bostaph-Slayer Clown-Slipknot Charlie Benante-Anthrax Paul Bostaph-Slayer Paul Bostaph-Slayer Morgan Rose-Sevendust Clown-Slipknot Ray Luzier-KoRn Matt McDonough-Mudvayne Neal Peart-Rush Matt Cameron-Pearl Jam Ginger Fish-Manson Ray Luzier-KoRn Winner Matt Cameron-Pearl Jam Joey Kramer-Aerosmith Matt McDonough-Mudvayne Matt McDonough-Mudvayne Neal Peart-Rush Neal Peart-Rush Chad Gracey-Live Matt McDonough-Mudvayne Vinnie Paul-Pantera Neal Peart-Rush Sam Loeffler-Chevelle Lars Ulrich-Metallica Tommy Lee-Motley Crue Shannon Larkin-Godsmack Taylor Hawkins-Foo Roy Mayogra-Stone Sour Lars Ulrich-Metallica Taylor Hawkins-Foo Fighters Ben Anderson-Nothing More Jay Weinberg-Slipknot Jay Weinberg-Slipknot Ron Welty-Offspring Ron Welty-Offspring Alex Shelnett-ADTR Jay Weinberg-Slipknot Taylor Hawkins-Foo Fighters Butch Vig-Garbage Vinnie Paul-Pantera Tre Cool-Green Day Tommy Lee-Motley Crue Shannon Larkin-Godsmack Eric Carr-Kiss John Alfredsson-Avatar Tre Cool-Green Day Neal Peart-Rush Robb Rivera-Nonpoint Robb Rivera-Nonpoint Bill Ward-Black Sabbath Tommy Lee-Motley Crue Shannon Larkin-Godsmack Shannon Larkin-Godsmack Tommy Lee-Motley Crue Chris Adler-Lamb of God Tommy Lee-Motley Crue Neal Peart-Rush Vinnie Paul-Pantera Joey Jordison-Slipknot Sean Kinney-Alice
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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 .
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German Slp Tdc Jun05
The University of the State of New York SECOND LANGUAGE PROFICIENCY EXAMINATION GERMAN TEACHER DICTATION COPY Monday, June 20, 2005 — 9:15 a.m. General Directions Before distributing test booklets, tell the students not to open their test booklets until you tell them to do so. Then distribute one test booklet, face up, to each student. Then say: Read the directions on the cover of your test booklet. (pause) Turn to the last page of your test booklet and detach the answer sheet very carefully. (pause) Use only black or blue ink on your answer sheet. In the space provided on your answer sheet, write your name. (pause) Put a check mark in the box to indicate if you are male or female. (pause) Then write your teacher’s name, your grade, (pause), and the name of the school and the city or P.O. (pause) After each student has filled in the heading of the answer sheet, begin the test by following the directions for Part 2a on the next page. Copyright 2005 The University of the State of New York THE STATE EDUCATION DEPARTMENT Albany, New York 12234 No part of this test may be reproduced and/or transmitted by any means without written permission. Part 2 Listening Comprehension Part 2a Tell students to open their test booklets and read the directions for Part 2a. After students have read and understood the directions, say: There are 10 questions in Part 2a. Each question is based on a short passage which I will read aloud to you. Listen carefully.
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TIME LIFE Presents UBERMORGEN.COM Feat. JAMES
TIME LIFE presents UBERMORGEN.COM feat. JAMES POWDERLY http://www.TORTURECLASSICS.COM VIMEO: http://www.vimeo.com/14084957 TWITTER: http://twitter.com/TORTURECLASSICS YOUTUBE: http://www.youtube.com/user/tortureclassics FACEBOOK: http://www.facebook.com/pages/Time-Life/59290172844 TORTURE CLASSICS ALBUM RELEASE, INFOMERCIAL & PERFORMANCE Sit back and relax, as we make this incredible music come alive! Seoul / Daebudo / Vienna, August 13, 2010 TIME LIFE announces the release of the TORTURE CLASSICS COLLECTION. Torture Music is the kind of music that’s perfect for sitting in the Afghan or Iraqi Desert, sharing a prisoner for a night, or relaxing in a military barack or a CIA black site in some godforsaken country on a lazy afternoon. It's music thats just makes you feel free and drives others crazy. But, the artists included in the TORTURE CLASSICS COLLECTION have taken the Torture Music sound and given it a psychotic and everlasting quality. This Torture Music compilation includes 60 songs, tons of images, uncensored videos, pdfs and extra bonus material. The Ultiimate Collection DOWNLOAD-DVD inlcudes both The White Site Album and The Black Site Album. To kick-off of the release of the TORTURE CLASSICS ULTIMATE COLLECTION DOWNLOAD-DVD, a 24h TORTURE-GALA-PERFORMANCE will take place. The headling act of the evening will be James Powderly, who will be subjected to Musical Torture, in the experienced hands of Hans Bernhard, who will blast the new hit track “Two Different Tears” by the original K-pop Idols the Wondergirls. He will be tightened into stress- positions to prevent him from muting the sound.
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Nu-Metal As Reflexive Art Niccolo Porcello Vassar College, [email protected]
Vassar College Digital Window @ Vassar Senior Capstone Projects 2016 Affective masculinities and suburban identities: Nu-metal as reflexive art Niccolo Porcello Vassar College, [email protected] Follow this and additional works at: http://digitalwindow.vassar.edu/senior_capstone Recommended Citation Porcello, Niccolo, "Affective masculinities and suburban identities: Nu-metal as reflexive art" (2016). Senior Capstone Projects. Paper 580. This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. ! ! ! ! ! ! ! ! ! ! ! AFFECTIVE!MASCULINITES!AND!SUBURBAN!IDENTITIES:!! NU2METAL!AS!REFLEXIVE!ART! ! ! ! ! ! Niccolo&Dante&Porcello& April&25,&2016& & & & & & & Senior&Thesis& & Submitted&in&partial&fulfillment&of&the&requirements& for&the&Bachelor&of&Arts&in&Urban&Studies&& & & & & & & & _________________________________________ &&&&&&&&&Adviser,&Leonard&Nevarez& & & & & & & _________________________________________& Adviser,&Justin&Patch& Porcello 1 This thesis is dedicated to my brother, who gave me everything, and also his CD case when he left for college. Porcello 2 Table of Contents Acknowledgements .......................................................................................................... 3 Chapter 1: Click Click Boom .............................................................................................
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The History of Rock Music: 1976-1989
The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The Golden Age of Heavy Metal (These are excerpts from my book "A History of Rock and Dance Music") The pioneers 1976-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Heavy-metal in the 1970s was Blue Oyster Cult, Aerosmith, Kiss, AC/DC, Journey, Boston, Rush, and it was the most theatrical and brutal of rock genres. It was not easy to reconcile this genre with the anti-heroic ethos of the punk era. It could have seemed almost impossible to revive that genre, that was slowly dying, in an era that valued the exact opposite of machoism, and that was producing a louder and noisier genre, hardcore. Instead, heavy metal began its renaissance in the same years of the new wave, capitalizing on the same phenomenon of independent labels. Credit goes largely to a British contingent of bands, that realized how they could launch a "new wave of British heavy metal" during the new wave of rock music. Motorhead (1), formed by ex-Hawkwind bassist Ian "Lemmy" Kilminster, were the natural bridge between heavy metal, Stooges/MC5 and punk-rock. They played demonic, relentless rock'n'roll at supersonic speed: Iron Horse (1977), Metropolis (1979), Bomber (1979), Jailbait (1980), Iron Fist (1982), etc.
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Medien – Zeit – Zeichen. Dokumentation Des 19. Film- Und Fernsehwissenschaftlichen Kolloquiums 2006 2007
Repositorium für die Medienwissenschaft Christian Hißnauer, Andreas Jahn-Sudmann u.a. (Hg.) Medien – Zeit – Zeichen. Dokumentation des 19. Film- und Fernsehwissenschaftlichen Kolloquiums 2006 2007 https://doi.org/10.25969/mediarep/14360 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Hißnauer, Christian; Jahn-Sudmann, Andreas (Hg.): Medien – Zeit – Zeichen. Dokumentation des 19. Film- und Fernsehwissenschaftlichen Kolloquiums 2006. Marburg: Schüren 2007 (Film- und Fernsehwissenschaftliches Kolloquium 19). DOI: https://doi.org/10.25969/mediarep/14360. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above.
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