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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. -
1 This Isn't Paradise, This Is Hell: Discourse, Performance and Identity in the Hawai'i Metal Scene a Dissertation Submitte
1 THIS ISN’T PARADISE, THIS IS HELL: DISCOURSE, PERFORMANCE AND IDENTITY IN THE HAWAI‘I METAL SCENE A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN AMERICAN STUDIES DECEMBER 2012 By Benjamin Hedge Olson Dissertation Committee: Kathleen Sands, Chairperson David E. Stannard Vernadette Gonzalez Roderick Labrador Helen J. Baroni Keywords: metal, popular music, popular culture, religion, subculture, Hawai‘i 2 Abstract The island of Oahu is home to probably the most ethnically diverse metal scene in the United States. Contemporary Hawai`i prides itself on being a “model of multiculturalism” free of the racism and ethnic strife that is endemic to the continent; however, beneath this superficial openness and tolerance exist deeply felt class, ethnic, and racial tensions. The metal scene in Hawai`i experiences these conflicting impulses towards inclusion and exclusion as profoundly as any other aspect of contemporary Hawaiian culture, but there is a persistent hope within the metal scene that subcultural identity can triumph over such tensions. Complicating this process is the presence of white military personnel, primarily born and raised on the continental United States, whose cultural attitudes, performances of masculinity, and conception of metal culture differ greatly from that of local metalheads. The misunderstandings, hostilities, bids for subcultural capital, and attempted bridge-building that take place between metalheads in Hawai‘i constitute a subculturally specific attempt to address anxieties concerning the presence of the military, the history of race and racism in Hawai`i, and the complicated, often conflicting desires for both openness and exclusivity that exist within local culture. -
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. -
Possessed, Venom Inc. and Azarath to Inferno Festival 2017
POSSESSED, VENOM INC. AND AZARATH TO INFERNO FESTIVAL 2017 Inferno Metal Festival is proud to announce death metal pioneers POSSESSED, the godfathers of black metal VENOM INC. and polish death black supreme AZARATH to the 2017 edition of the festival! The festival will be held during the Easter 12. to 15. April 2017 with legendary bands and the best newcomers from the extreme metal genres. Welcome to Hell! INFERNO METAL FESTIVAL 2017: CARCASS – ABBATH – POSSESSED – VENOM INC. – BORKNAGAR – RED HARVEST – SVARTIDAUÐI – HELHEIM – FURZE – AZARATH – DEUS MORTEM – WHOREDOM RIFE – INFERNAL WAR – KONTINUUM – ZHRINE – PILLORIAN – TANGORODRIM – AUÐN – SLIDHR – DARVAZA – WHIP – NACHASH – MADDER MORTEM – HAIL SPIRIT NOIR – SULPHUR POSSESSED With groundbreaking classics like “The Exorcist”, “Death Metal”, “Pentagram” and “Satan's Curse” the godfathers of death metal are sharpening their teeth and ready to destroy Inferno Metal Festival and Norway. Possessed was one of the very early death metal bands and their first demo tape was called “Death Metal” in 1984 and so the genre was born. With guttural vocals, brutal riffs and fast drum beats, Possessed are truly a force within the extreme metal scene. They are one of the bands that still sound amazing after all these years and their Seven Churches album is still one of the best death metal albums ever made. https://www.facebook.com/666possessed/ VENOM INC. Are you in league with Satan? Are you at war with Satan? The Seven Gates of Hell will be opened! Welcome to Hell! This is Venom Inc. consisting of the line-up that recorded the classic Venom albums “Prime Evil”, “Temples of Ice” and “The Waste Lands”. -
True Black Metal: Authenticity, Nostalgia, and Transgression in The
1 True Black Metal: Authenticity, Nostalgia, and Transgression in the Black Metal Scene Joel Skadiang 430018518 A treatise submitted in partial fulfilment of the requirements for the degree of Bachelor of Arts (Honours) Department of Gender and Cultural Studies The University of Sydney June 2017 This thesis has not been submitted for examination at this or any other university 2 Table of Contents Page List of Figures 3 Abstract 4 Introduction 6 History of Black Metal 10 Aesthetics of the Second Wave 31 Subcultural Capital, Kvltness, and Authentic Participation 40 Virtual Ethnography 53 Conclusion 66 Bibliography 69 3 List of Figures Page Figure 1 Venom (Teamrock 2005) 14 Figure 2 Mayhem (The Quietus 2014) 17 Figure 3 Immortal Norwegian Arts 2015 17 Figure 4 Black Metal Logo from Helvete Basement (Wikipedia: Date Unknown) 25 Figure 5 Bathory’s (1985) and Venom’s (1981) Album Covers 25 Figure 6 Post on R/BlackMetal (Reddit 2016) 49 Figure 7 Post and Comment Karma of Reddit User (Reddit 2016) 49 Figure 8 Rules of R/BlackMetal (Reddit 2016) 58 Figure 9 Policing of Boundaries in R/BlackMetal (Reddit 2016) 59 Figure 10 Parody of Black Metal Aesthetic on R/MetalMemes (Reddit 2017) 59 Figure 11 Parody of Black Metal Fans and Response (Reddit 2017) 61 4 Abstract Black metal as a distinct genre of popular music is characterized by a general yearning for authenticity. This authenticity can be expressed through production values, musical techniques adopted, and style of dress and presentation among members of the scene. In this context, members of the scene are presented with a dilemma given the demand to both showcase individuality in their taste and style while also conforming to what it means to be “true” or authentic within the scene. -
The Story of Satan & a Visit to Hell
The Story of Satan & A Visit to Hell with some Case Histories of the Damned by Mary Ann Panevska Lux Vera Art Credits All pictures are from Gustave Doré’s illustrations for The Divine Comedy by Dante Alighieri and for Paradise Lost by John Milton, and from his own Bible Gallery. The original illustrations were printed during the 1880s in approximately 8"x9" format. Some have been cropped or enhanced for the sake of clarity in this smaller format. Copyright © 2010 Mary Ann Panevska ISBN 978-0-9791779-0-3 All rights reserved. No part of this book may be repro- duced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or other- wise, without the prior written permission from the publisher, except for brief passages quoted in critical articles and reviews. www.LuxVera.org ii A Word of WARNING to the WEAK Some descriptions and illustrations in this book are rather violent and ugly. This is not meant to terrify good people, but to faithfully represent the violence and ugliness of Satan and Hell so that you will hate and escape them. Nobody enjoys facing bad things, but if you want to close your eyes and not read about Satan and Hell, then consider for a moment: • When you hear noises in the basement at night, is it better to hide under your blanket, or to get your loaded gun and carefully investigate? • When you discover a strange lump in your body, is it better to pretend it’s not there, or to learn what it is and what can be done about it? • When a horde of barbarians is charging towards your town, is it better to gape at them in paralyzed fear, or to round up an army and try to defend yourself? • When you know that someday you will die, is it better to refuse to think about what might come after death, or to get the facts so you can freely choose where you will spend eternity? This book aims at correctly portraying Satan, Hell, and the damned, based on what we know from Holy Scripture and Church teaching. -
Vinyl Catalogue 2014
VINYL CATALOGUE 2014 Established in 2004, Back On Black - together with subsidiary label Back On Black Rock Classics - specialises in vinyl editions of classic metal and rock albums and is dedicated to providing top quality releases for record collectors and rock fans worldwide. Our releases are pressed on exquisite, heavyweight vinyl to produce the very best in sound quality with a mesmerizing tactile feel that makes them a pleasure to handle. Beautiful vinyl colours are carefully chosen to complement the artwork, with some releases available in a variety of colours for the dedicated collector. Many releases are double, or even triple, LPs! The artwork itself is re-worked to faithfully interpret the original album, and reproduced on superior grade gatefold sleeves in heavyweight card with a superb and un-rivalled finish. As well as all our re-mastered LPs of classic albums from throughout history, Back On Black also issues many exclusive vinyl editions of contemporary metal and rock releases. Far from being dead, our beloved vinyl format is going from strength to strength – and Back On Black is proud to serve the needs of the vinyl connoisseur! Just take a look at our catalogue of releases to see the calibre of albums we release! Combine your favourite rock and metal with your favourite format – and get your music Back On Black! CONtact: PHONE: +44 (0)1491 825029 MAILORDER: PLASTICHEAD.COM UK SALES: [email protected] INTERNATIONAL SALES: [email protected] BACKONBLACK.COM facebook.COM/BACKONBLACKRECORDS PLASTICHEAD.COM All titles subject to availability due to territorial or licensing terms. -
Rock Album Discography Last Up-Date: September 27Th, 2021
Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least. -
A Journey of Tears: What They Don't Tell You About America, a Memoir Nilufer Gokmen Kennesaw State University
Kennesaw State University DigitalCommons@Kennesaw State University Master of Arts in American Studies Capstones Interdisciplinary Studies Department Spring 5-2015 A Journey of Tears: What They Don't Tell You About America, a memoir Nilufer Gokmen Kennesaw State University Follow this and additional works at: http://digitalcommons.kennesaw.edu/mast_etd Part of the American Studies Commons Recommended Citation Gokmen, Nilufer, "A Journey of Tears: What They onD 't Tell You About America, a memoir" (2015). Master of Arts in American Studies Capstones. Paper 5. This Capstone is brought to you for free and open access by the Interdisciplinary Studies Department at DigitalCommons@Kennesaw State University. It has been accepted for inclusion in Master of Arts in American Studies Capstones by an authorized administrator of DigitalCommons@Kennesaw State University. For more information, please contact [email protected]. A Journey of Tears: What They Don’t Tell You About America A Memoir by Nilüfer Gökmen Table of Contents Literature Review ……………………………………………………………………………3 Story One: “The System’s Fault?”…………………………………………………………...22 Essay One: “Welcome to Hell: Being A Foreign Student in the Age of American Bureaucracy”……………………………………………………….35 Story Two: “Kennesaw State: Not for International Students”………………………………41 Essay Two: “The Problem I Caused for Americans: The Question of Why I Do Not Look Like Others”…………………………………………………………52 Story Three: “The Life in a Suburb in the South: Not Like in the Movies”………………….60 Essay Three: “Lies and Deceits -
I Am the Black Wizards: Multiplicity, Mysticism and Identity in Black Metal Music and Culture
I AM THE BLACK WIZARDS: MULTIPLICITY, MYSTICISM AND IDENTITY IN BLACK METAL MUSIC AND CULTURE Benjamin Hedge Olson 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 May 2008 Committee: Esther Clinton, Advisor Jeremy Wallach Marilyn Motz ii ABSTRACT Esther Clinton, Advisor Black metal represents one of the most dramatic, violent and obscure representations of contemporary international popular culture; it is an extremist sect of an extremist sect. An understanding of popular culture’s most extreme polarities is imperative to an understanding of its range and general character. I will argue that black metal culture is radically different from all other forms of metal and must be understood as a unique form of cultural expression that signifies a dramatic break from both traditional metal and secular modernism. Although black metal has proliferated across the world, taking up certain indigenous variations in its various locations, it has retained three basic characteristics that make it exceptional and significant: 1.) Black Metal is characterized by a conflict between radical individualism and group identity and by an attempt to accept both polarities simultaneously. 2.) Black metal is centered on an extravagantly romantic view of nature and an idealized past, both of these concepts being very much intertwined. 3.) Black metal celebrates the irrational and primal; it is a critique of modern rationalism and secularism. iii TABLE OF CONTENTS Page INTRODUCTION. Enter the Moonlit Gate ................................................................................1 CHAPTER I. Cosmic Keys to My Creations and Times: the Birth, Definition and Contextualization of Black Metal Culture 7 ...........................................................................6 CHAPTER II. -
Venom Flyer Feb 2019 A4 3Mm Bleed.Indd
111 1V V V1 11 V11 1 V 111 a ll 1X u N ? 40 Years In Sodom A B M N L C Z O D K E F I J Y P G H X Q W R S T U V IN NOMINE SATANAS 40TH ANNIVERSARY DELUXE BOXSET 4 LPS, 2 x 2LPS, BOOK, SHAPED PICTURE DISC SINGLE, POSTER AND BACK PATCH THE NEAT ANTHOLOGY GATEFOLD 22 TRACK, DOUBLE LP AND 43 TRACK, 2CD MEDIABOOK IN NOMINE SATANAS - 40TH ANNIVERSARY DELUXE BOXSET Venom are an English extreme metal band formed in 1978 in Newcastle upon Tyne. Coming to prominence towards the end of the new wave of British heavy metal, Venom’s first two albums—Welcome to Hell (1981) and Black Metal (1982)—are considered a major influence on thrash metal and extreme metal in general. Venom’s second album proved influential enough that its title was used as the name of the extreme metal subgenre of black metal. The band classic line-up trio of Cronos, Mantas and Abaddon recorded two further studio albums At War With Satan (1984) and Possessed (1985) and live album Eine Kleine Nachtmusik (1986). Often cited by bands such as Metallica, Behemoth, Celtic Frost and Mayhem as major influences, they are one of the most revered bands of their generation. Venom are still fronted by original singer/bassist Cronos and headline festivals all over the globe and continue to release new music. In Nomine Satanas is a celebration of the bands formative years, containing all the classic line-up albums and an album of previously unreleased demo songs that dates back to 1979 when the formed. -
ACTA UNIVERSITATIS UPSALIENSIS Studia Historica Upsaliensia 263
ACTA UNIVERSITATIS UPSALIENSIS Studia Historica Upsaliensia 263 Utgivna av Historiska institutionen vid Uppsala universitet genom Margaret Hunt och Maria Ågren Omslagsbild: Juletreet/The Christmas Tree, Theodor Kittelsen Foto: Used with permission from Grev Wedels Plass Auksjoner AS Omslagslayout: Camilla Eriksson Christopher Thompson Norges Våpen Cultural Memory and Uses of History in Norwegian Black Metal Dissertation presented at Uppsala University to be publicly examined in Humanities Theater, Engelska parken, room 22-0008, Uppsala, Friday, 18 January 2019 at 13:15 for the degree of Doctor of Philosophy. The examination will be conducted in English. Faculty examiner: Benjamin Martin (Institutionen för idé- och lärdomshistoria). Abstract Thompson, C. 2018. Norges Våpen. Cultural Memory and Uses of History in Norwegian Black Metal. Studia Historica Upsaliensia 263. 221 pp. Uppsala: Acta Universitatis Upsaliensis. ISBN 978-91-513-0505-9. This dissertation examines uses of history and expressions of cultural memory in Norwegian black metal. Formed in the late 1980s and early 1990s, Norwegian black metal seemed at odds with many of the stereotypes of Norway. The genre is an extreme style of heavy metal music that has been associated with burning churches, desecrating graves, and committing murders. Yet, Norway is often perceived as wealthy with sublime natural beauty and high levels of equality. Since the late 1990s, Norwegian black metal has increasingly received positive recognition and support from Norwegian government agencies and cultural institutions who have deemed this style of music a cultural product of Norway. In exploring the relationship between Norwegian black metal and Norway, two primary questions are asked: what makes Norwegian black metal ‘Norwegian’ and what are its influences? To answer these questions, a theoretical approach based on Astrid Erll’s cultural memory complex is used.