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Masterarbeit / Master's Thesis
d o n e i t . MASTERARBEIT / MASTER’S THESIS R Tit e l der M a s t erarbei t / Titl e of the Ma s t er‘ s Thes i s e „What Never Was": a Lis t eni ng to th e Genesis of B lack Met al d M o v erf a ss t v on / s ubm itted by r Florian Walch, B A e : anges t rebt e r a k adem is c her Grad / i n par ti al f ul fi l men t o f t he requ i re men t s for the deg ree of I Ma s ter o f Art s ( MA ) n t e Wien , 2016 / V i enna 2016 r v i Studien k enn z ahl l t. Studienbla t t / A 066 836 e deg r ee p rogramm e c ode as i t appea r s o n t he st ude nt r eco rd s hee t: w Studien r i c h tu ng l t. Studienbla tt / Mas t er s t udi um Mu s i k w is s ens c ha ft U G 2002 : deg r ee p r o g r amme as i t appea r s o n t he s tud e nt r eco r d s h eet : B et r eut v on / S uper v i s or: U ni v .-Pr o f. Dr . Mi c hele C a l ella F e n t i z |l 2 3 4 Table of Contents 1. -
Beyond Star Wars-Dan
1 2 3 Ancient Cosmic Conflicts in the Space-Time Continuum BEYOND STAR WARS William F. Dankenbring 4 Triumph Prophetic Ministries PO Box 842 Omak WA 98841 www.triumphpro.com [email protected] Copyright 2009 by William F. Dankenbring All rights reserved 5 “There is nothing so powerful as truth – and often nothing so strange.” -- Daniel Webster “ ‘Tis strange – but true; for truth is always strange; Stranger than fiction.” -- Byron “The more thou searchest, the more thou shalt marvel.” -- Esdras 6 Table of Contents Chapter 1 The Bible – Science or Superstition? 8 Chapter 2 Who Really Discovered America? 30 Chapter 3 The Mystery of Atlantis 43 Chapter 4 Maps of the Ancient Sea Kings 54 Chapter 5 Beyond Star Wars 66 Chapter 6 Planet “X” and Earth in Collision! 80 Chapter 7 Life on Earth before Adam? 96 Chapter 8 Did Noah’s Flood Really Happen? 124 Chapter 9 The 360 Day Year, Exodus, the Mayans and Calendar Chaos 147 Chapter 10 Nimrod and the Tower of Babel Cataclysm 159 Chapter 11 Was the Exodus Historical Fact? 168 7 Chapter 12 Who Was the Pharaoh of the Exodus? 180 Chapter 13 The Walls of Jericho 199 Chapter 14 Secrets of the Great Pyramid 208 Chapter 15 Enoch and the Great Pyramid Prophecies 221 8 Chapter 1 The BIBLE – Science or Superstition? What is the Bible? Does it contain evidence of Divine Inspiration? Or is it merely a relic of ancient mythology? Is the Bible really relevant to our modern Technological and Computer Age? Or is it just a hoary old collection of ancient legends, myths, and folklore? Here is the most amazing documentary PROOF the Bible is far more than what its critics claim! -- a Book ages ahead of its time! Here is astounding evidence of the most incredible scientific kind showing that the Bible is indeed a Book of Divine Inspiration! For many centuries agnostics, skeptics and scoffers have called the Bible a collection of ancient primitive myths, fables, stories, and superstition. -
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. -
Slug and Lettuce: a Zine Supporting the Do-It- Yourself Ethics of the Punk Community Christine Larson
Rhode Island College Digital Commons @ RIC AS220 Digital Archive 6-1-2003 Slug and Lettuce: A Zine Supporting the Do-It- Yourself Ethics of the Punk Community Christine Larson Follow this and additional works at: https://digitalcommons.ric.edu/as220_root Part of the Arts and Humanities Commons Recommended Citation Larson, Christine, "Slug and Lettuce: A Zine Supporting the Do-It-Yourself Ethics of the Punk Community" (2003). AS220 Digital Archive. 1625. https://digitalcommons.ric.edu/as220_root/1625 This is brought to you for free and open access by Digital Commons @ RIC. It has been accepted for inclusion in AS220 Digital Archive by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. , ' ' ' . ' SIC , 'ZINE & BOOK REVIEWS • CLASSIFIEDS • COLUMNS • PHOTOCiRAPHY • PUNK ART out ot the crty Being an eco punk and all, tuned into nature and the seasons, and to thinking back on old SOME 'IHOUQITS FROM THE EDITOR them, or intrmidated because we are atraid they won't know who we sens~ive to thrngs around me, I got to talkrng wrth my mom about the kind of people revie ws I did, an d tee ling This all go, no sleep routine rs starting to take rt's toll. You can only push for so long before are, or care, or because we enjoythe~rwriting or music, but face it, the yourse~ we are. She's super into birds and dreams at flying I'm territied ot heights and cringe like they just were not you start to crash But that rsn't stopping me yet This issue has been put together in a frenzy of beauty at punk rock is that we are all supposed to be standing on the at the thought at being oul in the open high spaces. -
Distorted Dystopias3
Distortion-Drenched Dystopias: Metal and Modernity in Southeast Asia Jeremy Wallach Abstract Dedicated fans of heavy metal music can now be found in every corner of the industrialized world. This fandom, rarely mentioned in most studies of ‘cultural globalization’, is usually associated with the existence of local ‘scenes’ – semiautonomous social networks supporting the production, dissemination, and consumption of recordings, fanzines, and other artifacts that operate to an extent outside the global/national mainstream commercial music industry. This paper investigates the remarkable development of indigenous metal music scenes in three adjoining Southeast Asian nations— Malaysia, Indonesia, and Singapore—over the last twenty years. While hard data on this phenomenon are still limited, the little that exist raise tantalizing questions about the relationship between these music-based subcultures and local politics, local constructions of masculinity, pre-existing sources of social difference, and patterns of global dissemination of cultural forms. Key Words: Ethnonationalism, globalization, Indonesia, Malaysia, masculinity, music scenes, politics, Singapore, Southeast Asia. ***** 1. Introduction: The Globalization of Metal in Southeast Asia In addition to maintaining an enthusiastic fan base in its countries of origin, heavy metal is a global phenomenon with legions of enthusiasts in every corner of the world.1 In this paper I offer some preliminary remarks about an explosion of Malay- and English-language heavy metal in the three adjoining -
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. -
Why Collect Heavy Metal?
COLLECTING HEAVY METAL MUSIC BY KARSON JONES THE ROYAL CONSERVATORY WHY COLLECT HEAVY METAL? Heavy Metal, more than most forms of popular music, has endured scathing criticism from all sides. Music critics, politicians, and parent groups have all decried the musical degeneracy1 and moral decrepitude2 of the genre. In the face of this, however, metal has simply become more popular and more extreme in its sound, imagery, and values. Heavy metal music and culture has, for most of its existence, fallen very much outside the mainstream and in many ways defines itself as anti-establishment. Many might ask whether this music, being so frequently derided, is worthy of academic study and whether libraries should be adding it to their collections. The fact is that, regardless of how one feels about the music and culture of heavy metal, an increasing amount of social scientific and musicological research is being done on the subject. There is also evidence that heavy metal is increasingly being included in post-secondary curricula.3 Research collections and archives are needed to support this study and teaching. These collections need to contain not only the academic literature and the seminal sound recordings, but also the visual art, fashion, and other ephemera that are inseparable from the metal experience. At various institutions, one will find substantial collections dedicated to other marginal genres and subgenres of music, national musics, and even individual bands or performers, yet metal has been, for the most part, ignored so far.4 There is a dearth of library literature on this topic. In 2002, Robert Freeborn performed a search in Library Literature for the keywords heavy metal and retrieved four results, only one of which was in English. -
The Great Cosmic Controversy –
1 2 3 Ancient Cosmic Conflicts in the Space-Time Continuum BEYOND STAR WARS William F. Dankenbring 4 Triumph Prophetic Ministries PO Box 842 Omak WA 98841 www.triumphpro.com [email protected] Copyright 2009 by William F. Dankenbring All rights reserved 5 “There is nothing so powerful as truth – and often nothing so strange.” -- Daniel Webster “ ‘Tis strange – but true; for truth is always strange; Stranger than fiction.” -- Byron “The more thou searchest, the more thou shalt marvel.” -- Esdras 6 Table of Contents Chapter 1 The Bible – Science or Superstition? 8 Chapter 2 Who Really Discovered America? 30 Chapter 3 Maps of the Ancient Sea Kings 42 Chapter 4 The Mystery of Atlantis 54 Chapter 5 Beyond Star Wars 65 Chapter 6 Planet “X” and Earth in Collision! 80 Chapter 7 Life on Earth before Adam? 95 Chapter 8 Did Noah’s Flood Really Happen? 123 Chapter 9 The 360 Day Year, Exodus, the Mayans and Calendar Chaos 146 Chapter 10 Nimrod and the Tower of Babel Cataclysm 160 Chapter 11 Was the Exodus Historical Fact? 167 7 Chapter 12 Who Was the Pharaoh of the Exodus? 179 Chapter 13 The Walls of Jericho 198 Chapter 14 Secrets of the Great Pyramid 207 Chapter 15 Enoch and the Great Pyramid Prophecies 220 8 Chapter 1 The BIBLE – Science or Superstition? What is the Bible? Does it contain evidence of Divine Inspiration? Or is it merely a relic of ancient mythology? Is the Bible really relevant to our modern Technological and Computer Age? Or is it just a hoary old collection of ancient legends, myths, and folklore? Here is the most amazing documentary PROOF the Bible is far more than what its critics claim! -- a Book ages ahead of its time! Here is astounding evidence of the most incredible scientific kind showing that the Bible is indeed a Book of Divine Inspiration! For many centuries agnostics, skeptics and scoffers have called the Bible a collection of ancient primitive myths, fables, stories, and superstition. -
Metal Music As Critical Dystopia: Humans, Technology and the Future in 1990S Science Fiction Metal
Metal Music as Critical Dystopia: Humans, Technology and the Future in 1990s Science Fiction Metal Laura Taylor Department of Communications, Popular Culture and Film Submitted in partial fulfillment of the requirements for the degree of Interdisciplinary MA in Popular Culture Faculty of Social Sciences and Faculty of Humanities, Brock University St. Catharines, Ontario © October, 2006 Abstract Metal Music as Critical Dystopia: Humans, Technology and the Future in 1990s Science Fiction Metal seeks to demonstrate that the dystopian elements in metal music are not merely or necessarily a sonic celebration of disaster. Rather, metal music's fascination with dystopian imagery is often critical in intent, borrowing themes and imagery from other literary and cinematic traditions in an effort to express a form of social commentary. The artists and musical works examined in this thesis maintain strong ties with the science fiction genre, in particular, and tum to science fiction conventions in order to examine the long-term implications of humanity's complex relationship with advanced technology. Situating metal's engagements with science fiction in relation to a broader practice of blending science fiction and popular music and to the technophobic tradition in writing and film, this thesis analyzes the works of two science fiction metal bands, VOlvod and Fear Factory, and provides close readings of four futuristic albums from the mid to late 1990s that address humanity's relationship with advanced technology in musical and visual imagery as well as lyrics. These recorded texts, described here as cyber metal for their preoccupation with technology in subject matter and in sound, represent prime examples of the critical dystopia in metal music. -
Unlocking the Paradox of Christian Metal Music
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2013 Unlocking the Paradox of Christian Metal Music Eric S. Strother University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Strother, Eric S., "Unlocking the Paradox of Christian Metal Music" (2013). Theses and Dissertations-- Music. 9. https://uknowledge.uky.edu/music_etds/9 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. I retain all other ownership rights to the copyright of my work. -
Helvet-Black Metal Journal 1.Pdf
HELVETE A JOURNAL OF BLACK METAL THEORY Issue 1: Incipit Winter 2013 HELVETE A JOURNAL OF BLACK METAL THEORY Issue 1: Incipit Winter 2013 ISSN: 2326-683X Helvete: A Journal of Black Metal Theory is also available in open-access forM: http://helvetejournal.org EDITORS Amelia IshMael Zareen Price Aspasia Stephanou Ben Woodard LAYOUT EDITOR Andrew DotY http://creativecomMons.org/licenses/bY-nc-nd/3.0/ Published bY punctuM books Brooklyn, New York http://punctuMbooks.com ISBN-13: 978-0615758282 ISBN-10: 0615758282 1 DILATION: EDITOR’S PREFACE Zareen Price 5 OPEN A VEIN: SUICIDAL BLACK METAL AND ENLIGHTENMENT Janet Silk ASDF 21 AT THE EDGE OF THE SMOKING POOL OF DEATH: WOLVES IN THE THRONE ROOM Timothy Morton 29 BAPTISM OR DEATH: BLACK METAL IN CONTEMPORARY ART, BIRTH OF A NEW AESTHETIC CATEGORY Elodie Lesourd THE NIGHT IS NO LONGER DEAD; IT HAS A LIFE OF ITS OWN Amelia Ishmael FROSTBITE ON MY FEET: REPRESENTATIONS OF WALKING 45 IN BLACK METAL VISUAL CULTURE David Prescott-Steed BLACK METAL MACHINE: THEORIZING INDUSTRIAL BLACK 69 METAL Daniel Lukes THIS IS ARMAGEDDON: THE DAWN MOTIF AND BLACK 95 METAL’S ANTI-CHRISTIAN PROJECT Joel Cotterell DILATION EDITOR’S PREFACE Zareen Price The open door and gaping shadowy halls stand wide in cold splendor of marble and stone / And from pulpits appear faces that stare, cruel mockeries of the closest in life now gone1 This is an opening. These are the first words, the opening text, of a project I conceived late in the winter of 2011. Melancology, the second iteration of the Black Metal TheorY SYmposium, had recentlY oozed through London, and the internet-lurking underground’s immune reaction to the intermingling of Black Metal and theorY was seeminglY at its most captious. -
Crust Punk: Apocalyptic Rhetoric and Dystopian
CRUST PUNK: APOCALYPTIC RHETORIC AND DYSTOPIAN PERFORMATIVES A Thesis by DAVID ALLEN ROBY Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTERS OF ARTS Chair of Committee, Harris Berger Committee Members, Jayson Beaster-Jones Judith Hamera Josh Heuman Head of Department, Claudia Nelson August 2013 Major Subject: Performance Studies Copyright 2013 David Allen Roby ABSTRACT The main focus of this thesis is to understand the myriad ways in which crust punk as an expressive cultural form creates meaning, forms the basis for social formation (or music scene), and informs the ways in which its participants both interact with and understand the world around them. Fieldwork for this research was conducted during the summer of 2012 in Austin, Texas. Primary methodology included participant observation, semi-structured interviews, and online ethnography. Additional research data was collected over the last five years through my own personal involvement with the crust punk music scene. The first section examines the ways in which crust punk as a genre both continues to evolve by avoiding and disavowing genre definitions and boundaries. The second section addresses my particular experiences with the Austin, Texas crust punk scene. I separate and examine the differences within the scene among and between differing levels of participation in various scene practices. These practices include the everyday practices necessary to maintain the music scene, as well as “anarchist” practices such as squatting, train hopping, transiency, and refusal to work. In the final section, I argue that in the crust punk scene dystopian performatives enable an apocalyptic and dystopic view of the world, building upon Jill Dolan’s theory of utopian performatives.