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O Porquê Da Existência De Festivais Punk Na Europa
Paulo Bettencourt Lemos A INDUSTRIALIZAÇÃO DO MOVIMENTO PUNK Relatório de estágio em Comunicação e Jornalismo, orientado pelo Doutor Carlos Camponez, apresentado ao Departamento de Informação, Comunicação e Filosofia da Faculdade de Letras da Universidade de Coimbra Julho de 2014 1 Faculdade de Letras A INDUSTRIALIZAÇÃO DO MOVIMENTO PUNK Ficha Técnica: Tipo de trabalho Relatório de estágio Título A INDUSTRIALIZAÇÃO DO MOVIMENTO PUNK Autor Paulo Bettencourt Lemos Orientador Doutor Carlos Camponez Júri Presidente: Vogais: 1. 2. Identificação do Curso 2º Ciclo em Comunicação e Jornalismo Data da defesa Classificação 2 Resumo Embora o Punk tenha surgido em finais da década de 70 como uma contra-cultura revolucionária que se opôs aos valores sociais vigentes da sociedade inglesa, rapidamente a indústria absorveu este movimento social. A atual aceitação social da prévia rebeldia Punk deu-se através da sua comercialização, onde foi possível ao mainstream suavizar os seus aspetos mais agressivos popularizando assim agrupamentos musicais do género. A vulgarização do Punk ocorreu deste modo através da incorporação comercial da sua música e estética. Neste relatório de estágio reflete-se sobre o papel e a influência da indústria no Punk. Através de uma análise ao festival Mighty Sounds, compreenderemos como a comercialização desta tribo urbana tornou este fenómeno facilmente reconhecido a nível mundial e qual o impacto da indústria nos movimentos do underground, desconhecidos pelo grande público, e que se encontram fora dos mediatismos comerciais e noticiosos. Palavras-chave: Mighty Sounds, Punk, Música, Festivais de Verão, República Checa, Praga 3 Abstract Although Punk has emerged in the late 70s as a revolutionary counter-culture that opposed the prevailing social values of English society, the industry quickly absorbed this social movement. -
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. -
Razorcake Issue #82 As A
RIP THIS PAGE OUT WHO WE ARE... Razorcake exists because of you. Whether you contributed If you wish to donate through the mail, any content that was printed in this issue, placed an ad, or are a reader: without your involvement, this magazine would not exist. We are a please rip this page out and send it to: community that defi es geographical boundaries or easy answers. Much Razorcake/Gorsky Press, Inc. of what you will fi nd here is open to interpretation, and that’s how we PO Box 42129 like it. Los Angeles, CA 90042 In mainstream culture the bottom line is profi t. In DIY punk the NAME: bottom line is a personal decision. We operate in an economy of favors amongst ethical, life-long enthusiasts. And we’re fucking serious about it. Profi tless and proud. ADDRESS: Th ere’s nothing more laughable than the general public’s perception of punk. Endlessly misrepresented and misunderstood. Exploited and patronized. Let the squares worry about “fi tting in.” We know who we are. Within these pages you’ll fi nd unwavering beliefs rooted in a EMAIL: culture that values growth and exploration over tired predictability. Th ere is a rumbling dissonance reverberating within the inner DONATION walls of our collective skull. Th ank you for contributing to it. AMOUNT: Razorcake/Gorsky Press, Inc., a California not-for-profit corporation, is registered as a charitable organization with the State of California’s COMPUTER STUFF: Secretary of State, and has been granted official tax exempt status (section 501(c)(3) of the Internal Revenue Code) from the United razorcake.org/donate States IRS. -
Anal Cunt • Deceased • Executioner Fistula • Panzerbastard • Psycho Rampant Decay/Kruds • Rawhide Revilers • Slimy Cunt & the Fistfucks Strong Intention
PRESENTS RELEASES FROM: ANAL CUNT • DECEASED • EXECUTIONER FISTULA • PANZERBASTARD • PSYCHO RAMPANT DECAY/KRUDS • RAWHIDE REVILERS • SLIMY CUNT & THE FISTFUCKS STRONG INTENTION Now Exclusively Distributed by ANAL CUNT Street Date: Fuckin’ A, CD AVAILABLE NOW! INFORMATION: Artist Hometown: Boston, MA Key Markets: Boston, New York, Los Angeles, Portland OR For Fans of: GG ALLIN, NAPALM DEATH, VENOM, AGORAPHOBIC NOSEBLEED Fans of strippers, hard drugs, punk rock production and cock rock douchebaggery, rejoice: The one and only ANAL CUNT have returned with a new album, and this time around, they’re shooting to thrill –instead of just horrifically maim. They’re here to f*** your girlfriend, steal your drugs, piss in your whiskey, and above all, ROCK! (The late) Seth Putnam channels Sunset Strip scumbags like MOTLEY ARTIST: ANAL CUNT CRUE and TWISTED SISTER to bring you a rock’n’roll nightmare fueled TITLE: Fuckin’ A by their preferred cocktail of sex, violence, and unbridled disgust. From LABEL: PATAC ripping off theCRUE’s cover art to the massive hard rock riffs of “Hot Girls CAT#: PATAC-011 on the Road,” “Crankin’ My Band’s Demo on a Box at the Beach,” and “F*** FORMAT: CD YEAH!” and tender ballad “I Wish My Dealer Was Open,” Fuckin’ A is an GENRE: Metal instant scuzz rock classic. BOX LOT: 30 SRLP: $10.98 UPC: 628586220218 EXPORT: NO SALES TO THE UK Marketing Points: • 1ST PRESS LIMITED TO 1000 COPIES. Currently on its third pressing! • Final album before the passing of ANAL CUNT frontman Seth Putnam Tracklist: • Print ads in Maximumrocknroll, Decibel, Short Fast & Loud and Chips & Beer 1. -
Piercings and Passports Exploring the Social Mobility of Adelaide’S Metalcore ‘Scene Kids’
Piercings and passports Exploring the social mobility of Adelaide’s metalcore ‘scene kids’ As young people continue to confront transition issues such as school-to-work pathways, they are concomitantly developing their own social and cultural priorities and responding to them in new and innovative ways. This process warrants a greater focus on young people’s identity work as they navigate their transitions through increasingly fluid social and cultural environments. Drawing on her current PhD research, Paula Rowe focuses attention on Adelaide’s ‘scene kids’, a community of interest based on a subgenre of heavy metal music. She utlises Bauman’s (2000) liquid modernity thesis to parallel the social dynamics of ‘liquid’ metal subgenres with those of the ‘liquid’ modern world. Exploring the social processes of scene kids highlights ways in which socioeconomic circumstances can affect young people’s level of engagement with lifestyle options. This in turn raises questions as to how “scene kid identities” might impact on other life pursuits and social transitions. by Paula Rowe outh transitions have dominated the youth research agenda for several decades, with a continuing focus on structural processes and institutional arrangements that Y shape and constrain young people’s holistic development, particularly in geographic locations characterised by conditions of social and economic disadvantage (Heath et al. 2009). More recently, there has been increasing interest in the ways in which young people’s identity work intersects and influences various social transitions within school, domestic and broader social contexts, and vice versa (Stokes & Wyn 2009). Despite the known social, economic and psychological constraints of marginalisation, young people still manage to find a space in which to express their identity and live a “life of one’s own”, yet not enough is known about the ways in which young people use cultural affiliations and lifestyle choices to express their identity and demonstrate personal agency in their social worlds (Miles 2000; Shildrick 2006). -
Interview from Guitar World Magazine ROB ARNOLD of Chimaira.Docx
Interview from Guitar World Magazine: ROB ARNOLD of Chimaira GW: What inspired you to play guitar? RA: A buddy of mine had just gotten an electric guitar and an amp. I was super stoked about how good it could sound with a little distortion and a whammy bar. Then I started seeing some of my idols and the things they were doing with a guitar on MTV, and I was immediately hooked. I told my mom that I needed a guitar. Sadly, but not unfortunately, she got me an acoustic. GW: What was your first guitar? RA: After the Acoustic, my first "real" guitar was a neon-yellow Ibanez. It came with a little Peavey combo for about 400 hundred bucks. My dad thought I was crazy; he was pushing me toward a more mildly colored sunburst Fender, but I wasn't havin' it. A flashy guitar hero movement was underway, and a flashy looking guitar seemed the way to become a part of it. GW: What was the first song you learned? RA: It was either Metallica's " To Live or To Die" or Megadeath's "Symphony of Destruction." Both Songs have monster riffs that greatly appealed to my young ears. GW: Do you remember your first gig? RA: I was about Fifteen years old, and my band at the time scored a gig at a "musicians night" show. We were told to arrive with our gear; all of the other bands would play on our equipment, and we'd close the show. When about five or six hundred people showed up, we gave ourselves a pat on the back, thinking it was due to all the flyering and promoting we'd done for the show. -
Press Layout
2 News Vol. XXX, Issue 15 | Wednesday, July 15, 2009 A Dumb American Tells You Things About Those Italians start on green and switch to yellow after approxi - They’ll tag just about anything. Trains, walls, bill - mately .003 seconds and then to red after another boards, orifices... By Ross Barkan .0002 seconds. In the meantime, good luck crossing In Rome, they charge for bread and water at many while tiny but angry fuel-efficient cars (Italianos eating establishments. When you ask the waiter to Italia, Italia, how shall I sing of you? It’s been nary looove those Smart cars) growl in the crossing lane bring the check (ci porta il conto, per fervore) expect a week since I touched down on your shores and I’ve and one of the nearly two thousand motorcycles a six hour wait. Everybody’s chill over here. You’ll also already accumulated so much joy (and detritus) from shooting down the street at any given second run the learn that soda comes in weird skinny cans and Ital - your balmy, beer-soaked touch. It’s good to be young light and do their best to swerve around your nose ians lust for Fanta. and in the bosom of capitalistic intrigue. hair. Nice cars, those Italians have. I just pray le mac - Do not give anyone the thumbs up sign. This is Let’s start with an anecdote. My art history class is chine don’t send me to the morgue. extremely important. About the worst thing you can touring the ruins of the Roman forum, once a gather - If you are an attractive female and want to vaca - do in Italy (or the best if you crave a quick and painful ing place where the ancients swapped knowledge, re - tion in Rome, be prepared to be oggled and groped by death) is to run across an intersection and give the ligion, and precious goods. -
Kruiswoordraadsels En Puzzels. Grotesk Bij Hugo Claus En Günter Grass"
"Kruiswoordraadsels en puzzels. Grotesk bij Hugo Claus en Günter Grass" Vanasten, Stéphanie Abstract La présente thèse de doctorat en littérature comparée est la mise en regard de deux romans au long cours d'écrivains majeurs du XXe siècle - à savoir « Het verdriet van België » (1983) de Hugo Claus et « Ein weites Feld » (1995) de Günter Grass - à travers la question fondamentalement dialogique du grotesque. La première partie de cette étude pointe l'indéniable pertinence d'une pierre angulaire aussi scabreuse et complexe que le grotesque: elle invite dès lors à un travail d'interrogation et de conceptualisation autour du grotesque, enjeu esthético-littéraire et théorique de cette recherche. Il fallut d'abord élaborer une méthode de travail comparé dissymétrique : pour épingler le grotesque, il s'agissait d'une part de respecter les apories d'un "concept" dont les chercheurs ont unanimement montré combien il résiste à la conceptualisation et fuit une pensée définitoire et stabilisante ; d'autre part, il s'agissait de donner à la fois à lire conjoi... Document type : Thèse (Dissertation) Référence bibliographique Vanasten, Stéphanie. Kruiswoordraadsels en puzzels. Grotesk bij Hugo Claus en Günter Grass. Prom. : Leonardy, Ernst ; Vanderlinden, Sonja Available at: http://hdl.handle.net/2078.1/149827 [Downloaded 2019/04/19 at 10:37:22 ] />, Université catholique de Louvain Xr~w Kruiswoordraadsels en puzzels Grotesk bij Hugo Claus en Günter Grass Kreuzwortratsel und Puzzles Groteskes bei Hugo Claus und Günter Grass Dissertation doctorale présentée par Stéphanie VANASTEN en vue de l'obtention du grade de Docteur en Philosophie et Lettres (Langues et Littératures Germaniques) Année academique 2004-2005 Stéphanie Vanasten Kruiswoordraadsels en puzzels Grotesk bij Hugo Claus en Günter Grass Kreuzwortratsel und Puzzles Groteskes bei Hugo Claus und Günter Grass «j'ai tout retenu et je ne connais rien: car tout ne se trouve pas dans les livres ni dans les cranes grotesques des hommes ! » (Michel de Ghelderode, La mort du docteur Faust, th. -
KMFDM Kunst Mp3, Flac, Wma
KMFDM Kunst mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Rock Album: Kunst Country: Germany Released: 2013 Style: Alternative Rock, Industrial MP3 version RAR size: 1180 mb FLAC version RAR size: 1853 mb WMA version RAR size: 1600 mb Rating: 4.8 Votes: 808 Other Formats: AA AIFF MPC WAV AHX MIDI FLAC Tracklist Hide Credits 1 Kunst 5:01 2 Ave Maria 5:06 3 Quake 4:05 4 Hello 4:24 5 Next Big Thing 4:41 6 Pussy Riot 4:10 7 Pseudocide 3:36 8 Animal Out 5:06 The Mess You Made Feat. Morlocks 9 6:05 Featuring – Morlocks 10 I ♥ Not 4:32 Companies, etc. Licensed From – Metropolis Records – MET 851 Barcode and Other Identifiers Barcode: 4 042564 135480 Label Code: LC 10270 Other versions Category Artist Title (Format) Label Category Country Year MET851D KMFDM Kunst (10xFile, MP3, Album, 320) Metropolis MET851D US 2013 MET851 KMFDM Kunst (LP, Album, Ltd) Metropolis MET851 US 2013 MET851 KMFDM Kunst (CD, Album) Metropolis MET851 US 2013 MET851D KMFDM Kunst (10xFile, FLAC, Album) Metropolis MET851D US 2013 MET 851D KMFDM Kunst (10xFile, ALAC, Album) Metropolis MET 851D US 2013 Comments about Kunst - KMFDM Malann I changed my previous review. Favorites songs are Kunst, Quake, and Next Big Thing. The_NiGGa wtf?! you better listen to Kunst once or twice again a bit more concentrated. KMFDM doesn't deserves a rezension of someone listening to it only once and then keep thinking he understood everything! Kunst has the typical kmfdm trademarks. Jules guitars sounds much more improved than before (if you like to hear Günter Schulz you should listen to slick idiot). -
Complete Band and Panel Listings Inside!
THE STROKES FOUR TET NEW MUSIC REPORT ESSENTIAL October 15, 2001 www.cmj.com DILATED PEOPLES LE TIGRE CMJ MUSIC MARATHON ’01 OFFICIALGUIDE FEATURING PERFORMANCES BY: Bis•Clem Snide•Clinic•Firewater•Girls Against Boys•Jonathan Richman•Karl Denson•Karsh Kale•L.A. Symphony•Laura Cantrell•Mink Lungs• Murder City Devils•Peaches•Rustic Overtones•X-ecutioners and hundreds more! GUEST SPEAKER: Billy Martin (Medeski Martin And Wood) COMPLETE D PANEL PANELISTS INCLUDE: BAND AN Lee Ranaldo/Sonic Youth•Gigi•DJ EvilDee/Beatminerz• GS INSIDE! DJ Zeph•Rebecca Rankin/VH-1•Scott Hardkiss/God Within LISTIN ININ STORESSTORES TUESDAY,TUESDAY, SEPTEMBERSEPTEMBER 4.4. SYSTEM OF A DOWN AND SLIPKNOT CO-HEADLINING “THE PLEDGE OF ALLEGIANCE TOUR” BEGINNING SEPTEMBER 14, 2001 SEE WEBSITE FOR DETAILS CONTACT: STEVE THEO COLUMBIA RECORDS 212-833-7329 [email protected] PRODUCED BY RICK RUBIN AND DARON MALAKIAN CO-PRODUCED BY SERJ TANKIAN MANAGEMENT: VELVET HAMMER MANAGEMENT, DAVID BENVENISTE "COLUMBIA" AND W REG. U.S. PAT. & TM. OFF. MARCA REGISTRADA./Ꭿ 2001 SONY MUSIC ENTERTAINMENT INC./ Ꭿ 2001 THE AMERICAN RECORDING COMPANY, LLC. WWW.SYSTEMOFADOWN.COM 10/15/2001 Issue 735 • Vol 69 • No 5 CMJ MUSIC MARATHON 2001 39 Festival Guide Thousands of music professionals, artists and fans converge on New York City every year for CMJ Music Marathon to celebrate today's music and chart its future. In addition to keynote speaker Billy Martin and an exhibition area with a live performance stage, the event features dozens of panels covering topics affecting all corners of the music industry. Here’s our complete guide to all the convention’s featured events, including College Day, listings of panels by 24 topic, day and nighttime performances, guest speakers, exhibitors, Filmfest screenings, hotel and subway maps, venue listings, band descriptions — everything you need to make the most of your time in the Big Apple. -
Music 5364 Songs, 12.6 Days, 21.90 GB
Music 5364 songs, 12.6 days, 21.90 GB Name Album Artist Miseria Cantare- The Beginning Sing The Sorrow A.F.I. The Leaving Song Pt. 2 Sing The Sorrow A.F.I. Bleed Black Sing The Sorrow A.F.I. Silver and Cold Sing The Sorrow A.F.I. Dancing Through Sunday Sing The Sorrow A.F.I. Girl's Not Grey Sing The Sorrow A.F.I. Death of Seasons Sing The Sorrow A.F.I. The Great Disappointment Sing The Sorrow A.F.I. Paper Airplanes (Makeshift Wings) Sing The Sorrow A.F.I. This Celluloid Dream Sing The Sorrow A.F.I. The Leaving Song Sing The Sorrow A.F.I. But Home is Nowhere Sing The Sorrow A.F.I. Hurricane Of Pain Unknown A.L.F. The Weakness Of The Inn Unknown A.L.F. I In The Shadow Of A Thousa… Abigail Williams The World Beyond In The Shadow Of A Thousa… Abigail Williams Acolytes In The Shadow Of A Thousa… Abigail Williams A Thousand Suns In The Shadow Of A Thousa… Abigail Williams Into The Ashes In The Shadow Of A Thousa… Abigail Williams Smoke and Mirrors In The Shadow Of A Thousa… Abigail Williams A Semblance Of Life In The Shadow Of A Thousa… Abigail Williams Empyrean:Into The Cold Wastes In The Shadow Of A Thousa… Abigail Williams Floods In The Shadow Of A Thousa… Abigail Williams The Departure In The Shadow Of A Thousa… Abigail Williams From A Buried Heart Legend Abigail Williams Like Carrion Birds Legend Abigail Williams The Conqueror Wyrm Legend Abigail Williams Watchtower Legend Abigail Williams Procession Of The Aeons Legend Abigail Williams Evolution Of The Elohim Unknown Abigail Williams Forced Ingestion Of Binding Chemicals Unknown Abigail -
04.7)/Charlotte - Which Van Stone
ISSUE NUMBER 957 THE INDUSTRY'S NEWSPAPER Limbaugh In Stratosphere INSIDE: 21st Century Rush? EFM Me- Chairman Ed McLaughlin be- dia has renegotiated its deal lieves the deal ever_tually po- ADAMS FACING with Talk phenom Rush Lim - sitions the Rusher to earn more baugh, and while specifics of than Infinity's multimillion- RECEIVERSHIP? the new contract weren't re- dollar man Howard Stern. Adds vealed, both sides say the pact Limbaugh: "This show has Charging Radio Group Corp. - will keep Limbaugh in place for become the biggest thing in formerly Adams Radio Corp. - most of this decade. radio in a long, long time, and As for financial details, Lim- this contract reflects that." with "gross mismanagement," baugh will only say that his The "Rush Limbaugh Show" bankers are demanding several compensation consists entirely is currently heard m 500 sta- of a share of the show's profits tions, with a weekly cume of of the group's stations be placed - he draws no salary. EFM 12.8 million. into receivership. Page 4 THE TRUTH ABOUT DIARYKEEPERS Bush Signs Indecency Bill left unaffected by action Rob Balon reveals the facts Morning drive about people who keep Arbitron As expected, President George Bush last week signed diaries: legislation that would limit in- Repercussions They can't be manipulated decent radio and television broadcasts to the hours of mid- Harbor open from They can't be BS'd night to 6am. midnight -6am They're not more "radio - The FCC currently recog- Court reversal (l -r) EFM VP/Partner Stu Krane, EFM Chairman Ed McLaughlin, literate" than others nizes an 8pm -6am "safe har- Rush Limbaugh, and EFM President John Axten.