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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. -
Pulverizing New Album from Austr-Alien Deathcore
New Release Information uu Januar AVERSIONS CROWN Release Date Pre-Order Start Xenocide uu 20/01/2017 uu 25/11/2016 Price Code: CD04 uu CD Jewelcase available NE 3480-2 CD uu Watch out ads in all important music magazines DEC 2016 uu Advertising in many important music magazines JAN 2017 uu Album reviews, interviews in all important Metal magazines in Europe’s DEC/JAN 2017 issues uu Song placements in European magazine compilations uu Spotify playlists in all European territories Territory: World uu Retail marketing campaigns uu Facebook, YouTube, Twitter, Google+ organic promotion uu Facebook ads and promoted posts + Google ads in both the search uu Tracklist: and display networks, bing ads and g-mail ads (tbc) CD: uu Banner advertising on more than 60 of the most important Metal 01. Void & Rock websites all over Europe 02. Prismatic Abyss uu Additional booked ads on Metal Hammer Germany and UK, and in 03. The Soulless Acolyte 04. Hybridization the Fixion network (mainly Blabbermouth) 05. Erebus uu Video and pre-roll ads on YouTube 06. Ophiophagy uu Ad campaigns on iPhones for iTunes and Google Play for Androids 07. The Oracles Of Existence uu Banners, featured items at the shop, header images and a back- 08. Cynical Entity 09. Stillborn Existence ground on nuclearblast.de and nuclearblast.com 10. Cycles Of Haruspex uu Features and banners in newsletters, as well as special mailings 11. Misery to targeted audiences in support of the release 12. Odium PULVERIZING NEW ALBUM FROM AUSTR-ALIEN DEATHCORE CRUSHERS AVERSIONS CROWN Like a cataclysmic storm making landfall, the brand new album Xenocide from crushing Brisbane outfit Aversions Crown is here to destroy everything in its path. -
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). -
Elena Is Not What I Body and Remove Toxins
VISIT HTTP://SPARTANDAILY.COM VIDEO SPORTS Hi: 68o A WEEKEND SPARTANS HOLD STROLL Lo: 43o ALONG THE ON TO CLOSE WIN OVER DONS GUADALUPE Tuesday RIVER PAGE 10 February 3, 2015 Volume 144 • Issue 4 Serving San Jose State University since 1934 LOCAL NEWS Electronic duo amps up Philz Coff ee Disney opens doors for SJSU design team BY VANESSA GONGORA @_princessness_ Disney continues to make dreams come true for future designers. Four students from San Jose State University were chosen by Walt Disney Imagineering as one of the top six college teams of its 24th Imaginations Design Competition. The top six fi nal teams were awarded a fi ve-day, all-expense-paid trip to Glendale, Calif., from Jan. 26–30, where they presented their projects to Imag- ineering executives and took part in an awards cere- mony on Jan. 30. According to the press release from Walt Disney Imagineering, the competition was created and spon- sored by Walt Disney Imagineering with the purpose of seeking out and nurturing the next generation of diverse Imagineers. This year’s Imaginations Design Competition consisted of students from American universities and Samson So | Spartan Daily colleges taking what Disney does best today and ap- Gavin Neves, one-half of the San Jose electronic duo “Hexes” performs “Witchhunt” at Philz plying it to transportation within a well-known city. Coffee’s weekly open mic night on Monday, Feb. 2. Open mic nights take place every Monday at The team’s Disney transportation creation needed the coffee shop from 6:30 p.m. to 9:15 p.m. -
Exploring the Chinese Metal Scene in Contemporary Chinese Society (1996-2015)
"THE SCREAMING SUCCESSOR": EXPLORING THE CHINESE METAL SCENE IN CONTEMPORARY CHINESE SOCIETY (1996-2015) Yu Zheng 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 December 2016 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2016 Yu Zheng All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This research project explores the characteristics and the trajectory of metal development in China and examines how various factors have influenced the localization of this music scene. I examine three significant roles – musicians, audiences, and mediators, and focus on the interaction between the localized Chinese metal scene and metal globalization. This thesis project uses multiple methods, including textual analysis, observation, surveys, and in-depth interviews. In this thesis, I illustrate an image of the Chinese metal scene, present the characteristics and the development of metal musicians, fans, and mediators in China, discuss their contributions to scene’s construction, and analyze various internal and external factors that influence the localization of metal in China. After that, I argue that the development and the localization of the metal scene in China goes through three stages, the emerging stage (1988-1996), the underground stage (1997-2005), the indie stage (2006-present), with Chinese characteristics. And, this localized trajectory is influenced by the accessibility of metal resources, the rapid economic growth, urbanization, and the progress of modernization in China, and the overall development of cultural industry and international cultural communication. iv For Yisheng and our unborn baby! v ACKNOWLEDGMENTS First of all, I would like to show my deepest gratitude to my advisor, Dr. -
The Long History of Indigenous Rock, Metal, and Punk
UNIVERSITY OF CALIFORNIA Los Angeles Not All Killed by John Wayne: The Long History of Indigenous Rock, Metal, and Punk 1940s to the Present A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in American Indian Studies by Kristen Le Amber Martinez 2019 © Copyright by Kristen Le Amber Martinez 2019 ABSTRACT OF THESIS Not All Killed by John Wayne: Indigenous Rock ‘n’ Roll, Metal, and Punk History 1940s to the Present by Kristen Le Amber Martinez Master of Arts in American Indian Studies University of California Los Angeles, 2019 Professor Maylei Blackwell, Chair In looking at the contribution of Indigenous punk and hard rock bands, there has been a long history of punk that started in Northern Arizona, as well as a current diverse scene in the Southwest ranging from punk, ska, metal, doom, sludge, blues, and black metal. Diné, Apache, Hopi, Pueblo, Gila, Yaqui, and O’odham bands are currently creating vast punk and metal music scenes. In this thesis, I argue that Native punk is not just a cultural movement, but a form of survivance. Bands utilize punk and their stories as a conduit to counteract issues of victimhood as well as challenge imposed mechanisms of settler colonialism, racism, misogyny, homophobia, notions of being fixed in the past, as well as bringing awareness to genocide and missing and murdered Indigenous women. Through D.I.Y. and space making, bands are writing music which ii resonates with them, and are utilizing their own venues, promotions, zines, unique fashion, and lyrics to tell their stories. -
T of À1 Radio
ism JOEL L.R.PHELPS EVERCLEAR ,•• ,."., !, •• P1 NEW MUSIC REPORT M Q AND NOT U CIRCLE December 25, 2000 I www.cmj.com 138.0 ******* **** ** * *ALL FOR ADC 90198 24498 Frederick Gier KUOR -REDLANDS 5319 HONDA AVE APT G ATASCADERO, CA 93422-3428 ON BEING NO. 1, TOURING WITH U2 & WHY WILL OLDHAM AND RAYMOND CARVER KICK ASS tof à1 Radio HOW PERFORMANCE ROYALTIES WILL AFFECT COLLEGE RADIO WHAT IT'S DOING TO INDIE RETAIL INCLUDING THE BLAZING HIT SINGLE "OH NO" ALBUM IN STORES NOW EF •TARIM INEWELII KUM. G RAP at MOP«, DEAD PREZ PHARCIAHE MUNCH •GHOST FACE NOTORIOUS J11" MONEY PASTOR TROY Et MASTER HUM BIG NUMB e PRODIGY•COCOA BROVAZ HATE DOME t.Q-TIIP Et WORDS e!' le.‘111,-ZéRVIAIMPUIMTPIeliElrÓ Issue 696 • Vol 65 • No 2 Campus VVebcasting: thriving. But passion alone isn't enough 11 The Beginning Of The End? when facing the likes of Best Buy and Earlier this month, the U.S. Copyright Office other monster chains, whose predatory ruled that FCC-licensed radio stations tactics are pricing many mom-and-pops offering their programming online are not out of business. exempt from license fees, which could open the door for record companies looking to 12 PJ Harvey: Tales From collect millions of dollars from broadcasters. The Gypsy Heart Colleges may be among the hardest hit. As she prepares to hit the road in support of her sixth and perhaps best album to date, 10 Sticker Shock Polly Jean Harvey chats with CMJ about A passion for music has kept indie music being No. -
Band: Deep in Hate (F) Genre: Death Metal / Deathcore Label: Kaotoxin Records Albumtitle: Chronicles of Oblivion Duration: 34:49 Min Releasedate: 03.05.2014
Band: Deep In Hate (F) Genre: Death Metal / Deathcore Label: Kaotoxin Records Albumtitle: Chronicles Of Oblivion Duration: 34:49 Min Releasedate: 03.05.2014 As first access to a new LP, for which I will write a review, I prefer to give it a quick listen and not to get any information about the band before listening. Therefore no other reviews, nothing about changes within the style or changes of the setting - simply to get a pure feeling of the band. Mostly the first impression is oughly showing the direction, which gets most of the times confirmed during a closer look at the band respectively the album. My first thought about the French of Deep In Hate was that they sound like Aborted from Belgium. However, as short conclusion beforehand, more like a poor imitation of the Belgians. Whether to describe the music as Technical Death Metal, Slam Death Metal or Death Core should be decided on your own. I'm not that friend of such a stereotype thinking. But as this child should have a name, I call it simply modern Death Metal. Staccato-esque riffs, hoarse barking/screaming, from time to time even the infamous "Pig Squeals", tinkerly guitar solos which are sometimes quite melodic. The drums chugging mostly in mid tempo and from time to time some Grind Core thrashing. However, the salient point is that Deep In Hate cannot accomplish at any point to make a real good piece of music out of this parts. A colleague of mine Sereisa did ask herself by the review to "A Killer Anthem" from The Killerhertz: "What makes an album a good album? When does a cluster of tones become real music?" I don't know the answer otherwise I would be a musician in a band or I'd be sitting in a jury next to Dieter Bohlen. -
Metal for the Masses”: Or, Will Metal Ever Be Mainstream Again? (And Why We Should Want It to Be...)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ResearchSPace - Bath Spa University MODERN HEAVY METAL: MARKETS, PRACTICES AND CULTURES International Academic Conference 2015 “METAL FOR THE MASSES”: OR, WILL METAL EVER BE MAINSTREAM AGAIN? (AND WHY WE SHOULD WANT IT TO BE...) Andy R. Brown Bath Spa University, UK Abstract Exploring the model of scene-based innovation and scarcity that characterised the 90s extreme metal underground, as eloquently outlined by Keith Kahn- Harris, this paper seeks to evaluate the extent to which its model of “eclipsed” symbolic capital accumulation is the key not to its success but relative failure to achieve innovation, development and change in metal music. Debating Lena and Peterson’s AgSIT model of genre trajectories, this paper argues such change in metal music have always been tied to the formation and demise of music “mainstreams.” The problem from this perspective is that NWOBHM, doom, power (including symphonic), thrash, grindcore, death and black metal did not mainstream enough (with the exception of some notable bands) to allow the next cycle of musical innovation to commence. Introduction In a striking series of recent posts, published on-line in the net.magazine Sou- ciant (2013; 2014), Keith Kahn-Harris has reflected on the question of Metal After Metal. Recalling the searching intelligence of a younger Lawrence Gross- berg (1990) and his anxious ruminations on whether rock was dead, dying or “going somewhere else” – published over twenty years ago – Kahn-Harris ec- hoes a similar set of fears, not about the break-up of the music-audience rela- tions that sustained the Anglo-American “rock formation” but the scenic- relations that sustained the creative-economy of the extreme metal under- ground. -
Metal Madness: Heavy Music Coming to Your Town
Metal Madness: Heavy Music Coming to Your Town Welcome to Metal Madness my fellow Metalheads, covering all things metal, metalcore, deathcore and hardcore in the Providence area. I just want to take a moment to thank everyone who was at the Kingsmen show on October 8 (motifri.com/kingsmen). As someone who has been playing music for a long time, I wanted to speak to the growing argument that heavy music is dead. For a show on a Sunday with no major label band headlining, the turnout was great. The credit goes directly to the bands that played that night; Absence of Despair, Your Chance to Die and Kingsmen. Everyone who was there were there for the music, and all of it was heavy music. You could see the camaraderie between the bands and fans, and how welcoming they were to the one out-of-town band, Your Chance to Die. Absent were the attitudes “I’m going to see my friend’s band and leave.” There were no crossed arms and ugly faces, but a respect for all the musicians who were there (and if you ever get the chance to see two Norwegian women front a deathcore band, do not pass it up!). The music wasn’t dead or dying; if anything, it’s thriving. The more Providence bands do well, the better it is for our scene, the bands and heavy music. Now that I’m off my soapbox, on to what’s happening. Night of the Dead, Oct 21, 8pm, Fete Music Hall If you want to take a quick trip back to the early 2000s, Dope, Hed p.e. -
ABSTRACT Ecstatic Utterances Explained: a Companion to Ecstatic Utterances Jim Simmons, M.Div., M.M., M.M. Thesis Chairperson
ABSTRACT Ecstatic Utterances Explained: A Companion to Ecstatic Utterances Jim Simmons, M.Div., M.M., M.M. Thesis Chairperson: Scott McAllister, D.M.A. This paper provides technical and philosophical insight into the composition Ecstatic Utterances. Three distinguishing approaches feature in this thesis: strands, and their accompanying theory; harmonic crescendo and a limited aleatory passage. Of greatest importance amongst these three is the concept of a strand, and the possibilities obtaining therein; possibilities which have crystallized in the writer’s musical and verbal expression, providing methods for both composition and analysis. While these methods remain in need of development, important strides have already been taKen: a detailed analysis of portions of Ecstatic Utterances and a brief theoretical foundation titled “A Beginning to the Discussion of Strands as a Form of Musical Expression: A Conceptual Glossary.” Both documents were developed simultaneously in an attempt to be systematic. All worK is original unless otherwise cited. Ecstatic Utterances Explained: A Companion to Ecstatic Utterances by Jim Simmons, B.M.E., B.M., M.Div., M.M. A Thesis Approved by the School of Music ________________________________ William V. May, Jr., Ph.D., Dean _______________________________ Laurel E. Zeiss, Ph.D., Director of Graduate Studies Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Music Approved by the Thesis Committee _________________________________ Scott McAllister, D.M.A., Chairperson _________________________________ Timothy R. McKinney, Ph.D. _________________________________ Eric C. Lai, Ph.D. _________________________________ Joel A. Weaver, Ph.D. Accepted by the Graduate School December 2012 ___________________________ J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. -
Halfway Human Spielzeit: 48:21 VÖ: 30.03.2017
Band: Within The Ruins (USA) Genre: Progressive Metalcore Label: Long Branch Records Album: Halfway Human Spielzeit: 48:21 VÖ: 30.03.2017 Seit 2003 gibt es nun Within The Ruins und zu ihrem 14-jährigen Bestehen hauen sie uns ihren 4. Longplayer um die Ohren, und der ist richtig gut. "Halfway Human" heißt das gute Stück und beweist eines - dass sie sich weiterentwickelt haben. Das fiel mir sofort auf, als ich mir die anderen drei Alben angehört habe, um mir ein richtiges Bild von der Band zu verschaffen. Schon zu Anfang war klar, was sie für einen Stil angeschlagen werden - thrashig, zum Teil melodisch, geprägt von Sänger Tims Goergen's Shouts und einem extrem schnellen Schlagzeug. Aber wo geht die Reise jetzt hin? "Shape Shifter" ist der knallharte Opener und haut gut rein. Ich war beim ersten Hören schon begeistert und ich wurde nicht enttäuscht. Er schlägt ein wie eine Bombe und macht Lust auf mehr. Im weiteren Hörverlauf wurde ich plötzlich aufmerksamer, als ein etwas ruhigerer Song und dann zu aller Überraschung ein komplett instrumentaler Song mir entgegenschallten. Und genau hier stellt man fest, wie breit das Spektrum der Band ist. Sie haben sich bemüht, noch melodischer zu werden und haben viel Zeit in Gitarrensoli investiert, welche echt was her machen. Shouts sind das, was die Band auszeichnen, und Sänger Tim macht da einen richtig guten Job. Aber es gibt nun mit dieser Scheibe nicht mehr das reine Shouten, sondern es gibt Cleangesang im Hintergrund, z.B. bei "Beautiful Agony". Leider kann ich nicht sagen, ob es sich hier um Tim's Stimme handelt.