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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. -
2006 TRASH Regionals Round 07 Tossups
2006 TRASH Regionals Round 07 Tossups 1. It appears twice in the e.e. cummings poem “little ladies more”. It also appears in the Tennessee Williams play A Streetcar Named Desire when Blanche DuBois asks it of Mitch. Seemingly awkward because of its use of the formal pronoun, it means, “Do you want to sleep with me (tonight)?” For ten points, give this phrase re-introduced to a new generation by Mya, Lil’ Kim, Pink, and Christina Aguilera in their 2001 version of “Lady Marmalade”. Answer: Voulez-vous coucher avec moi (ce soir)? 2. In Need for Speed: Most Wanted it’s called “Speed Breaker”, and is most often used to dodge roadblocks. In GUN, it’s called “Quick Draw.” The earliest example of it is probably in the 1980 Epyx game Rescue at Rigel. In Star Wars: Jedi Academy, you can get it using “Force Speed,” by killing Reborn Jedis, or typing the cheat code “there is no spoon.” For ten points, give the common name for the ability in video games to move at normal speed while the rest of the game is slowed down, most famously used in the Max Payne and, predictably, Matrix videogames. Answer: bullet time (Prompt on “slow motion” or equivalents. Note for itinerant cheaters: the cheat code is really “thereisnospoon”) 3. His favorite movie may be Divine Secrets of the Ya-Ya Sisterhood, while he cried a lot when he paid to see Godfather III. His first name may be Marion, but his full name has also been reported to be William Williams. -
Bad Rhetoric: Towards a Punk Rock Pedagogy Michael Utley Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 8-2012 Bad Rhetoric: Towards A Punk Rock Pedagogy Michael Utley Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Rhetoric and Composition Commons Recommended Citation Utley, Michael, "Bad Rhetoric: Towards A Punk Rock Pedagogy" (2012). All Theses. 1465. https://tigerprints.clemson.edu/all_theses/1465 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. BAD RHETORIC: TOWARDS A PUNK ROCK PEDAGOGY A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts Professional Communication by Michael M. Utley August 2012 Accepted by: Dr. Jan Rune Holmevik, Committee Chair Dr. Cynthia Haynes Dr. Scot Barnett TABLE OF CONTENTS Page Introduction ..........................................................................................................................4 Theory ................................................................................................................................32 The Bad Brains: Rhetoric, Rage & Rastafarianism in Early 1980s Hardcore Punk ..........67 Rise Above: Black Flag and the Foundation of Punk Rock’s DIY Ethos .........................93 Conclusion .......................................................................................................................109 -
Song List 2012
SONG LIST 2012 www.ultimamusic.com.au [email protected] (03) 9942 8391 / 1800 985 892 Ultima Music SONG LIST Contents Genre | Page 2012…………3-7 2011…………8-15 2010…………16-25 2000’s…………26-94 1990’s…………95-114 1980’s…………115-132 1970’s…………133-149 1960’s…………150-160 1950’s…………161-163 House, Dance & Electro…………164-172 Background Music…………173 2 Ultima Music Song List – 2012 Artist Title 360 ft. Gossling Boys Like You □ Adele Rolling In The Deep (Avicii Remix) □ Adele Rolling In The Deep (Dan Clare Club Mix) □ Afrojack Lionheart (Delicious Layzas Moombahton) □ Akon Angel □ Alyssa Reid ft. Jump Smokers Alone Again □ Avicii Levels (Skrillex Remix) □ Azealia Banks 212 □ Bassnectar Timestretch □ Beatgrinder feat. Udachi & Short Stories Stumble □ Benny Benassi & Pitbull ft. Alex Saidac Put It On Me (Original mix) □ Big Chocolate American Head □ Big Chocolate B--ches On My Money □ Big Chocolate Eye This Way (Electro) □ Big Chocolate Next Level Sh-- □ Big Chocolate Praise 2011 □ Big Chocolate Stuck Up F--k Up □ Big Chocolate This Is Friday □ Big Sean ft. Nicki Minaj Dance Ass (Remix) □ Bob Sinclair ft. Pitbull, Dragonfly & Fatman Scoop Rock the Boat □ Bruno Mars Count On Me □ Bruno Mars Our First Time □ Bruno Mars ft. Cee Lo Green & B.O.B The Other Side □ Bruno Mars Turn Around □ Calvin Harris ft. Ne-Yo Let's Go □ Carly Rae Jepsen Call Me Maybe □ Chasing Shadows Ill □ Chris Brown Turn Up The Music □ Clinton Sparks Sucks To Be You (Disco Fries Remix Dirty) □ Cody Simpson ft. Flo Rida iYiYi □ Cover Drive Twilight □ Datsik & Kill The Noise Lightspeed □ Datsik Feat. -
A Survey of Christian Cross-Over Songwriting Core Principles and Potential for Impact
CHRISTIAN CROSS-OVER SONGWRITING 1 A Survey of Christian Cross-Over Songwriting Core Principles and Potential for Impact Paul Malhotra A Senior Thesis submitted in partial fulfillment of the requirements for graduation in the Honors Program Liberty University Spring 2013 CHRISTIAN CROSS-OVER SONGWRITING 2 Acceptance of Senior Honors Thesis This Senior Honors Thesis is accepted in partial fulfillment of the requirements for graduation from the Honors Program of Liberty University. ______________________________ John D. Kinchen III, D.M.A. Thesis Chair ______________________________ Michael Babcock, Ph.D. Committee Member ______________________________ Mr. Don Marsh, M.S. Committee Member ______________________________ Marilyn Gadomski, Ph.D. Assistant Honors Director ______________________________ Date CHRISTIAN CROSS-OVER SONGWRITING 3 Abstract A cross-over song has been defined as a song written by a Christian artist aimed at a mainstream audience. An understanding of the core principles of cross-over songs and their relevance in contemporary culture is essential for Christian songwriters. Six albums marked by spiritual overtones or undertones, representing a broad spectrum of contemporary cross-over music, were examined. Selected songs were critiqued by analyzing the album of origin, lyrical content, author’s expressed worldview, and level of commercial success. Renaissance art also provided a historical parallel to modern day songwriting. Recommendations were developed for Christian songwriters to craft songs with greater effectiveness to impact the culture while adhering to a biblical worldview. CHRISTIAN CROSS-OVER SONGWRITING 4 A Survey of Christian Cross-Over Songwriting An exploration of Christian cross-over music can provide an objective framework for evaluating songs and developing guidelines for Christian songwriters so they can enhance their effectiveness in communicating with their audiences. -
Cows and Beer” Ep on Beer City Skateboards and Records
TO RELEASE REMASTERED VINYL VERSION OF LEGENDARY “COWS AND BEER” EP ON BEER CITY SKATEBOARDS AND RECORDS DIE KREUZEN TO RELEASE REMASTERED VINYL VERSION OF LEGENDARY “COWS AND BEER” EP ON BEER CITY SKATEBOARDS AND RECORDS REISSUE TO FEATURE VASTLY IMPROVED SOUND QUALITY, COLORED VINYL AND LIMITED 12" FORMAT VERSIONS. MILWAUKEE, WI - DIE KREUZEN announces the forthcoming official reissue of its historic, seminal Cows and Beer 7" EP in a special remastered edition. released by Milwaukee's BEER CITY SKATEBOARDS AND RECORDS, this deluxe Cows and Beer format will feature much improved sound quality and will be pressed on four different colors of vinyl. In addition, a special limited - edition 12" will be available that will exclusively offer the richest, most dynamic playback of this landmark hardcore classic yet. Both editions will be released April 19th 2014, to coincide with Record Store Day 2014. "We are doing this because we want to squash the bootleggers," DIE KREUZEN singer Dan Kubinski explained. "For years they have been putting out inferior-quality bullshit and ripping off our fans. We want to give our fans a very clean, crisp, loud-and-heavy version of Cows and Beer. Billy Cicerelli from WMSE did the remastering -and man, did he do an awesome job! His new version blows the doors and windows off of any other, including the original Version Sound release" DIE KREUZEN also acknowledges that these newly remastered editions of Cows and Beer will feature the original lyrics and liner notes, augmented with new liner notes and photos contemporary to the era/ " Because the mastering sounds so sweet, we will release a 12" version which will include a DIE KREUZEN comic book inked by the great Brian Walsby," Kubinski continues. -
Information and Secrecy in the Chicago DIY Punk Music Scene Kaitlin Beer University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations December 2016 "It's My Job to Keep Punk Rock Elite": Information and Secrecy in the Chicago DIY Punk Music Scene Kaitlin Beer University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Social and Cultural Anthropology Commons Recommended Citation Beer, Kaitlin, ""It's My Job to Keep Punk Rock Elite": Information and Secrecy in the Chicago DIY Punk Music Scene" (2016). Theses and Dissertations. 1349. https://dc.uwm.edu/etd/1349 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. “IT’S MY JOB TO KEEP PUNK ROCK ELITE”: INFORMATION AND SECRECY IN THE CHICAGO DIY PUNK MUSIC SCENE by Kaitlin Beer A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in Anthropology at The University of Wisconsin-Milwaukee December 2016 ABSTRACT “IT’S MY JOB TO KEEP PUNK ROCK ELITE”: INFORMATION AND SECRECY IN THE CHICAGO DIY PUNK MUSIC SCENE by Kaitlin Beer The University of Wisconsin—Milwaukee, 2016 Under the Supervision of Professor W. Warner Wood This thesis examines how the DIY punk scene in Chicago has utilized secretive information dissemination practices to manage boundaries between itself and mainstream society. Research for this thesis started in 2013, following the North Atlantic Treaty Organization’s meeting in Chicago. This event caused a crisis within the Chicago DIY punk scene that primarily relied on residential spaces, from third story apartments to dirt-floored basements, as venues. -
Listesommer2010.Pdf
Kink Records Tel.: 06221/729646 Alstater Str. 33 Stand: Sommer 2010 http://www.kink-records.de 69124 Heidelberg [email protected] Wie immer wurde die Mailorderliste wieder ein paar Wochen später fertiggestellt, als ich eigentlich geplant hatte, aber passend zu den sommerlichen Temperaturen der letzten beiden Wochen gibts jetzt endlich den Katalog für Sommer 2010. Mittlerweile sind die beiden, in der letzten Liste angekündigten, neuen Kink Records Releases erschienen und ihr könnte die Years of Decay / Sand Creek Massacre – Split LP und die Hellborn Messiah / Post War Depression – Split LP hier erwerben. Für den weiteren Verlauf des Jahres sind noch einige weitere Veröffentlichungen geplant - als nächstes wird wohl die Tape-Version des Demos von Life Ends (http://www.myspace.com/lifeendsgrindcore) erscheinen. Weiterhin geplant ist die Debüt 7" von The Rätz (http://www.myspace.com/1234theratz) zusammen mit That Lux Good Records und die Debüt 7" von SLUMP (http://www.myspace.com/slumpgrind) zusammen mit Vulgar Records. Vom SLUMP Demo-Tape habe ich noch ein paar wenige Exemplare hier, ebenso von der Lipkick 7". Um das alles realisieren zu können, hoffe ich auf eure Bestellungen ... Und zum Schluss noch meine persönlichen Favoriten von den neuen Platten in der Liste : All Aboard! 7", Atentado 7", Bernays Propaganda LP, Cold Death Demo Tape, Disco Vietnam – Dong Xuan 7", Dramamine LP, The Estranged LP, Government Flu 7", Government Warning – Executed 7", Herpes LP + 7", Hex Dispensers – Winchester Mystery House LP, Killerlady 7", Knuste Ruter LP + 7", Nails 7", Red Dons LP, Something Fierce 7", Vengeance 7" und natürlich die neue Ausgabe vom Short, Fast & Loud Fanzine inkl. -
Krist Novoselic
OVERNMENT G & E GRUNG KRIST NOVOSELIC THE ORAL HISTORY OF A WASHINGTON ROCKER WITH A CIVIC MISSION LEGACY PROJECT History through the people who lived it Krist Novoselic Research by John Hughes and Lori Larson Transcripti on by Lori Larson Interviews by John Hughes October 14, 2008 John Hughes: This is October 14, 2008. I’m John Hughes, Chief Oral Historian for the Washington State Legacy Project, with the Offi ce of the Secretary of State. We’re in Deep River, Wash., at the home of Krist Novoselic, a 1984 graduate of Aberdeen High School; a founding member of the band Nirvana with his good friend Kurt Cobain; politi cal acti vist, chairman of the Wahkiakum County Democrati c Party, author, fi lmmaker, photographer, blogger, part-ti me radio host, While doing reseach at the State Archives in 2005, Novoselic volunteer disc jockey, worthy master of the Grays points to Grays River in Wahkiakum County, where he lives. Courtesy Washington State Archives River Grange, gentleman farmer, private pilot, former commercial painter, ex-fast food worker, proud son of Croati a, and an amateur Volkswagen mechanic. Does that prett y well cover it, Krist? Novoselic: And chairman of FairVote to change our democracy. Hughes: You know if you ever decide to run for politi cal offi ce, your life is prett y much an open book. And half of it’s on YouTube, like when you tried for the Guinness Book of World Records bass toss on stage with Nirvana and it hits you on the head, and then Kurt (Cobain) kicked you in the butt . -
Newslist Drone Records 31. January 2009
DR-90: NOISE DREAMS MACHINA - IN / OUT (Spain; great electro- acoustic drones of high complexity ) DR-91: MOLJEBKA PVLSE - lvde dings (Sweden; mesmerizing magneto-drones from Swedens drone-star, so dense and impervious) DR-92: XABEC - Feuerstern (Germany; long planned, finally out: two wonderful new tracks by the prolific german artist, comes in cardboard-box with golden print / lettering!) DR-93: OVRO - Horizontal / Vertical (Finland; intense subconscious landscapes & surrealistic schizophrenia-drones by this female Finnish artist, the "wondergirl" of Finnish exp. music) DR-94: ARTEFACTUM - Sub Rosa (Poland; alchemistic beauty- drones, a record fill with sonic magic) DR-95: INFANT CYCLE - Secret Hidden Message (Canada; long-time active Canadian project with intelligently made hypnotic drone-circles) MUSIC for the INNER SECOND EDITIONS (price € 6.00) EXPANSION, EC-STASIS, ELEVATION ! DR-10: TAM QUAM TABULA RASA - Cotidie morimur (Italy; outerworlds brain-wave-music, monotonous and hypnotizing loops & Dear Droners! rhythms) This NEWSLIST offers you a SELECTION of our mailorder programme, DR-29: AMON – Aura (Italy; haunting & shimmering magique as with a clear focus on droney, atmospheric, ambient music. With this list coming from an ancient culture) you have the chance to know more about the highlights & interesting DR-34: TARKATAK - Skärva / Oroa (Germany; atmospheric drones newcomers. It's our wish to support this special kind of electronic and with a special touch from this newcomer from North-Germany) experimental music, as we think its much more than "just music", the DR-39: DUAL – Klanik / 4 tH (U.K.; mighty guitar drones & massive "Drone"-genre is a way to work with your own mind, perception, and sub bass undertones that evoke feelings of total transcendence and (un)-consciousness-processes. -
“When I Listen to Gish,” Billy Corgan Says Today
“When I listen to Gish,” Billy Corgan says today, “what I hear is a beautiful naïveté.” They say you never forget the first time, and even twenty years later, the 1991 debut album by Smashing Pumpkins –– guitarist and vocalist Corgan, drummer Jimmy Chamberlin, bassist D’arcy Wretzky and guitarist James Iha –– remains the unforgettable start of a musical conversation that continues to resonate with millions of fans all around the world. In retrospect, Gish can clearly be heard as a groundbreaking album in the history of what would soon become more much widely known as alternative rock. Gish was, after all, the promising debut of a band that would help alternative rock quickly become part of a new, grungier mainstream. But back in the beginning, Gish was simply the memorable opening salvo by a band from Chicago that really didn’t fit in anywhere in the rock world –– that is, until bands like Smashing Pumpkins helped change the rock world once and for all. To hear Corgan tell it now, Smashing Pumpkins came by their beautiful naïveté naturally. “We’d had very little exposure to the national stage,” he explains. “There’s no way that if we had been exposed to all of what was going on in New York and L.A. earlier, we would have made Gish. This is one of those weird albums that sounds like it came from some guy who crawls up out of the basement holding a record in his hands proudly –– a little like the first time we heard Dinosaur Jr. You think, ‘who the hell is this? And where did that come from?’ ” According to Corgan, the album originally came from Smashing Pumpkins’ early vow of poverty. -
Jim Saah Interviewed by John Davis June 11, 2018 Wheaton, MD
Jim Saah Interviewed by John Davis June 11, 2018 Wheaton, MD. 0:00:00 Davis: So, today is June 11th, 2018. My name is John Davis. I’m the Performing Arts Metadata Archivist at the University of Maryland. I’m speaking with Jim Saah, who is the man behind Zone V and Uno Mas fanzines. And we’re going to talk about those today as well as just your life in DC punk over the last thirty-five some odd years. And so, first, thank you for taking the time to talk to me. Saah: Sure, sounds good. Davis: And, I guess I want to start with, how did you get into punk in the first place? You grew up in the DC area, correct? Saah: Yes, I’m born and raised here. Davis: And what was sort of the--what was the first moment that got you into this path you’ve taken? I mean, was it certain bands that got you into the gateway into it? Saah: It was actually something a little less intriguing than that. It was just bored suburban kids looking for some fun and we ended up going down to “The Rocky Horror Picture Show” in the midnight, you know, at the, The Biograph or The Georgetown Theater. And, before the movie, they’d play music and people would go down in front of the screen and dance. And they played punk rock. Which I’d--you know, at the time I was really into music. I have seven older brothers and sisters that were into good music, so, lot of ‘60s, Dylan and Beatles, and all that, you know, Rolling Stones, all that stuff.