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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. -
What Questions Should Historians Be Asking About UK Popular Music in the 1970S? John Mullen
What questions should historians be asking about UK popular music in the 1970s? John Mullen To cite this version: John Mullen. What questions should historians be asking about UK popular music in the 1970s?. Bernard Cros; Cornelius Crowley; Thierry Labica. Community in the UK 1970-79, Presses universi- taires de Paris Nanterre, 2017, 978-2-84016-287-2. hal-01817312 HAL Id: hal-01817312 https://hal-normandie-univ.archives-ouvertes.fr/hal-01817312 Submitted on 17 Jun 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. What questions should historians be asking about UK popular music in the 1970s? John Mullen, Université de Rouen Normandie, Equipe ERIAC One of the most important jobs of the historian is to find useful and interesting questions about the past, and the debate about the 1970s has partly been a question of deciding which questions are important. The questions, of course, are not neutral, which is why those numerous commentators for whom the key question is “Did the British people become ungovernable in the 1970s?” might do well to balance this interrogation with other equally non-neutral questions, such as, perhaps, “Did the British elites become unbearable in the 1970s?” My reflection shows, it is true, a preoccupation with “history from below”, but this is the approach most suited to the study of popular music history. -
9781317587255.Pdf
Global Metal Music and Culture This book defines the key ideas, scholarly debates, and research activities that have contributed to the formation of the international and interdisciplinary field of Metal Studies. Drawing on insights from a wide range of disciplines including popular music, cultural studies, sociology, anthropology, philos- ophy, and ethics, this volume offers new and innovative research on metal musicology, global/local scenes studies, fandom, gender and metal identity, metal media, and commerce. Offering a wide-ranging focus on bands, scenes, periods, and sounds, contributors explore topics such as the riff-based song writing of classic heavy metal bands and their modern equivalents, and the musical-aesthetics of Grindcore, Doom and Drone metal, Death metal, and Progressive metal. They interrogate production technologies, sound engi- neering, album artwork and band promotion, logos and merchandising, t-shirt and jewelry design, and the social class and cultural identities of the fan communities that define the global metal music economy and subcul- tural scene. The volume explores how the new academic discipline of metal studies was formed, while also looking forward to the future of metal music and its relationship to metal scholarship and fandom. With an international range of contributors, this volume will appeal to scholars of popular music, cultural studies, social psychology and sociology, as well as those interested in metal communities around the world. Andy R. Brown is Senior Lecturer in Media Communications at Bath Spa University, UK. Karl Spracklen is Professor of Leisure Studies at Leeds Metropolitan Uni- versity, UK. Keith Kahn-Harris is honorary research fellow and associate lecturer at Birkbeck College, UK. -
Judas Priest Unleashed in the East (Live in Japan) Mp3, Flac, Wma
Judas Priest Unleashed In The East (Live In Japan) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Unleashed In The East (Live In Japan) Country: Indonesia Released: 1979 Style: Heavy Metal MP3 version RAR size: 1997 mb FLAC version RAR size: 1861 mb WMA version RAR size: 1111 mb Rating: 4.5 Votes: 115 Other Formats: ADX AUD AA ASF AC3 MPC TTA Tracklist Hide Credits Diamonds And Rust A1 3:39 Written-By – J. Baez* Victim Of Changes A2 7:14 Written-By – A. Atkins*, G. Tipton*, K. Downing*, R. Halford* Genocide A3 7:18 Written-By – G. Tipton*, K. Downing*, R. Halford* Tyrant A4 4:39 Written-By – G. Tipton*, R. Halford* Exciter A5 5:37 Written-By – G. Tipton*, R. Halford* Running Wild A6 2:53 Written-By – G. Tipton* Sinner B1 7:30 Written-By – G. Tipton*, R. Halford* The Ripper B2 2:46 Written-By – G. Tipton* The Green Manalishi (With The Two-Pronged Crown) B3 3:14 Written-By – P. Green* Judas Priest "Killing Machine" B4 Rock Forever B5 Evening Star B6 Evil Fantasies B7 Burnin Up B8 Killing Machine Credits Bass – Ian Hill Drums – Les Binks Engineer – Neil Kernon Engineer [Recording] – Yoshihiro Suzuki Guitar [Lead] – Glenn Tipton, K. K. Downing Lead Vocals – Rob Halford Photography By – Fin Costello Producer – Judas Priest, Tom Allom Notes Recorded on Maxell UD Other versions Category Artist Title (Format) Label Category Country Year Unleashed In The Judas CBS 83852 East (Live In Japan) CBS CBS 83852 UK 1979 Priest (LP, Album) Unleashed In The Judas JCT 36179 East (Live In Japan) Columbia JCT 36179 US 1979 Priest (Cass, Album) -
Revenge and the Rule of Law in Nineteenth-Century American Literature
UNIVERSITY OF CALIFORNIA, SAN DIEGO Exceptional Vengeance: Revenge and the Rule of Law in Nineteenth-Century American Literature A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Literature by Lisa M. Thomas Committee in charge: Professor Nicole Tonkovich, Chair Professor John Blanco Professor Michael Davidson Professor Rachel Klein Professor Shelley Streeby 2012 Copyright Lisa M. Thomas, 2012 All rights reserved. The Dissertation of Lisa M. Thomas is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2012 iii DEDICATION To my family, friends, and committee for their endless encouragement, support, and patience. Whatever happens next, thanks for coming along (and putting up) with me. iv TABLE OF CONTENTS Signature Page…………………………………………………………………........ iii Dedication…………………………………………………………………………. iv Table of Contents………………………………………………………………….. v Acknowledgments ………………………………………………………………… vi Vita ………………………………………………………………………………… vii Abstract ……………………………………………………………………………. viii Introduction: Revenge, Justice, and Exceptionalist Rhetoric in the Nineteenth-Century United States………………………………………….. 1 Chapter 1: Reluctant Warriors: Community and Conflict in William Gilmore Simms’s The Yemassee ……………………………………………………… 51 Chapter 2: Unlikely Killers: Justifying Violence against Native Americans through Hannah Duston’s Captivity and Nick of the Woods ……………….. 125 Chapter 3: Revenge and Regret on the Texas -
Liste Gebrauchtware Privatkunden Datum
TWS-Source Of Deluge - Delmenhorst -- FON 04221-452011 -- FAX 04221-452012 Liste Gebrauchtware Privatkunden Seite: 1 Artikelnummer Interpret Titel Jahr Preis Beschreibung 310 G 42269 13 ENGINES A BLUR TO ME NOW 1991 7,00 € cut out 310 G 55515 28 DAYS UPSTYLEDOWN 2000 5,00 € limited edition with cd rom 320 G 60594 38 SPECIAL TOUR DE FORCE 1983 12,00 € LP 327 G 44956 38 SPECIAL YOU KEEP RUNNING AWAY 1982 4,00 € 7" vinyl single, written on 310 G 11847 40 GRIT NOTHING TO REMEMBER 2003 3,00 € 310 G 5454 454 BIG BLOCK YOUR JESUS 1995 2,00 € 327 G 44777 46 SHORT / KROMBACHERKELLERKINDER SPLIT 5,00 € 7" clear vinyl single 313 G 48055 4LYN LYN 2001 2,00 € MCD 310 G 13839 4LYN SAME 2001 5,00 € 327 G 44860 707 HELL OR HIGH WATER / MEGA FORCE 1982 3,00 € 7" Single 310 G 7738 88 CRASH FIGHT WICKET PENCES 1993 2,00 € 310 G 25423 A D SAME 1993 3,00 € 327 G 61780 A FLOCK OF SEAGULLS I RAN 1982 8,00 € LP Vinyl Maxi Single small 310 G 30902 A PERFECT CIRCLE THIRTENTH STEP 2003 9,00 € 320 G 12156 AARON, LEE CALL OF THE WILD 1985 4,00 € LP 327 G 61726 AARON, LEE POWERLINE 1987 4,00 € one sided 7 inch single, 320 G 23334 AARON, LEE SAME 1987 4,00 € LP 320 G 64407 AARON, LEE SAME 1982 5,00 € LP 310 G 6181 ABADDON I AM LEGION 2000 5,00 € 310 G 8810 ABOMINATION RITES OF THE ETERNAL HATE 2000 5,00 € 310 G 47223 ABSORBED SUNSET BLEEDING 1999 16,00 € 310 G 64482 ABSTUERZENDE BRIEFTAUBEN DER LETZTE MACHT DIE TÜR ZU 7,00 € 310 G 53022 ABSTÜRZENDE BRIEFTAUBEN AUSSER KONTROLLE 1992 7,00 € 60 minute live cd 310 G 55825 ABSTÜRZENDE BRIEFTAUBEN DAS KRIEGEN WIR SCHON HIN -
INFORMATION to USERS the Most Advanced Technology Has Been Used to Photo Graph and Reproduce This Manuscript from the Microfilm Master
INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the original text directly from the copy submitted. Thus, some dissertation copies are in typewriter face, while others may be from a computer printer. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyrighted material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each oversize page is available as one exposure on a standard 35 mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. 35 mm slides or 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ■UMIAccessing the World's Information since 1938 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA Order Number 8820367 Aesthetics and politics of fascism: West German women filmmakers in the nineteen seventies Weinberger, Gabriele W., Ph.D. The Ohio State University, 1988 Copyright ©1989 by Weinberger, Gabriele W. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. -
The AK-47: the World's Favourite Killing Machine
Control Arms Briefing Note EMBARGOED UNTIL 04:00 HRS GMT MONDAY 26 JUNE 2006 The AK-47: the world's favourite killing machine 26 June 2006 Introduction Kalashnikov1 assault rifles are the most widespread military weapons in the world. It is estimated that there are between 50 and 70 million of them spread across the world’s five continents. They are used daily by soldiers, fighters, and gang members to inflict untold suffering in many countries. The spread of these weapons continues largely unchecked by governments, threatening the lives and safety of millions as weapons fall into irresponsible hands. More than ever, the Kalashnikov rifle is the weapon of choice for many armies, militias, armed gangs, law enforcement officials, rebels, and other private actors who abuse fundamental human rights and operate beyond the international humanitarian law parameters laid down by the Geneva Conventions and other relevant international law. Although the United Nations and its member states have taken concrete action to limit the proliferation of nuclear, biological, and chemical weapons of mass destruction through international treaties and monitoring organisations, the number one tool used for killing and injuring civilians today is small arms, including the assault rifle, which is reaching more countries than ever before. On 26 June 2006, the UN Review Conference on the Illicit Trade in Small Arms and Light Weapons begins in New York. At this conference, governments have an opportunity to agree effective and comprehensive controls to prevent the proliferation and misuse of small arms and light weapons, including assault rifles like the AK-47. In October 2006, at the UN General Assembly, governments should agree to negotiate a new global Arms Trade Treaty (ATT) to regulate international transfers of all conventional arms, including military assault rifles. -
1200 Micrograms 1200 Micrograms 2002 Ibiza Heroes of the Imagination 2003 Active Magic Numbers 2007 the Time Machine 2004
#'s 1200 Micrograms 1200 Micrograms 2002 Ibiza Heroes of the Imagination 2003 Active Magic Numbers 2007 The Time Machine 2004 1349 Beyond the Apocalypse 2004 Norway Hellfire 2005 Active Liberation 2003 Revelations of the Black Flame 2009 36 Crazyfists A Snow Capped Romance 2004 Alaska Bitterness the Star 2002 Active Collisions and Castaways 27/07/2010 Rest Inside the Flames 2006 The Tide and It's Takers 2008 65DaysofStati The Destruction of Small 2007 c Ideals England The Fall of Man 2004 Active One Time for All Time 2008 We Were Exploding Anyway 04/2010 8-bit Operators The Music of Kraftwerk 2007 Collaborative Inactive Music Page 1 A A Forest of Stars The Corpse of Rebirth 2008 United Kingdom Opportunistic Thieves of Spring 2010 Active A Life Once Lost A Great Artist 2003 U.S.A Hunter 2005 Active Iron Gag 2007 Open Your Mouth For the Speechless...In Case of Those 2000 Appointed to Die A Perfect Circle eMOTIVe 2004 U.S.A Mer De Noms 2000 Active Thirteenth Step 2003 Abigail Williams In the Absence of Light 28/09/2010 U.S.A In the Shadow of A Thousand Suns 2008 Active Abigor Channeling the Quintessence of Satan 1999 Austria Fractal Possession 2007 Active Nachthymnen (From the Twilight Kingdom) 1995 Opus IV 1996 Satanized 2001 Supreme Immortal Art 1998 Time Is the Sulphur in the Veins of the Saint... Jan 2010 Verwüstung/Invoke the Dark Age 1994 Aborted The Archaic Abattoir 2005 Belgium Engineering the Dead 2001 Active Goremageddon 2003 The Purity of Perversion 1999 Slaughter & Apparatus: A Methodical Overture 2007 Strychnine.213 2008 Aborym -
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. -
The Thematical and Stylistic Evolution of Heavy Metal Lyrics and Imagery from the 70S to Present Day
1 Jeroen Buts Master Engels The Thematical and Stylistic Evolution of Heavy Metal Lyrics and Imagery From the 70s to Present Day Master scriptie Faculteit Letteren en Wijsbegeerte Promotor: Prof. Dr. Gert Buelens 2 Prologue You cannot make me feel guilty/ I don't give a shit about respect I won't join your moral masturbation/ I'm the prodigal son gone off the tracks You cannot make me feel sorry/ I don't give a damn about your pride I'm the cat-piss on your carpet/ The last crushing thought before you die Don't fit in your picture Don't fit in your world Don't match all the lies you feed your kids Feel no loyalty/ This deal was made without me Sure I never signed it/ Your contracts don't apply to me I'll fuck your dog/ Do you still wanna get along with me? I'd rape your daughter/ On payment of a small fee I'll fuck your dog/ Do you still wanna get along with me? I'd rape your daughter/ How much would you pay? (“Dead Serious and Highly Professional”, The Ocean) If someone were to tell you, dear reader, that heavy metal is just a louder, faster and more formulaic version of that popular musical genre which defined the late 70s, called hard rock, that someone would probably be wrong. The above lyric contains several elements which indicate just how incomplete such a statement would be. Most importantly, it divides those who read it almost instantly: a metal fan, even if his taste is for a different subgenre of metal, will recognize a specific quality in this text.