Razorcake Issue #31 As A
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Unveiling Extreme Metal Festival Producers
UNVEILING EXTREME METAL FESTIVAL PRODUCERS: THE EMERGENCE OF NARRATIVE IDENTITIES _______________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Fulfillment Of the Requirements for the Degree Master of Science _____________________________________________________ by MARK KLOEPPEL Dr. Grace Yan, Thesis Supervisor MAY 2016 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled: Unveiling Extreme Metal Festival Producers: The Emergence of Narrative Identities Presented by Mark Kloeppel, A candidate for the degree of Master of Science, and herby certify that, in their opinion, it is worthy of acceptance. Grace Yan, Department of Parks, Recreation, and Tourism (Chair) David Vaught, Department of Parks, Recreation, and Tourism Timothy Vos, School of Journalism ii Acknowledgements I would like to extend my gratitude and acknowledgement to Grace Yan and the University of Missouri-Columbia Parks, Recreation, and Tourism Department for their guidance in the facilitation of this research opportunity. iii Table of Contents ACKNOWLEDGEMENTS ............................................................................................... ii ABSTRACT ...................................................................................................................... iv INTRODUCTION ............................................................................................................ -
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. -
Razorcake Issue
PO Box 42129, Los Angeles, CA 90042 #19 www.razorcake.com ight around the time we were wrapping up this issue, Todd hours on the subject and brought in visual aids: rare and and I went to West Hollywood to see the Swedish band impossible-to-find records that only I and four other people have RRRandy play. We stood around outside the club, waiting for or ancient punk zines that have moved with me through a dozen the show to start. While we were doing this, two young women apartments. Instead, I just mumbled, “It’s pretty important. I do a came up to us and asked if they could interview us for a project. punk magazine with him.” And I pointed my thumb at Todd. They looked to be about high-school age, and I guess it was for a About an hour and a half later, Randy took the stage. They class project, so we said, “Sure, we’ll do it.” launched into “Dirty Tricks,” ripped right through it, and started I don’t think they had any idea what Razorcake is, or that “Addicts of Communication” without a pause for breath. It was Todd and I are two of the founders of it. unreal. They were so tight, so perfectly in time with each other that They interviewed me first and asked me some basic their songs sounded as immaculate as the recordings. On top of questions: who’s your favorite band? How many shows do you go that, thought, they were going nuts. Jumping around, dancing like to a month? That kind of thing. -
Ceremony Opens Plaza Art Exhibit Committee to Pick Grad Speaker
Volume 3, Number IS College At Lincoln Center, Fordham University, New York November 16-December 6,1983 CLC Blood Drive Nets SSA IS .«, » i irw" ^;:-:- 100 Pints By Marie Reres More than 100 pints of blood were collected in the CLC Blood Drive, held on November 7, 8 and 9 in the Pope Auditorium, according to Registered Nurse and Unit Manager of the Blood Drive, Alex- •^? : *i. *. ' • Win ander Mamon. The Blood Drive was sponsored by members of The Greater New York Blood Program. Studen! clubs Circle K and Res Ipsa Loquitur organized the event. "I was surprised to see such a good turnout, con- sidering the lack of student involvement in other events," said Bill Finneran, Vice President of Circle K. As donors came into the auditorium, they were greeted by a member of the Greater New York Blood Program who filled out an information sheet for each person. Next, a registered nurse took a Judith Brown's "Steel Images" will remain on exhibit for one year Photo Bv Doris Suen short medical history from each donor which in- cluded questions concerning hepatitis, malaria and general health. A blood sample was taken from the donor's finger to test for iron. Temperature and Ceremony Opens Plaza Art Exhibit blood pressure were taken, as well. Donors each gave one pint of blood and were then led to the can- By Doris Suen teen, where they were able to relax and have Judith Brown's metallic and menacing sculpture exhibition on the CLJC Plaza has been the talk refreshments. ' The official opening of artist Judith Brown's of the school lately. -
It's Monk Time
Sonntag, 13. März 2016 (20:05-21:00 Uhr) KW 10 Deutschlandfunk - Musik & Information FREISTIL It’s Monk Time – Die irre Geschichte einer amerikanischen Beatband in der deutschen Provinz Von Tom Noga Redaktion: Klaus Pilger Produktion: DLF 2013 M a n u s k r i p t ACHTUNG: Die Wiederholung wurde wegen einer Sondersendung zu den Wahlen gekürzt. Dies ist das Manuskript entsprechend der Original-Länge! Urheberrechtlicher Hinweis Dieses Manuskript ist urheberrechtlich geschützt und darf vom Empfänger ausschließlich zu rein privaten Zwecken genutzt werden. Die Vervielfältigung, Verbreitung oder sonstige Nutzung, die über den in §§ 44a bis 63a Urheberrechtsgesetz geregelten Umfang hinausgeht, ist unzulässig. © - ggf. unkorrigiertes Exemplar - Regie Musik 1 („Blast Off “ von den Monks) startet. Darüber: O-Ton 1 Gary Burger (unübersetzt) “Monk music is original protest music. Monk music is music to make love by. Monk Music is music to relax by.” Regie Musik 1 mit dem Feedback bei 0:12 hoch ziehen. Soll bis ca 0:30 frei stehen. Darüber: Sprecher 2 Eddie Shaw (aus dem Buch „Black Monk Time“) Eines Nachts stieß Roger mich auf dem Weg von der Bühne zum Umkleideraum an. „Die beiden Typen da, die habe ich schon ein paar Mal hier gesehen.“ Ich guckte rüber. „Du meinst die beiden in den Geschäftsanzügen? Sind mir auch aufgefallen. Normale Fans sind das nicht.“ Am nächsten Abend luden uns die beiden Männer in einer Pause zwischen zwei Sets zu sich an den Tisch ein. Nachdem wir uns vorgestellt hatten, sagte der Kleinere der beiden, der mit dem blonden Raspelschnitt: „Ich bin Walther, und mein Kollege heißt Karl. -
Rock in the Reservation: Songs from the Leningrad Rock Club 1981-86 (1St Edition)
R O C K i n t h e R E S E R V A T I O N Songs from the Leningrad Rock Club 1981-86 Yngvar Bordewich Steinholt Rock in the Reservation: Songs from the Leningrad Rock Club 1981-86 (1st edition). (text, 2004) Yngvar B. Steinholt. New York and Bergen, Mass Media Music Scholars’ Press, Inc. viii + 230 pages + 14 photo pages. Delivered in pdf format for printing in March 2005. ISBN 0-9701684-3-8 Yngvar Bordewich Steinholt (b. 1969) currently teaches Russian Cultural History at the Department of Russian Studies, Bergen University (http://www.hf.uib.no/i/russisk/steinholt). The text is a revised and corrected version of the identically entitled doctoral thesis, publicly defended on 12. November 2004 at the Humanistics Faculty, Bergen University, in partial fulfilment of the Doctor Artium degree. Opponents were Associate Professor Finn Sivert Nielsen, Institute of Anthropology, Copenhagen University, and Professor Stan Hawkins, Institute of Musicology, Oslo University. The pagination, numbering, format, size, and page layout of the original thesis do not correspond to the present edition. Photographs by Andrei ‘Villi’ Usov ( A. Usov) are used with kind permission. Cover illustrations by Nikolai Kopeikin were made exclusively for RiR. Published by Mass Media Music Scholars’ Press, Inc. 401 West End Avenue # 3B New York, NY 10024 USA Preface i Acknowledgements This study has been completed with the generous financial support of The Research Council of Norway (Norges Forskningsråd). It was conducted at the Department of Russian Studies in the friendly atmosphere of the Institute of Classical Philology, Religion and Russian Studies (IKRR), Bergen University. -
Read Razorcake Issue #27 As A
t’s never been easy. On average, I put sixty to seventy hours a Yesterday, some of us had helped our friend Chris move, and before we week into Razorcake. Basically, our crew does something that’s moved his stereo, we played the Rhythm Chicken’s new 7”. In the paus- IInot supposed to happen. Our budget is tiny. We operate out of a es between furious Chicken overtures, a guy yelled, “Hooray!” We had small apartment with half of the front room and a bedroom converted adopted our battle call. into a full-time office. We all work our asses off. In the past ten years, That evening, a couple bottles of whiskey later, after great sets by I’ve learned how to fix computers, how to set up networks, how to trou- Giant Haystacks and the Abi Yoyos, after one of our crew projectile bleshoot software. Not because I want to, but because we don’t have the vomited with deft precision and another crewmember suffered a poten- money to hire anybody to do it for us. The stinky underbelly of DIY is tially broken collarbone, This Is My Fist! took to the six-inch stage at finding out that you’ve got to master mundane and difficult things when The Poison Apple in L.A. We yelled and danced so much that stiff peo- you least want to. ple with sourpusses on their faces slunk to the back. We incited under- Co-founder Sean Carswell and I went on a weeklong tour with our aged hipster dancing. -
LIVE! on TRACK 2018 Concerts
The Maryland State Fair M&T Bank Concert Series LIVE! ON TRACK 2018 Concerts Show -- 7:30 p.m. Limited Premium Seats $20 On-Sale 10 a.m. May 11 CHASE BRYANT: Music defines Chase Bryant. The top-flight guitar player, head-turning songwriter, recording artist and producer is one of the most celebrated new artists in today’s Country music landscape. His guitar wielding, vocally-charged Top 10 debut single, “Take It On Back,” spent 15 consecutive weeks on the CMT Hot 20 Countdown, seven weeks on the GAC Top 20 Country Countdown and was a Top 20 Most Watched Video on VEVO TV Nashville. Most recently, Bryant toured as support on Brad Paisley’s Weekend Warrior World Tour and dropped his new single, the high-energy track, “Hell If I Know.” CHRIS LANE: Chris Lane, one of Country music’s most groundbreaking new stars, mixes earth-shattering high notes with banjo plucks and a danceable beat. He may have some Girl Problems, as the title of his debut album suggests, but he has no problem creating a fresh sound that thrills Country fans and excites the Pop faithful. His first single, “Fix,” topped the Country radio charts and was certified Gold in both the US and Canada. From the smooth, R&B vibe of “Who’s It Gonna Be,” to the twang Disco of “All The Time,” and the mid-tempo “For Her,” Lane brings fans on a ride from one exciting corner of the genre to the next, reinventing Country with every octave. Show -- 7:30 p.m. -
Family Album
1 2 Cover Chris Pic Rigablood Below Fabio Bottelli Pic Rigablood WHAT’S HOT 6 Library 8 Rise Above Dead 10 Jeff Buckley X Every Time I Die 12 Don’t Sweat The Technique BACKSTAGE 14 The Freaks Come Out At Night Editor In Chief/Founder - Andrea Rigano Converge Art Director - Alexandra Romano, [email protected] 16 Managing Director - Luca Burato, [email protected] 22 Moz Executive Producer - Mat The Cat E Dio Inventò... Editing - Silvia Rapisarda 26 Photo Editor - Rigablood 30 Lemmy - Motorhead Translations - Alessandra Meneghello 32 Nine Pound Hammer Photographers - Luca Benedet, Mattia Cabani, Lance 404, Marco Marzocchi, 34 Saturno Buttò Alex Ruffini, Federico Vezzoli, Augusto Lucati, Mirko Bettini, Not A Wonder Miss Chain And The Broken Heels - Tour Report Boy, Lauren Martinez, 38 42 The Secret Illustrations - Marcello Crescenzi/Rise Above 45 Jacopo Toniolo Contributors - Milo Bandini, Maurice Bellotti/Poison For Souls, Marco Capelli, 50 Conkster Marco De Stefano, Paola Dal Bosco, Giangiacomo De Stefano, Flavio Ignelzi, Brixia Assault Fra, Martina Lavarda, Andrea Mazzoli, Eros Pasi, Alex ‘Wizo’, Marco ‘X-Man’ 58 Xodo, Gonz, Davide Penzo, Jordan Buckley, Alberto Zannier, Michele & Ross 62 Family Album ‘Banda Conkster’, Ozzy, Alessandro Doni, Giulio, Martino Cantele 66 Zucka Vs Tutti Stampa - Tipografia Nuova Jolly 68 Violator Vs Fueled By Fire viale Industria 28 Dear Landlord 35030 Rubano (PD) 72 76 Lagwagon Salad Days Magazine è una rivista registrata presso il Tribunale di Vicenza, Go Getters N. 1221 del 04/03/2010. 80 81 Summer Jamboree Get in touch - www.saladdaysmag.com Adidas X Revelation Records [email protected] 84 facebook.com/saladdaysmag 88 Highlights twitter.com/SaladDays_it 92 Saints And Sinners L’editore è a disposizione di tutti gli interessati nel collaborare 94 Stokin’ The Neighbourhood con testi immagini. -
Punk: Music, History, Sub/Culture Indicate If Seminar And/Or Writing II Course
MUSIC HISTORY 13 PAGE 1 of 14 MUSIC HISTORY 13 General Education Course Information Sheet Please submit this sheet for each proposed course Department & Course Number Music History 13 Course Title Punk: Music, History, Sub/Culture Indicate if Seminar and/or Writing II course 1 Check the recommended GE foundation area(s) and subgroups(s) for this course Foundations of the Arts and Humanities • Literary and Cultural Analysis • Philosophic and Linguistic Analysis • Visual and Performance Arts Analysis and Practice x Foundations of Society and Culture • Historical Analysis • Social Analysis x Foundations of Scientific Inquiry • Physical Science With Laboratory or Demonstration Component must be 5 units (or more) • Life Science With Laboratory or Demonstration Component must be 5 units (or more) 2. Briefly describe the rationale for assignment to foundation area(s) and subgroup(s) chosen. This course falls into social analysis and visual and performance arts analysis and practice because it shows how punk, as a subculture, has influenced alternative economic practices, led to political mobilization, and challenged social norms. This course situates the activity of listening to punk music in its broader cultural ideologies, such as the DIY (do-it-yourself) ideal, which includes nontraditional musical pedagogy and composition, cooperatively owned performance venues, and underground distribution and circulation practices. Students learn to analyze punk subculture as an alternative social formation and how punk productions confront and are times co-opted by capitalistic logic and normative economic, political and social arrangements. 3. "List faculty member(s) who will serve as instructor (give academic rank): Jessica Schwartz, Assistant Professor Do you intend to use graduate student instructors (TAs) in this course? Yes x No If yes, please indicate the number of TAs 2 4. -
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アーティスト 商品名 品番 ジャンル名 定価 URL 100% (Korea) RE:tro: 6th Mini Album (HIP Ver.)(KOR) 1072528598 K-POP 2,290 https://tower.jp/item/4875651 100% (Korea) RE:tro: 6th Mini Album (NEW Ver.)(KOR) 1072528759 K-POP 2,290 https://tower.jp/item/4875653 100% (Korea) 28℃ <通常盤C> OKCK05028 K-POP 1,296 https://tower.jp/item/4825257 100% (Korea) 28℃ <通常盤B> OKCK05027 K-POP 1,296 https://tower.jp/item/4825256 100% (Korea) 28℃ <ユニット別ジャケット盤B> OKCK05030 K-POP 648 https://tower.jp/item/4825260 100% (Korea) 28℃ <ユニット別ジャケット盤A> OKCK05029 K-POP 648 https://tower.jp/item/4825259 100% (Korea) How to cry (Type-A) <通常盤> TS1P5002 K-POP 1,204 https://tower.jp/item/4415939 100% (Korea) How to cry (Type-B) <通常盤> TS1P5003 K-POP 1,204 https://tower.jp/item/4415954 100% (Korea) How to cry (ミヌ盤) <初回限定盤>(LTD) TS1P5005 K-POP 602 https://tower.jp/item/4415958 100% (Korea) How to cry (ロクヒョン盤) <初回限定盤>(LTD) TS1P5006 K-POP 602 https://tower.jp/item/4415970 100% (Korea) How to cry (ジョンファン盤) <初回限定盤>(LTD) TS1P5007 K-POP 602 https://tower.jp/item/4415972 100% (Korea) How to cry (チャンヨン盤) <初回限定盤>(LTD) TS1P5008 K-POP 602 https://tower.jp/item/4415974 100% (Korea) How to cry (ヒョクジン盤) <初回限定盤>(LTD) TS1P5009 K-POP 602 https://tower.jp/item/4415976 100% (Korea) Song for you (A) OKCK5011 K-POP 1,204 https://tower.jp/item/4655024 100% (Korea) Song for you (B) OKCK5012 K-POP 1,204 https://tower.jp/item/4655026 100% (Korea) Song for you (C) OKCK5013 K-POP 1,204 https://tower.jp/item/4655027 100% (Korea) Song for you メンバー別ジャケット盤 (ロクヒョン)(LTD) OKCK5015 K-POP 602 https://tower.jp/item/4655029 100% (Korea) -
Coming up at the Aquarium Tickets at Dempsey's, Orange Records and Ticketweb.Com • 21+ Upstairs at 226 Broadway in Fargo • Online at Aquariumfargo.Com
COMING UP AT THE AQUARIUM TICKETS AT DEMPSEY'S, ORANGE RECORDS AND TICKETWEB.COM • 21+ UPSTAIRS AT 226 BROADWAY IN FARGO • ONLINE AT AQUARIUMFARGO.COM SIMON JOYNER & THE GHOSTS • THURSDAY, JUNE 6 MAUNO • MONDAY, JUNE 24 Lo-fi folk cited as an influence by Conor Oberst, Idiosyncratic, tumbling indie pop w/ plumslugger, Gillian Welch, Kevin Morby and Beck w/ Parliament Lite and Bryan Stanley (First show! Richard Loewen and Walker Rider • Doors @ 8 Backed by members of Naivety ) • Doors @ 8 MUSCLE BEACH + MCVICKER • FRIDAY, JUNE 7 ROYAL TUSK • THURSDAY, JUNE 27 A double dose of noisy Minneapolis Blue-collar troubadours merging riffy hooks punk rock n roll w/ locals Under Siege, with a thick bottom end and loud-as-hell guitars Plumslugger and HomeState • Doors @ 9 w/ The Dose • Jade Presents event • Doors @ 7 EMO NIGHT • SATURDAY, JUNE 8 MEGAN HAMILTON • FRIDAY, JUNE 28 Drink some drinks, dance, hang out and have Funky house tunes w/ SLiPPERS, Force Induction, some fun singing along to all your favorite early DeziLou, 2Clapz and Alex Malard • Playback 2000s emo jams • No cover • Starts @ 10 Shows + Wicked Good Time event • Doors @ 9 PAPER PARLOR + STOVEPIPES • SUNDAY, JUNE 9 JESSICA VINES + KARI MARIE TRIO • SATURDAY, JUNE 29 Psychedelic blues fusion jam rockers Guitar-driven, poppy, funky, rockin’ R&B + piano comin' in hot from Duluth + local blues rock from members of The Human Element and rock favorites Stovepipes • Doors @ 8 Hardwood Groove among others • Doors @ 8 HIP-HOP + COMEDY NIGHT • FRIDAY, JUNE 14 YATRA + GREEN ALTAR • SUNDAY, JUNE 30 Music by Durow, X3P Suicide, Stan Cass and Stoner, sludge and doom metal from Baltimore and DJ Affilination.