Making Company of Darkness Joshua Evan Borgmann Iowa State University
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Soul on Fire: the Life and Music of Peter Steele Copyright © 2014 FYI Press, Inc
SOUL ON THE LIFE AND MUSIC OF FIRE PETER STEELE WAGNER BY JEFF BY Dedicated to the memory of Peter Thomas Ratajczyk and Barbara Emma Banyai SOF Sample 4/11/2015 - Copyright FYI Press, Inc. NOT FOR SALE OR TO BE COPIED. Soul on Fire: The Life and Music of Peter Steele Copyright © 2014 FYI Press, Inc. All rights reserved. www.petersteelebio.com Cover photo by John Wadsworth Cover design by Scott Hoffman and Adriene Greenup Photographs as credited Book design by Scott Hoffman for Eyedolatry Design Copyediting by Valerie Brooks Editing and additional contributions by Adriene Greenup First published in the United States in 2014 by FYI PRESS Greensboro, NC 27403 www.fyipress.com ISBN 978-1-934859-45-2 Printed in the United States of America SOF Sample 4/11/2015 - Copyright FYI Press, Inc. NOT FOR SALE OR TO BE COPIED. “There is no weapon more powerful than the human soul on fire” —General Ferdinand Foch “Do you believe in forever? I don’t even believe in tomorrow” —Peter Steele SOF Sample 4/11/2015 - Copyright FYI Press, Inc. NOT FOR SALE OR TO BE COPIED. SOF Sample 4/11/2015 - Copyright FYI Press, Inc. NOT FOR SALE OR TO BE COPIED. CONTENTS Prologue: Too Late for Apologies vii Part I: RED 1 Ground Zero Brooklyn 1 2 Into the Reactor 13 3 You Are What You Eat 35 4 Extreme Neurosis 63 Part II: GREEN 5 Power Tools 91 6 Into the Sphincter of the Beast 117 (and other Fecal Origins) 7 Religion…Women…Fire 129 8 An Accidental God 147 9 Product of Vinnland 171 Part III: BLACK 10 It’s Coming Down 203 11 The Death of the Party 225 12 Repair — Maintain — Improve 249 13 All Hail and Farewell 275 Gratitude 296 Endnotes 297 SOF Sample 4/11/2015 - Copyright FYI Press, Inc. -
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. -
2013-Issue1.Pdf
T he M itre 2013 C a n a d a ’s l o n g e s t r u n n in g l it e r a r y jo u r n a l O ne h u n d r e d a n d t w e n t ie t h e d it io n T a b l e o f C o n t e n t s Acknowledgements...................................................................................................i An Editorial Interjection.........................................................................................iii Dedication................................. ........................... .........-............................. - .... iv iArt' is the biggest word I’ve ever heard. I Alison Petrovich....................................1 This Path / William Francois Tremblay.................................................................. 1 A Casual Cry / Asa Connor.............- ............................. ..................................... 2 Waiting Room / Frank Willdig..................................................................................3 Buddhist Temple / Cheylyne Eccles....................................................................... 3 Riddled with Gross Things / Jamie Boland............................................................. 4 Hands / Katherine Perrotta...................................................................................... 5 Peaceful Lake / Sonia Z Palik.................................................................................6 Caliban / Frank Willdig........................................................................................... 6 A Reason for Insomnia / Irina Sordiya................................................................... -
FUCKED up Glass Boys
FUCKED UP Glass Boys Fucked Up are a punk band. They were a punk band when they started in Toronto more than a decade ago, and they've remained a punk band even as they've ascended to career heights that their younger selves never could've imagined. But how do you remain a punk band when you're on magazine covers, or sharing stadium stages with the Foo Fighters? How do you stay true to your 15- year-old self when you've got a career to maintain, and families to support? Those are the questions that Fucked Up asks on Glass Boys. And they ask those questions in the form of a blazing, titanic, ultimately triumphant rock album. The last two Fucked Up albums were sweeping, defining, monolithic gestures. On 2008's The Chemistry Of Common Life, they tested hardcore's capacity for stylistic innovation, for seven- minute songs and unconventional arrangements, and they won Canada's prestigious Polaris Music Prize in the process. With 2011's David Comes To Life, they offered up a full-blown rock opera, coming with one larger-than-life hook after another, and that made them even bigger, and further away from the Toronto hardcore scene that nurtured them. Glass Boys isn't a retrenchment or a back-to-basics move; it's too ambitious and complex for that. But after those last two albums, it's tight and concise and direct, an album of real and direct sentiment rather than artifice. Musically, Glass Boys carries echoes of some of the more ragged and adventurous bands from America's punk past (Husker Du, Dinosaur Jr.), but it also has some of the anthemic charge of the Who and the guttural intensity of Negative Approach. -
She-Condom Makes Its Debut at U. Center, Page 1 0
College of William & Mary Law School William & Mary Law School Scholarship Repository Student Newspaper (Amicus, Advocate...) Archives and Law School History 1994 Amicus Curiae (Vol. 4, Issue 9) Repository Citation "Amicus Curiae (Vol. 4, Issue 9)" (1994). Student Newspaper (Amicus, Advocate...). 409. https://scholarship.law.wm.edu/newspapers/409 Copyright c 1994 by the authors. This article is brought to you by the William & Mary Law School Scholarship Repository. https://scholarship.law.wm.edu/newspapers She-Condom makes its debut at U. Center, page 1 0 MARSHALL-WYTHE SCHOOL OF LAW America s First Law School VOLUME IV, ISSUE NINE MONDAY, FEBRUARY 21, 1994 TWENTY PAGES Short reinstated; will graduate In• summer By LEEANNE MORRIS report that he will reenroll at M Acting Dean Paul Marcus has Wand fmish his final nine credits decided to allow former SBA this summer in Texas. The President Kyle Short to readmit credits will be transferred and to Marshall-Wythe at the end of applied to his degree. this semester. "Hopefully I'll be able to find Marcus prevented Short frop1 the classes I need this summer. I enrolling this semester as hope to be finished and graduated punishment for an Honor Code by Aug. 8," Short said. violation last fall. In doing so, Marcus was unavailable for Marcus overturned the sanction comment on the matter. His recommended by the Judicial opinion issued last semester said Council that Short be publicly that he would grant Short's reprimanded. petition if he was convinced that ''I'm thrilled to be Short acknowledged, "privately readmitted," Short said. -
Forever the Black Smoke Blows in Krems’ [Auto-Translated from German]
Kramar, Thomas. ‘Forever the black smoke blows in Krems’ [Auto-translated from German]. Die Presse Online. 26 April 2018 Forever the black smoke blows in Krems In the nineties it was in vogue to state ends. Today one fears the "endless present": this is the motto of this year's Danube Festival. How postmodern is that? Or is it again - modern? The virtual source never runs dry: "Western Flag (Spindletop, Texas)", video by John Gerrard. – © Danube Festival It was an anticipated, much-anticipated eruption: on January 10, 1901, oil spewed from a well at Spindletop Hill (southeast Texas), yes: to splash. Two months later, the nearby town of Beaumont was a boomtown and its population tripled. The Irish artist John Gerrard recalls the time when oil spilled on Spindletop Hill. In his video installation "Western Flag (Spindletop, Texas)" he simulates that this source would never run dry, would never run out, but only bring more dirt, not juice for traffic and industry: black smoke is constantly pouring out of the jets, into shape a flag. Gerrard suggests a trivial interpretation. "Among the greatest legacies of the 20th century are not only the population explosion and the better living conditions, but also the significantly increased CO2 concentrations in the atmosphere," he writes: "This flag gives this invisible gas, this international danger, a picture, a way to represent oneself. " Heaven is where nothing happens Thomas Edlinger, Director of the Danube Festival, now places Gerrard's video installation in Krems in a new context of meaning - as an illustration of this year's theme: "Endless Presence". -
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. -
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. -
New Year's Weekend Continues with Breaking
For Immediate Release NEW YEAR’S WEEKEND CONTINUES WITH BREAKING BENJAMIN AT HARD ROCK HOTEL & CASINO ATLANTIC CITY DECEMBER 30 AT 8 PM Atlantic City, NJ (October 29, 2018) – New Year’s weekend at Hard Rock Hotel & Casino Atlantic City just got even bigger with the addition of hard rockers, Breaking Benjamin at Hard Rock Live at Etess Arena on Sunday, December 30 at 8 p.m. Tickets are on-sale this Friday, November 2 at 10 a.m. Multi-platinum band Breaking Benjamin has amassed a sizeable and diehard fan base, both through their chart-topping music, as well as their electrifying live performances. Their latest release, Dark Before Dawn certified GOLD and debuted #1 on Billboard’s Top 200 chart and spun off two #1 rock tracks, “Failure” and “Angels Fall.” “Failure” was also named the most played song at Active Rock for 2015. 2009’s Dear Agony, certified PLATINUM and debuted #4 on the Billboard Top 200 and #1 on the iTunes Rock Album Chart. Dear Agony also spun off the platinum selling and #1 Active Rock single “I Will Not Bow” where it stayed #1 for five weeks straight. Their discography also includes 2002’s Saturate, 2004’s We Are Not Alone, 2006’s Phobia. We Are Not Alone spawned a pair of #1 radio hits, “So Cold” and “Sooner or Later.” Phobia debuted at # 2 on Billboard’s Top 200, hit #1 on the Rock Album Chart and was one of the top 50 selling rock albums of 2006. It featured one #1 and two Top 5 rock radio hits “Breath,” “Diary of Jane” and “Until The End.” Tickets to see Breaking Benjamin, ranging from $39.00 to $59.00, go on sale this Friday, November 2 at 10 AM. -
Strapping Young Lad
THE DAYGLO’S AUSSIE TOUR #3 APRIL/MAY 2005 - ABSOLUTELY FREE PUNK, HARDCORE & METAL - THE SCUM ALSO RISES STRAPPING YOUNG LAD and shitloads more! ABSOLUTE EDITORIAL Absolute Editorial #3 Things are coming together nicely for us here at Absolute Underground. This is starting go be fun! We’re getting into a few free shows and people are starting to send in CD’s for us to review. We’ve got a lot of new people pitching in to make this rag better than ever. Emily Kendy joins us from Vancouver and brings with her a very impressive resume (The Nerve, Discorder, Terminal City, Exclaim...). We’ll be featuring a different Vancouver based band each issue starting with scum punks the Excessives. With the new Arena and Rod Stewart having played Victoria, you can just feel that this is going to be a great year for live music around town. I’m always impressed with the turnout and energy of the younger crowds at the all-ages shows. Even if you’re old you should go check one out sometime. You might find it invigorating to jump in a circle pit of mohawked fury. It was great hanging out with the crew at Spitfire Tattoo special thanks to Rick and Amanda. Electric Frankenstein was an amazing show and just proves that Victoria gets wicked shows all the time. A big middle finger to the asshole bouncers @ Diego’s who wouldn’t let me in even though I was on the guest list and then proceeded to tell the headlining act CHOKE to “pack their shit, they weren’t going to play.” This was after two huge idiots working the door beat up CHOKE’s drummer who weighs about a buck ten soaking wet. -
In BLACK CLOCK, Alaska Quarterly Review, the Rattling Wall and Trop, and She Is Co-Organizer of the Griffith Park Storytelling Series
BLACK CLOCK no. 20 SPRING/SUMMER 2015 2 EDITOR Steve Erickson SENIOR EDITOR Bruce Bauman MANAGING EDITOR Orli Low ASSISTANT MANAGING EDITOR Joe Milazzo PRODUCTION EDITOR Anne-Marie Kinney POETRY EDITOR Arielle Greenberg SENIOR ASSOCIATE EDITOR Emma Kemp ASSOCIATE EDITORS Lauren Artiles • Anna Cruze • Regine Darius • Mychal Schillaci • T.M. Semrad EDITORIAL ASSISTANTS Quinn Gancedo • Jonathan Goodnick • Lauren Schmidt Jasmine Stein • Daniel Warren • Jacqueline Young COMMUNICATIONS EDITOR Chrysanthe Tan SUBMISSIONS COORDINATOR Adriana Widdoes ROVING GENIUSES AND EDITORS-AT-LARGE Anthony Miller • Dwayne Moser • David L. Ulin ART DIRECTOR Ophelia Chong COVER PHOTO Tom Martinelli AD DIRECTOR Patrick Benjamin GUIDING LIGHT AND VISIONARY Gail Swanlund FOUNDING FATHER Jon Wagner Black Clock © 2015 California Institute of the Arts Black Clock: ISBN: 978-0-9836625-8-7 Black Clock is published semi-annually under cover of night by the MFA Creative Writing Program at the California Institute of the Arts, 24700 McBean Parkway, Valencia CA 91355 THANK YOU TO THE ROSENTHAL FAMILY FOUNDATION FOR ITS GENEROUS SUPPORT Issues can be purchased at blackclock.org Editorial email: [email protected] Distributed through Ingram, Ingram International, Bertrams, Gardners and Trust Media. Printed by Lightning Source 3 Norman Dubie The Doorbell as Fiction Howard Hampton Field Trips to Mars (Psychedelic Flashbacks, With Scones and Jam) Jon Savage The Third Eye Jerry Burgan with Alan Rifkin Wounds to Bind Kyra Simone Photo Album Ann Powers The Sound of Free Love Claire -
Alan Hovhaness: Exile Symphony Armenian Rhapsodies No
ALAN HOVHANESS: EXILE SYMPHONY ARMENIAN RHAPSODIES NO. 1-3 | SONG OF THE SEA | CONCERTO FOR SOPRANO SaXOPHONE AND STRINGS [1] ARMENIAN RHAPSODY NO. 1, Op. 45 (1944) 5:35 SONG OF THE SEA (1933) ALAN HOVHANESS (1911–2000) John McDonald, piano ARMENIAN RHAPSODIES NO. 1-3 [2] I. Moderato espressivo 3:39 [3] II. Adagio espressivo 2:47 SONG OF THE SEA [4] ARMENIAN RHAPSODY NO. 2, Op. 51 (1944) 8:56 CONCERTO FOR SOPRANO SaXOPHONE CONCERTO FOR SOPRANO SaXOPHONE AND STRINGS, Op. 344 (1980) AND STRINGS Kenneth Radnofsky, soprano saxophone [5] I. Andante; Fuga 5:55 SYMPHONY NO. 1, EXILE [6] II. Adagio espressivo; Allegro 4:55 [7] III. Let the Living and the Celestial Sing 6:23 JOHN McDONALD piano [8] ARMENIAN RHAPSODY NO. 3, Op. 189 (1944) 6:40 KENNETH RADNOFSKY soprano saxophone SYMPHONY NO. 1, EXILE, Op. 17, No. 2 (1936) [9] I. Andante espressivo; Allegro 9:08 BOSTON MODERN ORCHESTRA PROJECT [10] II. Grazioso 3:31 GIL ROSE, CONDUCTOR [11] III. Finale: Andante; Presto 10:06 TOTAL 67:39 RETROSPECTIVE them. But I’ll print some music of my own as I get a little money and help out because I really don’t care; I’m very happy when a thing is performed and performed well. And I don’t know, I live very simply. I have certain very strong feelings which I think many people have Alan Hovhaness wrote music that was both unusual and communicative. In his work, the about what we’re doing and what we’re doing wrong. archaic and the avant-garde are merged, always with melody as the primary focus.