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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. -
Cultura Do Software E Autonomização Da Game Music∗
Cultura do software e autonomização da game music∗ Camila Schäfery Tiago Ricciardi Correa Lopesz Índice Nesse cenário, presenciamos novas formas de produção, distribuição e consumo de pro- Introdução1 dutos culturais cujos efeitos se fazem sentir 1 Os sons nos jogos digitais3 em todo o meio ambiente midiático. As- 2 Cultura do software e game music 4 sim sendo, o presente artigo analisa a au- Conclusão 11 tonomização da game music, ou música de Referências bibliográficas 11 videogame, como processo resultante de um conjunto de práticas operadas no interior da cultura que encontram nos softwares as bases Resumo de sua realização. Palavras-chave: game music; jogos Vivemos hoje a cultura do software, uma eletrônicos; cultura do software. etapa do nosso desenvolvimento civilizatório na qual os programas computacionais for- mam camadas tecnoculturais que cobrem to- das as áreas da sociedade contemporânea. Introdução ∗Artigo originalmente publicado e apresentado ao CLUHAN (1969) já dizia em O meio eixo temático “Jogos, Redes Sociais, Mobilidade e M são as massagens que o surgimento Estruturas Comunicacionais Urbanas”, do V Simpó- e assimilação de novas tecnologias de co- sio Nacional da ABCiber, ocorrido em novembro de 2011, em Florianópolis (SC). municação afetam não somente o segmento yGraduada em Jornalismo (UNISINOS), midiático ao qual se destinam (por exemplo, criadora do blog Console Sonoro (http: o surgimento dos videocassetes e das fitas //consolesonoro.blogspot.com) e colu- VHS em relação ao cinema e à televisão), http://pontov.com.br/ -
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). -
Compound AABA Form and Style Distinction in Heavy Metal *
Compound AABA Form and Style Distinction in Heavy Metal * Stephen S. Hudson NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hudson.php KEYWORDS: Heavy Metal, Formenlehre, Form Perception, Embodied Cognition, Corpus Study, Musical Meaning, Genre ABSTRACT: This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (Aas 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill 2016). Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory “Your favorite songs all sound the same — and that’s okay . -
“Punk Rock Is My Religion”
“Punk Rock Is My Religion” An Exploration of Straight Edge punk as a Surrogate of Religion. Francis Elizabeth Stewart 1622049 Submitted in fulfilment of the doctoral dissertation requirements of the School of Language, Culture and Religion at the University of Stirling. 2011 Supervisors: Dr Andrew Hass Dr Alison Jasper 1 Acknowledgements A debt of acknowledgement is owned to a number of individuals and companies within both of the two fields of study – academia and the hardcore punk and Straight Edge scenes. Supervisory acknowledgement: Dr Andrew Hass, Dr Alison Jasper. In addition staff and others who read chapters, pieces of work and papers, and commented, discussed or made suggestions: Dr Timothy Fitzgerald, Dr Michael Marten, Dr Ward Blanton and Dr Janet Wordley. Financial acknowledgement: Dr William Marshall and the SLCR, The Panacea Society, AHRC, BSA and SOCREL. J & C Wordley, I & K Stewart, J & E Stewart. Research acknowledgement: Emily Buningham @ ‘England’s Dreaming’ archive, Liverpool John Moore University. Philip Leach @ Media archive for central England. AHRC funded ‘Using Moving Archives in Academic Research’ course 2008 – 2009. The 924 Gilman Street Project in Berkeley CA. Interview acknowledgement: Lauren Stewart, Chloe Erdmann, Nathan Cohen, Shane Becker, Philip Johnston, Alan Stewart, N8xxx, and xEricx for all your help in finding willing participants and arranging interviews. A huge acknowledgement of gratitude to all who took part in interviews, giving of their time, ideas and self so willingly, it will not be forgotten. Acknowledgement and thanks are also given to Judy and Loanne for their welcome in a new country, providing me with a home and showing me around the Bay Area. -
Biography Safemode Is a Metalcore Band from Uppsala, Sweden. The
Biography Biography Biography Safemode is a metalcore band from Uppsala,Safemode Sweden. is a metalcore The band band started from inUppsala, the spring Sweden. of 2007, The bandinspired by started in the spring of 2007, inspired by Underoath Blindside The Devil Wears Prada bands such as , , andbandsSafemode such is as a Underoath metalcore, bandBlindside etc. from and Uppsala, The Devil Sweden. Wears The Prada band etc. started in the spring of 2007, inspired by bands such as Underoath, Blindside, and The Devil Wears Prada etc. In the spring of 2009 the band participatedIn the inspring the ofnational 2009 the musicband contestparticipated Rockkarusellen in the national with 600 music other bands. Safemode pulled of a great showcontestIn, theand spring with Rockkarusellen words of 2009 from the with the band 600 jury participated other as ”excellent bands. in Safemode songs”the national, ”speed pulled ofandmusic a contest Rockkarusellen with 600 other energy” and ”great contact with the audience”greatbands. show Sa, Safemodefemode andBiography with pulled wordsstood of asfrom a greatwinners. the sho jury w ,as and ”excellent with words songs”, from ”speed the jury as ”excellent songs”, ”speed and A tour in Sweden followed with 16 concerts,andenergy” energy” andincluding and”great ”great a contactconcert contact with at withthe the ftheamous audience” audience”, Arvika, Safemode SafemodeFestival stood, which stood as winners. attracted the attention of Swedish press,as Awinners. tour where in SwedenSafemode Safemode followed is receiveda metalcore with good16 band concerts, critics. from including TheUppsala, band aSweden.also concert toured The at the band famous started Arvika in the Festival spring ,of which 2007, inspired by Germany and released two self-producedAattracted tour EPs. -
Heavy Metal Generations
Thumb-Bangers: Exploring the Cultural Bond between Video Games and Heavy Metal Louis-Martin Guay and Dominic Arsenault Abstract Heavy metal and video games share an almost simultaneous birth, with Black Sabbath’s debut album in 1970 and Nolan Bushnell’s Computer Space in 1971. From Judas Priest’s ‘Freewheel Burning’ music video in 1984 to Tim Schafer’s Brütal Legend in 2009, the exchanges between these two subcultures have been both reciprocal and exponential. This chapter will present a historical survey of the bond between video games and heavy metal cultures through its highest-profile examples. There are two underlying reasons for this symbiosis: 1) the historical development and popular dissemination of the video game came at an opportune time, first with the video game arcades in the 1970s and early 1980s, and then with the Nintendo Entertainment System, whose technical sound-channel limitations happened to fall in line with the typical structures of heavy metal; 2) heavy metal and video games, along with their creators and consumers, have faced similar sociocultural paths and challenges, notably through the policies set in place by the PMRC and the ESRB, and a flurry of lawsuits and attacks, especially from United States congressmen, that resulted in an overlapping of their respective spaces outside dominant culture. These reasons explain the natural bond between these cultural practices, and the more recent developments like Last Chance to Reason’s Level 2 let us foresee a future where new hybrid creations could emerge. Key Words: Video games, heavy metal, history, violence, subcultures, chiptunes. ***** 1. Of Pinballs and Wizards: The Early Exchanges Heavy metal and video games share an almost simultaneous birth, with Black Sabbath’s debut album in 1970 and Nolan Bushnell’s Computer Space in 1971. -
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. -
Bridges to Free-Standing Bridges – Or – the Mutable Modular Model of Metal Music Michael Dekovich University of Oregon
Bridges to Free-Standing Bridges – or – The Mutable Modular Model of Metal Music Michael Dekovich University of Oregon Heavy metal’s defiance of social and musical norms has been a source of fascination since the genre’s earliest days. But although scholars have been attentive to metal’s unique musical expressions, little literature has been devoted to the analysis of musical form. This paper codifies common strategies in metal song forms and theorizes how metal’s transgressive tendencies manifest in formal functions. Transgression implies a dialectical relationship, the negation of a normative standard. Metal composers frequently use rotational forms found throughout Western popular music but are also prone to modifying and avoiding common song forms, a behavior that can be read through dialogic form, “reconstructing a processual dialogue between any individual work (or section thereof) and the charged network of generic norms, guidelines, possibilities, expectations, and limits provided by the implied genre at hand” (Hepokoski 2010, 71). At the same time, metal’s transgression has deeper implications for teleology. Abjection (Kristeva 1982; Dee 2009) provides a means for metal to construct dialectical identities by deferring or denying telos in favor of liminality, the state of being in- between. Whereas pop and rock usually treat the chorus as a song’s most significant formal goal, metal composers’ expansion of bridge sections and the distortion or omission of rotational units pushes form outside of normative confines, producing sections and song forms that complicate narratives of formal progression. Many pop, rock and metal songs follow the template of compound AABA form, wherein each A section contains a cycle beginning with a verse and ending with a chorus, and where the B section is analogous to the bridge or “middle eight” from Tin Pan Alley AABA pop songs, earning it the designation of “bridge section” (Covach 2005, 74; Nobile 2020, 105). -
January 2018 New Releases
January 2018 New Releases what’s inside featured exclusives PAGE 3 RUSH Releases Vinyl Available Immediately! 56 Vinyl Audio 3 CD Audio 13 MARAH - STRAWBS - BILLY CHILDISH & CTMF - FEATURED RELEASES KIDS IN PHILLY LP/CD THE FERRYMAN’S CURSE BRANDNEW CAGE Music Video DVD & Blu-ray 40 Non-Music Video DVD & Blu-ray 44 Order Form 69 Deletions and Price Changes 65 800.888.0486 BOWIE, DAVID - ATTACK OF THE KILLER THE SWORD AND FLOATING IN A TIN CAN TOMATOES (2-DISC THE CLAW 203 Windsor Rd., Pottstown, PA 19464 SPECIAL EDITION) MARAH - BROOKLYN RIDER - ELOY - www.MVDb2b.com [BLU-RAY + DVD] KIDS IN PHILLY LP/CD SEVEN STEPS THE VISION, THE SWORD AND THE PYRE: PART I Yo-Yo, Django and a Killer Tomato! And that’s not all MVD is throwing at you as we begin another spectacular year! ATTACK OF THE KILLER TOMATOES is a saucy release on the new MVD REWIND series, which restores and expands underserved classic films to new levels of ripeness. In addition to the original film, ATTACK OF THE KILLER TOMATOES is packed with Easter Eggs, a collectible poster, shorts, features and a limited ‘video store style’ slip cover. Experience the fruits of our labor with this definitive edition! From tomato to Yo-Yo and Django. Beloved cellist YO-YO MA and the SILK ROAD ENSEMBLE offer the CD soundtrack of traditional Vietnamese music from the highly regarded Ken Burns documentary, THE VIETNAM WAR. Guitar wizard DJANGO REINHARDT plugged in and amplified on rarely heard instrumental tracks on his CD ESSENTIAL ELECTRIC. -
Spartan Daily, Febuary 3, 2015
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. -
Trash Talk • Kingdom of Sorrow
22 JUN/JUL 10 FOR FREE TRASH TALK • KINGDOM OF SORROW HEAVEN SHALL BURN • WHITECHAPEL • ROLO TOMASSI WE BUTTER THE BREAD WITH BUTTER • AGAINST ME! CANCER BATS • AS I LAY DYING • TRIGGER THE BLOODSHED Fuze_Titel_No.22.indd 2 08.05.10 11:02 Out: 21. Mai 2010 HEAVEN SHALL BURN · Invictus Das neue Studioalbum und der 3. Teil der „Iconoclast“-Geschichte: majestätisch - roh - facettenreich Erhältlich als CD, Ltd. Edition Klappdeckelbox (inkl. Digipak mit Bonustrack, alternativem Artwork + Bonus-DVD, Schweißband, Sticker, Merchandise-Gutschein), Vinyl (+ Bonustrack) + CD mit alternativem Artwork, Digital Download Ltd. Box Set + exclusive T-Shirt bundle available at: www.cmdistro.com HEAVEN SHALL BURN live: 28.05.2010 (D) Jena F-Haus „Invictus“-Releaseparty · 04.06.2010 (D) Nürburgring Rock Am Ring 05.06.2010 (D) Nürnberg Rock Im Park · 12.06.2010 (A) Nickelsdorf Nova Rock Festival 13.06.2010 (CH) Interlaken Greenfi eld Festival · 03.07.2010 (D) Roitzschjora With Full Force 17.07.2010 (D) Cuxhaven Deichbrand Festival · 20.08.2010 (D) Dinkelsbühl Summer Breeze www.myspace.com/offi cialheavenshallburn HSB merchandise available via Auch erhältlich als Special Limited Edition mit Bonus DVD im Mediabook Format und in farbigem Vinyl inklusive des kompletten Albums auf CD! www.myspace.com/sickofi tallny · www.sickofi tall.com FÜNF NYHC-KLASSIKER jetzt endlich wieder erhältlich: SICK OF IT ALL SICK OF IT ALL AGNOSTIC FRONT AGNOSTIC FRONT AGNOSTIC FRONT Alle fünf Alben zum MIDPRICE!!! Blood, Sweat, And No Tears Just Look Around Cause For Alarm Liberty & Justice One Voice ROAD KILL · DVD+CD / CD / DIGITAL DOWNLOAD OUT NOW! “Berlin Burnout” Eine legendäre Live Show, mitgeschnitten im SO36, mit massig Backstage Schwedens Thrash Metal Act # 1 meldet sich mit einem Material und allen Videoclips! längst überfälligen Live DVD/CD-Release zurück.