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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. -
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 ............................................................................................................ -
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. -
Disco/Dance '82 the Camaros, Girlschool, Bananarama, the Flirts, Catholic Presented
o traditional way. And Ozzy Osbourne put some humor, in w hat- Overview 1982 ever taste, into the creaking heavy metal scene. H But if you heard much about the old guard over the ye r, it Continued from page TIA -8 was about splits and suits. Rod Stewart, Meat Loaf, Air Sup- Stones, Chicago, Rush, Loverboy, Kenny Loggins, etc., had ply, Kiss, Barry Manilow, Styx and AC /DC all split from t heir managers, their share of hits and, in fact, dominated the airways and amicably or not, while the Eagles and the Do(Do charts. But they had to make room for some newcomers, Brothers just split up. some playing new, and some playing not so new music. Also calling it quits, sort of, was the Who, whose "fir"fi Notable among the groundbreakers were the technicians series of concerts was this year's megatour, rivaling the Roll- and the women. In 1982, the English technopop bands finally ing Stones, who took their own show to Europe. It was also the broke most commercial -as in advertisement. Sponsored by Sc hlitz through, notably the Human League, A Flock Of Sea - Beer, the tour has resulted in guls and Soft Cell. Playing (mostly) diluted r &b through their product identification betw een banks of synthesizers and computers, these bands managed group and product just short of actual endorsement. That no doubt, is the next step. to be commercial enough for the radio and to keep a beat steady enough for the clubs, thus offending no one. In other rock news: The US Festival attracted about a qiuar- Their success has not been overlooked by record com- of a million fans. -
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. -
Lemmy Kilmister: Dogged Insolence in the Face of Mounting Opposition to the Contrary
Lemmy Kilmister: Dogged Insolence in the Face of Mounting Opposition to the Contrary www.slickstermagazine.com /lemmy-kilmister-dogged-insolence-face-mounting-opposition-contrary/ Joe Mitchell In 2013, at the age of 67, rock icon Lemmy Kilmister, best known for his work as the leader of thrash metal progenitors, Motörhead, had a cardioverter defibrillator implanted in his chest. Though his notorious drug usage had been restricted since the early 90s when he began suffering from diabetes and hypertension, he refused to completely give up drinking and smoking after the procedure. It did make him reduce his alcohol intake. He finally gave up his “daily bottle of Jack Daniel’s” habit that he’d had since the mid-70s. Still, he readily admitted he had could not completely give up alcohol and cigarettes . He called this refusal, “Dogged insolence in the face of mounting opposition to the contrary.” That phrase may well distill not only Kilmister’s life, but the entire philosophy of Rock ‘n’ Roll as well. More than two years later, just days after being diagnosed with an aggressive form of cancer, Kilmister died at about 4:00 p.m. Pacific Time in his two- bedroom apartment not far from his favorite hang-out, the Rainbow Bar & Grill, on Sunset Boulevard, where he was often enthralled in the playing of a particular video game. When Kilmister became too ill to leave his apartment, the owners of the Rainbow had the game moved to his home so he could continue to play it. It is said that Kilmister died sitting upright in a stool in front of the machine. -
Girlschool: »Es Ist Zeit Für Die Revolution« Wir Sprachen Mit Sängerin/Gitarristin Kim Mcauliffe Düsseldorf. (IT)
Girlschool Interview Girlschool: »Es ist Zeit für die Revolution« Wir sprachen mit Sängerin/Gitarristin Kim McAuliffe Düsseldorf. (IT). Bereits 1981 veröffentlichten sie ihr Durchbruchsalbum »Hit And Run«. Und obwohl die Mädels von Girlschool die magische 50 auf der Altersskala mittlerweile schon etwas länger hinter sich gelassen haben, werden sie wohl für alle Zeiten als »Motörheads kleine Schwestern« gehandelt werden. Das weiß auch Sängerin/Gitarristin Kim McAuliffe, die wir kurz vor dem Start einer Tour zum Gespräch bitten, die für viele Rock- und Metal-Fans der Inbegriff der Erfüllung sein dürfte: Motörhead, Saxon und eben Girlschool (17. November – Düsseldorf, Mitsubishi-Electric-Halle). Gut, dass Girlschools neues Album »Guilty As Sin« eine Großtat geworden ist, die viele nicht mehr für möglich gehalten hätten. Dementsprechend blendend aufgelegt ist die gute Kim auch im WochenPost-Interview. Hey Kim, ihr seid kurz davor, wieder mit Euren langjährigen Kumpels von Motörhead und Saxon auf Tour zu gehen. Was kommt dir zuerst in den Sinn, wenn du an dieses berüchtigte Package denkst? Wir fühlen uns wirklich sehr geehrt, auf dieser Tour zu Motörheads 40. Geburtstag spielen zu dürfen. Vor allem, weil wir sie schon auf ihrer allerersten England-Tour supportet haben. Das war 1979, nachdem Lemmy und Co. „Overkill" herausgebracht hatten, stell‘ dir das mal vor. Na ja, und dass die Jungs von Saxon dabei sind, macht das Ganze noch spezieller. Würde ich nicht zufällig mitspielen – ich wäre hingegangen, haha. Einige der Fans, die zu den Shows kommen werden, waren sicherlich schon vor dreieinhalb Jahrzehnten dabei. Seitdem hat sich im Musikgeschäft viel geändert. Denkst du, dass die drei legendären Bands den Spirit von früher einfangen und transportieren können? Auf jeden Fall, denn ich denke, das Line Up ist immer noch der Hammer. -
From Crass to Thrash, to Squeakers: the Suspicious Turn to Metal in UK Punk and Hardcore Post ‘85
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by De Montfort University Open Research Archive From Crass to Thrash, to Squeakers: The Suspicious Turn to Metal in UK Punk and Hardcore Post ‘85. Otto Sompank I always loved the simplicity and visceral feel of all forms of punk. From the Pistols take on the New York Dolls rock, or the UK Subs aggressive punk take on rhythm and blues. The stark reality Crass and the anarchist-punk scene was informed with aspects of obscure seventies rock too, for example Pete Wright’s prog bass lines in places. Granted. Perhaps the most famous and intense link to rock and punk was Motorhead. While their early output and LP’s definitely had a clear nod to punk (Lemmy playing for the Damned), they appealed to most punks back then with their sheer aggression and intensity. It’s clear Motorhead and Black Sabbath influenced a lot of street-punk and the ferocious tones of Discharge and their Scandinavian counterparts such as Riistetyt, Kaaos and Anti Cimex. The early links were there but the influence of late 1970s early 80s NWOBM (New Wave of British Heavy Metal) and street punk, Discharge etc. in turn influenced Metallica, Anthrax and Exodus in the early eighties. Most of them can occasionally be seen sporting Discharge, Broken Bones and GBH shirts on their early record-sleeve pictures. Not only that, Newcastle band Venom were equally influential in the mix of new genre forms germinating in the early 1980s. One of the early examples of the incorporation of rock and metal into the UK punk scene came from Discharge. -
Robert Walser Published Titles My Music by Susan D
Running With the Devil : Power, Gender, title: and Madness in Heavy Metal Music Music/culture author: Walser, Robert. publisher: Wesleyan University Press isbn10 | asin: 0819562602 print isbn13: 9780819562609 ebook isbn13: 9780585372914 language: English Heavy metal (Music)--History and subject criticism. publication date: 1993 lcc: ML3534.W29 1993eb ddc: 781.66 Heavy metal (Music)--History and subject: criticism. Page i Running with the Devil Page ii MUSIC / CULTURE A series from Wesleyan University Press Edited by George Lipsitz, Susan McClary, and Robert Walser Published titles My Music by Susan D. Crafts, Daniel Cavicchi, Charles Keil, and the Music in Daily Life Project Running with the Devil: Power, Gender, and Madness in Heavy Metal Music by Robert Walser Subcultural Sounds: Micromusics of the West by Mark Slobin Page iii Running with the Devil Power, Gender, and Madness in Heavy Metal Music Robert Walser Page iv WESLEYAN UNIVERSITY PRESS Published by University Press of New England, Hanover, NH 03755 © 1993 by Robert Walser All rights reserved Printed in the United States of America 5 4 3 2 1 CIP data appear at the end of the book Acknowledgments for song lyrics quoted: "Electric Eye": Words and music by Glenn Tipton, Rob Halford, and K. K. Downing, © 1982 EMI APRIL MUSIC, INC. / CREWGLEN LTD. / EBONYTREE LTD. / GEARGATE LTD. All rights controlled and administered by EMI APRIL MUSIC, INC. International copyright secured. All rights reserved. Used by permission. "Suicide Solution": Words and music by John Osbourne, Robert Daisley, and Randy Rhoads, TRO© Copyright 1981 Essex Music International, Inc. and Kord Music Publishers, New York, N.Y. -
Doom • Appalachian Terror Unit Warcollapse • Imperial
DOOM • APPALACHIAN TERROR UNIT WARCOLLAPSE • IMPERIAL LEATHER SHADES OF GREY • MASSMORD • resistant culture RESIST •AGRIMONIA • POLICE BASTARD • WAR/PLAGUE AGAINST EMPIRE • OI POLLOI • DRESDEN IN DEFENCE • OILTANKER • NO TOMORROW DEVIATED INSTINCT Now Exclusively Distributed by DOOM Street Date: POLICE BASTARD, 7˝ AVAILABLE NOW! INFORMATION: Artist Hometown: Birmingham, England Key Markets: USA/EUROPE For Fans of: DOOM, DISCHARGE, DEVIATED INSTINCT This is a crust classic back in print. Five songs recorded in 1989, during the same session in which DOOM recorded their brilliant split LP with NO SECURITY. Considered by many to be their best early material. This classic EP contains the songs “Means to an End,” “Relief, Pt. 2,” and of course, “Police Bastard.” This was the second release ever by Profane Existence Records and is considered by many to be a ARTIST: DOOM masterpiece. There are at least five different versions of the cover, but TITLE: POLICE BASTARD all of the records were made using plates from the original masters. LABEL: PROFANE EXISTENCE CAT#: EXIST 001.5 FORMAT: 7˝ Marketing Points: GENRE: CRUST PUNK / D-BEAT * Classic Crust Punk Record by a Legendary Crust Punk Band / METAL * Consistent Seller Over The Years BOX LOT: - SRLP: $4.98 UPC: 661799085205 EXPORT: NO RESTRICTIONS OTHER TITLES DISTRIBUTED BY ILD: Tracklist: POLICE BASTARD / WAR//PLAGUE Split LP 1. Relief Pt. 2 EXIST 117 2. Police Bastard 661799085267 3. Diseased 4. Circles 5. Means To An End Exclusively Distributed by Contact your sales rep: Mike Beer - [email protected] phone 414-672-9948 fax 414-672-9936 www.ildistro.com APPALACHIAN TERROR UNIT Street Date: ARMAGEDDON WON’T BE BROUGHT BY GODS..., 7˝ AVAILABLE NOW! INFORMATION: Artist Hometown: Huntington, West Virginia Key Markets: USA/EUROPE For Fans of: NAUSEA, WOLFBRIGADE, ANTISCHISM Every once in a great while, a new band comes along with such intense fury that they captivate all who hear and see them — APPALACHIAN TERROR UNIT is one such band. -
Women and Rock Music1
Atlantis Vol. 10 No. 1 Fall/ Automne 1984 Women and Rock Music1 Deborah Harding New Zealand and Emily Nett The University of Manitoba ABSTRACT Rock music is the most misogynistic and aggressive form of music currently listened to. Women's place in it since the 1950's is described and analyzed in this article. Rock music was originally a working-class male challenge to the established symbolic order. In terms of the revenue generated by the industry thirty years later, it is the most important cultural expression of popular music. The enterprise is almost exclusively male, the majority of listeners are male, and even though women singers contributed in the early 1960's, there have been only a few female performers. An analysis of feminine representations in rock music lyrics and album covers in 1981 reveals a variety of male-identified images of women. In view of the cultural context in which rock music originated and the industry developed, the recent penetration by a few more women into the industry raises questions about whether numbers will continue to increase and, even if they do, whether rock music constitutes an appropriate voice in which women can authentically express themselves. Women's images—especially those we Music, unlike many other forms of media, is a choose ourselves—can both reflect and deter• direct expression of ideas. For this reason it pro• mine the economic and political parts we vides a wealth of information about women play in society. (Flora, 1979) since they most often are the subject of songs. From classical tunes with mermaids luring sai• Although the statement was made in conj unc• lors to their deaths, to country and western tunes tion with an investigation of women's reflec• with wives and their cheating hearts, women tions in magazine fiction, it applies as well to and the roles they play, or are expected to play, in other types of media.