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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. -
MCA-700 Midline/Reissue Series
MCA 700 Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan MCA-700 Midline/Reissue Series: By the time the reissue series reached MCA-700, most of the ABC reissues had been accomplished in the MCA 500-600s. MCA decided that when full price albums were converted to midline prices, the albums needed a new number altogether rather than just making the administrative change. In this series, we get reissues of many MCA albums that were only one to three years old, as well as a lot of Decca reissues. Rather than pay the price for new covers and labels, most of these were just stamped with the new numbers in gold ink on the front covers, with the same jackets and labels with the old catalog numbers. MCA 700 - We All Have a Star - Wilton Felder [1981] Reissue of ABC AA 1009. We All Have A Star/I Know Who I Am/Why Believe/The Cycles Of Time//Let's Dance Together/My Name Is Love/You And Me And Ecstasy/Ride On MCA 701 - Original Voice Tracks from His Greatest Movies - W.C. Fields [1981] Reissue of MCA 2073. The Philosophy Of W.C. Fields/The "Sound" Of W.C. Fields/The Rascality Of W.C. Fields/The Chicanery Of W.C. Fields//W.C. Fields - The Braggart And Teller Of Tall Tales/The Spirit Of W.C. Fields/W.C. Fields - A Man Against Children, Motherhood, Fatherhood And Brotherhood/W.C. Fields - Creator Of Weird Names MCA 702 - Conway - Conway Twitty [1981] Reissue of MCA 3063. -
Softball Bat List, July 17, 2021
` Manufacturer Model Description Updated Adidas FPVQSH2K10 Vanquish 3/21/11 Adidas FPVQSH2K9 Vanquish 8/13/08 Adidas Phenom by Dick's Sporting Goods 8/13/08 Adidas Vanquish-FPVQSH2K8 by Dick's Sporting Goods 8/13/08 Akadema Catapult Black 9/16/09 Akadema Xtension 8/13/08 Akadema Xtension Catapult 8/13/08 Akadema Xtension Catapult Hybrid 8/13/08 Albin Athletics ACL-XO7FP 8/13/08 Albin Athletics ACL-XO7SP 8/13/08 Albin Athletics ASP07 8/13/08 Anarchy Bats A202ABDM2-2 Blue Dream 9/14/20 Anarchy Bats A20AASM1-1 Autism 11/5/20 Anarchy Bats A20AATS2-1 All The Smoke 11/5/20 Anarchy Bats A20ADAY2-1 22 A Day 11/5/20 Anarchy Bats A20ADMN2-1 Demon 11/5/20 Anarchy Bats A20AMUW2-1 Maui-Wowie 11/5/20 Anarchy Bats A20APPX2 Pineapple X 9/14/20 Anarchy Bats A20AREB2-2 Rebellion 11/5/20 Anarchy Bats A20AREB2-2 Rebellion 4/26/21 Anarchy Bats A20ASDL2-1 Sour Diesel 11/5/20 Anarchy Bats A20AUND1-1 Unite 9/14/20 Anarchy Bats A20AWC1A1 Awakening CE 6/22/20 Anarchy Bats A20BUD1A2 Budweiser (1oz) 6/22/20 Anarchy Bats A20BUD2A2 Budweiser (.5oz) 6/22/20 Anarchy Bats A20BUDL1A2 Bud Light (1oz) 6/22/20 Anarchy Bats A20BUDL2A2 Bud Light (.5oz) 6/22/20 Anarchy Bats A21ABHL12-1 Busch 6/22/21 Anarchy Bats A21ABLL13-1 Bud Lime 6/22/21 Anarchy Bats A21ADMSC13-2 Demon Supercharged 6/22/21 Anarchy Bats A21ADSC121-1 Diablo Super Charged 6/22/21 Anarchy Bats A21ADSCP13-2 Disciple 6/22/21 Anarchy Bats A21AIRCN12-1 Insurrection 6/22/21 Anarchy Bats A21AMUA13-2 Michelob 6/22/21 Anarchy Bats A21ANTD12-2 Naturday 6/22/21 Anarchy Bats A21AOKT13-2 Outkast 6/22/21 Anarchy Bats A21APRO12-1 -
Lineup Discography
Tony Portaro, legendary thrash guitarist of WHIPLASH, Zeleny, known as Charlie Z, is a widely sought after leads a power-trio lineup delivering metal – old drummer, for both live performances and recording. school style. Recognized on Blender Magazine’s list of the Best Metal Drummers of All Time, Charlie Z graced the WHIPLASH burst onto the metal scene in 1984, throne, #anked by Portaro and Delong, through the o!ering their brand of original East Coast Thrash. end of 2015, when interest from original drummer Known worldwide for taking lightning-speed metal Tony Scaglione began to surface. on a neck-breaking ride, Portaro’s dynamic vocals are punctuated with soaring screams. His intricate Scaglione, intending to return for a string of 30th guitar playing and masterful ri!s are signatures of Anniversary shows, rejoined WHIPLASH, as they his skillful songwriting. headlined two festival dates in Japan, performing there for the "rst time. Unfortunately, hopes for a Originally formed in New Jersey, USA, in 1984, reunion tour were not in the stars, after an East WHIPLASH began as the 3 Tonys: Portaro on guitar Coast blizzard caused schedule disruptions in the and vocals, Tony Scaglione on drums and Tony Bono Scaglione camp. The call went out to backup (R.I.P. 2002) on bass. They were signed by Roadrunner drummer James DeMaria for the rescheduled Records in 1985, recorded their debut album "Power “ThrashStorm” shows. and Pain" and took their place as Old School Thrash Metal Legends. DeMaria had subbed-in for Charlie Z on four WHIPLASH dates in 2015. With a resume that includes Departing in 1987 to tour with SLAYER, Scaglione drumming for both TOXIK and GUNFIRE-N-SODOMY, continued on to bands such as SHEER TERROR, M.O.D. -
Brazilian/American Trio São Paulo Underground Expands Psycho-Tropicalia Into New Dimensions on Cantos Invisíveis, a Global Tapestry That Transcends Place & Time
Bio information: SÃO PAULO UNDERGROUND Title: CANTOS INVISÍVEIS (Cuneiform Rune 423) Format: CD / DIGITAL Cuneiform Promotion Dept: (301) 589-8894 / Fax (301) 589-1819 Press and world radio: [email protected] | North American and world radio: [email protected] www.cuneiformrecords.com FILE UNDER: JAZZ / TROPICALIA / ELECTRONIC / WORLD / PSYCHEDELIC / POST-JAZZ RELEASE DATE: OCTOBER 14, 2016 Brazilian/American Trio São Paulo Underground Expands Psycho-Tropicalia into New Dimensions on Cantos Invisíveis, a Global Tapestry that Transcends Place & Time Cantos Invisíveis is a wondrous album, a startling slab of 21st century trans-global music that mesmerizes, exhilarates and transports the listener to surreal dreamlands astride the equator. Never before has the fearless post-jazz, trans-continental trio São Paulo Underground sounded more confident than here on their fifth album and third release for Cuneiform. Weaving together a borderless electro-acoustic tapestry of North and South American, African and Asian, traditional folk and modern jazz, rock and electronica, the trio create music at once intimate and universal. On Cantos Invisíveis, nine tracks celebrate humanity by evoking lost haunts, enduring love, and the sheer delirious joy of making music together. São Paulo Underground fully manifests its expansive vision of a universal global music, one that blurs edges, transcends genres, defies national and temporal borders, and embraces humankind in its myriad physical and spiritual dimensions. Featuring three multi-instrumentalists, São Paulo Underground is the creation of Chicago-reared polymath Rob Mazurek (cornet, Mellotron, modular synthesizer, Moog Paraphonic, OP-1, percussion and voice) and two Brazilian masters of modern psycho- Tropicalia -- Mauricio Takara (drums, cavaquinho, electronics, Moog Werkstatt, percussion and voice) and Guilherme Granado (keyboards, synthesizers, sampler, percussion and voice). -
(I Can't Get No) Satisfaction Rolling Stones 1965 4 Open Ar
1 Hey Jude The Beatles 1968 2 Stairway To Heaven Led Zeppelin 1971 3 (I Can't Get No) Satisfaction Rolling Stones 1965 4 Open Arms Journey 1982 5 Yesterday The Beatles 1965 6 American Pie Don McLean 1972 7 Imagine John Lennon 1971 8 Jailhouse Rock Elvis Presley 1957 9 Ebony And Ivory Paul McCartney & Stevie Wonder 1982 10 (We're Gonna) Rock Around The Clock Bill Haley & His Comets 1955 11 Start Me Up Rolling Stones 1981 12 Centerfold J. Geils Band 1982 13 I Want To Hold Your Hand The Beatles 1964 14 I Love Rock And Roll Joan Jett & The Blackhearts 1982 15 Hotel California The Eagles 1977 16 Do You Believe In Love Huey Lewis & The News 1982 17 The House Of The Rising Sun The Animals 1964 18 Don't Talk To Strangers Rick Springfield 1982 19 Won't Get Fooled Again The Who 1971 20 867-5309/Jenny Tommy Tutone 1982 21 Bridge Over Troubled Water Simon & Garfunkel 1970 22 '65 Love Affair Paul Davis 1982 23 Help! The Beatles 1965 24 Don't Stop Believin' Journey 1981 25 Endless Love Diana Ross & Lionel Richie 1981 26 Brown Sugar Rolling Stones 1971 27 Let It Be The Beatles 1970 28 Free Bird Lynyrd Skynyrd 1975 29 Woman John Lennon 1981 30 Nights In White Satin Moody Blues 1972 31 She Loves You The Beatles 1964 32 The Sounds Of Silence Simon & Garfunkel 1966 33 The Twist Chubby Checker 1960 34 Jumpin' Jack Flash Rolling Stones 1968 35 Jessie's Girl Rick Springfield 1981 36 Born To Run Bruce Springsteen 1975 37 A Hard Day's Night The Beatles 1964 38 California Dreamin' The Mamas & The Papas 1966 39 Lola The Kinks 1970 40 Lights Journey 1978 41 Proud -
Kant Borges Derrida
From Cosmopolitical Literature to Cosmo-panto-mimesis and ”this strange institution called ’literature”’: Kant, Borges, Derrida Thomas Dutoit To cite this version: Thomas Dutoit. From Cosmopolitical Literature to Cosmo-panto-mimesis and ”this strange institution called ’literature”’: Kant, Borges, Derrida. 2015. hal-01202389 HAL Id: hal-01202389 https://hal.univ-lille.fr/hal-01202389 Preprint submitted on 26 Sep 2015 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. 1 From Cosmopolitical Literature to Cosmo-panto-mimesis and "this strange institution called literature": Kant Borges Derrida THOMAS DUTOIT UNIVERSITÉ DE LILLE E.A. 4074 CECILLE "All of this would not have happened if we knew what literature is. None of this would have happened if we knew what the word 'literature' means." Jacques Derrida1 2 "Que serait une littérature qui ne serait que ce qu'elle est, littérature? Elle ne serait plus elle- même si elle était elle-même." Jacques Derrida3 "I like Fidel Castro and his beard." Bob Dylan4 In "Préjugés," Jacques Derrida takes Franz Kafka's "Devant la loi" ("Vor dem Gesetz") as the literary text with which he delivers a "Talmudic" reading meant to indicate, subtly, how "differance" would be the fulcrum by which Derrida could suspend the otherwise judgmental, critical, categorical and decisive nature of Jean- François Lyotard's work, in particular in the latter's turn to the work of Kant at the end of the 1970's and early 1980's. -
Das Remake Als Fetischkunst Gus Van Sants »Psycho« Und Die Absonderlichen Serialitäten Des Hollywood-Kinos
FORSCHUNGSBEITRAG DAS REMAKE ALS FETISCHKUNST Gus Van Sants »Psycho« und die absonderlichen Serialitäten des Hollywood-Kinos Frank Kelleter 154 RKEMA ING ALS SERIELLE PRAXIS Film-Remakes und Film-Fortsetzungen verkörpern den kommerziellen Prag- matismus des Hollywood-Kinos in schamloser Manier. Kein Wunder, dass sich Feuilleton und Filmwissenschaft lange Zeit nicht mit ihnen anfreunden konnten. Noch heute muss jeder Film, der eine Zahl im Titel trägt, darauf gefasst sein, als Beispiel für die Einfallslosigkeit einer ganzen, eigentlich geldgeilen Industrie herzuhalten. Problematisch ist diese Haltung nicht, weil sie falsch wäre – Remakes und Fortsetzungen operieren tatsächlich als ›pre-sold com- modities‹ –, sondern weil Einfallsreichtum in der Geschichte des populären Films eigentlich immer schon an profitorientierte Produktionskulturen gebun- den war. Wie unbehaglich dieser Gedanke in cinephilen Kreisen weiterhin sein mag, lässt sich daran ablesen, dass die Figur des sich gegen ökonomische Zwänge behauptenden ›Auteurs‹ die Rede über Filme selbst dort noch orga- nisiert, wo die proklamierten filmtheoretischen Überzeugungen schon längst das Gegenteil behaupten. Das Problem filmischer Autorschaft steht im Zentrum von Gus Van Sants »Psycho« und vermengt sich dort in irritierender Weise mit Fragen medialer Selbstreflexion und narrativer Fortsetzungslogik. Um zu verstehen, was hier geschieht, bietet es sich an, das Format ›Neuverfilmung‹ zunächst einmal seri- alitätstheoretisch zu beschreiben. Auf den ersten Blick ist das eine kontrain- tuitive Perspektive: Remakes behaupten ja in aller Regel nicht, Episoden oder Fortsetzungen eines größeren Erzählganzen zu sein. Dennoch fällt es schwerer, POP. Kultur und Kritik ◆ Heft 7 Herbst 2015 ◆ S. 154–173 ◆ © transcript zwischen einer Neuverfilmung und einer Fortsetzung formal zu unterscheiden, als diese scheinbar eindeutigen Begriffe vermuten lassen (Verevis 2006a; siehe auch einzelne Beiträge in Heinze/Krämer 2015). -
Ep #93: Widows Like Us: an Interview with Bevin Farrand Full Episode
Ep #93: Widows Like Us: An Interview with Bevin Farrand Full Episode Transcript With Your Host Krista St-Germain The Widowed Mom Podcast Ep #93: Widows Like Us: An Interview with Bevin Farrand Welcome to The Widowed Mom Podcast, episode 93, Widows Like Us: An Interview with Bevin Farrand. Welcome to The Widowed Mom Podcast, the only podcast that offers a proven process to help you work through your grief, to grow, evolve, and create a future you can truly look forward to. Here’s your host, Master Certified life coach, grief expert, widow, and mom, Krista St-Germain. Hey there. Welcome to another episode of the podcast. I know sometimes that most of us out there in Widowed Mom land feel like we’re on islands by ourselves and we don’t typically have a lot of other women to look to who have walked a similar walk, and it can just feel very isolating and lonely. And so I love the Widows Like Us interviews that I’ve done and what I hope is that when you listen to them, you hear other women who are relatable and get you, who inspire you, who help you see what’s possible for your life. Because if they can make the changes that they want to make, then the rest of us can too, right? So I’m excited to bring you this interview with a former client of mine, Bevin. I will not tell you too much about her. I’m just going to let the interview unfold, but I know that you’re going to love her. -
James Dean Brown – Psychedelic Soul You Are
James Dean Brown – Psychedelic Soul You are about to enter a space where hardly any clubber has danced before… Feel well-absorbed into James Dean Brown's most extraordinary, emphatic and convincing DJ work so far. As soon as he is supposed to feel reasonably safe in terms of a conclusive music selection and respectable mixing skills, JDB starts (and keeps on) experimenting, merging and warping styles, leaving the comfort zone. Consequently, you will experience weirdness of epic dimensions here while listening to a story that pleads for a great diversity of sound cultures at parties. Surrounded by nature, outdoors vibes and the heavy, monsoon-like rain must have been a great inspiration. Otherwise one could hardly explain how JDB managed to mix some of these hazardous grooves in such a relaxed way. The trip becomes an audio drama: psychedelic Soul, Funk and Blues full of exotic magic and mystery, intoxicating Voodoo House, decelerated grooves, flexible shuffle modes, alien sound signatures, tripping hazards, spiritual vibes, enchanting incantations, ghost whispers, tribal percussion reverberating from the electrically vibrating rain forest, echoes from space, strange and unusual music not quite from this world, fluid fairytales, passion, temptation, ritual ecstasy, obscuration and revelation, and other oddities – it's all in here. Welcome to a subtle dislocation off the norm. mixed + recorded live under heavy rain at "Contour", ://about blank garden, Berlin, 29.07.12 between 5.00 and 8.00 a.m. Theo Parrish – Dusty Cabinets 12"EP: Pieces of a Paradox (Sound Signature SS004) http://www.discogs.com/release/4298 Theo Parrish – Dan Ryan 12"EP: Roots Revisited (Sound Signature SS005) http://www.discogs.com/release/6849 Electric Soul – Here Come One 12"EP: ANewSong / Here Come One (People PEOPLE 005) http://www.discogs.com/release/32449 Kenny Dixon Jr. -
For Fans of Metal's Seamy, Unsavory Past, This Is a Great Time to Be Alive
Nevertheless, it features a few stomping, pop- metal nuggets in the form of the sprite “Sweet Surrender,” the slightly seedy “Trash Queen” and the messy-but-fun Gary Glitter cover “Alrite with the Boyz.” The band would go on to release two more albums with a dirtier, more street-oriented sound that lacked the personality and cheap charm of the first LP. Witchfinder General borrowed their riffs or fans of metal’s seamy, unsavory past, this is a great from early Sabbath, dressed up in Victorian-era time to be alive. To start with, there are a slew of fresh costumes and posed with nude women on their album covers for a truly oddball presentation. reissues to gnaw on, and we’ll be doing plenty of that in The band’s second album Friends Of Hell (1983) just a few. And then, there’s the reemergence of a few past has also been given the ace reissue treatment F and alternates between doomy Sabs terrain key players that I also wanna touch on. So with that, grab a chair, or a (“Quietus Reprise”) and commercial hard rock blowtorch, or whatever else helps you relax, and let’s get moving. (“I Lost You”). Vocalist Zeeb Parkes’ limited range does the songs little justice, but the band’s The New Wave of British Heavy Metal volatile sign of things to come. Largely taking its material is an early example of the post-Sabbath (NWOBHM) movement that emerged during cues from Judas Priest, the rest of the album is doom trend that has become pervasive in metal the early ’80s was a massive cultural force. -
November '92 Sound
mb Nove er ’92 . 2 , NoSS UUNN DD HHHH, YOU DON’T know the shape I’m “O in,” Levon Helm was wailing plaintively over the P.A. as the lights came up at Off Broad- way, a St. Louis nightclub. The DJ’s choice of that particular Band normally prohibits). Brian McTavish of the number couldn’t have been more Star’s “Nighthawk” column was on assign- relevant. Four days on the road ment, so no luck there. A television spot with the Tom Russell Band were wasn't in the budget, so we'd have to rely coming to a close, leaving me primarily on word of mouth for ticket sales. fatigued and exhilarated at the same time. Day 1 – Kansas City The show had run late, and The Tom Russell Band, standin’ on the corner: Barry the management was doing its Ramus (bass), Fats Kaplin (accordion, pedal steel, Waiting at the Comfort Inn for the band harmonica, and more), Tom Russell (guitar, vocals), to roll in to town provided a chance to see a best to herd patrons out the Mike Warner (drums, backing vocals), Andrew Hardin door. As the crowd congratulat- (guitar, harmony vocals). prima donna in action. A member of Lash ing the band dispersed, S LaRue’sband was pressuring the desk clerk staff cartoonist Dug joined me in ap- to change his room assignment, first to down the hall, then, deciding that wasn’t proaching Tom, and in our best Wayne and up a request for an interview left on his toll good enough, to a different floor.