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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. -
Rotting Christ Til Inferno Metal Festival 2014
ROTTING CHRIST TIL INFERNO METAL FESTIVAL 2014 Greske ROTTING CHRIST er bekreftet til INFERNO METAL FESTVIAL 2014. Bandet startet helt tilbake i 1987 og har gitt ut hele 11 album. Deres nyeste skive, «Kata Ton Daimona Eaytoy», kom ut tidligere i år og er intet mindre enn et mesterverk. Det blir extreme metal på sitt beste når bandet nå vender tilbake til Norge. Tidligere annonserte artister er DIMMU BORGIR, TULUS, SIGH, IMPIETY, BLACK WITCHERY, ORANSSI PAZUZU, FLESHGOD APOKALYPSE, TRISTANIA og NECROS CHRISTOS. ROTTING CHRIST Rotting Christ ble etablert helt tilbake i 1987 og er kjent for å være det første black metal- bandet fra Hellas. Etter 26 år er bandet et av de som har holdt det gående lengst uavbrutt innenfor hele black metal-genren. Bandet har gitt ut en rekke album som i dag blir ansett som klassikere, som de tidlige black metal-skivene «Thy Mighty Contract» og «Non Serviam», samt 90-tallets mer gotisk-pregete «A Dead Poem». Bandet har ikke tapt seg over alle disse årene, men har tvert i mot utviklet seg i en ny retning med album som «Theogonia» (2007) og «AEALO» (2010), som leder opp til årets episke og mørke «Kata Ton Daimona Eaytoy». www.rotting-christ.com INFERNO METAL FESTIVAL 2014 Oslo, 16. - 19. april. Rockefeller / John Dee Rock In – Revolver – Victoria – Blå – De Ville's – Kulturhuset Inferno er en internasjonal extreme metal- festival som arrangeres 16. til 19. april 2014, i Oslo. Omtrent 50 konserter avholdes på Rockefeller og John Dee samt klubbscenene Blå, DeVille's, Rock In, Victoria, Kulturhuset og Revolver. -
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. -
Heavy Metal and Classical Literature
Lusty, “Rocking the Canon” LATCH, Vol. 6, 2013, pp. 101-138 ROCKING THE CANON: HEAVY METAL AND CLASSICAL LITERATURE By Heather L. Lusty University of Nevada, Las Vegas While metalheads around the world embrace the engaging storylines of their favorite songs, the influence of canonical literature on heavy metal musicians does not appear to have garnered much interest from the academic world. This essay considers a wide swath of canonical literature from the Bible through the Science Fiction/Fantasy trend of the 1960s and 70s and presents examples of ways in which musicians adapt historical events, myths, religious themes, and epics into their own contemporary art. I have constructed artificial categories under which to place various songs and albums, but many fit into (and may appear in) multiple categories. A few bands who heavily indulge in literary sources, like Rush and Styx, don’t quite make my own “heavy metal” category. Some bands that sit 101 Lusty, “Rocking the Canon” LATCH, Vol. 6, 2013, pp. 101-138 on the edge of rock/metal, like Scorpions and Buckcherry, do. Other examples, like Megadeth’s “Of Mice and Men,” Metallica’s “For Whom the Bell Tolls,” and Cradle of Filth’s “Nymphetamine” won’t feature at all, as the thematic inspiration is clear, but the textual connections tenuous.1 The categories constructed here are necessarily wide, but they allow for flexibility with the variety of approaches to literature and form. A segment devoted to the Bible as a source text has many pockets of variation not considered here (country music, Christian rock, Christian metal). -
Melvins / Decrepit Birth Prosthetic Records / All
METAL ZINE VOL. 6 SCIONAV.COM MELVINS / DECREPIT BIRTH PROSTHETIC RECORDS / ALL SHALL PERISH HOLY GRAIL STAFF SCION A/V SCHEDULE Scion Project Manager: Jeri Yoshizu, Sciontist Editor: Eric Ducker MARCH Creative Direction: Scion March 13: Scion A/V Presents: The Melvins — The Bulls & The Bees Art Direction: BON March 20: Scion A/V Presents: Meshuggah — I Am Colossus Contributing Editor: J. Bennett March 31: Scion Label Showcase: Profound Lore, featuring Yob, the Atlas Moth, Loss, Graphic Designer: Gabriella Spartos Wolvhammer and Pallbearer, at the Glasshouse, Pomona, California CONTRIBUTORS Writer: Etan Rosenbloom Photographer: Mackie Osborne CONTACT For additional information on Scion, email, write or call. Scion Customer Experience 19001 S. Western Avenue Mail Stop WC12 APRIL Torrance, CA 90501 $WODV0RWK³<RXU&DOP:DWHUV´ Phone: 866.70.SCION / Fax: 310.381.5932 &RUURVLRQRI&RQIRUPLW\³3V\FKLF9DPSLUH´ Email: Email us through the Contact page located on scion.com 6DLQW9LWXV³/HW7KHP)DOO´ Hours: M-F, 6am-5pm PST / Online Chat: M-F, 6am-6pm PST 7RPEV³3DVVDJHZD\V´ Scion Metal Zine is published by BON. $SULO6FLRQ$93UHVHQWV0XVLF9LGHRV For more information about BON, email [email protected] April 3: Scion A/V Presents: Municipal Waste April 10: Scion A/V Presents: All Shall Perish — Company references, advertisements and/or websites The Past Will Haunt Us Both (in Spanish) OLVWHGLQWKLVSXEOLFDWLRQDUHQRWDI¿OLDWHGZLWK6FLRQ $SULO6FLRQ$93UHVHQWV3URVWKHWLF5HFRUGV/DEHO6KRZFDVH OLYHUHFRUGLQJ unless otherwise noted through disclosure. April 24: Municipal Waste, “Repossession” video Scion does not warrant these companies and is not liable for their performances or the content on their MAY advertisements and/or websites. May 15: Scion A/V Presents: Relapse Records Label Showcase (live recording) May 19: Scion Label Showcase: A389 Records Showcase, featuring Integrity, Ringworm, © 2012 Scion, a marque of Toyota Motor Sales U.S.A., Inc. -
A Stylistic Analysis of 2Pac Shakur's Rap Lyrics: in the Perpspective of Paul Grice's Theory of Implicature
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2002 A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature Christopher Darnell Campbell Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Rhetoric Commons Recommended Citation Campbell, Christopher Darnell, "A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature" (2002). Theses Digitization Project. 2130. https://scholarworks.lib.csusb.edu/etd-project/2130 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English: English Composition by Christopher Darnell Campbell September 2002 A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino by Christopher Darnell Campbell September 2002 Approved.by: 7=12 Date Bruce Golden, English ABSTRACT 2pac Shakur (a.k.a Makaveli) was a prolific rapper, poet, revolutionary, and thug. His lyrics were bold, unconventional, truthful, controversial, metaphorical and vulgar. -
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 . -
Table of Contents Perspectives on Anarchist Theory
Table of Contents Introduction 2 Maia Ramnath Atmospheric Dialectics 8 Javier Sethness The Climate Crisis or the Crisis of Climate Politics? 26 perspectives Andre Pusey & Bertie Russell All Power to the People 48 on anarchist Lara Messersmith-Glavin theory Movements for Climate Action 56 Brian Tokar v.12 n.2 What We’re Reading 76 fall 2010 Cindy Crabb, John Duda, & Joshua Stevens Editorial Collective: Lara Messersmith-Glavin, Paul About the Illustrations 80 Messersmith-Glavin, and Maia Call for Submissions 81 Ramnath. Anarchist Interventions 82 Layout & Cover Design: Josh About the IAS 84 MacPhee. Perspectives on Anarchist Theoryis a publication of the Institute for Anarchist Studies (IAS). The views expressed here do not necessarily re- flect the IAS. Contact us at perspectivesmagazine@ Special Thanks: Josh MacPhee, the googlegroups.com. New articles, many artists from Justseeds, Jon Keller, not contained in our print edition, are David Combs, Cindy Crabb, John continually posted on line at our website. Duda, Joshua Stevens, AK Press, and You can see them at Anarchiststudies.org, Charles at Eberhardt Press. just look under “Perspectives.” “The non-sustainability and bankruptcy of the ruling world order is fully evident. The need for alternatives has never been stronger....As we face the double closure of spaces by corporate globalisation and militarised police states, by economic fascism aided by po- litical fascism, our challenge is to reclaim our freedoms and the freedoms of our fellow beings.... At the heart of building alternatives and localising economic and political systems is the recovery of the commons and the reclaiming of community. Rights to natural resources are natural rights. -
Making Space
Alternative radical histories and campaigns continuing today. Sam Burgum November 2018 Property ownership is not a given, but a social and legal construction, with a specific history. Magna Carta (1215) established a legal precedent for protecting property owners from arbitrary possession by the state. ‘For a man’s home is his ASS Archives ASS castle, and each man’s home is his safest refuge’ - Edward Coke, 1604 Charter of the Forest (1217) asserted the rights of the ‘commons’ (i.e. propertyless) to access the 143 royal forests enclosed since 1066. Enclosure Acts (1760-1870) enclosed 7million acres of commons through 4000 acts of parliament. My land – a squatter fable A man is out walking on a hillside when suddenly John Locke (1632-1704) Squatting & Trespass Context in Trespass & Squatting the owner appears. argued that enclosure could ‘Get off my land’, he yells. only be justified if: ‘Who says it’s your land?’ demands the intruder. • ‘As much and as good’ ‘I do, and I’ve got the deeds to prove it.’ was left to others; ‘Well, where did you get it from?’ ‘From my father.’ • Unused property could be ‘And where did he get it from?’ forfeited for better use. ‘From his father. He was the seventeenth Earl. The estate originally belonged to the first Earl.’ This logic was used to ‘And how did he get it?’ dispossess indigenous people ‘He fought for it in the War of the Roses.’ of land, which appeared Right – then I’ll fight you for it!’ ‘unused’ to European settlers. 1 ‘England is not a Free people till the poor that have no land… live as Comfortably as the landlords that live in their inclosures.’ Many post-Civil war movements and sects saw the execution of King Charles as ending a centuries-long Norman oppression. -
Gravetemple More Cohesive As a Unit, Allowing Them to Experiment with Their Sound Even Further
both in the recording studio and in a live Mammothfest takes place across various venues setting.” in Brighton from October 6th -8th, and tickets are BULLET POINTS www.Facebook.com/EntombedClandestine available now from their website. The long-running court case surrounding said: “Naturally, we are delighted with the www.Mammothfest.uk Brighton’s has announced the Entombed name has come to an end, decision of the courts. It’s a great relief Mammothfest its final lineup, with Akercocke, Vodun, Abhorrent Members of At The Gates, God Macabre, with the judge ruling against original vocalist that this issue is now finally ruled on and Decimation, Vigil, Confronted and more all Skitsystem and Tormented have come together Lars-Göran “LG” Petrov’s trademark of the we can return to focusing on giving people confirmed. They’ve also scored another UK exclusive to form Swedish death metal supergroup The name, and in favour of founding guitarist more Entombed. We have discussed ideas in the form of Belgian post-metallers Amenra, Lurking Fear, and will release their debut Alex Hellid, along with Nicke Andersson and plans of what we want to do and look who will headline Sunday night, joining exclusive album ‘Out Of The Voiceless Grave’ this August via and Uffe Cederlund. In a statement to forward to working together on creating Friday/Saturday headliners (respectively) Rotting Century Media. Blabbermouth, the three Entombed members the best possible Entombed for the future, Christ and Fleshgod Apocalypse. www.Facebook.com/TheLurkingFear ravetemple have just released ‘Impassable Fears’, their second album and follow up to 2007’s ‘The GHoly Down’. -
AGALLOCH and ANAAL NATHRAKH at the INFERNO FESTIVAL 2012!
AGALLOCH and ANAAL NATHRAKH at the INFERNO FESTIVAL 2012! The american avant garde folk metal band AGALLOCH and Britains most necro black metal band ANAAL NATHRAKH are the next band on the bill for the INFERNO festival 2012. Together with the legendary BORKANAGAR, ARCTURUS and WITCHERY the 2012 edition of the INFERNO METAL FESTIVAL will be extreme. The countdown to the true black easter has begun - Get ready for four unholy days - and a hell of lot of bands! THE INFERNO METAL FESTIVAL has become a true black Easter tradition for metal fans, bands and music industry from all over the world with nearly 50 concerts every year since the start back in 2001. The festival offers exclusive concerts in unique surroundings with some of the best extreme metal bands and experimental artists in the world, from the new and underground to the legendary giants. At INFERNO you meet up with fellow metalheads for four days of head banging, party, black- metal sightseeing and expos, horror films, art exhibitions and all the unholy treats your dark heart desires. THE INFERNO METAL FESTIVAL invites you all to the annual black Easter gathering of metal, gore and extreme in Oslo, Norway from April 4. -7.april 2011. - Four days and a hell of a lot of bands! AGALLOCH: Agalloch is an American metal band formed in 1995 in Portland, Oregon. The band is led by vocalist and guitarist John Haughm and so far have released four limited EPs, four full-length albums. Inspired from bandS like ULVER and KATATONIA, Agalloch performs a progressive and avant-garde style of folk metal that encompasses an eclectic range of tendencies including neofolk, post-rock, black metal and doom metal. -
Anarchist Fortnightly 30P 1 7Th April 1982 Vol 43 No 7
anarchist fortnightly 30p 1 7th April 1982 Vol 43 No 7 IF Andrew Lloyd Webber is so hooked on By the time you are reading this, com- it before that, had evacuated all their Argentinian politics that he ever wants rade, you will probably know the end of ‘possessions’ in the South Atlantic and to write a sequel to ‘Evita’he could hardly this divertissement, for things are happen- claim had been laid to it by the newly do better than pick up a scenario from ing so quickly that as we go to press we emerging state of Argentina— who made the media of last week and write songs to can only say that the British Fleet, God the mistake of not occupying and planting fit. Bless ’Er, is still steaming resolutely south- a flag on the relatively barren islands, 400 In fact, some of the songs are already wards towards the 200-mile circle declared miles off the eastern shores of Patagonia. there, with a bit of pirating, which would out-of-bounds for Argentininan ships by Those were still the heydays of Empire, be appropriate. Alter the lyrics of ‘Georgia the Lord High of the Admiralty here in especially the British Empire , and anybody On My Mind’ and stir in a bit of ‘Any Old London where everybody is still deter- finding the odd island floating around Iron’ and you’ve got the opening number mined to hang on to the ownership of a without a flag on it (even 8000 miles away) with all those scrap merchants landing on couple of barren rocks pinched by our felt entitled to stick up their own flag and South Georgia (where?) to demolish an ancestors in the nineteenth century.