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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. -
Gay Marriage Party Ends For
'At Last* On her way to Houston, pop diva Cyndi Lauper has a lot to say. Page 15 voicewww.houstonvoice.com APRIL 23, 2004 THIRTY YEARS OF NEWS FOR YOUR LIFE. AND YOUR STYLE. Gay political kingmaker set to leave Houston Martin's success as a consultant evident in city and state politics By CHRISTOPHER CURTIS Curtis Kiefer and partner Walter Frankel speak with reporters after a Houston’s gay and lesbian com circuit court judge heard arguments last week in a lawsuit filed by gay munity loses a powerful friend and couples and the ACLU charging that banning same-sex marriages is a ally on May 3, when Grant Martin, violation of the Oregon state Constitution. (Photo by Rick Bowmer/AP) who has managed the campaigns of Controller Annise Parker, Council member Ada Edwards, Texas Rep. Garnet Coleman and Sue Lovell, is moving to San Francisco. Back in 1996 it seemed the other Gay marriage way around: Martin had moved to Houston from San Francisco after ending a five-year relationship. Sue Lovell, the former President party ends of the Houston Gay and Lesbian Political Caucus (PAC), remembers first hearing of Martin through her friend, Roberta Achtenberg, the for mer Clinton secretary of Fair for now Housing and Equal Opportunity. “She called me and told me I have a dear friend who is moving back to Ore. judge shuts down weddings, Houston and I want you to take Political consultant Grant Martin, the man behind the campaigns of Controller Annise Parker, good care of him.” but orders licenses recognized Council member Ada Edwards, Texas Rep. -
The Decline of New York City Nightlife Culture Since the Late 1980S
1 Clubbed to Death: The Decline of New York City Nightlife Culture Since the Late 1980s Senior Thesis by Whitney Wei Fulfillment of the Requirements For the Degree of BA Economic and Social History Barnard College of Columbia University New York, New York 2015 2 ii. Contents iii. Acknowledgement iv. Abstract v. List of Tables vi. List of Figures I. Introduction……………………………………………………………………7 II. The Limelight…………………………………………………………………12 III. After Dark…………………………………………………………………….21 a. AIDS Epidemic Strikes Clubland……………………..13 b. Gentrification: Early and Late………………………….27 c. The Impact of Gentrification to Industry Livelihood…32 IV. Clubbed to Death …………………………………………………………….35 a. 1989 Zoning Changes to Entertainment Venues…………………………36 b. Scandal, Vilification, and Disorder……………………………………….45 c. Rudy Giuliani and Criminalization of Nightlife………………………….53 V. Conclusion ……………………………………………………………………60 VI. Bibliography………………………………………………………………..…61 3 Acknowledgement I would like to take this opportunity to thank Professor Alan Dye for his wise guidance during this thesis process. Having such a supportive advisor has proven indispensable to the quality of this work. A special thank you to Ian Sinclair of NYC Planning for providing key zoning documents and patient explanations. Finally, I would like to thank the support and contributions of my peers in the Economic and Social History Senior Thesis class. 4 Abstract The purpose of this thesis is to investigate the impact of city policy changes and the processes of gentrification on 1980s nightlife subculture in New York City. What are important to this work are the contributions and influence of nightlife subculture to greater New York City history through fashion, music, and art. I intend to prove that, in combination with the city’s gradual revanchism of neighborhood properties, the self-destructive nature of this after-hours sector has led to its own demise. -
Eclipse-132-133-Compressed.Pdf
". Houston pastor hits milestone, Power and success are aphrodisiacs _.J .-J ~,...; ~ .r :::.J .:::.J'::.).....}.:!, Readying for softball action, for Houston's l{tdl. Gll~Y. Details emerge in Montrose slaying. ~l"-",;;;",,,,.~ \...t\ .• : CL,~/ l~8 ~ 1 I \.;,~~~~ j _~\2, 500 Levett, Suite 200 • Houston, TX77006 Phone: 713-529-8490 • Fax: 713-529-9531 A WindoYo! Media TollFree Out-of-State: 877-966-3342 Publication PUBLISHER t'sofficially hot in Houston, but the infusion of Window Media LLC All content of Eclipse queer culture into mainstream American society GENERAL MANAGER magazine copyrighted Mike Kitchens continues to make cool, steady headway. It's not ©2003 by Window I Media, LLC,and is just sodomy laws being thrown out in the U.S. via the ADVERTISING SALES protected by federal Brian Martin. Brett Cullum landmark Texas decision. It's the growing comfort of Tom Jones (Classifieds) copyright law and may not be reproduced non-gays to watch our lives portrayed on TV or to EDITORIAL DIRECTOR without the written blend our trends and style with theirs. Chris Crain consentof the publisher. The sexual orientation EDITORS of advertisers, Matt Hennie • Mike Fleming The July 15 debut of "Queer Eye for the Straight Guy" photographers, writers WEBMASTER and cartoonistspub- set new ratings records for cable channel Bravo, averag- Aram Vartian lished herein is ing some 1.64 million viewers. That's new evidence to neither inferred nor ART DIRECTOR implied. The appear- support the popularity of gay-themed shows. See our Rob Boeger ance of names or cover story on "Gay Hollywood" (Page 14) for more on pictorial representation PRODUCTION MANAGER how gay men are breaking out in "the business." John Nail does not necessarily indicate the sexual ori- GRAPHIC DESIGNERS entation of the person Joey Carolino or persons. -
Graphics Incognito
45 amateur, trendy, and of-the-moment. The irony, What We Do Is Secret the subject of spirited disagreement and post-hoc of course, being that over the subsequent two speculation both by budding hardcore punks decades punk and graffiti (or, more precisely, One place to begin to consider the kind of and veteran scenesters over the past twenty-five GRAPHICS hip-hop) have proven to be two of the most crossing I am talking about is with the debut years. According to most accounts, ‘GI’ stands productive domains not only for graphic design, (and only) album by the legendary Los Angeles for ‘Germs Incognito’ and was not originally INCOGNITO but for popular culture at large. Meanwhile, punk band the Germs, titled simply ����.5 intended to be the title of the album. By the time Rand’s example remains a source of inspiration The Germs had formed in 1977 when teenage the songs were recorded the Germs had been by Mark Owens to scores of art directors and graphic designers friends Paul Beahm and George Ruthen began banned from most LA clubsclubs andand hadhad resortedresorted to weaned on breakbeats and powerchords. writing songs in the style of their idols David booking shows under the initials GI. Presumably And while I suppose it might be possible to see Bowie and Iggy Pop. After the broadcast of a in order to avoid confusion, the band had wanted My interest has always been in restating Rand’s use of techniques like handwriting, ripped London performance by The Clash and The Sex the self-titled LP to read ‘GERMS (GI)’, as if it the validity of those ideas which, by and paper, and collage as sharing certain formal Pistols on local television a handful of Los Angeles were one word. -
Rush's Lyrical Rhetoric of Oppression and Liberation
Relevant Rhetoric, Vol. 7 (2016): Rush’s Lyrical Rhetoric of Oppression and Liberation Rush’s Lyrical Rhetoric of Oppression and Liberation: Extending “Freedom Songs” into the Progressive Rock Genre Brett A. Barnett Associate Professor of Communication Slippery Rock University of Pennsylvania [email protected] Relevant Rhetoric, Vol. 7 (2016): Rush’s Lyrical Rhetoric of Oppression and Liberation 2 On April 18, 2013, members of the Canadian power trio Rush were among the artists inducted into the Rock and Roll Hall of Fame, a well-deserved honor that was long overdue. Formed in August 1968, Rush would join artists like Pink Floyd and Yes in shaping the music movement that would come to be categorized as “progressive” rock, or “prog rock,” a rock music sub-genre that Rush. Photo credit: By Enrico Frangi (Uploaded by User:Jonasz) [Public domain], via Wikimedia Commons also developed in the late 1960s.1 As reflected in the music of Rush, progressive rock involves more advanced musical forms, including an expanded instrumental palette and increased com- plexity in terms of instrumentation, as well as more sophisticated lyrical themes ranging from unconventional subject matter to increased social commentary. After years playing on the Toronto music scene, Rush formed their own label, Moon Records, and shortly thereafter released their first album, Rush, in 1974.2 Rush’s self-titled debut album did not garner much attention until Cleveland’s WMMS (100.7 FM), widely regarded as one of the most influential rock radio stations in North America, -
The Marriage of the Goth and EDM/Rave Scenes
The Marriage of the Goth and EDM/Rave Scenes The intersection between the goth and EDM scenes is nothing new, and does not seem to be going away. From the onset of rave culture and tours, which really began in the UK, the artists and DJs who were involved had the tenacity, energy and rebellious attitudes that are also characteristic of the modern goth subculture. Among the most notable of these artists are The Prodigy. If you look at the themes of the very first series of NYC “Club Kids” parties, Michael Alig’s Disco 2000 nights, put on at The Limelight, Peter Gatien’s then-notorious nightclub, a pattern emerges. The commonality among those events (besides copious drug use), was their hosts’ and guests’ individualistic, expressive costumes, which often crossed into the gory, dark and freaky realm. In the mid-to late ’90s and into the 2000s, raves began to incorporate similar themes. Today, it is not unusual to see partygoers sporting gothic attire and accessories, or even straight-up frightening getups. In the local club scene, for 15 years Providence’s Club Hell was a beacon of joy for alternative nightclub enthusiasts, both for its solid array of dance and rock music, and its S&M-inspired vibe. Hell was a place where you could participate in flogging (or sensual whippings) on stage, if you so chose. If you weren’t into that, however, that was totally cool, too. In fact, when it closed in late 2011, the club was praised for its acceptance of people of all ages, backgrounds, sexual orientations and styles of dress. -
The Electronic Music Scene's Spatial Milieu
The electronic music scene’s spatial milieu How space and place influence the formation of electronic music scenes – a comparison of the electronic music industries of Berlin and Amsterdam Research Master Urban Studies Hade Dorst – 5921791 [email protected] Supervisor: prof. Robert Kloosterman Abstract Music industries draw on the identity of their locations, and thrive under certain spatial conditions – or so it is hypothesized in this article. An overview is presented of the spatial conditions most beneficial for a flourishing electronic music industry, followed by a qualitative exploration of the development of two of the industry’s epicentres, Berlin and Amsterdam. It is shown that factors such as affordable spaces for music production, the existence of distinctive locations, affordability of living costs, and the density and type of actors in the scene have a significant impact on the structure of the electronic music scene. In Berlin, due to an abundance of vacant spaces and a lack of (enforcement of) regulation after the fall of the wall, a world-renowned club scene has emerged. A stricter enforcement of regulation and a shortage of inner-city space for creative activity in Amsterdam have resulted in a music scene where festivals and promoters predominate. Keywords economic geography, electronic music industry, music scenes, Berlin, Amsterdam Introduction The origins of many music genres can be related back to particular places, and in turn several cities are known to foster clusters of certain strands of the music industry (Lovering, 1998; Johansson and Bell, 2012). This also holds for electronic music; although the origins of techno and house can be traced back to Detroit and Chicago respectively, these genres matured in Germany and the Netherlands, especially in their capitals Berlin and Amsterdam. -
2007 Houston Black Tie Dinner
THIS EVENING IS LOVINGLY DEDICATED TO THE MEMORY OF MONTE FROST 3 @ HOUSTON BLACK TIE DINNER OJ 2007 . PROGRAM OF EVENTS Dear Friends, 7:00 PM SILENT AUCTION AND COCKTAILRECEPTION Welcome to the 2007 Houston Black Tie Dinner! As a c•hild, fairy tales Silent Auction closes at 9:15 PM such as Little Red Riding Hood, Jack and the Beanstalk, Rapunzel, and Cinderella all journeyed Into the Woods and inspired us to imagine 8:00 PM DINNER AND PROGRAM worlds of mystery and magic. Imperial Ballroom We are honored to serve as yOUTGala Co-Chair's and on behalf of the Houston Black Tie Dinner Board of Directors we thank you all for WELCOME joining us this evening. Tonight we acknowledge the richness and Ernie Manouse. Emcee diversity of our community, as demonstrated by our outstanding group Mark Chupik and Sydnee White, Dinner Co-Chait·s of beneficiaries and those we're honoring this evening. Scott Nettles, President While tonight promises to be one of celebration and hope we can never lose sight of why we are here - to raise desperately needed funds for DINNER SERVICE education and health programs, cultural enhancements, patient services and critical AIDS research. J. HOLLYFIELD POLITICAL SERVICE AWARD Human Rights Campaign (HRC) - Houston It is because of the efforts and dedication of our underwriters, table sponsors, Friends of Black Tie, auction donors, advertisers and volunteers that this evening is possible. For your contributions and HUMANITARIAN AWARD participation we extend our heartfelt gratitude. Sandy Clough and Stephanie McClain Finally, we would like to thank our extraordinary board of directors CORPORATE ANGEL AWARD who have given their time, energy and resources to help make this year Walgreens and especially this evening a success. -
Lemmy Kilmister Was Born in Stoke-On-Trent
Lemmy Kilmister was born in Stoke-on-Trent. Having been a member of the Rocking Vicars, Opal Butterflies and Hawkwind, Lemmy formed his own band, Motörhead. The band recently celebrated their twenty-fifth anniversary in the business. Lemmy currently lives in Los Angeles, just a short walk away from the Rainbow, the oldest rock ’n’ roll bar in Hollywood. Since 1987, Janiss Garza has been writing about very loud rock and alternative music. From 1989 to1996 she was senior editor at RIP, at the time the World’s premier hard music magazine. She has also written for Los Angeles Times, Entertainment Weekly, and New York Times, Los Angeles. ‘From heaving burning caravans into lakes at 1970s Finnish festivals to passing out in Stafford after three consecutive blowjobs, the Motörhead man proves a mean raconteur as he gabbles through his addled heavy metal career résumé’ Guardian ‘As a rock autobiography, White Line Fever is a keeper’ Big Issue ‘White Line Fever really is the ultimate rock & roll autobiography . Turn it up to 11 and read on!’ Skin Deep Magazine First published in Great Britain by Simon & Schuster UK Ltd, 2002 This edition first published by Pocket, 2003 An imprint of Simon & Schuster UK Ltd A Viacom Company Copyright © Ian Kilmister and Janiss Garza, 2002 This book is copyright under the Berne Convention. No reproduction without permission. All rights reserved. The right of Ian Kilmister to be identified as author of this work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act, 1988. Simon & Schuster UK Ltd Africa House 64-78 Kingsway London WC2B 6AH www.simonsays.co.uk Simon & Schuster Australia Sydney A CIP catalogue record for this book is available from British Library Paperback ISBN 0-671-03331-X eBook ISBN 978-1-47111-271-3 Typeset by M Rules Printed and bound in Great Britain by Cox & W yman Ltd, Reading, Berks PICTURE CREDITS The publishers have used their best endeavours to contact all copyright holders. -
Anymore DAKOTA BYRD Reflections on Samhain and Life As a Gay Witch Read the Full Story on Page 16 Toc10.28.11 | Volume 28 | Issue 24
Joan Rivers yuks it up at Bass Hall Comedy legend still loves her gays From red carpet to ‘Fashion Police,’ she’s still going strong at 78 • COMEDY, Page 26 DallasVoice.com DallasVoice.com/Instant-Tea Facebook.com/DallasVoice Twitter.com/DallasVoice The Premier Media Source for LGBT Texas Established 1984 | Volume 28 | Issue 24 FREE | Friday, October 28, 20011 NOTin SALEM anymore DAKOTA BYRD Reflections on Samhain and life as a gay witch Read the full story on Page 16 toc10.28.11 | Volume 28 | Issue 24 6 headlines • TEXAS NEWS 6 2,600 attend Out & Equal 6 Police: Don’t park at Office Depot 10 Vet files complaint against Dallas VA • BUSINESS 22 Parking regulations hurting business • LIFE+STYLE 30 30 ‘Top Chef’ comes to Texas 31 Show vs. Show: B52s vs. CSS 34 ‘Bad Dates’ at Contemporary Theater • COVER ART Photo by Tammye Nash. Cover design by Kevin Thomas. departments 34 6 Texas News 26 Life+Style 8 Pet of the Week 43 Scene 13 Deaths 44 Starvoice 24 Viewpoints 46 Classifieds 10.28.11 • dallasvoice 3 instantTEA DallasVoice.com/Category/Instant-Tea HALLOWEEN DRAG | Via my Facebook friend Michael Westley of Salt Lake City (I lived in Utah for three years), above is an actual flier that was posted on doors near a Mormon church in the SLC suburb of Sandy. — John Wright Police officer assaulted after had responded, noting that Whitehead called him on Sunday morning to let him know what had fight outside Rainbow Lounge transpired. “I am glad to see the liaison position is Five people were arrested early Sunday, Oct. -
His Eyes Looked Like Eggs, with the Yolks Broken Open, With
PO Box 42129, Los Angeles, CA 90042 #18 www.razorcake.com picked off the road, and sewn back on. If he didn’t move with such is eyes looked like eggs, with the yolks broken open, with authority, it’d’ve been easy to mistake him as broken. bits of blood pulsing through them. Before he even opened His voice caught me off guard. It was soft, resonant. “What’re HHup his grease stained tennis bag, I knew that there was you looking for?” nothing I’d want to buy from him. He unzipped the bag. Inside, “Foot pegs.” I didn’t have to give him the make and model. He there were ten or fifteen carburetors. Obviously freshly stolen, the knew from the connecting bolt I held out. rubber fuel lines cut raggedly and gas leaking out. “Got ‘em. Don’t haggle with me. You got the cash?” I placed “No. I’m just looking for foot pegs.” the money in his hand. “Man, you could really help me out. Sure you don’t want an “That’s what I like. Cash can’t bounce. Follow me.” upgrade? There’s some nice ones in here.” We weaved through dusty corridors, the halls strategically There were some very expensive pieces of metal, highly mined with Doberman shit. To the untrained eye, the place looked polished, winking at me. I could almost hear the death threats their in shambles. No care was taken to preserve the carpet. Inside-facing previous owners’ bellowed into empty parking lots. windows were smashed out. He bent down, opened a drawer with a “No.