CHAPTER I INTRODUCTION 1.1 Background Heavy Metal Is a Genre
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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. -
Pop Melayu Vs. Pop Indonesia: New Interpretations of a Genre Into the 2000S
CHAPTER SIX POP MELAYU VS. POP INDONESIA: NEW INTERPRETATIONS OF A GENRE INTO THE 2000S Emma Baulch Introduction This chapter presents the rise to national fame of the pop Melayu band, Kangen Band, as an example of reclaiming of the derisive term kampun- gan. In it, I argue that this reclaiming represents an interesting case of genre manipulation, and consider what this can reveal about how Indonesian pop genres are constituted, what they ‘are’ and what they ‘do’. In so doing, I seek to rework existing scholarship relating to Indonesian pop genres and modernity, as well as interrogate some broader theories of genre. In this essay, I extend the argument that Indonesian pop genres are not purely technical categories, they touch on myths of class and nation (Wallach 2008; Weintraub 2010; Yampolsky 1989). As we shall see, in the New Order period, pop music genres reached out to these myths by posi- tioning themselves variously vis-à-vis the capital city, Jakarta. Such posi- tioning, achieved through use of the terms gedongan (a term that strives to infer refinement by stressing the non-masses’ central position in the urban environment) and kampungan (a term that strives to enforce sub- alterns’ marginal position in relation to the metropolis, see also the previ- ous contribution by Weintraub), continues to haunt the constitution of genre in the post-New Order period, but in novel ways. These novel ways, I argue, may be seen to result from industrial transformation and new systems of knowledge production. The Contentious Rise of Pop Melayu In the middle years of this decade, a group of youths from the provincial city, Lampung, in Southern Sumatera gathered together and began busk- ing outside of their day jobs (as pushcart traders, construction workers), then staging more formal performances at music festivals in their home © Emma Baulch, 2014. -
The Function of Pastry Division
THE RESPONSIBILITIES, STRENGTHS, AND WEAKNESSES OF KITCHEN SECTION AT SAHID JAYA HOTEL SOLO FINAL PROJECT Submitted as a partial requirements to obtaining a degree In English Diploma Program Faculty of Letters and Fine Arts Sebelas Maret University By: Danar Rizki Wicaksono C9306023 ENGLISH DIPLOMA PROGRAM LETTERS AND FINE ARTS FACULTY SEBELAS MARET UNIVERSITY S U R A K A R T A 2010 i APPROVAL OF SUPERVISOR Approved to be examined before the Board of Examiners, English Diploma Program Faculty of Letters and Fine Arts, Sebelas Maret University Final Project Report: The Responsibilities, Strengths, and Weaknesses of Kitchen Section at Sahid Jaya Hotel Solo Name : Danar Rizki Wicaksono NIM : C 9306023 Supervisor, Dra. Rara Sugiarti, M.Tourism NIP. 196305301990032001 ii APPROVAL OF BOARD EXAMINERS Accepted and approved by the Board of Examiners, English Diploma Faculty of Letters and Fine Arts, Sebelas Maret University Title : The Responsibilities, Strengths, and Weaknesses of Kitchen Section at Sahid Jaya Hotel Solo Name : Danar Rizki Wicaksono NIM : C9306023 Examination date : February 10th 2010 The Board of Examiners 1. Dra. Susilorini, MA (.……………… ) Chair Person NIP.19650601199202002 2. M. Taufiq Al Makmun, SS, MA (………………..) Secretary NIP.197806272005011003 3. Dra. Rara Sugiarti, M.Tourism (………………. ) Main Examiner NIP.196305301990032001 Faculty of Letters and Fine Arts Sebelas Maret University Dean Drs. Sudarno, MA NIP. 195303141985061001 iii PREFACE In this special occasion, I would like to say the deepest thanks to Allah SWT who has given me power, spirit, and everything in finishing this Final Project and I would like to inform the readers that this Final Project entitled “The Responsibilities, Strengths, and Weaknesses of Kitchen Section at Sahid Jaya Hotel Solo” contains detailed information about the job description of Kitchen Section and the responsibilities, strengths, and weaknesses of Kitchen Section in Sahid Jaya Hotel Solo. -
TSJUDER and ABSU at the INFERNO FESTIVAL 2012!
TSJUDER and ABSU at the INFERNO FESTIVAL 2012! The legendary pioneers of true Norwegian Black Metal TSJUDER and the American occult extreme metal band ABSU will hit the INFERNO stage in 2012! Together with AGALLOCH , ANAAL NATHRAKH , BORKANAGAR, ARCTURUS and WITCHERY the 2012 edition of the INFERNO METAL FESTIVAL will be even darker and more extreme than ever! 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! TSJUDER: Tsjuder crawled up from beneath anno 1993. Their intention was to create the rawest form of Black Metal, and continue that for the lifetime of the band. The line-up has shifted through the years but the permanent line-up came with Anti- Christian joining original members Nag and Draugluin in 2000. The band is known worldwide for their uncompromising Black Metal. Inspired by bands like Celtic Frost, Darkthrone, Kreator and Sodom the main composers Nag and Draugluin developed TSJUDERs distinctive sound which made the band legendary. -
The Construction of Pagan Identity in Lithuanian “Pagan Metal” Culture
VYTAUTO DIDŢIOJO UNIVERSITETAS SOCIALINIŲ MOKSLŲ FAKULTETAS SOCIOLOGIJOS KATEDRA Agnė Petrusevičiūtė THE CONSTRUCTION OF PAGAN IDENTITY IN LITHUANIAN “PAGAN METAL” CULTURE Magistro baigiamasis darbas Socialinės antropologijos studijų programa, valstybinis kodas 62605S103 Sociologijos studijų kryptis Vadovas Prof. Ingo W. Schroeder _____ _____ (Moksl. laipsnis, vardas, pavardė) (Parašas) (Data) Apginta _________________________ ______ _____ (Fakulteto/studijų instituto dekanas/direktorius) (Parašas) (Data) Kaunas, 2010 1 Table of contents SUMMARY ........................................................................................................................................ 4 SANTRAUKA .................................................................................................................................... 6 INTRODUCTION ............................................................................................................................... 8 I. THEORIZING ―SUBCULTURE‖: LOOKING AT SCIENTIFIC STUDIES .............................. 13 1.1. Overlooking scientific concepts in ―subcultural‖ research ..................................................... 13 1.2. Assumptions about origin of ―subcultures‖ ............................................................................ 15 1.3 Defining identity ...................................................................................................................... 15 1.3.1 Identity and ―subcultures‖ ................................................................................................ -
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). -
Gesamtübersicht
Gesamtübersicht: INTERPRET TITEL ACCEPT BLOOD OF THE NATIONS ACCEPT RISE OF CHAOS,THE ALTER BRIDGE AB III AMITY AFFLICTION,THE THIS COULD BE HEARTBREAK AMORPHIS UNDER THE RED CLOUD ANNIHILATOR ALICE IN HELL ANNIHILATOR NEVER,NEVERLAND DIE APOKALYPTISCHEN REITER DER ROTE REITER ASKING ALEXANDRIA ASKING ALEXANDRIA AVATARIUM HURRICANES AND HALOS AVENGED SEVENFOLD HAIL TO THE KING BEHEMOTH THE SATANIST BELPHEGOR BLOOD MAGICK NECROMANCE BETONTOD 1000XLIVE BIFFY CLYRO ONLY REVOLUTIONS BIFFY CLYRO OPPOSITES BILLY TALENT AFRAID OF HEIGHTS BLACKBERRY SMOKE LIKE AN ARROW BLINK-182 CALIFORNIA BLUES PILLS LADY IN GOLD BOLT THROWER REALM OF CHAOS BONFIRE PEARLS BROKEN TEETH HC AT PEACE AMONGST CHAOS CAVE,NICK&THE BAD SEEDS LOVELY CREATURES-THE BEST OF CELLAR DARLING THIS IS THE SOUND CELTIC FROST INNOCENCE AND WRATH (BEST OF) CELTIC FROST INTO THE PANDEMONIUM (DELUXE E CELTIC FROST TO MEGA THERION (DELUXE EDITIO CELTRIC FROST MORBID TALES (DELUXE EDITION) CHILDREN OF BODOM HALO OF BLOOD DEFTONES GORE DESTRUCTION UNDER ATTACK DIABLO BLVD ZERO HOUR DIMMU BORGIR DEATH CULT ARMAGEDDON DISTURBED DISTURBED-LIVE AT RED ROCKS DISTURBED IMMORTALIZED DISTURBED INDESTRUCTIBLE THE DOOMSDAY KINGDOM THE DOOMSDAY KINGDOM DORO STRONG AND PROUD DREAM THEATER THE ASTONISHING ENSLAVED E EPICA THE QUANTUM ENIGMA FISCHER-Z BUILDING BRIDGES GOJIRA L‘ENFANT SAUVAGE HALESTORM INTO THE WILD LIFE (DELUXE) HATEBREED THE CONCRETE CONFESSIONAL INTERPRET TITEL IN FLAMES BATTLES IN THIS MOMENT BLACK WIDOW IRON MAIDEN DEATH ON THE ROAD (LIVE) IRON MAIDEN FEAR OF THE DARK IRON MAIDEN -
Lindsay Schoolcraft Interviewed by Animal English Version
Lindsay Schoolcraft interviewed by Animal English Version: I've been listening to Cradle of Filth for years and years, a classic in its genre, everyone knows that. I've learned to growl and play the keyboard to their songs, searching for harmony by ear and up to now the albums they've released are on my phone's playlist what the people whose skins I tattoo can easily confirm, since I often have to explain why „he's screaming like that”. And no, I can't turn down the volume, listen, you don't have this at home. They usually calm down right after the entry of the female, classical vocals, which fantastically underscores a section's brutality, the sharp guitar riffs and „Jesus being raped” screams, as one of my tattooist colleagues called it, regularly forced to familiarize himself with this band when he shared a tattooing space with me. My musical fascinations, especially the vocal ones, eventually become drawings and paintings, so one night I sketched Dani, posted it on Instagram with the appropriate hashtags and some time later was very surprised to see a like and comment under the picture from Lindsay Schoolcraft, the new vocalist and person responsible for keyboards in Cradle of Filth. We talked for a while and when it turned out that the beautiful, talented and, most of all, humble Lindz confirms the online stereotype of a Candian citizen (meaning: super-nice; that's right, it appears all the memes are true:) ) I also drew her. You can read the outcome of our chat about online trolls, synthesizers and an upcoming new solo album below. -
Live to the Metal Music Živi Uz Metal Muziku
LIVE TO THE METAL MUSIC ŽIVI UZ METAL MUZIKU Autori: JOVANA KAZIMIROVIĆ IVA NICULOVIĆ VIII razred, OŠ “Branko Radičević” Negotin Regionalni Centar za talente Bor Mentor: VESNA PRVULOVIĆ prof. Engleskog jezika i književnosti, OŠ “Branko Radičević” Negotin Negotin, aprila 2013. godine 1 Contents Abstract……………………………………………………………………………………3 Summary…………………………………………………………………………………..4 Introduction………………………………………………………………………………..5 Metal music………………………………………………………………………………..6 Sub-genres of Heavy Metal……………………………………………………………….10 Conclusion………………………………………………………………………………...15 2 Abstract Metal is a movement of music that started essentially with the heavy rock movements. While there was not actual metal during that time, bands were experimenting with heaviness, and it was no surprise that the first metal band (Black Sabbath) was soon to be born. Metal music is a worldwide form of music that has held the attention of younger generations for over 50 years. Metal music has branched off into different sub genres, but one thing is the main motivator for the survival of metal music through all the generations. That is a need for younger generations to rebel against the status quo, to express themselves and their frustration of an outdated way of life. This paper presents the development of metal music from the 1960s to the present day, with special emphasis on some of the metal sub-genre of music. Originally, metal was one genre. But as time passed more genres were born. Today metal is a global movement and has hundreds of sub-genres such as Heavy, Death, Black, Doom, Power, Thrash, Speed, Folk, Industrial, Symphonic, Gothic & Nu-Metal, to name just a few. They range from sheer brutality to smooth and melodic rhythms. -
LAST BANDS for INFERNO METAL FESTIVAL 2020 It Is Time to Reveal the Last Five Bands for Inferno Metal Festival 2020
LAST BANDS FOR INFERNO METAL FESTIVAL 2020 It is time to reveal the last five bands for Inferno Metal Festival 2020. We are very happy to announce TRIUMPH OF DEATH, AMORPHIS, ASPHYX, ORANSSI PAZUZU and THE GREAT OLD ONES! INFERNO METAL FESTIVAL 2020: KREATOR – MAYHEM – TRIUMPH OF DEATH – AMORPHIS – VENOM – GORGOROTH – MARDUK – IHSAHN - KAMPFAR – VED BUENS ENDE – VREID – CADAVER – MYRKSKOG – RUSSIAN CIRCLES – ASPHYX – BÖLZER – ORANSSI PAZUZU – BENIGHTED – DARK FORTRESS – TULUS – WHOREDOM RIFE – UADA – DJERV – HAMFERÐ – TORCHE – DYSCARNATE – THE GREAT OLD ONES – 1914 – SOLBRUD – SYLVAINE – VALKYRJA – OKKULTOKRATI – ASAGRAUM – NACHASH – XENOBLIGHT – GOLDEN CORE – KOSMOS BRENNER – SOVEREIGN TRIUMPH OF DEATH – Hellhammer performed by Tom Gabriel Warrior's Triumph of Death Tom G. Warrior, from Celtic Frost and Triptykon, started back in 1982 a band called Hellhammer. The band existed for a mere two years, from May 1982 to May 1984. During this time, the band released three demos, one 12-inch EP, and two songs on the legendary "Death Metal" compilation album. The band disbanded when Hellhammer members Tom Gabriel Warrior and Martin Eric Ain went on to form Celtic Frost. Warrior has made it clear; Hellhammer will never return and will never be reformed. Still the music exists, and it is an extremely important part of Tom G. Warrior's life and extreme metal in general – widely credited as pioneers of extreme metal. Even if Hellhammer is a band of the past, Warrior had an urge to perform the classics on stage. This is when Triumph of Death became an reality. Triumph of Death is a band solely dedicated to perform the legendary music from Hellhammer. -
UWS Academic Portal Islamic Religion and Death Metal Music in Indonesia
UWS Academic Portal Islamic religion and death metal music in Indonesia James, Kieran; Walsh, Rex John Published in: Journal of Popular Music Studies DOI: 10.1525/jpms.2018.200007 Published: 30/09/2018 Document Version Peer reviewed version Link to publication on the UWS Academic Portal Citation for published version (APA): James, K., & Walsh, R. J. (2018). Islamic religion and death metal music in Indonesia. Journal of Popular Music Studies, 30(3), 129-152. https://doi.org/10.1525/jpms.2018.200007 General rights Copyright and moral rights for the publications made accessible in the UWS Academic Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 23 Sep 2021 "This is the peer reviewed version of the following article: James, K. and Walsh, R. (2018) Islamic religion and death metal music in Indonesia - Part 1. Journal of Popular Music Studies. Vol. 30(3), pp. XX which has been published in final form at [Link to final article using the DOI]. This article may be used for non-commercial purposes in accordance with Wiley Terms and Conditions for Use of Self-Archived Versions." https://authorservices.wiley.com/author-resources/Journal-Authors/licensing/self-archiving.html To be completed on publication. Islamic Religion and Death Metal Music in Indonesia: Part 1 Abstract The Bandung (Indonesia) Death Metal scene is known for its secular orientation whereby religion and religious belief are viewed as private matters which should be restricted to the private realm. -
Chapter 1 Introduction
1 CHAPTER 1 INTRODUCTION 1.1 The Journey of Music Entertainment is an integral and consistent part of everyday life, consuming a substantial number of waking hours.1 Before the arrival of electronic media, live performances in scene such as private homes, concert halls, opera houses, and churches is the main tools to socialize. These live performances still grant a vital entertainment and social role. Live musical performances, the specific context explored in this study, sustain community fund-raising events, while corporate events planners rely on them to enliven stakeholders at meetings, parties, and promotional events. Owners of bars and restaurants similarly rely on live musical performances several nights a week to draw customers into their establishments. Success in these endeavours may be linked to the extent to which attendees gain pleasure from the performance, therefore it is critical to spot elements contributing to customer satisfaction. Experiential products, such as live performances, provide rich sensory input and require different measures of customer satisfaction than those developed to measure utilitarian products.2 Local groups, who perform at many of these fund-raisers and corporate events, perform without many of the ancillary features and technology common in today's music industry. Today, thousands of local bands exist, performing as virtual unknowns in towns across the USA. Most members of these bands have full time 1 Holbrook, M.B. and Hirschman, E.C. (1982), " The experiential aspects of consumption: consumer fantasies, feelings, and fun", Journal of Consumer Research, Vol. 9, September, pp. 132-40 2 Langrehr, F.W. (1991), "Retail shopping mall semiotics and hedonic consumption", in Holman, R.