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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. -
Grindcore.Pdf
Obsah: 1. Úvod..........................................................................................................................2 1.1 Ideová východiska práce.............................................................................2 1.2 Stav bádání, primární a sekundární literatura.............................................3 1.3 Definice grindcore, důležité pojmy.............................................................3 1.4 Členění práce a metodologie.......................................................................6 1.5 Cíl práce......................................................................................................8 2. Historický úvod – žánrová typologie........................................................................9 2.1 Počátky žánru a dva hlavní proudy grindcoru............................................9 2.2 Další vývoj grindcoru................................................................................13 3. Grindcore – hledání extrémního hudebního projevu ….........................................17 3.1 Transformace zpěvu..................................................................................17 3.2 Vývoj rytmu, rytmické sekce....................................................................19 3.3 Vývoj hry na kytaru a baskytaru …..........................................................20 3.4 Vývoj formy a mikrostruktury..................................................................20 3.5 Goregrindové intro....................................................................................22 -
(Anesthesia) Pulling Teeth Metallica
(Anesthesia) Pulling Teeth Metallica (How Sweet It Is) To Be Loved By You Marvin Gaye (Legend of the) Brown Mountain Light Country Gentlemen (Marie's the Name Of) His Latest Flame Elvis Presley (Now and Then There's) A Fool Such As I Elvis Presley (You Drive ME) Crazy Britney Spears (You're My) Sould and Inspiration Righteous Brothers (You've Got) The Magic Touch Platters 1, 2 Step Ciara and Missy Elliott 1, 2, 3 Gloria Estefan 10,000 Angels Mindy McCreedy 100 Years Five for Fighting 100% Pure Love Crystal Waters 100% Pure Love (Club Mix) Crystal Waters 1‐2‐3 Len Barry 1234 Coolio 157 Riverside Avenue REO Speedwagon 16 Candles Crests 18 and Life Skid Row 1812 Overture Tchaikovsky 19 Paul Hardcastle 1979 Smashing Pumpkins 1985 Bowling for Soup 1999 Prince 19th Nervous Breakdown Rolling Stones 1B Yo‐Yo Ma 2 Become 1 Spice Girls 2 Minutes to Midnight Iron Maiden 2001 Melissa Etheridge 2001 Space Odyssey Vangelis 2012 (It Ain't the End) Jay Sean 21 Guns Green Day 2112 Rush 21st Century Breakdown Green Day 21st Century Digital Boy Bad Religion 21st Century Kid Jamie Cullum 21st Century Schizoid Man April Wine 22 Acacia Avenue Iron Maiden 24‐7 Kevon Edmonds 25 or 6 to 4 Chicago 26 Miles (Santa Catalina) Four Preps 29 Palms Robert Plant 30 Days in the Hole Humble Pie 33 Smashing Pumpkins 33 (acoustic) Smashing Pumpkins 3am Matchbox 20 3am Eternal The KLF 3x5 John Mayer 4 in the Morning Gwen Stefani 4 Minutes to Save the World Madonna w/ Justin Timberlake 4 Seasons of Loneliness Boyz II Men 40 Hour Week Alabama 409 Beach Boys 5 Shots of Whiskey -
Nobuyoshi ARAKI
Nobuyoshi ARAKI 1940 Born in Tokyo 1963 Graduated from the Engineering Department of Chiba University, majoring photography and film-making Lives and works in Tokyo SOLO EXHIBITIONS 2019 “Gekko Shashin”, art space AM, Tokyo, Japan “Flower Rondeau”, SHOP Taka Ishii Gallery, Hong Kong “ARAKI TELLER SHISEI”, art space AM, Tokyo, Japan “LIFE BY FILM by Nobuyoshi ARAKI”, Leica Gallery Bangkok, Bangkok, Thailand “SHIMEN AIKA”, art space AM, Tokyo, Japan “Effetto Araki”, Santa Maria Della Scala, Siena, Italy “SUMMER HAPPINESS”, art space AM, Tokyo, Japan Art Bridge 798 Art District, Beijing, China “Umegaoka Elegy”, Taka Ishii Gallery, Tokyo, Japan [Cat.] “Reian Toushun”, art space AM, Tokyo, Japan “Summer Xu”, art space AM, Tokyo, Japan 2018 “nehan shoujo”, art space AM, Tokyo, Japan “Impossible Love – Vintage Phoroagphs”, C/O Berlin, Berlin, Germany [Cat.] “AI ELEGY, art space AM, Tokyo, Japan “KATA-ME”, Rat Hole Gallery, Tokyo, Japan [Cat.] “78 sai no shamanatsu”, art space AM, Tokyo, Japan “Shikimou Rojin P”, art space AM, Tokyo, Japan “Love-Dream, Love-Nothing”, Taka Ishii Gallery, Tokyo [Cat.] “Qing Se Hua Fu”, Light Society, Beijing "HANA JINSEI (FLOWER - LIFE)", Over The Influence, Los Angeles, CA, USA “VINTAGE PRINTS”, Taka Ishii Gallery New York, NY, USA [Cat.] “The Passport to the Paraside”, art space AM, Tokyo, Japan “The Incomplete Araki: Sex, Life, and Death”, Museum of Sex, New York, NY, USA “ASHARA”, art space AM, Tokyo, Japan 2017 “Nobuyoshi Araki-I, Photography”, Marugame Genichiro-Inokuma Museum of Contemporary Art, Kagawa, Japan [Cat.] “IMPOSSIBLE LOVE”, C/O Berlin, Berlin, Germany “Clouds, Flowers & Nudes Photographs 1975-2005”, GALERIE JOHANNES FABER, Vienna, Austria “27th Month of Photography November 2017 Bratislava”, Bratislava, Slovakia “Bunka Shashin”, art space AM, Tokyo, Japan “ARAKI. -
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. -
Denis Diderot a Zenei Hallás a Hang Hallása Felé Törekszik. Ez Abszurd
LENGYEL ZOLTÁN A HANGRÓL A SWANS ZENEKAR (1982-1997) EMLÉKÉRE* A vakok számára is létezik tehát festészet, amelyhez saját bőrük szolgáltatja a vásznat. Denis Diderot A zenei hallás a hang hallása felé törekszik. Ez abszurd, de nem nonszensz: a zene fogalma lényegileg a hangok közötti különbségekre és azok változásaira van utalva, eleve plurális és kombinatorikus fogalom, a különböző hangok közötti időben kibomló viszonyok alkotják a zenét. Egy örökké kitartott izolált tiszta hang képzete, mert az anyag ellenállása miatt ez csak képzet lehet, ez is tekinthető zenének, és ez esetben ennek a hangnak a csendtől való különbözősége lesz meghatározó, ezzel a besorolással azonban megszűnik a zene fogalma. Ez nem praktikus a fogalom- és nyelvhasználat szempontjából. Hogy a zenei hallás a hang hallása felé, eme idea felé törekszik, önmagában nem jelenti azt, hogy a zaj feltétlenül zavaró tényező lenne a zenében, csak azt, hogy nem lényegi. A csend viszont logikailag és érzékileg lényegi. A hangmagasság szempontjából az alaphangok alaphangja, az időtartam szempontjából a szünet, és így tovább. Hang és csend egymástól kölcsönösen függő fogalmak, azok számára, akik hallanak. A hang hallása tehát a csend hallása és megfordítva, egyik nincs a másik nélkül. Ez a gondolatmenet pedig hamarosan metafizikai börleszkbe torkollik, át kell minél előbb csapnia a modellezésbe és a metaforákba, mielőtt a síri csend vagy egy féktelen nevetés végtelen örvénye elnyelné. A hang meghallásának rögeszméje végső értelemben vakságot jelent. A hagyományosnak mondható érzékterület-felosztás szerint a hallás és a látás a két 42 leginkább szellemi és lelki érzék. Az ember érzékelő-képessége véges akkor is, ha nem sérült; ha a két legintellektuálisabbnak mondott érzéki képesség közül az egyik kisajátítja egy képzeletbeli általános érzékelő-képesség kapacitását, az a másik lehetőségeit minimumra redukálja. -
The History of Rock Music: 1976-1989
The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The Golden Age of Heavy Metal (These are excerpts from my book "A History of Rock and Dance Music") The pioneers 1976-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Heavy-metal in the 1970s was Blue Oyster Cult, Aerosmith, Kiss, AC/DC, Journey, Boston, Rush, and it was the most theatrical and brutal of rock genres. It was not easy to reconcile this genre with the anti-heroic ethos of the punk era. It could have seemed almost impossible to revive that genre, that was slowly dying, in an era that valued the exact opposite of machoism, and that was producing a louder and noisier genre, hardcore. Instead, heavy metal began its renaissance in the same years of the new wave, capitalizing on the same phenomenon of independent labels. Credit goes largely to a British contingent of bands, that realized how they could launch a "new wave of British heavy metal" during the new wave of rock music. Motorhead (1), formed by ex-Hawkwind bassist Ian "Lemmy" Kilminster, were the natural bridge between heavy metal, Stooges/MC5 and punk-rock. They played demonic, relentless rock'n'roll at supersonic speed: Iron Horse (1977), Metropolis (1979), Bomber (1979), Jailbait (1980), Iron Fist (1982), etc. -
SANQUA Horizons N°6
SSANQUAANQUA hORIZONS Jeudi 1er février 2007 1 Hommage à Ben Récemment j’ai des envies de Tetris comme jamais. C’est la faute à Jika, je tiens à le signaler. C’est à cause de lui que je me suis remis à jouer à ce jeu débile avec le remake sur DS. Depuis, je ne quitte quasiment plus le mode online qui permet à tous de jouer, via wifi , contre d’autres glandeurs du monde entier. Il y a quelques jours, je me suis trouvé un concurrent du nom de «Ben», qui avait à peu près le même score que moi. Nous commençâmes à jouer et après mes premières victoires (3 à la suite) le voilà qui en redemande et me bat à plat de couture pour les 5 parties qui suivent. Vous imaginez la suite. Alors que je ne pensais qu’à une courte session de Tetris, me voilà encore debout, contre Ben, à deux heures du matin, à bout de batterie... au fi nal, Ben gagna au nombre de victoires (30 contre 27), mais je m’en tirais avec les honneurs au niveau des points. Ben, je ne sais pas qui tu es, gamin de cinq ans ou ado boutoneux, mais sache que tu m’as quand même bien pourri la soirée. Fait chier. Mais bravo quand même. 2 SSTARTAR Le légal, un vrai TTEAMEAM RREGALEGAL vacances. Nous remercions vacances. Nous remercions Ont participé à ce nouvel horizon : 1. SANQUA est le magazine au format PDF du site 5. Les propos diff usés dans Sanqua n’engagent bien Sanqualis.com. -
Life and Times" Video Recordings
http://oac.cdlib.org/findaid/ark:/13030/c8qr4zn7 No online items KCET-TV Collection of "Life and Times" video recordings Taz Morgan William H. Hannon Library Loyola Marymount University One LMU Drive, MS 8200 Los Angeles, CA 90045-8200 Phone: (310) 338-5710 Fax: (310) 338-5895 Email: [email protected] URL: http://library.lmu.edu/collections/archivesandspecialcollections/ ©2013 Loyola Marymount University. All rights reserved. KCET-TV Collection of "Life and CSLA-37 1 Times" video recordings KCET-TV Collection of "Life and Times" video recordings Collection number: CSLA-37 William H. Hannon Library Loyola Marymount University Los Angeles, California Processed by: Taz Morgan Date Completed: October 2013 Encoded by: Taz Morgan 2013 Loyola Marymount University. All rights reserved. Descriptive Summary Title: KCET-TV Collection of "Life and Times" video recordings Dates: 1991-2007 Collection number: CSLA-37 Creator: KCET (Television station : Los Angeles, Calif.) Collection Size: 3,472 videotapes (332 boxes) Repository: Loyola Marymount University. Library. Department of Archives and Special Collections. Los Angeles, California 90045-2659 Languages: Languages represented in the collection: English Access Collection is open to research under the terms of use of the Department of Archives and Special Collections, Loyola Marymount University. Duplication of program tapes for research use is required in accordance with departmental policy regarding the formats of the videotapes of this collection: "Certain media formats may need specialized third party vendor services. If the department does not own a researcher access copy (DVD copy), the cost of reproduction, to be paid fully by patron, will include 1) any necessary preservation efforts upon the original, 2) a master file to be retained by Archives and Special Collections, 3) a researcher viewing copy to be retained by Archives and Special Collections, and 4) the patron copy. -
Personal Music Collection
Christopher Lee :: Personal Music Collection electricshockmusic.com :: Saturday, 25 September 2021 < Back Forward > Christopher Lee's Personal Music Collection | # | A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z | | DVD Audio | DVD Video | COMPACT DISCS Artist Title Year Label Notes # Digitally 10CC 10cc 1973, 2007 ZT's/Cherry Red Remastered UK import 4-CD Boxed Set 10CC Before During After: The Story Of 10cc 2017 UMC Netherlands import 10CC I'm Not In Love: The Essential 10cc 2016 Spectrum UK import Digitally 10CC The Original Soundtrack 1975, 1997 Mercury Remastered UK import Digitally Remastered 10CC The Very Best Of 10cc 1997 Mercury Australian import 80's Symphonic 2018 Rhino THE 1975 A Brief Inquiry Into Online Relationships 2018 Dirty Hit/Polydor UK import I Like It When You Sleep, For You Are So Beautiful THE 1975 2016 Dirty Hit/Interscope Yet So Unaware Of It THE 1975 Notes On A Conditional Form 2020 Dirty Hit/Interscope THE 1975 The 1975 2013 Dirty Hit/Polydor UK import {Return to Top} A A-HA 25 2010 Warner Bros./Rhino UK import A-HA Analogue 2005 Polydor Thailand import Deluxe Fanbox Edition A-HA Cast In Steel 2015 We Love Music/Polydor Boxed Set German import A-HA East Of The Sun West Of The Moon 1990 Warner Bros. German import Digitally Remastered A-HA East Of The Sun West Of The Moon 1990, 2015 Warner Bros./Rhino 2-CD/1-DVD Edition UK import 2-CD/1-DVD Ending On A High Note: The Final Concert Live At A-HA 2011 Universal Music Deluxe Edition Oslo Spektrum German import A-HA Foot Of The Mountain 2009 Universal Music German import A-HA Hunting High And Low 1985 Reprise Digitally Remastered A-HA Hunting High And Low 1985, 2010 Warner Bros./Rhino 2-CD Edition UK import Digitally Remastered Hunting High And Low: 30th Anniversary Deluxe A-HA 1985, 2015 Warner Bros./Rhino 4-CD/1-DVD Edition Boxed Set German import A-HA Lifelines 2002 WEA German import Digitally Remastered A-HA Lifelines 2002, 2019 Warner Bros./Rhino 2-CD Edition UK import A-HA Memorial Beach 1993 Warner Bros. -
Interieur Soundtracks for the Blind
—————————————————————————————— —————————————————————————————— —————————————————————————————— —————————————————————————————— —————————————————————————————— —————————————————————————————— —————————————————————————————— ——————————————————————————————00:00 JILL GASPARINA ——————————————————————————————00:01 DAVID SANSON ——————————————————————————————00:02 PIERRE BELOÜIN ——————————————————————————————00:03 CÉCILE BABIOLE ——————————————————————————————00:04 DIGITAL BAOBAB ——————————————————————————————00:05 REBECCA BOURNIGAULT ——————————————————————————————00:06 BLACK SIFICHI ——————————————————————————————00:07 PASCAL BROCCOLICHI ——————————————————————————————00:08 PIERRE-LAURENT CASSIÈRE ——————————————————————————————00:09 COCOON ——————————————————————————————00:10 SERGE COMTE ——————————————————————————————00:11 PHILIPPE FRANCK ——————————————————————————————00:12 SIMON FISHER TURNER ——————————————————————————————00:13 ÉMELINE GIRAULT ——————————————————————————————00:14 EDDIE LADOIRE ——————————————————————————————00:15 LA FAMILLE PIF, PAF, POUF ——————————————————————————————00:16 RAINIER LERICOLAIS ——————————————————————————————00:17 CLAUDE LÉVÊQUE / LÉO CARBONNIER ——————————————————————————————00:18 ARNAUD MAGUET ——————————————————————————————00:19 P. NICOLAS LEDOUX ——————————————————————————————00:20 JÉRÔME PORET ——————————————————————————————00:21 LOÏG RETUREAU ——————————————————————————————00:22 FRANCOIS MARTIG ——————————————————————————————00:23 MARIANNE MARIC ——————————————————————————————00:24 FRÉDÉRIC POST ——————————————————————————————00:25 -
In Gesprek Met Arjen Lucassen
IN GESPREK MET In gesprek met Arjen Lucassen mails dat mensen sterrenkunde zijn gaan studeren De live show van Into the Electric Castle in 2019, in 013, Tilburg, met John de Lancie, bekend van zijn rol als ‘Q’ uit op het podium onder meer Fish (van Marillion) in de rol van de high- Star Trek, als verteller in de laatste liveshow. of astronaut willen worden vanwege mijn werk. En lander (Lorena Aal) (Rik Bauters) soms lees ik in het voorwoord van wetenschap- pelijke boeken dat mensen door mijn muziek ge- insloeg, kon uiteindelijk de mensheid senlijst van zo’n 200 zangers, daaruit taktoektaktoektak. Daarna is Out of inspireerd worden. Fantastisch toch, als je zoiets zich ontwikkelen. Dat is de science, zoek ik geschikte mensen voor mijn the White Hole weer wat opener en voor elkaar krijgt?” waar ik dan fiction bij bedenk. Dan rollen. Op Into the Electric Castle vrolijker.” denk ik: “Wat nou als die meteoriet zingt bijvoorbeeld Fish mee, de zan- Door Ruben van Moppes en Saskia Wijte-Van der Pols expres op de aarde is afgestuurd om ger van de band Marillion [bekend In hoeverre moeten de verhalen we- de mensheid een plek te geven? Dan van het nummer Kayleigh – RvM]. tenschappelijk kunnen kloppen? moet er ergens een planeet zijn waar Fish is een grote charismatische Schot “Via boeken, Google en leraren pro- de wezens een nieuw ras wilden creë- en van hem heb ik in mijn teksten een beer ik een wetenschappelijk verant- ren. Misschien omdat ze door te veel highlander gemaakt.” woord verhaal te maken.