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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. -
NTOZAKE SHANGE, JAMILA WOODS, and NITTY SCOTT by Rachel O
THEORIZING BLACK WOMANHOOD IN ART: NTOZAKE SHANGE, JAMILA WOODS, AND NITTY SCOTT by Rachel O. Smith A Thesis Submitted to the Faculty of Purdue University In Partial Fulfillment of the Requirements for the degree of Master of Arts Department of English West Lafayette, Indiana May 2020 THE PURDUE UNIVERSITY GRADUATE SCHOOL STATEMENT OF COMMITTEE APPROVAL Dr. Marlo David, Chair Department of English Dr. Aparajita Sagar Department of English Dr. Paul Ryan Schneider Department of English Approved by: Dr. Dorsey Armstrong 2 This thesis is dedicated to my mother, Carol Jirik, who may not always understand why I do this work, but who supports me and loves me unconditionally anyway. 3 ACKNOWLEDGMENTS I would like to first thank Dr. Marlo David for her guidance and validation throughout this process. Her feedback has pushed me to investigate these ideas with more clarity and direction than I initially thought possible, and her mentorship throughout this first step in my graduate career has been invaluable. I would also like to thank the other members of my committee, Dr. Aparajita Sagar and Dr. Ryan Schneider, for helping me polish this piece of writing and for supporting me throughout this two-year program as I prepared to write this by participating in their seminars and working with them to prepare conference materials. Without these three individuals I would not have the confidence that I now have to continue on in my academic career. Additionally, I would like to thank my friends in the English Department at Purdue University and my friends back home in Minnesota who listened to my jumbled thoughts about popular culture and Black womanhood and asked me challenging questions that helped me to shape the argument that appears in this document. -
Music 5364 Songs, 12.6 Days, 21.90 GB
Music 5364 songs, 12.6 days, 21.90 GB Name Album Artist Miseria Cantare- The Beginning Sing The Sorrow A.F.I. The Leaving Song Pt. 2 Sing The Sorrow A.F.I. Bleed Black Sing The Sorrow A.F.I. Silver and Cold Sing The Sorrow A.F.I. Dancing Through Sunday Sing The Sorrow A.F.I. Girl's Not Grey Sing The Sorrow A.F.I. Death of Seasons Sing The Sorrow A.F.I. The Great Disappointment Sing The Sorrow A.F.I. Paper Airplanes (Makeshift Wings) Sing The Sorrow A.F.I. This Celluloid Dream Sing The Sorrow A.F.I. The Leaving Song Sing The Sorrow A.F.I. But Home is Nowhere Sing The Sorrow A.F.I. Hurricane Of Pain Unknown A.L.F. The Weakness Of The Inn Unknown A.L.F. I In The Shadow Of A Thousa… Abigail Williams The World Beyond In The Shadow Of A Thousa… Abigail Williams Acolytes In The Shadow Of A Thousa… Abigail Williams A Thousand Suns In The Shadow Of A Thousa… Abigail Williams Into The Ashes In The Shadow Of A Thousa… Abigail Williams Smoke and Mirrors In The Shadow Of A Thousa… Abigail Williams A Semblance Of Life In The Shadow Of A Thousa… Abigail Williams Empyrean:Into The Cold Wastes In The Shadow Of A Thousa… Abigail Williams Floods In The Shadow Of A Thousa… Abigail Williams The Departure In The Shadow Of A Thousa… Abigail Williams From A Buried Heart Legend Abigail Williams Like Carrion Birds Legend Abigail Williams The Conqueror Wyrm Legend Abigail Williams Watchtower Legend Abigail Williams Procession Of The Aeons Legend Abigail Williams Evolution Of The Elohim Unknown Abigail Williams Forced Ingestion Of Binding Chemicals Unknown Abigail -
Now Exclusively Distributed by ACXDC Street Date: He Had It Coming, 7˝ AVAILABLE NOW!
PRESENTS RELEASES FROM: ACXDC, ARCHAGATHUS, ASSHOLEPARADE, BACKSLIDER, BEARTRAP, BRIAN WALSBY, CAPITALIST CASUALTIES, CHEST PAIN, CONGA FURY, EDDIE BROCK, GET DESTROYED, LAPSE, MAGRUDERGRIND, MALPRACTICE INSURANCE, MEHKAGO N.T., NASHGUL, NOCOMPLY, OSK, P.L.F., RAPE REVENGE, SEX PRISONER, SIDETRACKED, SHITSTORM, SUFFERING LUNA, TORCH RUNNER, TOTAL FUCKING DESTRUCTION, XBRAINIAX Now Exclusively Distributed by ACXDC Street Date: He Had It Coming, 7˝ AVAILABLE NOW! INFORMATION: Artist Hometown: Los Angeles, CA Key Markets: LA & CA, Texas, Arizona, DC, Baltimore MD, New York, Canada, Germany For Fans of: MAGRUDERGRIND, NASUM, NAPALM DEATH, DESPISE YOU ANTI-CHRIST DEMON CORE’s He Had it Coming repress features the original six song EP released in 2005 plus two tracks from the same session off the A Sign Of Impending Doom Compilation. The band formed in 2003, recorded these songs in 2005 and then vanished for awhile on a many- year hiatus, only to resurface and record and release a brilliant new EP and begin touring again in 2011/2012. The original EP is long sought after ARTIST: ACXDC by grindcore and powerviolence fiends around the country and this is your TITLE: He Had It Coming chance to grab the limited repress. LABEL: TO LIVE A LIE CAT#: TLAL64AB Marketing Points: FORMAT: 7˝ GENRE: Grindcore • Hugely Popular Band BOX LOT: NA • Repress of Long Sold Out EP SRLP: $5.48 • Huge Seller UPC: 616983334836 • Two Extra Songs In Additional To Originals EXPORT: NO RESTRICTIONS • Two Bonus Songs Never Before Pressed To Vinyl, In Additional To Originals Tracklist: 1. Dumb N Dumbshit 2. Death Spare Not The Tiger 3. Anti-Christ Demon Core 4. -
The Construction and Export of African American Images in Hip-Hop Culture
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2006 "Don't Believe the Hype": The onsC truction and Export of African American Images in Hip-Hop Culture. John Ike Sewell Jr. East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the African American Studies Commons, and the American Popular Culture Commons Recommended Citation Sewell, John Ike Jr., ""Don't Believe the Hype": The onC struction and Export of African American Images in Hip-Hop Culture." (2006). Electronic Theses and Dissertations. Paper 2193. https://dc.etsu.edu/etd/2193 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. “Don’t Believe The Hype”: The Construction and Export of African American Images in Hip-Hop Culture ____________ A thesis presented to the faculty of the Department of Communication East Tennessee State University in partial fulfillment of the requirements for the degree Master of Arts in Professional Communication ____________ by John Ike Sewell, Jr. May 2006 ____________ Amber Kinser, Ph.D., Chair Primus Tillman, Ph.D. John Morefield, Ph.D. ____________ Keywords: Hip-hop, Rap Music, Imagery, Blackness, Archetype ABSTRACT “Don’t Believe the Hype:” The Construction and Export of African American Images in Hip-Hop Culture by John Ike Sewell, Jr. -
CNTL+Alt(RIGHT)+DEL Sheldon Shaw
CNTL+AlT(RIGHT)+DEL ________________________ A full-length play By Sheldon Shaw Contact: 340 E. 29th St. Apt 4F New York NY 10016 646-824-6986 [email protected] Characters: Kenny. 50's, white southerner, slow witted. Karl. White southerner, Younger brother of Kenny. Runs he trailer park. Eloise. 50's, Sister in-law of Karl and Kenny. Helps run the trailer park. Katie Mae. Early 20's College student. Daughter of Karl. Armando. Mid to Late 20's, African, college student. Katie Mae's Boyfriend. Man. 30's, man dressed in Klu Klux Klan outfit. The actor who play's Kenny can double. Boy. 8yrs Boy dressed in Klu Klux Klan outfit. The actor who plays Katie Mae can double. News reporter.(OS and voice only.) SETTINGS The play takes place in Port Arthur Texas. In the Waterview RV Resort, right off the TB Ellison Parkway. The resort sits right on the edge of the Intracoastal waterway, which spills into the Gulf of Mexico. It’s the only RV park that didn’t get flooded during hurricane Harvey. The resort in fairly good condition except that on Yelp customers complained about the grass not being kept up. The climate in Port Arthur is humid, extremely humid. One of the most humid areas in the US. And where it is located it’s susceptible to many hurricanes. Then why would anyone want to live there? One word. Oil. When oil was discovered in Port Arthur, it became one of the largest oil refineries in the world. SCENE 1 Act 1 Scene 1 Port Arthur Texas. -
Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright The Life History of Sound Sophia Maalsen The University of Sydney December 2013 Thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy Declaration I declare that this thesis is the result of my own independent research and that all authorities and sources which have been used are duly acknowledged. Sophia Maalsen ii Abstract In recent years, the emergence of cultures and practices of music-making associated with new music-making technologies has generated controversy and conflict, being both variously embraced and vilified. -
Sampling, Looping, and Mashing . . . Oh My!: How Hip Hop Music Is Scratching More Than the Surface of Copyright Law
Fordham Intellectual Property, Media and Entertainment Law Journal Volume 21 Volume XXI Number 4 Volume XXI Book 4 Article 1 2011 Sampling, Looping, and Mashing . Oh My!: How Hip Hop Music is Scratching More Than the Surface of Copyright Law Tonya M. Evans Widener University School of Law, [email protected] Follow this and additional works at: https://ir.lawnet.fordham.edu/iplj Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Tonya M. Evans, Sampling, Looping, and Mashing . Oh My!: How Hip Hop Music is Scratching More Than the Surface of Copyright Law, 21 Fordham Intell. Prop. Media & Ent. L.J. 843 (2011). Available at: https://ir.lawnet.fordham.edu/iplj/vol21/iss4/1 This Article is brought to you for free and open access by FLASH: The Fordham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Intellectual Property, Media and Entertainment Law Journal by an authorized editor of FLASH: The Fordham Law Archive of Scholarship and History. For more information, please contact [email protected]. Sampling, Looping, and Mashing . Oh My!: How Hip Hop Music is Scratching More Than the Surface of Copyright Law Cover Page Footnote Assistant Professor of Law, Widener University School of Law; B.S., Communication Studies, Northwestern University; J.D., Howard University School of Law. The valuable research and writing assistance of Peri Fluger helped tremendously in the drafting of this article as did the valuable research and editing assistance of Anthony Czuchnicki. Many thanks to Juliet Moringello, John Dernbach, Chris Robinette, andré douglas pond cummings, Lateef Mtima, and Steven Jamar, for their guidance and support throughout the process of research and writing. -
Fab Distribution
F.A.B. DISTRIBUTION NEW RELEASE for the week of Feb 19, 2021 PRIORITIES & HIGHLIGHTS >> Pre-Order Now! ATARIS "Look Forward To Failure (EP)” (FAT WRECK) FAT581 10" March 12 street date. First time on vinyl! "Look Forward To Failure" is a 6 track EP, originally released in 1998. The EP was the first appearance of feature fan favourite "San Dimas High School Football Rules", a song that would later appeared on "Blue Skies, Broken Hearts...Next 12 Exits". The version of "My Hotel Year" that appears on this EP is the electric version and contains an extra verse at the end. The version that ended up on "Blue Skies" was acoustic and shortened. BOWERBIRDS "becalmyounglovers" (PSYCHIC PSY010 CD BOWERBIRDS "becalmyounglovers (teal)” (PSYCHIC PSY010LPC1 LP April 30 street date. "becalmyounglovers" is as much a return as it is a farewell. Phil Moore's first Bowerbirds album since 2012 is an artifact of transition, a domino effect of doors closing and Moore stumbling headfirst into the uncertainty of what comes after a life fundamentally changes. Like a polaroid slowly swimming into focus, "becalmyounglovers" reconciles the memories of yourself in relation to another person, and then what's unearthed when you're left to face your identity alone - and which one of those selves is true? Written and recorded mainly in an isolated cabin hand built by Moore and his ex-partner, out in Siler City, North Carolina, "becalmyounglovers" chronicles a long-term relationship's death rattle, inevitable breakup, and its immediate aftermath - and Moore's getting to understand himself better in the process. -
Sacred Metalcore: a Worship, Culture, & Missiology Study of the Christian Metal Scene
Sacred Metalcore: A worship, culture, & missiology study of the Christian metal scene by Paul T. Lattimer A capstone project submitted in partial fulfillment of graduating from the Academic Honors Program at Ashland University December 2012 Faculty Mentor: Dr. Craig Hovey, Assistant Professor of Religion Additional Reader: Dr. Sue Dickson, Assistant Professor of Religion Lattimer i ©2012 Paul Lattimer All Rights Reserved Lattimer ii Abstract My argument is that the Christian faith can be legitimately enacted within the subculture context of the modern metal music scene. Specifically, I survey important pieces of literature about both the secular and the sacred versions of the metal scene and examine how the Christian faith is put into practice within the scene in terms of worship style and evangelistic tactics. Some object that the metal scene is not fit for Christian practice because of its historical linkage with devil worship, explicit sexual references, profane language, rebellious attitude, violence, and church burnings, but I argue that the redemptive power of Christ and the Godhead is powerful enough to redeem a broken music scene and transform it into a new creation that can bring honor, glory, and praise to the one true God. In addition to surveying the scene and arguing for the legitimacy of it, I also discuss the pros and cons that accompany the translation of the Christian faith into a different cultural context. In the end, I determine that, while the Christian metal scene is not your traditional, Sunday morning church service, the scene is a legitimate form of Christian expression that must be carried out with care and caution because of the gravity and responsibility that accompanies bringing the gospel into a new realm. -
Jožef Kolarič
05 University of Maribor Jožef Kolarič Literary Intertextuality in the Lyrics of GZA, MF DOOM, Aesop Rock and Billy Woods JOŽEF KOLARIČ / 81 Literary Intertextuality in the Lyrics of GZA, MF DOOM, Aesop Rock and Billy Woods Abstract: Rap and literature have always been intertwined with each other. To a degree, that is not surprising as rap music is an indirect successor of the Black Arts Movement of the late 1960s. The generation of children that started hip-hop as a youth movement in South Bronx was the frst one after the civil rights movement. Rap developed as part of the hip-hop culture and was never at its forefront. This article describes the manner in which literature has been integrated into rap records with regard to the socio-historical circumstances at times of their development. GZA, MF DOOM, Aesop Rock, and Billy Woods are the rappers analysed as they substantially infuenced contemporary rap writing. Before the analysis is made, the main concepts are defned. A short description of the origin of hip-hop is given. Allusion, intertextuality, and sampling are defned and explained in the context of hip-hop as a genre. A short overview of research on intertextuality in rap is made. Keywords: Hip-Hop, Rap, Intertextuality, Allusion, Sampling NOTE The article is partially based on the author’s MA thesis Intertextuality of Literature in Billy Woods`s Lyrics accessible on the following link: https://dk.um.si/dokument.php?id=119169. Parts of this article have been modifed and appear in the author’s upcoming monograph Billy Woods: Virtuoso of Intertextuality. -
The Music of Bipolar Disorder
Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 27 March 2017 doi:10.20944/preprints201703.0199.v1 Peer-reviewed version available at Challenges 2018, 9, 18; doi:10.3390/challe9010018 Article The Music of Bipolar Disorder David G. Angeler Swedish University of Agricultural Sciences, Department of Aquatic Sciences and Assessment, Box 7050, SE – 750 07 Uppsala, Sweden; [email protected]; Tel.: +46-18-673049 Abstract: 1) Background: Bipolar or manic-depressive disorder is a malign mental disease that frequently faces social stigma. Educational and thinking models are needed to increase people’s awareness and understanding of the disorder. The arts have potential to achieve this goal. 2) Methods: This paper builds on the recent use of heavy metal music as a thinking and education model. It emphasizes the artistic component of heavy metal and its potential to characterize the symptomatology during the episodes of (hypo)mania and depression and the recurrence of these episodes. Heavy metal music has diversified into subgenres that become allegorical to both the symptoms of episodes and the recurrence of bipolar cycles. 3) Results: Examples of songs are given that mirror distinct facets of the disorder. 4) Conclusion: Although the links drawn between art (music) and science (psychiatry) are inherently subjective, such connections might be used to trigger a learning process, facilitate judgment and decision-making, and induce affective reactions and memory formation in the listener. The approach may facilitate collaborative efforts and serve healthcare professionals and educators as a communication tool to aid the public’s comprehension of the disease and an associated social paradox: On one hand, bipolar disorder incurs substantial costs to society.