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Global Merchandising Roster Global Merchandising Roster MOTÖRHEAD DOWN IRON MAIDEN JUDAS PRIEST SLAYER MÖTLEY ALICE CRÜE COOPER Ozzy GHOST Osbourne ROB ZOMBIE Scorpions ANTHRAX Marilyn Manson • Hard Rock / Heavy Metal - Band • Founded 1975, UK • Sold albums: 90 Mio. • Foundation members: Paul Day, Terry Rance, Dave Sullivan, Steve Harris, Ron Matthews • Current members: Bruce Dickinson, Dave Murray, Adrian Smith, Janick Gers, Steve Harris, Niko McBrain • Top albums: „Killers“ (1981) - „The number of the beast“ (1982) - „Powerslave“ (1984) - „Fear of the dark“ (1992) - „Brave new world“ (2000) • „Legacy of the beast World Tour“ 2019 + 13.0 Mio. + 2.1 Mio. + 220 Mio. • Punk / Hard Rock / Rock ’n’ Roll / Blues Rock - Band • Founded in 1975, UK • Sold albums: 30 Mio. • Foundation members: Ian Kilmister, Larry Wallis, Lucas Fox • Top albums: „Bomber“ (1980) - „Kiss Of Death“ (2006) - „Motörizer“ (2008) - „The Wörld Is Yours“ (2010) - „Aftershock“ (2013) + 2.7 Mio. + 670.000 + 28 Mio. • Trash Metal Band • Founded in 1981, USA • Sold albums: 80 Mio. • Foundation members: Tom Araya, Kerry King, Jeff Hanneman, Dave Lombardo • Final World Tour 2018 • Top albums: „Reign in blood“ (1986) - „Season in the Abyss“ (1990) - „God hates us all“ (2001) - „Christ Illusion“ (2006) - „World painted blood“ (2009) + 4.9 Mio. + 940.000 + 44 Mio. • Hard Rock / Heavy Metal / Shock Rock • Years active 1963 - present • Sold albums: 15 Mio. • 26 Studio albums, 10 Live albums, 21 compilations albums • World Tour 2018 • New Album „PARANORMAL“ released 2017 + 4.4 Mio. + 780.000 + 5.5 Mio. Contact Ulf Vespermann [email protected] +49(0)6172-271 820 Jens Müller [email protected] +49(0)6172-271820 David Harman [email protected] +49(0)6172-271820 Heiko Lammers Kaiser Friedrich Promenade 87 [email protected] 61348 Bad Homburg +49(0)179-6603194 Germany Janusz Tarasiuk [email protected] Phone: +49 (0) 6172 271820 +48-(0)226-142028 // +48-(0)51-3143995 [email protected] Nowodworska 29B lok. 104 03-133 Warszawa www.celebrities-entertainment.com Poland.

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A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/ 84893 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications Culture is a Weapon: Popular Music, Protest and Opposition to Apartheid in Britain David Toulson A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in History University of Warwick Department of History January 2016 Table of Contents Acknowledgements………………………………………………………………...iv Declaration………………………………………………………………………….v Abstract…………………………………………………………………………….vi Introduction………………………………………………………………………..1 ‘A rock concert with a cause’……………………………………………………….1 Come Together……………………………………………………………………...7 Methodology………………………………………………………………………13 Research Questions and Structure…………………………………………………22 1)“Culture is a weapon that we can use against the apartheid regime”……...25 The Cultural Boycott and the Anti-Apartheid Movement…………………………25 ‘The Times They Are A Changing’………………………………………………..34 ‘Culture is a weapon of struggle’………………………………………………….47 Rock Against Racism……………………………………………………………...54 ‘We need less airy fairy freedom music and more action.’………………………..72 2) ‘The Myth
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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.
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Charris Efthimiou Metallica's Tone Colour Characteristics of Their Riffs
Charris Efthimiou Metallica’s Tone Colour Characteristics of their Riffs (1983–1986) and the Differences between Slayer and the New Wave of British Heavy Metal Annotation The aim of this article is to consider the design of the riffs of Angel of Death and other songs from the first three albums by Slayer (Show No Mercy 1983, Hell Awaits 1985 and Reign in Blood 1986) from a music analytical point of view (including tone-colour analysis of the riffs). If Slayer’s riff design (from 1983 to 1986) is considered from an overall perspective, the following results can be observed: • A rapid tempo and a constant change in the tone-colours of the guitar (palm mute, powerchords and monophonic melodies) characterise the sound of most riffs from the first three albums of this band. • Although the number of tone colours is limited, exact repetitions of tone colours are avoided. • Melodies in thirds, sixths and octaves are rare. At the same time (1983–1986) and in the same geographic area (U.S. West Coast), the band Metallica found their own compositional path within the thrash metal genre. Although the two bands dedicate their songs to very different topics, there are significant proximity points in the section of riff design. The same music-analytical methods (such as the analysis of tone- colours) are used with Metallica again. Thus, on the one hand, correlations can be determined and special features unique with Slayer’s music can be highlighted on the other. Furthermore, in order to determine other similarities and differences, the riffs of Metallica and Slayer will be compared with riffs by bands belonging to the NWoBHM (New Wave of British Heavy Metal) and were active in the years 1983–1986 (including Iron Maiden and Motörhead).
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3-31-16 EMERALD MASTER.Indd
THURSDAY, MARCH 31, 2016 DAILYEMERALD.COM MUSIC AMATEUR IDOL KARAOKE IS A NIGHTLY AFFAIR IN EUGENE. Inside is a collection of local sing-along hotspots where you can have a drink and flex those pipes. BEST AND WORST SONGS FOR KARAOKE A NIGHT WITH SLAYER IN PORTLAND UCLA SERIES CRUCIAL FOR DUCKS SOFTBALL EAT. LAUGH. PRAY. (repeat as needed) Social Connections Discover the meaning of life through Christ *Coffee Houses *Engaging Masses St. Thomas More Newman Center... *Alternate Spring Break Catholic Campus Ministry Faith Community 1850 Emerald Street (across from hayward field) *Progressive Dinners *Meaniful Retreats *Charity Fund Raisers 346-4468 Societal Commitment http://www.newmanctr-uoregon.org *Sports Events *Guest Speakers e-mail: [email protected] *Social Service Projects Daily Specials! Happy Hour! $15 Brunch Friday-Sunday COLLEGE TIX W/ID Eugene’s Original Bloody Mary Bar THE GREAT GATSBY Friday - Sunday 9am - 2pm featuring music composed by Wynton Marsalis and performed by Orchestra Next SAT, APR 9 7:30 PM | SUN, APR 10 2:00 PM | Hult Center PLUS the premiere of Suzanne Haag’s Look opens each performance TICKETS eugeneballet.org | 541-682-5000 | UO Ticket Office agatealley.com | 541.485.8887 | 1461 E 19th Ave Take control of your sex life at 10% off Student Special valid March 28 - May 1 1655 W 11th Ave #1 The Pleasure Shop Eugene, OR 97402 (971) 266-8631 Lane Transit District LTD.org . 541-687-5555 50 W Broadway, Eugene OR 97401 LOCAL, 541-636-4731 GRASS FED & Sunday-Thursday 11AM-9PM FREE RANGE BEEF Friday & Saturday 11AM-12AM NEVER FROZEN Full Bar PAGE 2 EMERALD THURSDAY, MARCH 31, 2016 ★EMERALD RECOMMENDS “A Hard Day’s Night” “Lose Yourself” by The Beatles by Eminem Every karaoke star hates standing around while the instrumental break rolls on.
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Motörhead: ?1979? Box Set. 40 Anys Dels Àlbums Overkill I Bomber
It's only rock & roll | Pep Saña | Actualitzat el 04/05/2020 a les 17:04 Motörhead: ?1979? Box Set. 40 anys dels àlbums Overkill i Bomber. A mitjans del 2019, el segell discogràfic BMG anunciava el llançament de ?1979?, una capsa de luxe per commemorar el 40 aniversari d'un dels anys clau de la carrera de Motörhead. I és que al 1979 la banda liderada per Lemmy Kilmister editaven, Overkill i Bomber, dos dels seus àlbums clàssics, amb el guitarrista ?Fast? Eddie Clarke i el bateria Phil ?Philthy Animal? Taylor. Aquells eren uns altres temps, és l'única manera d'explicar que en el període de 365 dies la banda llancés dos dels que encara avui són considerats entre els seus millors àlbums. El 1979 va ser un any agitat i de grans canvis socials a Gran Bretanya, amb l'inici de l'era Thatcher i una greu crisi que desembocaria en grans vagues i enfrontaments. Aquest va ser el teló de fons amb el que Motörhead van gestar aquestes dues obres fonamentals per entendre molt del Rock que vindria després. En aquest context també, el 9 de març de 1979 milions d'espectadors s'esperen per veure el famós programa musical de la BBC, Top Of The Pops. Molts no imaginaven el que se'ls venia a sobre quan Motörhead van arrencar amb una tronadora i vertiginosa, Overkill, el tema que dona títol a un d'aquests àlbums. Començava la llegenda. Lemmy Kilmister va formar Motörhead al 1975, després de ser expulsat de Hawkwind per l'incident de la droga al Canadà.
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PDF Download Metallica: for Bass Guitar & Vocal: Master of Puppets
METALLICA: FOR BASS GUITAR & VOCAL: MASTER OF PUPPETS PDF, EPUB, EBOOK Mark Phillips | 54 pages | 01 Dec 1991 | Cherry Lane Music Co ,U.S. | 9780895244086 | English | United States Metallica: For Bass Guitar & Vocal: Master of Puppets PDF Book Email address: optional. With a reputation for drinking, the band stayed sober on recording days. Collector's Guide Publishing. ECW Press. Archived from the original on June 9, Metallica showed up ready to rock, bringing along fully formed demos with fleshed-out arrangements; even their solos were composed. Archived from the original on July 28, Used to contact you regarding your review. With sections performed at beats per minute, it is one of the most intense tracks on the record. All of the songs have been performed live, and some became permanent setlist features. The album revitalized the American underground scene , and inspired similar records by contemporaries. Metal and Hard Rock. Select "Master of Puppets" in the "Filtra" field. And Justice for All as a trilogy over the course of which the band's music progressively matured and became more sophisticated. Retrieved May 16, Master of Puppets peaked at number 29 on the Billboard and received widespread acclaim from critics, who praised its music and political lyrics. He also said that the group was "definitely peaking" at the time and that the album had "the sound of a band really gelling, really learning how to work well together". Retrieved June 12, With bass tablature, standard notation, vocal melody, lyrics, chord names, bass notation legend and introductory text. Duke University Press. Australian Guitar.
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A Descriptive and Comparative Study of Conceptual Metaphors in Pop and Metal Lyrics
UNIVERSIDAD DE CHILE FACULTAD DE FILOSOFÍA Y HUMANIDADES DEPARTAMENTO DE LINGÜÍSTICA METAPHORS WE SING BY: A DESCRIPTIVE AND COMPARATIVE STUDY OF CONCEPTUAL METAPHORS IN POP AND METAL LYRICS. Informe final de Seminario de Grado para optar al Grado de Licenciado en Lengua y Literatura Inglesas Estudiantes: María Elena Álvarez I. Diego Ávila S. Carolina Blanco S. Nelly Gonzalez C. Katherine Keim R. Rodolfo Romero R. Rocío Saavedra L. Lorena Solar R. Manuel Villanovoa C. Profesor Guía: Carlos Zenteno B. Santiago-Chile 2009 2 Acknowledgements We would like to thank Professor Carlos Zenteno for his academic encouragement and for teaching us that [KNOWLEDGE IS A VALUABLE OBJECT]. Without his support and guidance this research would never have seen the light. Also, our appreciation to Natalia Saez, who, with no formal attachment to our research, took her own time to help us. Finally, we would like to thank Professor Guillermo Soto, whose suggestions were fundamental to the completion of this research. Degree Seminar Group 3 AGRADECIMIENTOS Gracias a mi mamá por todo su apoyo, por haberme entregado todo el amor que una hija puede recibir. Te amo infinitamente. A la Estelita, por sus sabias palabras en los momentos importantes, gracias simplemente por ser ella. A mis tías, tío y primos por su apoyo y cariño constantes. A mis amigas de la U, ya que sin ellas la universidad jamás hubiese sido lo mismo. Gracias a Christian, mi compañero incondicional de este viaje que hemos decidido emprender juntos; gracias por todo su apoyo y amor. A mi abuelo, que me ha acompañado en todos los momentos importantes de mi vida… sé que ahora estás conmigo.
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Rock in Rio 2019: Sunset - Slayer E Anthrax Se Apresentam Em Dia Dedicado Ao Metal
Rock in Rio 2019: Sunset - Slayer e Anthrax se apresentam em dia dedicado ao Metal Show das bandas Torture Squad e Claustrofobia com participação de Chuck Billy e banda Nervosa completam as atrações do palco Rio de Janeiro, dezembro de 2018 — As novidades do Rock in Rio para a edição de 2019 não param. E, enquanto o Palco Mundo já anunciava suas quatro atrações para uma noite emblemática do metal, com IRON MAIDEN, Scorpions, Megadeth e Sepultura, a organização do evento preparava outra surpresa para os metaleiros que frequentam o festival. O Palco Sunset apresenta dois grandes nomes, para esta noite de 4 de outubro de 2019: as bandas norte-americanas Slayer, que fará seu último show da turnê de despedida dos palcos, e fecha o Sunset neste dia, e ainda Anthrax. Elas fazem parte do seleto grupo “The Big Four”, do thrash metal mundial. A abertura da noite fica por conta da banda Nervosa. Fundado em 2010, o power trio paulistano formado por Prika Amaral (guitarra e vocais), Fernanda Lira (vocal e baixo) e Luana Dametto (bateria), já lançou três discos de estúdio pela gravadora austríaca Napalm Records. O projeto mais recente da Nervosa, lançado em 2018, é o álbum Downfall of Mankind, que traz elementos do Death Metal à sonoridade da banda. A apesar da língua inglesa, as letras são, em sua maioria, focadas em problemas sociais do Brasil como corrupção e política. Completando as atrações, duas das principais bandas da cena underground brasileira dividem o Palco Sunset numa ode ao trash metal: Claustrofobia e Torture Squad e recebem Chuck Billy, vocalista da banda americana Testament.
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Universidade Federal Do Ceará Centro De Humanidades Departamento De Ciências Da Informação Curso De Biblioteconomia
UNIVERSIDADE FEDERAL DO CEARÁ CENTRO DE HUMANIDADES DEPARTAMENTO DE CIÊNCIAS DA INFORMAÇÃO CURSO DE BIBLIOTECONOMIA JENNYFER CRISTINA DE MORAES SILVA THE TALE GOES ON: A MEDIAÇÃO DA INFORMAÇÃO NAS COMPOSIÇÕES DA BANDA IRON MAIDEN FORTALEZA – CE 2020 JENNYFER CRISTINA DE MORAES SILVA THE TALE GOES ON: A MEDIAÇÃO DA INFORMAÇÃO NAS COMPOSIÇÕES DA BANDA IRON MAIDEN Monografia apresentada ao Curso de Biblioteconomia da Universidade Federal do Ceará, como requisito parcial para obtenção do título de Bacharel em Biblioteconomia. Orientador: Prof. Dr. Jefferson Veras Nunes. FORTALEZA – CE 2020 Dados Internacionais de Catalogação na Publicação Universidade Federal do Ceará Biblioteca Universitária Gerada automaticamente pelo módulo Catalog, mediante os dados fornecidos pelo(a) autor(a) S58t Silva, Jennyfer Cristina de Moraes. The tale goes on : a mediação da informação nas composições da banda Iron Maiden / Jennyfer Cristina de Moraes Silva. – 2020. 98 f. : il. color. Trabalho de Conclusão de Curso (graduação) – Universidade Federal do Ceará, Centro de Humanidades, Curso de Biblioteconomia, Fortaleza, 2020. Orientação: Prof. Dr. Jefferson Veras Nunes. 1. Mediação da informação. 2. Música e mediação. 3. Iron Maiden. I. Título. CDD 020 JENNYFER CRISTINA DE MORAES SILVA THE TALE GOES ON: A MEDIAÇÃO DA INFORMAÇÃO NAS COMPOSIÇÕES DA BANDA IRON MAIDEN Monografia apresentada ao Curso de Biblioteconomia da Universidade Federal do Ceará, como requisito parcial para obtenção do título de Bacharel em Biblioteconomia. Aprovada em: ____ / ____ / ______. BANCA EXAMINADORA __________________________________________ Prof. Dr. Jefferson Veras Nunes (Orientador) Universidade Federal do Ceará (UFC) __________________________________________ Prof. Dr. Luiz Tadeu Feitosa (Membro titular) Universidade Federal do Ceará (UFC) __________________________________________ Profa. Dra. Maria Giovanna Guedes Farias (Membro titular) Universidade Federal do Ceará (UFC) __________________________________________ Prof.
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October 15-21. 2015
OCTOBER 15-21. 2015 ------------Cover Story • Haunted Hotel: 13th Floor --------- A Terrible Night’s Sleep By Mark Hunter Once inside, the characters showing the way through the dark and spooky bowels of the hotel leave Old hotels are naturally scary places. The short, you with the sense that you have indeed entered an- lumpy beds prevent sleep, the moldering carpets foul other world. Their blank stares tell a tale of unspeak- the air and the feckless showers lack the will to alter able horror. The guests you encounter are by turns the flight path of a mosquito. And don’t get me started hysterical and expressionless. Don’t bother asking for on the colonies of restless spirits inhabiting these so- extra towels or the directions to the heated pool. called quaint inns of yesteryear (not exactly sure who A maid calling herself Elizabeth sets the tone. She calls them that, but whatever). knows nothing of her previous life. She cannot re- People whine, call the fire or her “but they’re so full death. But from the of history.” His- look on her face tory schmistory. and the state of her As I recall, I slept mind you know through history that whatever hap- quite nicely. My pened to her was transcripts prove horrific. that. But as far as I The desk 5)&#*((&454)080'5)&:&"3 can tell I’ve never clerks, too, have gotten a wink in the look and de- any lodgings built meanor of lost prior to the first souls as they direct Roosevelt admin- you toward the 8&%/&4%": /07&.#&3 istration.
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Still Runnin' with the Devil
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Spiritually Uncontrolled Art
Spiritually uncon trolled art: Exploring aesthetics of evil in contemporary music Robert Andersson 2011 Uppsats, magisternivå , 15 hp Religionsvetenskap Människa, natur och religionsprogrammet Handledare: Juan Carlos Gumucio Examinator: Peder Thalén Abstract This essay investigates interpretations of evil as expressed in contemporary music, focusing mainly on lyrics in contemporary popular music. The purpose is to analyze whether there is a certain aesthetic embracing of risk and innovation on display when discussing such subject matters, and to relate such aesthetic connotations to cultural and religious aspects. Lyrical interpretations of evil in a musical context appear to be existent in different forms and are in various ways attempts to integrate the existence of evil acts, as leading to suffering and pain, by incorporating such themes into lyrical material. There appears to be a possible aesthetic embraced when artists are advocating evil acts, however, not totally separable from the aesthetics of the extreme metal scene. Such forms of creative practice appear as reliant on the dialectic between historical perceptions of morality, modern society as globalized, segmented and restructured and the reoccurrence of religion in a secularized perspective. Themes regarding evil appear in this form of aesthetic in different ways to traditional discourse; making use of historical and contemporary images of evil and portraying them as desirable in various ways. In some instances such creative release is also linked to religious belief and practice, making the artistic performance equivalent of a transcendental event. Keywords Aesthetics, contemporary music, culture, extreme metal, evil, modernism, music lyrics. 2 Table of contents Abstract ...................................................................................................................................... 2 Table of contents........................................................................................................................ 3 1.
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