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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. -
Songs by Artist
Reil Entertainment Songs by Artist Karaoke by Artist Title Title &, Caitlin Will 12 Gauge Address In The Stars Dunkie Butt 10 Cc 12 Stones Donna We Are One Dreadlock Holiday 19 Somethin' Im Mandy Fly Me Mark Wills I'm Not In Love 1910 Fruitgum Co Rubber Bullets 1, 2, 3 Redlight Things We Do For Love Simon Says Wall Street Shuffle 1910 Fruitgum Co. 10 Years 1,2,3 Redlight Through The Iris Simon Says Wasteland 1975 10, 000 Maniacs Chocolate These Are The Days City 10,000 Maniacs Love Me Because Of The Night Sex... Because The Night Sex.... More Than This Sound These Are The Days The Sound Trouble Me UGH! 10,000 Maniacs Wvocal 1975, The Because The Night Chocolate 100 Proof Aged In Soul Sex Somebody's Been Sleeping The City 10Cc 1Barenaked Ladies Dreadlock Holiday Be My Yoko Ono I'm Not In Love Brian Wilson (2000 Version) We Do For Love Call And Answer 11) Enid OS Get In Line (Duet Version) 112 Get In Line (Solo Version) Come See Me It's All Been Done Cupid Jane Dance With Me Never Is Enough It's Over Now Old Apartment, The Only You One Week Peaches & Cream Shoe Box Peaches And Cream Straw Hat U Already Know What A Good Boy Song List Generator® Printed 11/21/2017 Page 1 of 486 Licensed to Greg Reil Reil Entertainment Songs by Artist Karaoke by Artist Title Title 1Barenaked Ladies 20 Fingers When I Fall Short Dick Man 1Beatles, The 2AM Club Come Together Not Your Boyfriend Day Tripper 2Pac Good Day Sunshine California Love (Original Version) Help! 3 Degrees I Saw Her Standing There When Will I See You Again Love Me Do Woman In Love Nowhere Man 3 Dog Night P.S. -
FUCKED up Glass Boys
FUCKED UP Glass Boys Fucked Up are a punk band. They were a punk band when they started in Toronto more than a decade ago, and they've remained a punk band even as they've ascended to career heights that their younger selves never could've imagined. But how do you remain a punk band when you're on magazine covers, or sharing stadium stages with the Foo Fighters? How do you stay true to your 15- year-old self when you've got a career to maintain, and families to support? Those are the questions that Fucked Up asks on Glass Boys. And they ask those questions in the form of a blazing, titanic, ultimately triumphant rock album. The last two Fucked Up albums were sweeping, defining, monolithic gestures. On 2008's The Chemistry Of Common Life, they tested hardcore's capacity for stylistic innovation, for seven- minute songs and unconventional arrangements, and they won Canada's prestigious Polaris Music Prize in the process. With 2011's David Comes To Life, they offered up a full-blown rock opera, coming with one larger-than-life hook after another, and that made them even bigger, and further away from the Toronto hardcore scene that nurtured them. Glass Boys isn't a retrenchment or a back-to-basics move; it's too ambitious and complex for that. But after those last two albums, it's tight and concise and direct, an album of real and direct sentiment rather than artifice. Musically, Glass Boys carries echoes of some of the more ragged and adventurous bands from America's punk past (Husker Du, Dinosaur Jr.), but it also has some of the anthemic charge of the Who and the guttural intensity of Negative Approach. -
Razorcake Issue
PO Box 42129, Los Angeles, CA 90042 #19 www.razorcake.com ight around the time we were wrapping up this issue, Todd hours on the subject and brought in visual aids: rare and and I went to West Hollywood to see the Swedish band impossible-to-find records that only I and four other people have RRRandy play. We stood around outside the club, waiting for or ancient punk zines that have moved with me through a dozen the show to start. While we were doing this, two young women apartments. Instead, I just mumbled, “It’s pretty important. I do a came up to us and asked if they could interview us for a project. punk magazine with him.” And I pointed my thumb at Todd. They looked to be about high-school age, and I guess it was for a About an hour and a half later, Randy took the stage. They class project, so we said, “Sure, we’ll do it.” launched into “Dirty Tricks,” ripped right through it, and started I don’t think they had any idea what Razorcake is, or that “Addicts of Communication” without a pause for breath. It was Todd and I are two of the founders of it. unreal. They were so tight, so perfectly in time with each other that They interviewed me first and asked me some basic their songs sounded as immaculate as the recordings. On top of questions: who’s your favorite band? How many shows do you go that, thought, they were going nuts. Jumping around, dancing like to a month? That kind of thing. -
Making Company of Darkness Joshua Evan Borgmann Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1999 Making company of darkness Joshua Evan Borgmann Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Creative Writing Commons, and the English Language and Literature Commons Recommended Citation Borgmann, Joshua Evan, "Making company of darkness " (1999). Retrospective Theses and Dissertations. 7097. https://lib.dr.iastate.edu/rtd/7097 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Making company of darkness by Joshua Evan Borgmann . A thesis submitted to the graduate faculty in partialfulfillment of the requirements for the degreeof MASTER OFARTS Major: English (Creative Writing) Major Professor: Neal Bowers Iowa State University Ames, Iowa 1999 11 Graduate College Iowa State University This is to certify that the Master's thesis of Joshua Evan Borgmann has met the requirements ofIowa State University Major Professor For the Major Program For the Graduate College m TABLE OF CONTENTS I. INSALUBRIOUS BIFURCATIONS 1 Family Portrait at 23 2 Family 3 Family Spirit 4 Insalubrious Bifurcation ofthe Post-Nuclear Family Schema 5 Christmas Eves 6 Holiday Edge 7 Food, Football, Family 9 Wal-Mart Christian 11 Devil's Advocate 13 Religion in Ice 14 Deicide 15 Suicide Poem # 23 16 Suicide Poem # 24 17 23 to 2 18 Sadistic Auto-Masochistic Persecution 19 Random SelfIndulgent Shit 20 High School High Via the Lost Highway 23 Forgetting '87 24 Thirteen 25 Absence ofLight 26 Windows 27 The House 28 Old Woman 29 In the Night 30 Goathoms 31 H. -
Strapping Young Lad
THE DAYGLO’S AUSSIE TOUR #3 APRIL/MAY 2005 - ABSOLUTELY FREE PUNK, HARDCORE & METAL - THE SCUM ALSO RISES STRAPPING YOUNG LAD and shitloads more! ABSOLUTE EDITORIAL Absolute Editorial #3 Things are coming together nicely for us here at Absolute Underground. This is starting go be fun! We’re getting into a few free shows and people are starting to send in CD’s for us to review. We’ve got a lot of new people pitching in to make this rag better than ever. Emily Kendy joins us from Vancouver and brings with her a very impressive resume (The Nerve, Discorder, Terminal City, Exclaim...). We’ll be featuring a different Vancouver based band each issue starting with scum punks the Excessives. With the new Arena and Rod Stewart having played Victoria, you can just feel that this is going to be a great year for live music around town. I’m always impressed with the turnout and energy of the younger crowds at the all-ages shows. Even if you’re old you should go check one out sometime. You might find it invigorating to jump in a circle pit of mohawked fury. It was great hanging out with the crew at Spitfire Tattoo special thanks to Rick and Amanda. Electric Frankenstein was an amazing show and just proves that Victoria gets wicked shows all the time. A big middle finger to the asshole bouncers @ Diego’s who wouldn’t let me in even though I was on the guest list and then proceeded to tell the headlining act CHOKE to “pack their shit, they weren’t going to play.” This was after two huge idiots working the door beat up CHOKE’s drummer who weighs about a buck ten soaking wet. -
Songs by Title
Karaoke Song Book Songs by Title Title Artist Title Artist #1 Nelly 18 And Life Skid Row #1 Crush Garbage 18 'til I Die Adams, Bryan #Dream Lennon, John 18 Yellow Roses Darin, Bobby (doo Wop) That Thing Parody 19 2000 Gorillaz (I Hate) Everything About You Three Days Grace 19 2000 Gorrilaz (I Would Do) Anything For Love Meatloaf 19 Somethin' Mark Wills (If You're Not In It For Love) I'm Outta Here Twain, Shania 19 Somethin' Wills, Mark (I'm Not Your) Steppin' Stone Monkees, The 19 SOMETHING WILLS,MARK (Now & Then) There's A Fool Such As I Presley, Elvis 192000 Gorillaz (Our Love) Don't Throw It All Away Andy Gibb 1969 Stegall, Keith (Sitting On The) Dock Of The Bay Redding, Otis 1979 Smashing Pumpkins (Theme From) The Monkees Monkees, The 1982 Randy Travis (you Drive Me) Crazy Britney Spears 1982 Travis, Randy (Your Love Has Lifted Me) Higher And Higher Coolidge, Rita 1985 BOWLING FOR SOUP 03 Bonnie & Clyde Jay Z & Beyonce 1985 Bowling For Soup 03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 BOWLING FOR SOUP '03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 Bowling For Soup 03 Bonnie And Clyde Jay Z & Beyonce 1999 Prince 1 2 3 Estefan, Gloria 1999 Prince & Revolution 1 Thing Amerie 1999 Wilkinsons, The 1, 2, 3, 4, Sumpin' New Coolio 19Th Nervous Breakdown Rolling Stones, The 1,2 STEP CIARA & M. ELLIOTT 2 Become 1 Jewel 10 Days Late Third Eye Blind 2 Become 1 Spice Girls 10 Min Sorry We've Stopped Taking Requests 2 Become 1 Spice Girls, The 10 Min The Karaoke Show Is Over 2 Become One SPICE GIRLS 10 Min Welcome To Karaoke Show 2 Faced Louise 10 Out Of 10 Louchie Lou 2 Find U Jewel 10 Rounds With Jose Cuervo Byrd, Tracy 2 For The Show Trooper 10 Seconds Down Sugar Ray 2 Legit 2 Quit Hammer, M.C. -
American Punk: the Relations Between Punk Rock, Hardcore, and American Culture
American Punk: The Relations between Punk Rock, Hardcore, and American Culture Gerfried Ambrosch ABSTRACT Punk culture has its roots on both sides of the Atlantic. Despite continuous cross-fertiliza- tion, the British and the American punk traditions exhibit distinct features. There are notable aesthetic and lyrical differences, for instance. The causes for these dissimilarities stem from the different cultural, social, and economic preconditions that gave rise to punk in these places in the mid-1970s. In the U. K., punk was mainly a movement of frustrated working-class youths who occupied London’s high-rise blocks and whose families’ livelihoods were threatened by a declin- ing economy and rising unemployment. Conversely, in America, punk emerged as a middle-class phenomenon and a reaction to feelings of social and cultural alienation in the context of suburban life. Even city slickers such as the Ramones, New York’s counterpart to London’s Sex Pistols and the United States’ first ‘official’ well-known punk rock group, made reference to the mythology of suburbia (not just as a place but as a state of mind, and an ideal, as well), advancing a subver- sive critique of American culture as a whole. Engaging critically with mainstream U.S. culture, American punk’s constitutive other, punk developed an alternative sense of Americanness. Since the mid-1970s, punk has produced a plethora of bands and sub-scenes all around the world. This phenomenon began almost simultaneously on both sides of the Atlantic—in London and in New York, to be precise—and has since spread to the most remote corners of the world. -
The Long History of Indigenous Rock, Metal, and Punk
UNIVERSITY OF CALIFORNIA Los Angeles Not All Killed by John Wayne: The Long History of Indigenous Rock, Metal, and Punk 1940s to the Present A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in American Indian Studies by Kristen Le Amber Martinez 2019 © Copyright by Kristen Le Amber Martinez 2019 ABSTRACT OF THESIS Not All Killed by John Wayne: Indigenous Rock ‘n’ Roll, Metal, and Punk History 1940s to the Present by Kristen Le Amber Martinez Master of Arts in American Indian Studies University of California Los Angeles, 2019 Professor Maylei Blackwell, Chair In looking at the contribution of Indigenous punk and hard rock bands, there has been a long history of punk that started in Northern Arizona, as well as a current diverse scene in the Southwest ranging from punk, ska, metal, doom, sludge, blues, and black metal. Diné, Apache, Hopi, Pueblo, Gila, Yaqui, and O’odham bands are currently creating vast punk and metal music scenes. In this thesis, I argue that Native punk is not just a cultural movement, but a form of survivance. Bands utilize punk and their stories as a conduit to counteract issues of victimhood as well as challenge imposed mechanisms of settler colonialism, racism, misogyny, homophobia, notions of being fixed in the past, as well as bringing awareness to genocide and missing and murdered Indigenous women. Through D.I.Y. and space making, bands are writing music which ii resonates with them, and are utilizing their own venues, promotions, zines, unique fashion, and lyrics to tell their stories. -
BB-1971-12-25-II-Tal
0000000000000000000000000000 000000.00W M0( 4'' .................111111111111 .............1111111111 0 0 o 041111%.* I I www.americanradiohistory.com TOP Cartridge TV ifape FCC Extends Radiation Cartridges Limits Discussion Time (Based on Best Selling LP's) By MILDRED HALL Eke Last Week Week Title, Artist, Label (Dgllcater) (a-Tr. B Cassette Nos.) WASHINGTON-More requests for extension of because some of the home video tuners will utilize time to comment on the government's rulemaking on unused TV channels, and CATV people fear conflict 1 1 THERE'S A RIOT GOIN' ON cartridge tv radiation limits may bring another two- with their own increasing channel capacities, from 12 Sly & the Family Stone, Epic (EA 30986; ET 30986) month delay in comment deadline. Also, the Federal to 20 and more. 2 2 LED ZEPPELIN Communications Commission is considering a spin- Cable TV says the situation is "further complicated Atlantic (Ampex M87208; MS57208) off of the radiated -signal CTV devices for separate by the fact that there is a direct connection to the 3 8 MUSIC consideration. subscriber's TV set from the cable system to other Carole King, Ode (MM) (8T 77013; CS 77013) In response to a request by Dell-Star Corp., which subscribers." Any interference factor would be mul- 4 4 TEASER & THE FIRECAT roposes a "wireless" or "radiated signal" type system, tiplied over a whole network of CATV homes wired Cat Stevens, ABM (8T 4313; CS 4313) the FCC granted an extension to Dec. 17 for com- to a master antenna. was 5 5 AT CARNEGIE HALL ments, and to Dec. -
TUNECODE WORK TITLE Value Range 289693DR
TUNECODE WORK_TITLE Value Range 289693DR It S Everyday Bro ££££ 329418BM Boys Are So Ugh ££££ 060461CU Sex On Fire ££££ 258202LN Liar Liar ££££ 2680048Z Willy Can You Hear Me? ££££ 128318GR The Way ££££ 217278AV Better When I'm Dancing ££££ 223575FM I Ll Show You ££££ 188659KN Do It Again ££££ 136476HS Courtesy Call ££££ 224684HN Purpose ££££ 017788KU Police Escape ££££ 065640KQ Android Porn (Si Begg Remix) ££££ 189362ET Nyanyanyanyanyanyanya! ££££ 191745LU Be Right There ££££ 236174HW All Night ££££ 271523CQ Harlem Spartans - (Blanco Zico Bis Tg Millian Mizormac) ££££ 237567AM Baby Ko Bass Pasand Hai ££££ 099044DP Friday ££££ 5416917H The Big Chop ££££ 263572FQ Nasty ££££ 065810AV Dispatches ££££ 258985BW Angels ££££ 031243LQ Cha-Cha Slide ££££ 250248GN Friend Zone ££££ 235513CW Money Longer ££££ 231933KN Gold Slugs ££££ 221237KT Feel Invincible ££££ 237537FQ Friends With Benefits (Fwb) ££££ 228372EW Election 2016 ££££ 177322AR Dancing In The Sky ££££ 006520KS I Wish I Knew How It Would Feel To Be Free ££££ 153086KV Centuries ££££ 241982EN I Love The 90s ££££ 187217FT Pony (Jump On It) ££££ 134531BS My Nigga ££££ 015785EM Regulate ££££ 186800KT Nasty Freestyle ££££ 251426BW M.I.L.F. $ ££££ 238296BU Blessings Pt. 1 ££££ 238847KQ Lovers Medley ££££ 003981ER Anthem ££££ 037965FQ She Hates Me ££££ 216680GW Without You ££££ 079929CR Let's Do It Again ££££ 052042GM Before He Cheats ££££ 132883KT Baraka Allahu Lakuma ££££ 231618AW Believe In Your Barber ££££ 261745CM Ooouuu ££££ 220830ET Funny ££££ 268463EQ 16 ££££ 043343KV Couldn't Be The Girl -
Myth of the West| a Collection
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2000 Myth of the West| A collection Matthew Skinner The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Skinner, Matthew, "Myth of the West| A collection" (2000). Graduate Student Theses, Dissertations, & Professional Papers. 3054. https://scholarworks.umt.edu/etd/3054 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Maureen and Mike MANSFIELD LIBRARY Tlie University ofIVTONXANA. Permission is granted by the author to reproduce this material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. ** Please check "Yes" or "No" and provide signature** Yes, I grant peimission À No, I do not grant permission ____ Author's Signature ji Date S f ( O Ù Any copying for commercial purposes or financial gain may be undertaken only with the author's explicit consent. The Wÿth of the West A Collection by Matthew Skinner B.A. Santa Clara University, 1990 presented in partial fulfillment of the requirements for the degree of Master of Fine Arts The University of Montana 2000 Approved by: ' X i' I aI ^ ' ■ < K' Chairperson Dean, Graduate School Date UMI Number: EP35737 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted.