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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. -
INITIALS C.C. Liner Notes
Chris Connelly : INITIALS C.C. Out-takes, Rarities and Personal Favourites 1982-2002 vol.1 01. Detestimony – Fini Tribe: This was the “A” side of an EP called “Let the Tribe Grow,” written and recorded when the Fini Tribe was going through great musical changes. We had acquired an Ensoniq ‘Mirage’ sampling keyboard, and as was the same for a lot of bands at the time, it changed everything, opened up a lot of doors, and led us into some very uncharted waters. The actual piece was whittled down from a fifteen-minute opus we had written. I remember being in Philip Pinsky’s bedroom one night with John Vick. Philip’s then-roommate, Lindsay, gave us an old quarter-inch reel of tape he had. On it was a beautiful recording of the church bells you hear on the song; we sampled them and came up with the melody. The EP actually did better than any of us had anticipated and became a sort of hit in the Ibiza clubs at the very advent of the acid house/rave phenomenon. We actually went ahead and re-wrote/re- structured the song for the WaxTrax! Records release (“Make it Internal/Detestimony Revisited”) a couple of years later. 02. Mania – Murder Inc.: Certainly what I feel is the most compelling song on the one and only album released by Murder Inc. The band was basically Killing Joke, minus Jaz Coleman (Killing Joke’s singer), plus me, as well as the original drummer, Paul Fergusson, and newer drummer, Martin Atkins. The sessions took place at Pachyderm Studios in rural Minnesota during September of 1991. -
A Look at Queer Stereotypes As Signifiers in DC Comics' the Joker
Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 3-27-2018 Queering The loC wn Prince of Crime: A Look at Queer Stereotypes as Signifiers In DC Comics’ The Joker Zina Hutton [email protected] DOI: 10.25148/etd.FIDC006550 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Part of the Modern Literature Commons, and the Other Film and Media Studies Commons Recommended Citation Hutton, Zina, "Queering The loC wn Prince of Crime: A Look at Queer Stereotypes as Signifiers In DC Comics’ The oJ ker" (2018). FIU Electronic Theses and Dissertations. 3702. https://digitalcommons.fiu.edu/etd/3702 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida QUEERING THE CLOWN PRINCE OF CRIME: A LOOK AT QUEER STEREOTYPES AS SIGNIFIERS IN DC COMICS’ THE JOKER A thesis submitted in partial fulfilment of the requirements for the degree of MASTER OF ARTS in ENGLISH by Zina Hutton 2018 To: Dean Michael R. Heithaus College of Arts, Sciences and Education This thesis, written by Zina Hutton, and entitled Queering the Clown Prince of Crime: A Look at Queer Stereotypes as Signifiers in DC Comics’ The Joker, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this thesis and recommend that it be approved. -
Punk's Not Dead, Towards Forensics of Iconography
3 4 Keep it Simple, Make it Fast! An approach to underground music scenes (vol. 4) Paula Guerra and Thiago Pereira Alberto (eds.) First Published July 2019 by Universidade do Porto. Faculdade de Letras [University of Porto. Faculty of Arts and Humanities] Via Panorâmica, s/n, 4150-564, Porto, PORTUGAL www.letras.up.pt Design: Wasted Rita and Marcelo Baptista Credits illustrations of book’s parts: Esgar Acelerado ISBN 978-989-54179-1-9 All the content presented in texts are solely the responsibility of the authors. The ideas presented do not necessarily represent the opinion of the editors. Attribution CC BY 4.0. International This book is Licensed under a Creative Commons Attribution 4.0. International License (CC BY 4.0). It is allowed to share, redistribute, adapt, remix, transform and build upon the content of this book. The appropriate credit must be given to the authors and editors. More informations: https://creativecommons.org/ licenses/by/4.0 518 10.4. Punk’s not Dead, towards forensics of iconography: Transgression and resistance in intersecting counter- cultures’ identities Lynn Osman254 Abstract The research examines the role of iconography, visual, performance and sound, as means or resistance and transgression. Control, coercion, manipulation as means of power to maintain hegemony, to fabricate political, cultural or social truths, have been subverted historically through subcultures. I aim to deconstruct layers, through studying the mechanism of representation of specific subcultures. The paper focuses first on transgression in the formation of Punk subculture, and by comparing and juxtaposing it to Christianity at its advent, as subculture, to study the role of iconography, through mutual associations. -
[email protected] Website: Nightshift.Oxfordmusic.Net Free Every Month
email: [email protected] website: nightshift.oxfordmusic.net Free every month. NIGHTSHIFT Issue 129 April Oxford’s Music Magazine 2006 Oxford Punt 2006 Line-up announced Every Loser Wins NineNineNine StoneStoneStone CoCoCowbowbowboyyy Elvis, alcohol and suicide bombers - interview inside Also in this issue - The best in Oxford music news, reviews and previews Including The Odd Couple - when Suitable Case For Treatment met Jon Snow and ended up on the Richard and Judy Show plus Seven pages of local gigs NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWNEWSS Harlette Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 email: [email protected] PUNT LINE-UP ANNOUNCED The line-up for this year’s Oxford featured a sold-out show from Fell Punt has been finalised. The Punt, City Girl. now in its ninth year, is a one-night This years line up is: showcase of the best new unsigned BORDERS: Ally Craig and bands in Oxfordshire and takes Rebecca Mosley place on Wednesday 10th May. JONGLEURS: Witches, Xmas The event features nineteen acts Lights and The Keyboard Choir. across six venues in Oxford city THE PURPLE TURTLE: Mark and post-rock is featured across showcase of new musical talent in centre, starting at 6.15pm at Crozer, Dusty Sound System and what is one of the strongest Punt the county. In the meantime there Borders bookshop in Magdalen Where I’m Calling From. line-ups ever, showing the quality are a limited number of all-venue Street before heading off to THE CITY TAVERN: Shirley, of new music coming out of Oxford Punt Passes available, priced at £7, Jongleurs, The Purple Turtle, The Sow and The Joff Winks Band. -
Frank Callari, 55
COMPILED BY KRISTINA TUNZI ktunzi @billboard.com per. He soon added an entertainment Sea and Payson Muller. an in -house lawyer for EMI (then law practice, working with clients from Thorn EMI) beginning in 1980, until Frank Lady he Seddons a in 1988. Callari, to Breyer, aka Jaye joined as 55 Nintendo Aerosmith. Jacqueline partner After co- founding Voyager Commu- Breyer P- Orridge, 38, Psychic TV key - He leaves behind his wife, Marilyn, Frank Callari, 55, manager of the Mavericks, Ryan Adams, Junior Brown and nications Group in 1989, he created boardist and conceptual artist, died and daughter Charlotte. Lucinda Williams, among others, died Oct. 26 of natural causes. He was 55. Valiant Comics, which was sold to Ac- Oct. 9 at her home in Brooklyn. The After graduating in 1973 from the École Hôtelière de Lausanne in Switzer- daim Entertainment and ofwhich Mas- cause was a heart condition possibly Paul Raven, 46, bassist with influ- land, with a bachelor's in hotel /restaurant management, Callari became the sarsky became president /publisher. related to stomach cancer. ential British post -punk group Killing GM at a New York hotel. In 1976, his Four years later, the comic book retail A nurse and volunteer, Breyer met Joke, died Oct. 20 in his sleep of an desire to get involved in the music in- industry awarded him the title pub- and married Throbbing Gristle and apparent heart attack in Geneva, dustry led him to attend New York Uni- lisher of the year. Psychic TV band member Neil Meg - Switzerland, where he had been versity, where he graduated with a Massarsky is survived by his mother, son, aka P- Orridge, in 1993. -
23 10 1980 OCR.Pdf
THE 23rd October 1980 l 1 SOMEJOKE .:I Human excreta daubed on toilet walls ... graffiti scrawled across walls, doors and fittings In the gent's toilets ... soft seating and stools slashed and torn beyond repair ... walls that looked to have been used for mountaineering practice .. and a dressing room smashed up by the group Killing Joke after the concert .. The damage Inflicted on the Student Centre gave It every appearance of a battleground In the aftermath of Friday's Unlvents gig. Such was the damage stopping concerts in the may be brought to an end (his ing a series of incidents caused by the hooligan Student Centre. But. as she term. Miss Pritchard has, in involving damage to property, element that night that the said afterwards: 00 Due to fact, said "We have a particularly in Chambers future of concerts at the public demand among responsibility to protect our Street Union. Killing Joke Student Centre is once more stude_nts for them to continue, own users by stopping such have consistently denied that in the balance. University the Honorary Treasurer and I concerts altogether." they are a punk group and Catering Officer Mr John compiled, on an experimental Most of those who attended were booked on that under Pickles has. in fact. told the basis. an entertainments the Killing Joke concert. it is . standing. Nevertheless, as the Association in a letter to the programme which, if success claimed. were not students at events of Friday night give Permanent Secretary: ··1 think ful. we would have been Edinburgh University, but ample testimony, they most the time has come when this happy to continue." were allowed in under certainly do attract what is so-called 'entertainment' is Friday night's incidents. -
The Killing Joke" (1988) Published January 16Th, 2020 Listen Here on Themcelroy.Family
Still Buffering 195: "The Killing Joke" (1988) Published January 16th, 2020 Listen here on themcelroy.family [theme music plays] Rileigh: Hello, and welcome to Still Buffering, a cross-generational guide to the culture that made us. I am Rileigh Smirl. Sydnee: I'm Sydnee McElroy. Teylor: And I'm Teylor Smirl. Rileigh: I was on it that time. Sydnee: You got it! Rileigh: Got it. Teylor: Good job. Rileigh: Thank you. Sydnee: That was good. That's—okay. Rileigh: Phew! Sydnee: We got that part of the podcast— Rileigh: [out of breath] Got that out of the way. Sydnee: —now we just need, like, content. [laughs] Teylor: Yeah, right. Rileigh: Um… I got this tea—this isn't what we're talking about. I've just been thinking about this the whole time we've been doing this intro, and it's a guava white tea, and I couldn't even tell you what a guava looks like. [pauses] Sydnee: Uhh— Rileigh: But it—it's very tasty, and now I'm thinking about the fact that I like this flavor of guava, if this is even close to what guava is, or else it's just fake— it's probably just fake. But— Sydnee: I don't know. Rileigh: —I don't know what a real guava looks like. [quietly] And now I'm very concerned. Teylor: Uh, I mean, it's like a little… green… oval. Sydnee: Yeah. Teylor: It's kind of pink inside, I believe. Sydnee: You could google "guava." [laughs quietly] Rileigh: I just did. -
Composer and Conductor Jaz Coleman on Punk Rock, Th… Page 1/7 10.01.2021 14:52 EST Well, I Think the Role of Art Itself Is Such an Important Function
To help you grow your creative practice, our website is available as an email. Subscribe December 2, 2019 - As told to J. Bennett, 2694 words. Tags: Music, Inspiration, Beginnings, Independence, Mental health, Politics, Success. On punk rock, the role of the artist, and the importance of ceremony Composer, conductor, and Killing Joke vocalist Jaz Coleman on the importance of magic and ritual, punk rock as a gateway to the world, and why every person has the capacity for genius. You’ve talked about the importance of magic in music and art. How has that principle guided your artistic path over the years? When you start out and you just have dreams, you need magic in order to make those dreams happen. It’s really that simple. On the last tour that we did across England, there was an occasion where somebody who was in my class at school turned up, and they said that when I was 14 and a half I said I was going to start a band and make a success of it, and there we were 40 years later. But, of course, when you start, you have so many odds stacked against you that you need to tap into a higher force, if you like, in order to overcome the overwhelming odds. For example, when I met [Killing Joke drummer] Big Paul, how the hell did we find two other people who had a revolutionary style of playing, and at the same time they understand geopolitics, and at the same time they had some sort of understanding of the mystery tradition? It was a tall order, but we found them through magic. -
Version of Record with a CC BY-NC-SA Licence
The Impossible Made Real: A Typology of Loops and an Exploration of the Impact of Immediacy and Hypermediacy in Popular Music Paul Carr University of South Wales [email protected] Ben Challis Manchester Metropolitan University [email protected] Abstract All popular music has a degree of repetition at a micro and/or macro level, a paradigm that has also been shown to be true in both the European classical tradition and music of most other cultures. The occurrences of these events can range from the smallest motific melodic fragment, to ‘phrase’ (question/answer) and ‘section’ (verse chorus) repetitions, to riff based harmonic/melodic patterns. These repetitions usually occur on an intra compositional basis, but as evidenced by the pervasiveness of sampled loops in contemporary dance music and rap, can also work on inter compositional levels, resulting in potential conceptual allusions of musical (and non-musical) factors between texts. This essay examines the creative incorporation of a specific type of repetition in popular music, that of loop-based composition and improvisation. KEYWORDS: Loops, Hypermediacy, popular music, composition Introduction We would like to open this essay by agreeing with Richard Middleton’s perspective that “all popular songs, to a greater or lesser extent, fall under the power of repetition” (Middleton, 2006: 15). This is a viewpoint that has also been shown to be true in both the European classical tradition and the music of many other world cultures. Indeed, repetition in Western music has a long-standing tradition when IASPM Journal vol.10 no.1 (2020) Journal of the International Association for the Study of Popular Music ISSN 2079-3871 | DOI 10.5429/2079-3871(2020)v10i1.4en | www.iaspmjournal.net 44 Paul Carr and Ben Challis viewed from both macro and micro perspectives, terminology that Middleton describes as discursive and musematic, respectively (Middleton, 2006: 16). -
Disposable Underground 42
Volume 18 Number 42 FREE Championing the musically jaded for over 15 years DISPOSABLE LOCAL REVIEWS A grouping of the local bands (from Maryland, Virginia, and Washington, DC) for this issue point out, D.U. classes Misery Index as a grindcore band. Look at the covers appearing Condemn the Infected Demo here as evidence: Disrupt, Minor Threat, Napalm Death, Terrorizer. And there’s more to his three-song CD-R delivers the death metal goods. Want guttural and raspy look at with this release: all of the lyrics from the EPs and splits, a gig list through 2009 vocals? Want technical guitars and artificial harmonics? Want fusion bass chords? (when they put this baby out), and live tracks. Essential for any Misery Index fan, and TTons of riffs per song? How about blast beats and double bass? You got all that here. it’s damn good for anybody into intelligent death grind, if you want to call it that. There’s a bit of Suffocation, a bit of Morbid Angel, and various other proper death metal www.miseryindex.com bands to draw influence from. The third track, “Passages to Perdition,” has a neato drum intro, and the rest of the music on this demo is similarly impressive. It’s how they do in Maryland. Permafrost Demo 2011 www.myspace.com/condemntheinfected If these guys are death metal, then they’re “blackened” death metal, which if we’re correct means DM with a BM influence. Death metal vocals mingle with blast beats, black metal-esque riffs, and shaky production values, but there’s some interesting ideas Druglord 2010 demo on Demo 2011 , for example the slow, crunchy riff on top of a blast on “Shiva.”And Their Facebook info tab reads, “3 old punks from back in the day (early 80s) playing while Virginia’s Permafrost is low on presentation on their four-song demo, they’re high loud, slow, bass drenched metal.” The band isn’t bass drenched so much, but it’s on positive mental attitude. -
Boomtown Announce Punk Metal and Ska Line-Up for Diss-Order Alley
MATTERLEY ESTATE – WINCHESTER 7TH – 11TH AUGUST 2019 TICKETS ON SALE NOW Boomtownfair.co.uk BOOMTOWN ANNOUNCE PUNK METAL AND SKA LINE-UP FOR DISS-ORDER ALLEY PROPHETS OF RAGE / SLAVES / GOGOL BORDELLO / KILLING JOKE / THERAPY? / ATARI TEENAGE RIOT / NEVILLE STAPLE BAND / ASIAN DUB FOUNDATION / PENNYWISE / LEFTOVER CRACK / KING PRAWN / SUBHUMANS / NAPALM DEATH / AT THE GATES / GODFLESH / CANCER BATS / CROSSFAITH ABRASKADABRA / DEATH OF GUITAR POP / SHANTI POWA Following an epic headliners release, Boomtown launch the third of their twelve individual district line-ups with the ska, punk and metal offerings of Diss-Order Alley. This will sit alongside a truly eclectic mix of already announced headliners on the Town Centre stage including rock-rap supergroup Prophets of Rage, Slaves, Gogol Bordello, Killing Joke, Therapy?, Atari Teenage Riot and two-tone legend Neville Staple Band. Boomtown’s diverse line-up fuses with innovative theatre and incredible immersive set design to create a living, breathing fictitious city. As part of this city, Diss-order Alley returns after a memorable inaugural year in the guise of an abandoned military base overrun with an autonomous community of punks. There are four venues, where Boomtown’s long standing ska punk and metal community are treated to a mix of genres and artists from definitive figures in the scene to boundary pushing sounds from the underground. Last Gang in Town present the flagship punk venue Hangar 161, which is in the form of a full scale aircraft hangar and is headlined by American punk rock icons, the politically minded Pennywise who are now in their 30th year.