2 Minutes to Midnight (Adventure)

Total Page:16

File Type:pdf, Size:1020Kb

2 Minutes to Midnight (Adventure) 2 minutes to midnight A “One page” by Andrea Sbragia This is a module to be used with the Rocko- then finally compete on February 6th. polis RPG rules. One of the difficulties of the contest is that, The Characters’ Band is a Tribute to Iron in addition to having to know the songs, Maiden. the Bands will have to try to imitate their idols also in terms of appearance: at each The creation of the Characters is left freely to stage of the contest, in fact, it is required the Players, with the understanding that the that the Band represent on stage a specific Band is plausibly able to play the songs of LP, including lights, costumes and sceno- the English Band. graphy. It is absolutely forbidden to propose the For them, who adore their idols, this time same album twice. there is a unique opportunity: to open the concert of the great Irons! The contest, therefore, will reward very The famous Band, in fact, has decided to elaborate stages in pure Iron Maiden style, hire one of their own Tribute among the and the tight schedule could create many many scattered around the world to open problems for the Band. the last concert of their career. February 8th (celebrating the release of Being an established Irons Tribute Band, the album “Running Free”), 23:58. it starts with these already known songs: The concert, called “2 minutes to midnight The number of the beast, Flight of Icarus, - LIVE” will take place in London, and will Powerslave, Running Free, Fear of the probably be an event like few others in the Dark, The Evil that men do, Iron Maiden, history of Rock. Bring your daughter to the slaughter. The band also knows other tracks, but do- The Band that will open the concert will be esn’t yet have the necessary technical le- selected through a long contest, which will vel, and will therefore have to learn them. end on February 6th. The winning band will play on the London stage from 9pm to Some possible difficulties for the Band: 11pm. - it lacks the financial means to meet such As if this wasn’t already a stratospheric pri- a challenge; ze, there is talk of the possibility of a con- - the members’ Relationships can be a tract. hindrance: families or possessive relation- Needless to say, the opportunity is absolu- ships may not like to see such a rush du- tely unmissable. ring the Christmas period; - the other participating Tributes are pre- It’s December, and the excitement is great. pared and fierce; On the 22nd there will be a pre-selection - the daily work or commitments of the phase at a local club. The same will hap- Band members will be affected; pen in other venues scattered elsewhere. - the Band doesn’t have a lot of con- Winning means facing the semifinal, whi- nections, and putting on a show as reque- ch opens the doors to the national final, sted means relying on others. towards the end of January. The winning bands from each nation will Will they make it? Up the Irons!.
Recommended publications
  • Spatial Practices of Icarian Communism
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2008-03-25 Spatial Practices of Icarian Communism John Derek McCorquindale Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the French and Francophone Language and Literature Commons, and the Italian Language and Literature Commons BYU ScholarsArchive Citation McCorquindale, John Derek, "Spatial Practices of Icarian Communism" (2008). Theses and Dissertations. 1364. https://scholarsarchive.byu.edu/etd/1364 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. A SPATIAL HISTORY OF ICARIAN COMMUNISM by John Derek McCorquindale A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Department of French & Italian Brigham Young University April 2008 ABSTRACT A SPATIAL HISTORY OF ICARIAN COMMUNISM John Derek McCorquindale Department of French and Italian Master of Arts Prior to the 1848 Revolution in France, a democrat and communist named Étienne Cabet organized one of the largest worker’s movements in Europe. Called “Icarians,” members of this party ascribed to the social philosophy and utopian vision outlined in Cabet’s 1840 novel, Voyage en Icarie , written while in exile. This thesis analyzes the conception of space developed in Cabet’s book, and tracks the group’s actual spatial practice over the next seventeen years. During this period, thousands of Icarians led by Cabet attempted to establish an actual colony in the wilderness of the United States.
    [Show full text]
  • Heavy Metal and Classical Literature
    Lusty, “Rocking the Canon” LATCH, Vol. 6, 2013, pp. 101-138 ROCKING THE CANON: HEAVY METAL AND CLASSICAL LITERATURE By Heather L. Lusty University of Nevada, Las Vegas While metalheads around the world embrace the engaging storylines of their favorite songs, the influence of canonical literature on heavy metal musicians does not appear to have garnered much interest from the academic world. This essay considers a wide swath of canonical literature from the Bible through the Science Fiction/Fantasy trend of the 1960s and 70s and presents examples of ways in which musicians adapt historical events, myths, religious themes, and epics into their own contemporary art. I have constructed artificial categories under which to place various songs and albums, but many fit into (and may appear in) multiple categories. A few bands who heavily indulge in literary sources, like Rush and Styx, don’t quite make my own “heavy metal” category. Some bands that sit 101 Lusty, “Rocking the Canon” LATCH, Vol. 6, 2013, pp. 101-138 on the edge of rock/metal, like Scorpions and Buckcherry, do. Other examples, like Megadeth’s “Of Mice and Men,” Metallica’s “For Whom the Bell Tolls,” and Cradle of Filth’s “Nymphetamine” won’t feature at all, as the thematic inspiration is clear, but the textual connections tenuous.1 The categories constructed here are necessarily wide, but they allow for flexibility with the variety of approaches to literature and form. A segment devoted to the Bible as a source text has many pockets of variation not considered here (country music, Christian rock, Christian metal).
    [Show full text]
  • Thomas Bolding Public Relations Specialist 618-772-8029 [email protected] Phantom Music Management for IMME
    For more information: Thomas Bolding Public Relations Specialist 618-772-8029 [email protected] Phantom Music Management FOR IMMEDIATE RELEASE UP THE IRONS: THE SATTELITE FRONTIER January 27, 2013, London, UK – Iron Maiden will expand their music catalog into satellite through a partnership with Sirius XM radio. The partnership aims for a Maiden and heavy metal-exclusive radio program for metal head subscribers. The program will be titled: Up the Irons. The program is set to launch Monday, January 28 in the US and UK. After the success of the band’s 2010 album, The Final Frontier, Steve Smith and co. have decided to branch out further into the radio world. “We received multiple suggestions on how to further reach our fan base. After careful consideration, and somewhat-chaotic research, we’ve decided Sirius XM radio brings us closer to casual metal listeners. Some radio stations contacted us in the past and even helped our success with Number of the Beast and so on, but XM provides the seclusion, the listener-friendly experience. And that’s what we want the most – for our fans, and music fans in general, to be happy,” said assistant band manager Roy Schofield. Maiden plans to promote The Final Frontier, but also works from their classic catalogue including: Powerslave, Killers, and Number of the Beast. In collaboration with other metal acts, the radio program aims to build an appreciation of heavy metal and its various sub-genres. “You’ll get Run to the Hills, but you may even hear Rime of the Ancient Mariner, or even Phantom of the Opera.
    [Show full text]
  • Iron Maiden Rare Vinyl
    Iron maiden rare vinyl Continue Diapositiva {CURRENT_SLIDE} - Bus transport TOTAL_SLIDES DuraciónI a la slide front - Buscar por DuraciónSencilloEPLPDoble LPColección LpIr a la diapositiva siguiente - Buscar por Duración Esprit International LimitedEsprit House, 5 Railway Sidesides, Meopham Kent DA13 0YS, UK Phone: 01474 815010, fax: 01474 815030 email: [email protected], website: The most expensive and rare Iron Maiden Vinyl Records ever sold iron maiden is one of my top 5 bands. With the vinyl records and iron maiden music, I spent endless hours of delight and pleasure. Iron Maiden has released hundreds of vinyl records, some of which are very rare, expensive and difficult to find. In this post, I present some of the most expensive Iron Maiden plates ever sold. Prices are the highest sold for these rare vinyl editions and there is also the date of sale. Note that here in the Vinylom market many online record stores from all over the world sell Used, Cheap, New, or Rare Iron Maiden Vinyl Registrants. If you're looking for the Iron Maiden Vinyl Record for your collection, it can be in Vinyl and waiting to have it. You'll find a lot of Vinyl Records for sale. Below you will see 11 rare and expensive records that any Iron Maiden vinyl collector would like to have in their JIT collection!! IRON MAIDEN - (TURKISH WHITE PROMO LABEL) USD:914 | 2009- 10-31 ------------------------------------ SOMEWHERE IN TIME (10000) USD:900 | 2015-05-24 FEAR OF DARKNESS - LIVE (ITALIAN VERSION) GBP:589 | 2011-11-02 SEVENTH SON - PHOTO (ITALY EDITION) EUR:760 |
    [Show full text]
  • Bridges to Free-Standing Bridges – Or – the Mutable Modular Model of Metal Music Michael Dekovich University of Oregon
    Bridges to Free-Standing Bridges – or – The Mutable Modular Model of Metal Music Michael Dekovich University of Oregon Heavy metal’s defiance of social and musical norms has been a source of fascination since the genre’s earliest days. But although scholars have been attentive to metal’s unique musical expressions, little literature has been devoted to the analysis of musical form. This paper codifies common strategies in metal song forms and theorizes how metal’s transgressive tendencies manifest in formal functions. Transgression implies a dialectical relationship, the negation of a normative standard. Metal composers frequently use rotational forms found throughout Western popular music but are also prone to modifying and avoiding common song forms, a behavior that can be read through dialogic form, “reconstructing a processual dialogue between any individual work (or section thereof) and the charged network of generic norms, guidelines, possibilities, expectations, and limits provided by the implied genre at hand” (Hepokoski 2010, 71). At the same time, metal’s transgression has deeper implications for teleology. Abjection (Kristeva 1982; Dee 2009) provides a means for metal to construct dialectical identities by deferring or denying telos in favor of liminality, the state of being in- between. Whereas pop and rock usually treat the chorus as a song’s most significant formal goal, metal composers’ expansion of bridge sections and the distortion or omission of rotational units pushes form outside of normative confines, producing sections and song forms that complicate narratives of formal progression. Many pop, rock and metal songs follow the template of compound AABA form, wherein each A section contains a cycle beginning with a verse and ending with a chorus, and where the B section is analogous to the bridge or “middle eight” from Tin Pan Alley AABA pop songs, earning it the designation of “bridge section” (Covach 2005, 74; Nobile 2020, 105).
    [Show full text]
  • Close Readings of Metal Lyrics
    International Journal of English Learning and Teaching Skills; Vol. 1, No. 4; ISSN : 2639-7412 (Print) ISSN : 2638-5546 (Online) POETRY AND LYRICS IN LANGUAGE ACROSS CENTURIES: CLOSE READINGS OF METAL LYRICS Anushka Banerjee Aishika Mukherjee Sayantan Chanda, Shivam Shubham B.Tech Second Year, Mayurakshi Dev Assistant Professor of English Department of Basic Science and Humanities, Institute of Engineering & Management, Kolkata Introduction Ever since its inception into the realm of music during the mid-70, heavy metal has been hailed as one of the most extreme genres in terms of loudness, machismo and lyrical content. Throughout its existence, heavy metal has been mired with controversies; critics slighted the music by shunning it off as being riddled with overblown adolescent theatrics, and conservative groups have accused the genre of being provocative due to its evil lyrical content. Inspite of all those adversities, heavy metal has held its stance as one of the most consistent forms of rock music. Metal music, through its efforts has reinstated the “ancient Indo-European spirit of vir”1 through a Romantic, Faustian form of music culture. This has staggered the general concept of mainstream music and has hence, since long, remained controversial. Heavy metal has never been popular with the mainstream masses, primarily due to the nature of the music. Amongst other things, lyrical content of the songs is one thing that is largely frowned upon and often considered to be one of the primary reasons why metal music has never struck a chord with the masses. But such allegations, while partly true, remain biased to a large extent.
    [Show full text]
  • Powerslave E As Apropriações Da Visualidade Do Antigo Egito: Relações E 1 Reflexões
    Erro! Nenhum texto com o estilo especificado foi encontrado no documento. 229 Powerslave e as apropriações da visualidade do Antigo Egito: relações e 1 reflexões Nathany A. W. Belmaia2 Henrique Bueno Bresciani3 Luiz C. Ferraz Manini4 Érika Rabelo Myiamoto5 Hilton Tonussi Oliveira6 Thaís Aires Silva7 Resumo: Grande parte da produção cultural está sujeita às mais variadas formas de apropriação. Aqui propomos tecer uma reflexão geral acerca de diversos aspectos versados na capa do álbum intitulado Powerslave, da banda Iron Maiden, como a relação entre produção, consumo e apropriação de elementos da cultura do Antigo Egito pela indústria cultural da década de 1980. Também debatemos a ressignificação desses elementos para funcionar no contexto fantasioso da ilustração. Por fim, abordamos a relação da morte com o rock e, finalmente, como as funções específicas da capa como proteção do LP e a sua funcionalidade como suporte visual. Palavras-chave: Iron Maiden, Egito Antigo, Capa de Disco, Powerslave. Abstract: Much of the cultural production is subject to various forms of ownership. Here we propose to weave a reflection, in a very general way about a number of aspects on the cover of the album titled Powerslave, by the musical group Iron Maiden, as the relationship between production, consumption and appropriation of the old elements of Ancient Egyptian culture by the cultural industry of the 1980's. We also discuss the redefinition of these elements to operate in the context of fantasy illustration. Then, we approach the relation between death and rock'n'roll, and finally the specific functions of the cover as a protection and its functionality as visual support.
    [Show full text]
  • Music & Entertainment
    Hugo Marsh Neil Thomas Forrester Director Shuttleworth Director Director Music & Entertainment Tuesday 18th & Wednesday 19th May 2021 at 10:00 Viewing by strict appointment from 6th May For enquires relating to the Special Auction Services auction, please contact: Plenty Close Off Hambridge Road NEWBURY RG14 5RL Telephone: 01635 580595 Email: [email protected] www.specialauctionservices.com David Martin Dave Howe Music & Music & Entertainment Entertainment Due to the nature of the items in this auction, buyers must satisfy themselves concerning their authenticity prior to bidding and returns will not be accepted, subject to our Terms and Conditions. Additional images are available on request. Buyers Premium with SAS & SAS LIVE: 20% plus Value Added Tax making a total of 24% of the Hammer Price the-saleroom.com Premium: 25% plus Value Added Tax making a total of 30% of the Hammer Price 10. Iron Maiden Box Set, The First Start of Day One Ten Years Box Set - twenty 12” singles in ten Double Packs released 1990 on EMI (no cat number) - Box was only available The Iron Maiden sections in this auction by mail order with tokens collected from comprise the first part of Peter Boden’s buying the records - some wear to edges Iron Maiden collection (the second part and corners of the Box, Sleeves and vinyl will be auctioned in July) mainly Excellent to EX+ Peter was an Iron Maiden Superfan and £100-150 avid memorabilia collector and the items 4. Iron Maiden LP, The X Factor coming up in this and the July auction 11. Iron Maiden Picture Disc, were his pride and joy, carefully collected Double Album - UK Clear Vinyl release 1995 on EMI (EMD 1087) - Gatefold Sleeve Seventh Son of a Seventh Son - UK Picture over 30 years.
    [Show full text]
  • Historical Themes in Iron Maiden Songs (Part I): from the Cavemen to the Vikings
    Revista Brasileira de Estudos da Canção – ISSN 2238-1198 Natal, n.3, jan-jun 2013. www.rbec.ect.ufrn.br Historical Themes in Iron Maiden Songs (Part I): From the Cavemen to the Vikings Lauro Meller1 [email protected] Abstract: This paper intends to deepen some of the ideas put forward in a previous study of ours, “Historical Characters and Facts in Iron Maiden Songs: a journey from Pre-History to The Second World War” (MELLER, 2005). Our aim is to demonstrate that the lyrics to Maiden’s songs stand out in the Heavy Metal scenario (whose lyrics usually have as subject matters Satanism, sex, drinking, and drug abuse). Avoiding these commonplace topics, Steve Harris, the main songwriter in the group, invests in more elaborate lyrics, either inspired by literary works or about historical themes. In fact, there are so many songs in the band’s discography that deal with historical themes that it is even possible to draw a timeline that stems from Pre-History and reaches The Second World War. While our analytical approach tends to focus on the lyrics, it will not ignore some aspects that are crucial to a better understanding of songs, namely the strictly musical elements (melody, harmony, rhythm, arrangement, etc.), and performance. Keywords: Iron Maiden; Heavy Metal; History; Popular Music Studies. Resumo: Este trabalho pretende verticalizar algumas das ideias apresentadas em um estudo prévio de nossa autoria, “Personagens e Fatos Históricos nas Canções do Iron Maiden: uma jornada da Pré-História à Segunda Guerra Mundial” (MELLER, 2005). Nosso intuito é o de demonstrar que as letras das canções do Maiden se destacam no cenário do Heavy Metal (cujas letras normalmente versam sobre Satanismo, sexo, bebida e consumo de drogas).
    [Show full text]
  • POWERSLAVE As Recorded by Iron Maiden (From the 1984 Album "Powerslave")
    POWERSLAVE As recorded by Iron Maiden (from the 1984 Album "Powerslave") Transcribed by /\X/\M Words by Bruce Dickinson Music by Bruce Dickinson EmEm C5C5 AA o xoxx x xx ` x` xx A Main Riff Moderate Rock P = 134 2 T 1 4 V I 4 V } } V } } V } } } V V } } V } } V } } } V Sound effects V V V V V V V V V V V V V V V V V V V V gV Gtrs I, II T A B 7 x x 7 x x 7 x x x 10 7 x x 7 x x 7 x x x 8 5 5 5 5 5 5 5 5 5 5 8 5 5 5 5 5 5 5 5 5 5 6 B Verse 3 3 5 I V } } V } } V } } } V V V V } } V } } V } } } V V V V V V V V V V V V V V gV V V V V V V gV V V V V V V V V V V V T A B 7 x x 7 x x 7 x x x 10 5 4 5 7 5 7 5 4 5 4 7 x x 7 x x 7 x x x 10 5 5 5 5 5 5 5 5 5 5 8 5 6 5 5 5 5 5 5 5 5 5 5 8 H P H P 3 3 8 I V } } V } } V } } } V V } } V } } V } } } V V V V V V V V V V V V V gV V V V V V V V V V V V V V gV V V V V V V gV T A B 7 x x 7 x x 7 x x x 8 7 x x 7 x x 7 x x x 10 5 4 5 7 5 7 5 4 5 4 5 5 5 5 5 5 5 5 5 5 6 5 5 5 5 5 5 5 5 5 5 8 5 6 H P H P 3 3 11 I V } } V } } V } } } V V } } V } } V } } } V V } } V } } V } } } V V V V V V V V V V V V V V V V V V V V V V V VgV V V V V V V V V V V V V VgV V V V V V VgV T A B 7 x x 7 x x 7 x x x 10 7 x x 7 x x 7 x x x 8 7 x x 7 x x 7 x x x 10 5 4 5 7 5 7 5 4 5 4 5 5 5 5 5 5 5 5 5 5 8 5 5 5 5 5 5 5 5 5 5 6 5 5 5 5 5 5 5 5 5 5 8 5 6 H P H P 1984 Iron Maiden Publishings Printed using TabView by Simone Tellini - http://www.tellini.org/mac/tabview/ POWERSLAVE - Iron Maiden Page 2 of 15 3 3 15 I V } } V } } V } } } V V } } V } } V } } } V V } } V } } V } } } V V V V V V V V V V V V V V V V V V V V V V V VgV V V V V V V V
    [Show full text]
  • “The Flight of Icarus”
    “THE FLIGHT OF ICARUS” Ryan Tiegs English 103 09/09/99 Musicians use a variety of methods to suggest meaning in their songs. In the song, “Flight of Icarus”, by the band Iron Maiden, one can find examples of irony and symbolism. These two ideas combined relate to the theme of the song, or “its controlling idea or its central insight” (Arp, Perrine 102). The unifying concept of the song is to be well informed about the individuals in whom one instills one’s trust. If misled, one could be faced with the point of human reach exceeding its grasp. The “Flight of Icarus” is actually the title of an ancient Greek myth. Icarus was “the son of an Athenian craftsman” (Coolidge 88) and both were “exiled in Crete after Daedalus murdered his apprentice whose skill was greater than his master’s” (Coolidge 88). When the father and son were imprisoned by the king of Crete, the inventor made “wings from feathers and wax” (Coolidge 88) so that he and his son could escape by flying away to the nearest land, Naples. After several hours of successful flight, Icarus was exhilarated by the flight and attracted by the golden light of the sun, and soared upward like an eagle, “despite his father’s warnings” (Coolidge 89). The wax in his wings melted and he perished while his father flew to safety. Daedalus, heartbroken, “flew on to Naples and vowed never to fly again” (Coolidge 89). In the Iron Maiden song, “The Flight of Icarus”, Daedalus is portrayed in a very different light.
    [Show full text]
  • Classical Myth and History in Heavy Metal: Power, Escapism and Masculinity
    Classical Myth and History in Heavy Metal: Power, Escapism and Masculinity With the possible exception of opera, heavy metal makes greater use of Classical material than any other genre of contemporary music. This paper will suggest some of the reasons for the connection between Classics and heavy metal, and discuss what these reasons can add to our understanding of the modern reception of the ancient world. A brief overview of the history of heavy metal and its subgenres will show the extent to which Greco-Roman myth and history are an established part of the music from its beginnings. Because metal is in some ways a conservative genre, with an established canon of artists (Weinstein), the use of Classical material by these canonical bands sanctions the continued use of such material by subsequent bands. From its very beginnings, metal shows an interest in fantastic material from other times and places: Black Sabbath draws on the realm of fantasy and the occult (e.g. “The Wizard”) and Led Zeppelin draws on contemporary fantasy such as Tolkien (“Battle of Evermore”) and Classics (“Achilles Last Stand” [sic]). These trends are continued and developed by other “traditional” metal bands such as Iron Maiden, who use Classical material (“The Flight of Icarus,” “Alexander the Great”) as well as literary material (“The Rime of the Ancient Mariner”). These early bands demonstrate some of the main trends of heavy metal lyrics: in comparison with most popular music, there is less focus on the quotidian, and the ancient world is just one of the realms on which bands draw for inspiration, with the others being books (especially fantasy), movies and history.
    [Show full text]