Aerosmith - Get a grip Amazing Aerosmith - Get a grip Boogie man Aerosmith - 01 - Beyond Beautiful Aerosmith - 02 - Just Push Play Aerosmith - 03 - Jaded Aerosmith - 04 - Fly Away From Here Aerosmith - 05 - Trip Hoppin Aerosmith - 06 - Sunshine Aerosmith - 07 - Under My Skin Aerosmith - 08 - Luv Lies Aerosmith - 09 - Outta Your Head Aerosmith - 10 - Drop Dead Gorgeous Aerosmith - 11 - Light Inside Aerosmith - 12 - Avant Garden Aerosmith - Live bootleg Back in the saddle Aerosmith - Live bootleg Sweet emotion Aerosmith - Live bootleg Lord of the thighs Aerosmith - Live bootleg Toys in the attic Aerosmith - Live bootleg Last child Aerosmith - Live bootleg Come together Aerosmith - Live bootleg Walk this way Aerosmith - Live bootleg Sick as a dog Aerosmith - Live bootleg Dream on Aerosmith - Live bootleg Chip away the stone Aerosmith - Live bootleg Sight for sore eyes Aerosmith - Live bootleg Mama kin Aerosmith - Live bootleg S.
S Aerosmith - Live bootleg I ain't got you Aerosmith - Live bootleg Mother popcorn Aerosmith - Live bootleg Train kept a rollin' Aerosmith - Night AeroSmith - Nine lives Nine lives AeroSmith - Nine lives Falliong In love AeroSmith - Nine lives Hole In my soul AeroSmith - Nine lives Taste of India AeroSmith - Nine lives Full Circle AeroSmith - Nine lives Ain't That a bitch AeroSmith - Nine lives The farm AeroSmith - Nine lives Crash AeroSmith - Nine lives Kiss your past Good-bye AeroSmith - Nine lives Pink AeroSmith - Nine lives Falling off AeroSmith - Nine lives Attitude Adjustment Aerosmith - Pandora's toys Sweet emotion Aerosmith - Pandora's toys Draw the line Aerosmith - Pandora's toys Walk this way Aerosmith - Pandora's toys Dream on Aerosmith - Pandora's toys Train kept a rollin' Aerosmith - Pandora's toys Mama kin Aerosmith - Pandora's toys Nobody's fault Aerosmith - Pandora's toys Seasons of wither Aerosmith - Pandora's toys Big ten inch record Aerosmith - Pandora's toys All your love Aerosmith - Pandora's toys Helter skelter Aerosmith - Permanent John Aerosmith - Pump Young lust Aerosmith - Pump F.
E Aerosmith - Pump Going down,Love in an elevator Aerosmith - Pump Monkey on my back Aerosmith - Pump Water song,Janie's got a gun Aerosmith - Pump Dulcimer stomp,The other side Aerosmith - Pump My girl Aerosmith - Pump Don't get madGet even Aerosmith - Pump Hoodoo ,Voodoo medicine man Air Suply - Without You Air Supply - Goodbye Air Supply - Lost In Love Air Supply - Love Is All Air Supply - Now And Forever Air Supply - Sweet Dreams Air Supply - Tonite T-Pain Redcafe Hell Rell Styles P Kardinal Offishall Beanie Segal TeamInvasion Trulife T-Pain Clean T-Pain Main T-Pain Clean Acappella Krys French Akon Dirty Akon Clean Akon Acappella Dre and D'Angelo Clean Blood Flood - Wargasm - Ugly (CD Dre and D'Angelo Main Dre and D'Angelo Instrumental Akon Main Akon Instrumental Norfolk Little Clean Norfolk Little Dirty Norfolk Little Remix Clean Dirty Instrumental Acapella Azad Germany Savage New Zealand Booba France Mayhem Canada Julio Voltio Puerto Rico Snoop Dogg Album Version Snoop Dogg Album Version Explicit Snoop Dogg Instrumental Snoop Dogg Remix Explicit Snoop Dogg Radio Edit Kardinal Offishal Eminem Styles P.
Snoop Dogg Rick Ross Beenie Man Money Savage Papoose Blewz Tru-Life Booba Blast Fat Joe P-Money Miri Ben-Ari The Beatnuts Baby Bash Alicia Keys - Maximum - 02 - Blessed Child Alicia Keys - Maximum - 05 - Album) Apart Alicia Keys - Maximum - 07 - Rescue Alicia Keys - Maximum - 08 - Getting Heard Alicia Keys - Maximum - 11 - Speaking Out Man Featuring Jimmy Cozier All Saints [All Saints] - 05 - Heaven All Saints [All Saints] - 06 - Alone All Saints [All Saints] - 08 - Trapped All Saints [All Saints] - 09 - Beg Aqua - 01 - Cartoon Heroes Aqua - 02 - Around The World Aqua - 03 - Freaky Friday Aqua - 05 - An Apple A Day Aqua - 06 - Halloween Aqua - 07 - Good Guys Aqua - 08 - Back From Mars Aqua - 09 - Aquarius Aqua - 10 - Cuba Lebre Aqua - 11 - Bumble Bee Aqua - 12 - Goodbye To The Circus Aqua - 13 - Barbie Girl Aqua - 14 - My Oh My Aqua - 16 - Doctor Jones Aqua - 17 - Good Morning Sunshine Aqua - 18 - Lollipop Candy Man Aqua - 19 - Roses Are Red Aqua - 20 - Didn't I Ashlee Simpson - Autobiography - 01 - Autobiography Ashlee Simpson - Autobiography - 03 - Shadow Ashlee Simpson - Autobiography - 04 - La La Ashlee Simpson - Autobiography - 06 - Better Off Ashlee Simpson - Autobiography - 08 - Surrender Ashlee Simpson - Autobiography - 09 - Unreachable Ashlee Simpson - Autobiography - 10 - Nothing New Ashlee Simpson - Autobiography - 12 - Undiscovered Avril Lavigne [Let Go] - 02 - Complicated Avril Lavigne [Let Go] - 05 - Mobile Avril Lavigne [Let Go] - 06 - Unwanted Avril Lavigne [Let Go] - 07 - Tommorow Avril Lavigne [Let Go] - 13 - Naked Bad Company - Honey Child Bad Company - Miles Bad Company - Anna Bad Company - Bad Company Bad Company - Bad Man Bad Company - Boys Cry Tough Bad Company - Burnin' Sky Bad Company - Can't Get Enough Bad Company - Evil Wind Bad Company - Heartbeat Bad Company - Little Miss Fortune Bad Company - Movin' On Bad Company - Oh Atlanta Bad Company - Ready For Love Bad Company - Rhythm Machine Bad Company - Rock Steady Bad Company - Seagull Bad Company - Shooting Star Bad Company - Superstar Woman Bad Company - Too Bad Bad Company - Whiskey Bottle Bad Company - Wild Fire Woman Bad Company - Dangerous Age - 11 - Excited Bad Company - 10 From 6 - 04 - Shooting Star Bad Company - 10 From 6 - 05 - Movin' On Bad Company - 10 From 6 - 06 - Bad Company Bad Company - 10 From 6 - 08 - Electric Land Bad Company - Gone Gone Gone Bee Gees - Greatest - 01 - Jive Talkin' Bee Gees - Greatest - 02 - Night Fever Bee Gees - Greatest - 03 - Tragedy Bee Gees - Greatest - 05 - Stayin' Alive Bee Gees - Massachuset Bee Gees - Words Belinda Carlisle-Fool For Love Belinda Carlisle - Circle in the Sand Billy Idol [Devil's Playground] - 04 - Sherri Billy Idol [Devil's Playground] - 06 - Scream Billy Idol [Devil's Playground] - 12 - Cherie Vitus Dance Blue [Guilty] - 01 - Stand Up Blue [Guilty] - 02 - Bubblin Blue [Guilty] - 03 - Rock The Night Blue [Guilty] - 04 - Breathe Easy Blue [Guilty] - 05 - Guilty Blue [Guilty] - 06 - When Summer's Gone Blue [Guilty] - 08 - Walk Away Blue [Guilty] - 10 - No Goodbyes Blue [Guilty] - 11 - One Love Blue [Guilty] - 12 - Riders Blue [Guilty] - 13 - Flexin' Blue [Guilty] - 15 - Right Here Waiting Blue [Guilty] - 17 - Get Down Blue [Guilty] - 18 - Without You Blue [Guilty] - 19 - All Rise Blue [Guilty] - 20 - Fly By Blue [Guilty] - 21 - Back To Me Bon Jovi - Hey God Bon Jovi - I Want You Bon Jovi - In These Arms Bon Jovi - Keep The Faith Bon Jovi - Lie To Me All I Want Is Everthing Always Hearts Breaking Even I'll Be There For You It That's What It Takes Its My Life Keep The Faith Never Say Goodbye Runaway Say It Isn't So Someday I'll Be Saturday Night Something To Believe In Thank You For Loving Me These Days This Ain't A Love Song Breaking Benjamin - Saturate - 02 - Medicate Breaking Benjamin - Saturate - 03 - Polyamorous Breaking Benjamin - Saturate - 04 - Skin After all, dirt is the earth that gives us life, and cleanliness after a point is just repression.
Disempowered groups should ideally be respected on their own terms without being forced to apply for admission to the ideological camps of those in power. The symbols of assembly and disassembly are thus constantly being reevaluated. In our culture, sexuality is considered dirty, and both are linked to the human body, whereas technology is often seen as both clean and sterile. Some people argue that sexuality is not dirty; others argue that dirtiness is not bad. This is why the interface between human and machine is often seen as either sex or masturbation.
Sexuality, like dirtiness and like technology, represents the power of the physical over the mental. In a culture that believes so strongly in free will, mere physicality itself can be deeply subversive and disassembling. The battle over the body is very clear in techno music. Much techno music is made for dancing and is therefore highly embodied. However, some kinds of techno hold back and remain tied to disembodiment.
Rave locates bliss in prepubescent childhood. Vangelis composed the music for Blade Runner. Many rhythms overlapping at high speeds produce a sound that cannot be adequately danced to.
There are of course different levels of swarming, and each is more terrifying than the last. A wolfpack is already frightening in its ability to split apart and dissolve into the darkness only to attack suddenly as single force. A swarm of rats is even worse, because the individual units are smaller and more numerous. Wolves, rats, insects, bacteria — each one is more insidious than the last. A swarm is a terrifying enemy because it has no vulnerable spots. A person can be killed with a single wound in the right place, but to destroy a swarm one has to annihilate every component: every wolf, every rat, every insect, every bacterium.
If one single unit remains there is the potential for regeneration. Technology, which had previously been highly organized and centralized, is increasingly swarming: the single-processor computer becomes the distributed network; broadcast television becomes the interactive world wide web; the telephone system, which was already quite distributed, becomes a buzzing horde of wireless cell-phones.
Computer chips multiply like vermin in toasters, cars, watches, and even clothing, while other technologies are being developed to allow these chips to communicate without being routed through a central computer. Rhythm is a biotechnology.
DNA molecules, organelles, and bacteria are the insects that compose the human hive. A virus is an insectile invasion, against which science deploys its own insectile warriors such as viral inoculations and microscopic cameras. This brings us back to the problem of agency. Even an organism like the human body is far more swarming than we like to think. In fact, we do not even control our thoughts and desires.
Human agency is thus a collage of lesser agencies: organ, cell, organelle, molecule, atom, particle, quark. Every element is a swarm of lesser elements. Agency does not abruptly stop at any one level; it simply diminishes with complexity. The mind and the body are two different ways of talking about the same thing.
Even a swarm of wasps is made up of individual units, but as the number of units approaches infinity and the size of each one approaches zero, the swarm transforms into a living liquid. This is a quantitative change that eventually becomes a qualitative one. Melting is not a form of transcendence.
As technology shrinks, it also multiplies. We are witnessing the hyperembodiment of technology, not its disappearance. Computers have grown smaller, but they have not becomes less visible.
In the s, when computers took up whole rooms, they were unknown to everyone but the military and scientists. Now that they can fit in the palm of your hand, they are everywhere. To do so would involve retaining agency in the old sense — for example, treating a wasp colony or indeed a person as a single unified agent. This is the old olympian view which postmodernism refutes by pointing out the differences between individual wasps. The same refutation holds in the case of a liquid: just as a wasp colony is composed of many distinct wasps with different life histories, a liquid is composed of a much larger number of individual molecules with different velocities.
To ignore the smaller units in favor of the large one brings us back to the olympian view. Liquid in the insectile view does not imply uniformity. Unlike its predecessor, which was a more traditional cyborg constructed out of hard steel and circuitry, the T- is pure liquid and can take on any form. A gas can be treated as single system or as a vast swarm of particles. Each view is useful under different circumstances. Real-life sex is often described as a melding, but physical bodies are eternally, perhaps tragically isolated inside their skins.
Virtual sex has no such limitations. As a child watching, I often wondered its brain could be located. A liquid mind is far more difficult to imagine than a liquid body, because of the problem of locating agency. Deleuze and Guattari use the concept of schizophrenia to tackle this issue. In their sense, a true schizophrenic is far more swarming than a person who merely has multiple personalities. Haraway writes that we are all already cyborgs.
He desires to be alien. But this is just the beginning. Virtual sex could potentially be a much, much wilder experience. Rupture and Coolness The danger of using all these ideas as mere symbols for disassembly is that disassembly itself can be turned into a chic commodity.
If Wired is trying to disassemble anything, it is only the idea that technology is nerdy. Thus the subversive artist in Wired is not really subversive at all; it is just a symbol to make the readers feel cool. The commodification of disassembly is an important issue in the science fiction genre of cyberpunk.
The future of cyberpunk is fascinating because it is thrillingly dystopian. Orwell and Lang may have been proto-cyberpunk, but their dystopias were genuinely dystopian, and their technologies were clearly evil. In contrast, cyberpunk romanticizes the rebellious potential of disassembling technologies in a way that is both liberating and potentially dangerous. In fact, cyberpunk has a history of latching onto the symbols of disassembly and using them for effect.
In some cases, this can be seen as part of the genuine disassembly of various social structures, but in other cases it is 72 Anonymous, "Heath Bunting: Wired or Tired? Cyberpunk is most interesting when it investigates how technology can actually be used to dismantle the structures of human civilization.
This is the sense in which Deleuze and Guattari have been explicitly referred to as cyberpunk thinkers. Most importantly, it is infamous for a kind of primitivism in which black people are used as symbols for fashionable disassembly. It would be one thing if this disassembly were directed at the racism of hegemonic white culture, since black people are indeed a source of rupture in the racist power structures of white America, and that is indeed cool.
But cyberpunk, written and read mostly by white folks, often uses black people as a symbol for coolness while steadfastly avoiding any genuinely disassembling politics of race. See bibliography for original publication. This is an unpublished draft, reprinted with permission of the author. We out shit for them Heaven, heart and soul. This is where we fight back. Tal writes: The virtual African American This is why the renowned science fiction author Samuel R.
Cyberpunk allows white people to enjoy the chic of disassembly without actually having to disassemble anything important. The CCRU does not hesitate to appropriate any symbol that may be helpful in the fight against the enemy values of traditional humanism.
These symbols include the black and the Chinese, even though the group itself is mostly white and middle class. In addition, according to Reynolds They are all incredibly nice! Very English, polite, enthusiastic. You imagine these deranged, Manson-like culty types or Gothic cyberdaemons and the reality is so different! Corrosive disassembly appears far more powerfully in their writings than in their actual personalities or politics.
Every movement contains both assembly and disassembly; the question is which structures are disassembled and which ones are left intact. As Tal and Delany show, although cyberpunk does radically disassemble some structures — such as the family, the state, and the body — it often leaves 78 Simon Reynolds, personal correspondence, Oct.
It is interesting to note how many insectile futurist movements appear as well-ordered groups of young men. The Italian Futurists were one such group: they wore uniform black suits to signify the unity of their intent, even as they preached fire and destruction. Of these groups, only the Italian Futurists were fascist. But the fact that every one of them is all male shows how disassembling movements may continue to uphold the power structures of the larger society, such as sexism.
On further reflection, it is clearly impossible to form a movement that goes against every single socially assembled structure.
Even the most well- intentioned movements simultaneously reinforce dominant power structures. The civil rights and feminist movements have often struggled with this; the former has been accused of sexism and the latter of racism. There is no escape from this problem, because it is the problem of agency.
As long as agency remains intact, it will be impossible to reach pure disassembly. The agent who tries to dissemble any given structure will always bring with it, internally, other structures. If cyberpunk is problematic because it disassembles the wrong structures, then it ought to be possible to apply insectile futurism more usefully to other structures more in need of disassembly.
For example, insectile futurism could be pointed at precisely the structures which cyberpunk tends to leave intact: race and gender. In its paranoid phase In its present form — Cyberpunk — white SF, or anyway its radical leading edge, is arguing that the planet, already turned Black, must embrace rather than resist this: that back-to-nature pastoralism is intrinsically reactionary, that only ways of technological interaction inherited from the jazz and now the rap avant garde can reintegrate humanity with the runaway machine age.
Using blackness as a symbol this way once again runs the risk of implying that black people are inherently disassembling, rather than that they disassemble specifically white structures. For afrofuturism this is a calculated risk — one that the potential to be far more radically liberating than the humanist civil rights approach. The work of Kodwo Eshun and Rammellzee are examples of more futurist afrofuturism. Reprinted from The Wire, Feb. The replicants are essentially indistinguishable from humans except that they are smarter and stronger than we are.
Nevertheless, they are treated as slaves. The movie makes a subtle and powerful argument on behalf of the genuine humanity of the replicants. In this sense, although there are no black characters, Blade Runner is a civil rights movie. Hence the endless arguments in the 18th C about the ability of slaves to read or write, the equivalent to 20th C arguments concerning the potential existence of artifical intelligence.
This is where afrofuturism breaks away from movements for civil or human rights, which are based on humanism. According to these arguments, a certain group of people needs to stop being excluded from the category of human.
This argument has also been applied separately to slaves, poor people, women, queers, the sick, the insane, children, the elderly, fetuses, and the comatose. In every case, it is a battle over where to draw the line between agents from tools, which according to humanism also defines who has rights.
Afrofuturism, in contrast, attempts to demolish the category of the human. The anti-slavery movement proclaimed: black people are human beings! The afrofuturist movement proclaims: there are no human beings. Instead of using the established values of humanism to prove the humanity of black folks, afrofuturism rejects those values outright.
It has left traditional identity politics, traditional cultural studies far behind. They went another way. Not like Black or white, not like Americans Perhaps for the same reason, cyberfeminism can offer a theoretical depth which afrofuturism sometimes lacks.
Symbolically, Haraway replaces the goddess with the cyborg. From another perspective, a cyborg world might be about lived social and bodily realities in which people are not afraid of their joint kinship with animals and machines, not afraid of permanently partial identities and contradictory standpoints. Postmodern strategies, like my cyborg myth, subvert myriad organic wholes for example, the poem, the primitive culture, the biological organism.
In short, the certainty of what counts as nature. In order to be of use to actual women or black people, they must have arguments to propose about 96 Haraway, However, for the purposes of this section, it is more important to consider those thinkers who go furthest towards the purely insectile outlook. On the other hand, in order to avoid being trapped in the white male hegemony of the present order, they position themselves as willing to disassemble literally everything.
Of course, the conflict between politics and radical disassembly that is, disassembly which goes below the human level is not unique to these two movements. At the same time, having an agenda prevents a movement from ever reaching pure disassembly. Punk and Funk Agenda in a movement is analogous to the agency in a person. In both cases, a distinction must be made between the use of disassembly in the service of assembly and the genuine reign of pure disassembly. Agency is the more difficult case, however, because it is also the basis of humanist morality.
It is one thing to argue that social movements should not be treated as solid agents — in other words, that the bottom line of a movement is its individual participants. It is very different and much more radical to claim that individuals should not be treated as solid agents — in other words, that the human unit is not the bottom line. According to humanism, a person is an indivisible unit — or what I call a punk: an entity that can disassemble without itself being disassembled.
This concept is necessary to understand insectile futurisms. The punk is the last thing left standing when the whole world has fallen into pure disassembly — the last agency in a world of techs. If the punk has become an increasingly important figure in recent culture, it is because the world seems to be disassembling before our eyes.
Our last hope — our last refuge — is our own agency. Surviving the Warzone Cyberpunk is concerned almost exclusively with punks. If a lover dies they may be offended that somebody invaded the territory of an ally. They do not work together with anyone well. One could not imagine them in a war. They have no domestic life and call upon no traditional wisdom to guide them through existence.
Imperfection in humanity inspires them to travel of fight. The desperation of punks makes morals or honor a meaningless luxury none of them can afford. They are addicts who prefer addiction to other concerns on principle. One can orchestrate an addiction and control it. Once cannot do so with lovers, governments, Nature and corporations. If they live in the future they are in all ways profound reactionaries. In any case, the punk represents survival. He or she usually he lives in a warzone, a place of constant danger and threat.
Despite or because of this violence directed against punks, they do not ultimately surrender. Their social identities and even their bodies may be penetrated, but their agency remains intact. The violence of the warzone forces the punk to turn inward, to a protected place of invulnerability. External disempowerment gives rise to an internal fighting spirit.
The constantly shifting warzone requires the punk to become completely self-dependent: a loner, a ranger, a ronin, a cowboy, an outlaw.
Crucially, the brain damage has no effect on his mind. Even Horatio Alger can be read as a mythological punk — an entrepreneur who pulls himself up by his own bootstraps in the warzone of the free market.
The techno audience is not that postmodern. Instead, the beats represent a certain kind of power. And the fact is, you love it. Similarly, cyberpunk is enjoyable reading mostly for those who do not actually live in warzones.
Although the punk is historically a deeply masculine figure, it is possible to imagine a female punk. In fact, in the last decade it has become increasingly fashionable to do so. A punk is always protected from the surrounding warzone by the boundary that separates internal from external.
The Hacking Mentality Ron Eglash is currently working on an anthology to be called Appropriating Technology, which will describe and analyze several different manifestations of hacking in explicitly political contexts. The communities range from the very marginalized, to people who are merely non-elite. In some cases there is clearly some vital center-margin cooperation that needs to be better appreciated; in other cases we are in need of a more critical analysis for a process too easily assumed to be Better Living Through Science.
Theoretical perspectives on the Appropriating Technology theme would also be appreciated. Typical users want computers to obey these use vectors completely, and are annoyed when they do not. New music gives the finger to the system. Hacking a piece of technology is not the same as hacking a social or political institution. Cyberpunks mostly use their hacking skills in the service of money and power, and cyberpunk as a genre has no radical politics.
Once again, disassembly is symbolized by the insectile. To a hacker, bugs represent hidden potential. When a bug becomes a feature, new territory is opened up for exploration.
A rhythm synthesizer is a new instrument precisely because it opens the door to whole new rhythmic territory that had previously been inaccessible. Its least interesting feature is its ability to reproduce the sound of real drums. The same Album) can be said about the digital sampler, which is used to record very short sounds for use in other contexts.
Once this use vector has been hacked, the sampler opens up a whole new space of creativity, pointing in a new direction: away from real drums and recognizable samples and towards inhuman rhythms and imaginary instruments.
These use vectors will once again set up a distinction between bugs and features. Thus the hacker passes though disassembly on the way to reassembly. A hacked tool is not the same tool its manufacturer intended, but it is still a tool. This is parallel to the problem discussed in the previous section with regard to political movements: disassembly is used in the service of eventual reassembly.
It is therefore a mistake to think that hackers are infinitely experimental with their technologies — that they treat them as genuine techs.
Even the most radically innovative and subversive use vector is still a use vector. As long as there is a user, the tool cannot be completely disassembled. In other words, agents imply tools and tools imply agents. If tools are to become techs, agents must also become techs. This can never happen with hackers, because hackers are fundamentally punks. The act of hacking presupposes that the hacker is an internally assembled agent. Ribofunk Mongrel Mermaids Ibid.
If postmodern technologies are both seductive and scary, it is because the surrender of agency is both seductive and scary. Our lives are based around maintaining coherent identities, and the mental unraveling associated with insanity is in fact a kind of death. At the same time, however, there are always those artists and thinkers who find themselves intrigued by the disassembly of the self.
Indeed, we all pass through moments of sanity and moments of insanity, so it is only a question of how to conceive of such liminal moments: are they bugs or are they potential features? This is the most difficult question posed by postmodern technologies, and no final answer is possible. This scares us but we also find ourselves drawn towards it. Sex can involve this kind of surrender, and often surrender in discussed in terms of sex.
The merging involved in sex can be either the most pleasurable or the most revolting experience, depending on whether it is consensual. The pleasure of consensual sex involves a certain loss of solidity — even a loss of identity — and this is precisely what makes rape such an evil. In the most paradoxical cases, with technology as with sex, pain and pleasure are indistinguishable.
At the same time, there is always this urge to destroy technology, the industrial world. In some cases — such as a car crash — the metaphor of rape is applicable. But in many other cases, it is a misreading of technology that is inspired by our own prejudices. Rape, after all, is an artifact of patriarchal culture. Technology, although it can be a tool of patriarchy, is not inherently bound up in patriarchal patterns of domination.
In fact, just as the violence of rape prevents it from being a true merging of beings, our most violent imagery of technology assumes that there will never be a true union of flesh and machine.
In other words, technology may invade the human but it will always remain intrinsically foreign. The human will always resist the foreign invasion and therefore the fusion will never be complete. From an earlier draft, used with permission of the author. Like the border between the punk and the warzone, it is a line of demarcation and struggle. Instead of two systems Album) together we have one.
The plane and the woman exist simultaneously in the same space. A fascistized mermaid is like two solids brought together so that their surfaces touch without genuine interpenetration. A genuinely cyborgized mermaid, on the other hand, is more like two liquids poured together: the result is complete integration — a single liquid. The two original liquids are still present, but their essences are dissolved. Therefore there is no resistance on either side — no violence — only complete surrender.
The true cyborg is a mongrel, an integration of systems so smoothly blended that they can no longer be distinguished from each other. Thus, according to Eshun, funk is the opposite of cool.
Racially, stylistically, sexually, Tricky is one slippery fellow. How did he get into such a state? Of course, survival and reproduction are not the only use vectors that can be assigned to the organism. The point is only that the organism has use vectors in the first place. The human being, the fundamental unit of moral responsibility and value, the subject, the ego, that which acts and experiences, is being replaced by a distributed, mongrelized pattern which cannot be essentially or ontologically distinguished from the rest of the universe.
See bibliography for additional resources. The Intransitive War Military imagery is increasingly popular in our cultural moment.
In fact, insectile futurism is full of the imagery of war, from cyberpunk to techno music. Perhaps this is because there has been no war on American territory in recent memory. The Italian Futurists, who also glorified militarism, were equally unfamiliar with real war.
However, the war glorified by postmodern culture is not the war that may erupt between nations, for that kind of war — although it is extremely violent — is also highly organized. When nations wage war, they implement their strictest forms of control. Insectile war is very different. The hypercapitalist world of cyberpunk, for example, is not a regimented battle between large established forces but rather an anarchical field of violence.
People do as they please. There are no police In a world where many corporations live and work together for diverse interests in the same place, it is not easy. By that time Bayan Butler had joined on guitar, but would be gone in Dandelion did hang on long enough to issue another album via Ruffhouse inDyslexiconbefore breaking up in It was from their second album, Fabuleyreleased in once again by Dischord Records.
Later that same year a combined album was released under the same name that included the debut LP, As Iswhich was the CD I picked up and played repeatedly over the ensuing years. Alas, it was not to be as Holy Rollers suffered the fate of so many such indie bands of the time, despite the growth in interest in guitar driven rock. They were a quartet fronted by Carrie Akre.
The Nymphs had been toiling for several years by the time they achieved their first signing with Geffen Records, showing the growing willingness of the majors to take a flyer on grunge acts. Their self-titled debut arrived inmixing LA glam metal with punk edginess for the grunge result. Their punk status was aided by a guest appearance by Iggy Pop on the LP. After the release of an EP in the band disbanded among acrimony between Lorre and the band. She re-formed The Nymphs with a new line-up in As radio, media, buyers, and labels realized the level of interest in this heavier, unadorned rock sound, it quickly seemed as if the world descended on Seattle to check out every obscure band rocking the bars and clubs of the city and surrounding region.
After six years of bands developing this brand of rock, it was having its coming of age. Not surprisingly, bands cropped up around the US, Canada, the UK, and Australia, inspired by the sound and success of Nirvana, and started grinding out their own forms of sludgy rock and catchy, raw, pop-punk with a blend of classic rock.
The women of L7 were back on the scene early in with the release of their third album, Bricks Are Heavy. It was in the same spirit of a wave of bands that would emerge around the grunge era, collectively referred to as Riot grrrl, that would bring both female participation and empowerment into the grunge and punk scenes.
The song had the perfect blend of grungy guitars, power, indelible hooks, and slacker insouciance. Though the song originated out of the pain of a failed relationship, Donita Sparks converted it into a rallying cry for the alternative world and for all those shunted aside after a decade of conservative rule in the US — reminding that if they pretend their dead, the oppressors win. The album included several more highlights of the grunge era. Bricks Are Heavy was a breathless, joyous, exhilarating thirty-seven minutes of powering rock and pop and was L7 at their peak.
L7 went on hiatus in after completing a tour, but reformed in with the core quartet of Gardner, Sparks, Finch, and Plakas. Through every song and in all their shows, videos, and media appearances, L7 embodied all the rebelliousness and attitude of the classic rock and punk genres.
One signal of the attention Seattle and grunge were receiving in was the Hollywood treatment in the form of, Singlesa Cameron Crowe film released in September. Dirt elevated Alice in Chains to its status in the big four as it achieved a top ten placing in the US album chart and had three singles reach the top forty in the UK. It was followed by their self-titled, third LP in which went to 1 in the US and included new bassist, Mike Inez, replacing Mike Starr who would pass away in due to an apparent overdose.
The rest of the band started to move on to solo work and guesting with others, and though they recorded a couple songs with Staley inthings were not looking encouraging for Alice in Chains returning. InLayne was found dead in his condo from an overdose, putting an end to his many years of addiction and seemingly putting a final period at the end of Alice in Chains tenure. Drugs continued to play a starring role in the story of both Alice in Chains and the grunge world.
However, the band made several appearances between and with guest vocalists before bringing on William DuVall as their new singer. They then released their fourth LP infollowed by others in and They remain one of the few grunge acts still going. As one of the earliest forebears of grunge, the attention poured onto their scene must have been especially rewarding for this group.
Sweet Oblivionreleased in Septemberwas their sixth album and the first to get any chart attention, even if it only got into the top It was a fantastic mix of sludgy, classic rock carried on a power-pop wave. As grunge waned over the next few years, Screaming Trees released one more LP inDustbefore breaking for Lanegan to focus on his solo career.
When they reconvened, facing of a lack of interest from labels the band decided to call it quits in September also saw the arrival of one of the last major acts of the grunge scene, Stone Temple Pilots, with the release of their debut LP, Core.
The album reached 3 in the US and 27 in the UK to make it one of the most successful rock albums of the period. Its heavy, raw guitar sound linked the band to the grunge genre that was now being popularly used to describe the Seattle scene and its related acts from around the country. Soon after the alt-rock label would become the more common usage to capture the greater variety of guitar rock that proliferated over the next several years.
A few strong hooks were thrown in to deliver a fantastic result, achieving the next in the line of growing, classic grunge tracks. Inthe LP Tiny Music… Songs from the Vatican Gift Shopalso charted and sold well, and they continued that string with additional albums in and Over each album they moved away from their heavier, grungier sound towards a bigger, broader, and more classic rock sound.
STP announced their break-up in as rumours of strife between Weiland and the band grew. InWeiland died from an overdose, putting an end to any consideration of STP returning to its classic line-up. Jeff Gutt was hired as the new singer in and STP continues on to this day, having released two LPs in and As they did on their first LP, the second was bathed in pink - very fitting for an LP titled, Dayglo. After Dayglo there were more changes to the line-up as Simpson returned briefly on bass to replace Tillman before Bruce Fairweather from Mother Love Bone joined.
Following releases in and failed to build any momentum for the band amidst continued changes on bass and drums, making Love Battery for the most part a duo of Nine and Whitworth through its career. The band has appeared in various forms over the years, leaving them an open-ended project though there have been no indications there is new music on the horizon. Formed by high school friends transplanted from Juneau, Alaska, Charlie Campbell and Chris Brady, they added drummer Dave Triebwasser to complete the line-up.
Similar to The Posies, the band explored a sound somewhere between power pop and the thick morass of true grunge. Though that song stood out, there were many other catchy, grungy, fun moments throughout the rest of the album.
Sub Pop was indisputably essential to the establishment of the Seattle sound and the resulting grunge sensation. Pavitt left, leaving Poneman to make an unsuccessful attempt to grow the label internationally. Settling back into its Seattle roots, Sub Pop continues to this day. After Nirvana broke big over the winter ofthe ensuing year saw more albums from established grunge acts: Sonic Youth released the LP, DirtyBabes in Toyland issued, Fontanelleand Mudhoney put out, Piece of Cake.
Indicative of the broadening influence of grunge and the expanding boundaries of alt-rock, many new artists arrived such as Supersuckers, Sugar ex-Husker Du lead man, Bob Mould7 Year Bitch one of the progenitors of the Riot grrrl movementRocket from the Crypt, The Gits, Paw, The God Machine, and Wool, who continued to rep the Seattle scene.
Ingrunge continued to ride high though a backlash started to develop as its consistent sound started to wear out its welcome, not to mention that, as always, so few bands were keen to have the moniker attached to them. Regardless, many new acts arrived plying that sound while the bigger acts like Smashing Pumpkins and Pearl Jam continued to build their sizeable fanbases with the release of their second albums, Siamese Dream and Vs.
In SeptemberNirvana released its third album, In Utero. After Nevermind had blown the doors open on both their career and the Seattle sound, Nirvana entered the realm of superstars. Like many grunge artists, it was a level of success never imagined, or even desired.
As much as Kurt Cobain had striven to write great, pop-infused punk songs, the idea of being a popstar was not a comfortable fit. For their sensational and highly successful appearance on the popular MTV show, Unpluggedin November, they bypassed their hits to play a series of covers and their lesser-known tracks. In Uteroproduced by Steve Albini, was a more caustic, less melodious, and generally more difficult album to approach than Nevermind.
It was great, but the more casual fans of their music were probably going to struggle with it. Like so many others in the grunge world, Kurt Cobain and Courtney Love descended into a world of drug problems, which for Cobain exacerbated his depression and difficulties handling his popstar status. One week later he left rehab he was found dead of a self-inflicted gunshot wound in his Seattle home.
Bythe use of the term, grunge, was out of favour and acts were only referred by it if they came out of the Seattle scene. The many new bands still exploring contemporary updates on classic rock were termed, post-grunge, an unflattering adjective to describe the typically safer, formulaic, and over-produced sounds that resulted as labels took over the direction of the music to cash in on the enduring mainstream interest in rock music. Naturally, there was a variety from genuinely good bands pumping out solid music and those that offered a generic, derivative sound.
In the UK, the Britpop scene arose on the heels of grunge but derived more from the shoegaze scene, and while still carried forward by the emphasis on guitar-driven rock and pop, it was in a decidedly less grungy direction.
I have had the opportunity to see many grunge acts, most during their prime though that term has some irony since some of these artists now tour in larger halls today than they did back then, such as L7.
However, it was a worthwhile and aptly descriptive term since there needed to be a way to define these acts that had brought variants of hard rock, metal, and punk from the fringes into the top of the charts. For those of us not used to such attention on our artists, it was disorienting. Grunge changed the music landscape significantly both in its time and for the generations following.
It certainly changed my taste in music, influenced by my weekends at the Dance Cave it forever added the punk sound to my listening spectrum. Mighty Mighty Bosstones. Mindless Self Indulgence. Montgomery Gentry. Motion City Soundtrack. Movies Soundtracks. My Bloody Valentine. My Brightest Diamond. My Chemical Romance. My Morning Jacket. Natalie Imbruglia.
Natasha Bedingfield. Naughty By Nature. Ned's Atomic Dustbin. Neurotic Outsiders. New Blood Flood - Wargasm - Ugly (CD Minstrels. New Kids On The Block. New Young Pony Club. Nicole Scherzinger. Nitty Gritty Dirt Band. No Use For A Name. Noah And The Whale. Noel Gallagher's High Flying Birds. Of Monsters And Men. Off With Their Heads. Ol' Dirty Bastard. Olivia Newton-John. One Minute Silence.
Organized Konfusion. Originoo Gunn Clapazz. At The Disco. Pete Rock And Cl Smooth. Picture Me Broken. Pink Mountaintops. Poets of the Fall. Pop Da Brown Hornet. The Man. Presidents Of The Usa. Psychopathic Rydas. Queens Of The Stone Age. Rage Against The Machine. Rebecca Lynn Howard. Rebecca St. Red Hot Chili Peppers. Richard Carpenter. Rock Star Supernova. Rookie Of The Year. Royal Crown Revue. Russell Crowe 30 Odd Fo.
Sandra Schwarznaupt. Satellite Stories. Scarlett Johansson. Scouting for Girls. Secondhand Serenade. Secret And Whisper. Seventh Day Slumber. She Wants Revenge. Sidewalk Prophets. Silkk The Shocker. Simian Mobile Disco. Siouxie And The Banshees. Sixpence None The Richer. Sleep for Sleepers. Sleeping With Sirens. Sleepytime Gorilla Museum. Smashing Pumpkins. Something Corporate. Sons Of The Desert. Sophie Ellis-Bextor. Souls Of Mischief. South Park Mexican.
Sparks The Rescue. Squirrel Nut Zippers. Stabbing Westward. Stefanie Heinzmann. Stephanie Bentley. Steven Curtis Chapman.
Stevie Ray Vaughan. Stick To Your Guns. Stone Temple Pilots. Story Of The Year. Suicidal Tendencies. Sunny Day Real Estate. Sunshine Anderson. Swing Out Sisters. Keri Hilson. Tabasco Tom Rogerson. Take Me To The Pilot. Take My Breath Away. Take Off The Halter. Take The Earth Beneath Us. Taking Back Sunday. Taladplu Coolplay. Talia Billig Band. Tamara Schlesinger. Tan Frio El Verano. Tangible Fruit Squad. Tape Deck Mountain. Taylor Hodak Band.
Tear Da Club Up Thugs. Tears Of The Nightflower. Teddy And The Frat Girls. Teddy Pendergrass. Tedeschi Trucks Band. Teenage Bottlerocket. Teenage Mutant Ninja Turtles. Television Personalities. Television Themes. Tell Me If You Know. Tell My Fairytale. Telling On Trixie.
Temple of Eternity. Temple Of The Dog. Templeton Thompson. Tennessee Ernie Ford. Tenth Avenue North. Terence Blanchard. Terence Trent D'Arby. Teri De Sario With K. Terra Terra Terra. Terri Lyne Carrington. Terry Lee Brown Jr. Terry Scott Taylor. Texas City Revelators. Texas Hippie Coalition. Texas Is The Reason. Texas Jack Robertson. Textbook Traitors. Tha Undaground Thugz. Thai, IZ Ft. Thank You Scientist. Thanks To Gravity. That Handsome Devil.
That Petrol Emotion. That Was Something. That's Outrageous! The '87 Stick Up Kids. The 13th Floor Elevators. The 2nd Chapter of Acts. The 4 Star Lovers. The South Band. The 5th Dimension. The A. The Abrams Brothers. The Acacia Strain. The Academy Brass. The Academy Is The Accident Experiment. The Action Design. The Addrisi Brothers. The Advisory Circle. The Afterlife Kids. The Afternoon Delights. The Age of Rockets. The Air I Breathe. The Airborne Toxic Event.
The Airplane Boys. The Alabama Gurlz. The Alan Parsons Project. The Alexander Effect. The Alexander Solution. The All-American Rejects. The Allen Sisters. The Almighty Grind. The Alpha Machine. The Alphabeticians. The Alternate Routes. The Amazing Crowns. The Amazing Rhythm Aces. The American Analog Set. The American Black Lung. The American Boychoir. The American Breed.
The American Culture EXperiments. The American Girls. The American Scene. The Ames Brothers. The Amity Affliction. The Amusement Crew. The Andrews Sisters. The Android Angel. The Android Complex. The Angelina Quartet. The Angels of Gabe. The Angry Samoans. The Animal Crackers. The Answering Machine. The Anti Nowhere League.
The Anyway Always. The Apathy Eulogy. The Apples In Stereo. The Appleseed Cast. The Appreciation Post. The Arrogant Worms. The Artful Dodger. The Artificial Sea. The Ascent of Everest. The Asteroids Galaxy Tour. The Aston Shuffle. The Atomic Bitchwax. The Atomic Fireballs. The Aurora Observatory. The Autumn Defense. The Autumn Offering. The Avett Brothers. The Awkward Stage. The Axis of Awesome. The B. Mass Choir. The Babysitters Circus.
The Backyardigans. The Bacon Brothers. The Bailen Brothers. The Bakerton Group. The Bambi Molesters. The Band Of Heathens.
The Banger Sisters. The Bank Holidays. The Barclay James Harves. The Bart Walker Band. The Baseball Project. The Battle Within. The Be Good Tanyas. The Beau Brummels. Blood Flood - Wargasm - Ugly (CD Beautiful Girls. The Beautiful Mistake. The Beautiful Refrain. The Beautiful South.
The Beauty of Gemina. The Beauty School Dropouts. The Bedford Incident. The Bedroom Philosopher. The Beerworth Sisters. The Beginning Of The End.
The Bella Cullen Project. The Bellamy Brothers. The Belle Brigade. The Belleville Outfit. The Ben Taylor Band. The Benjamin Gate. The Berlin Project. The Besnard Lakes. The Bewitched Hands. The Bicycle Thief. The Bigger Lights. The Bilinda Butchers. The Bipolar Bears. The Bird and The Bee. The Birthday Massacre. The Birthday Party. The Black Cloud Collective. That Lovely Weekend - Vera Lynn - The Best Of Vera Lynn (CD)
, Time Of Change - Various - La Fiesta Naranja Edicion 2003 (CD)
, Domino Dancing - Pet Shop Boys - Discography (The Complete Singles Collection) (Vinyl, LP)
, Various - Let The Good Times Roll (CD)
, Affable Affair - Thurman Barker - The Way I Hear It (CD, Album)
, The Bear - Big Boss Man - Last Man On Earth (CD, Album)
, Rajawali Terbang Tinggi - M. Nasir - Solo (Cassette, Album)
, Caribou - Up In Flames (Vinyl, LP, Album, Album)
, Mark Radice - If You Cant Beat Em, Join Em / The Whole Wide World Aint Nothin But A Party (Vinyl)
, Curb Servin - WC And The Maad Circle - Curb Servin (CD, Album)
, Soul In Arp
, Zbaw Nas
, Teste Marce - God (3) - Sweet Life (Vinyl, LP)
, Point Of View Point - Cornelius - Point (Vinyl, LP)