#john nyman

[fuckyeahgoodomens]

hi! i just have a question which i thought you might know the answer to. i was just wondering if we know whether the minisodes for go2 are within the episodes like s1 e3 or are entirely separate to the 6 main episodes. just because i've heard people talking about titles for them. no worries if you don't know, and thank you so much for everything you do for our community <3

Hiya! :) Oh, the minisodes titles, yes :). They are within the episodes the same as the cold opening :).

They are:

Biblical times minisode called A Companion To Owls by John Finnemore in Episode 3, in all likelihood about Job played by Peter Davison

Victorian times minisode called The Resurrectionists by Cat Clarke in Episode 2 in Edinburgh 1827 - our favourite angel and demon get into a wee bit of a pickle there, there’s little stint of body snatching in the era.

Blitz minisode called Nazi Zombie Flesh Eaters by Jeremy Dyson and Andy Nyman which takes up much of Episode 4. Andy Nyman called it ‘very naughty’.

tweet and post :)

[demifiendrsa]

Mufasa: The Lion King | Teaser Trailer

Teaser poster

Synopsis

“Mufasa: The Lion King” enlists Rafiki to relay the legend of Mufasa to young lion cub Kiara, daughter of Simba and Nala, with Timon and Pumbaa lending their signature schtick. Told in flashbacks, the story introduces Mufasa as an orphaned cub, lost and alone until he meets a sympathetic lion named Taka—the heir to a royal bloodline. The chance meeting sets in motion an expansive journey of an extraordinary group of misfits searching for their destiny—their bonds will be tested as they work together to evade a threatening and deadly foe.

[livesunique]

John Sales VMH, gardener (May 1, 1933 - December 29, 2022)

For 25 years, from 1973-98, he was in charge of the National Trust’s parks and gardens, at a time when the nation embraced garden visiting on a scale never seen before.

Donald Sales’s time as head of gardens left the trust with the healthiest, best managed, historically and stylistically most diverse portfolio of gardens the world may ever know.

A walled garden at Nymans, West Sussex - The 14th-century moated Scotney Castle, Kent - Westbury Court, Gloucestershire - Tatton Park, Knutsford, Cheshire - The formal cherry garden at Ham House, Richmond upon Thames - Powis Castle and Garden, in Powys - Biddulph Grange Garden, Staffordshire - The gardens at Erdigg, Wrexham - Tatton Park, Knutsford, Cheshire - The restored Dutch water garden at Westbury Court, Gloucestershire.

[ozkar-krapo]

V/A

"Recent English experimental Music"

(cassette. Audio Arts. 1983 / rec. 1972-76) [GB]

[musingsofsarasate]

If Reece Shearsmith, Steve Pemberton, Mark Gatiss, Jeremy Dyson, Andy Nyman (and Neil Gaiman and John Finnemore) wanted to team up for anything in the future, I'd watch the absolute HELL out of it.

Just saying.

[geekcavepodcast]

Mufasa: The Lion King Teaser Trailer

Rafiki, with some commentary by Timon and Pumbaa, tells the story of Mufasa to Simba and Nala's cub Kiara. "Told in flashbacks, the story introduces Mufasa as an orphaned cub, lost and alone until he meets a sympathetic lion named Taka—the heir to a royal bloodline. The chance meeting sets in motion an expansive journey of an extraordinary group of misfits searching for their destiny—their bonds will be tested as they work together to evade a threatening and deadly foe." (Walt Disney Studios)

Mufasa: The Lion King stars the voice talents of Aaron Pierre (Mufasa), Kelvin Harrison Jr. (Taka), Tiffany Boone (Sarabi), Kagiso Lediga (Young Rafiki), Preston Nyman (Zazu), Mads Mikkelsen (Kiros), Thandiwe Newton (Eshe), Lennie James (Obasi), Anika Noni Rose (Afia), Keith David (Masego), John Kani (Rafiki), Seth Rogan (Pumbaa), Billy Eichner (Timon), Donald Glover (Simba), Blue Ivy Carter (Kiara), Beyoncé Knowles-Carter (Nala), Braelyn Rankins, Theo Somolu, Folake Olowofoyeku, Joanna Jones, Thuso Mbedu, Sheila Atim, Abdul Salis, and Dominique Jennings. Barry Jenkins is directing. The film's songs will be written by Lin-Manuel Miranda and produced by Mark Mancina and Miranda, with additional music and performances by Lebo M.

Mufasa: The Lion King releases to theaters on December 20, 2024.

[mywingsareonwheels]

More "Good Omens" s2 joy

The way in which each of the minisodes gives context for one or more of the flashback scenes in 1.3 is just... *chef's kiss*

"Companion to Owls" bridges the gap between an Aziraphale still trying(ish) to justify heaven's worst actions, Crawley still being shocked by them, Aziraphale not entirely trusting Crawley's motivations (in the Flood flashback) to Crowley's bitter resignation and Aziraphale's weary sadness at the Crucifixion. That "it was your lot put Him up there" is still one of my favourite lines, and Aziraphale doesn't dispute it. Crawley's intervention on behalf of Job's children gives that scene so many more layers, and is a beautiful (and in context heartrending) mid-point on that emotional journey for both of them.

"The Resurrectionist", oh man. It's implied I think that Crowley being dragged down to hell for helping/saving Elspeth is the last Aziraphale sees of him until their meeting at St James's park a few decades later, and I think we can be certain that whatever Crowley's punishment was, it was pretty intense. In 1.3, we went from the lighthearted, suave rescuer of late 18th century to someone who seemed very low and rather traumatised a hundred or so years later, and I think we all knew that something had happened to him. Sounds like that was it. :( So that all gives more context to Crowley wanting "insurance" against hell, so that he has some means of defending himself. But meanwhile, Aziraphale's remembering that the last time they saw each other, a young woman nearly took her own life with poison, so of course he's going to be concerned that Crowley is at risk from a similar action. They're both coming from a very understandable point that "The Resurrectionist" set up. <3

(Also, who is "The Resurrectionist" in the title? I love games like that. Is it Dalrymple? Is it Elspeth? Is it Crowley in saving Elspeth? Or all three? <3 Technically/historically it's both Dalrymple and Elspeth, but in the show? Oh it's all three. :D ) And then "Nazi Zombie Flesheaters", which I admit I wasn't a huge fan of on first watching (I liked it more on rewatch, but I muted/averted my eyes for the brain-eating etc. bits, not at all a gore fan ;-) ) did nevertheless set up the 1960s scene brilliantly. That was perhaps the first time that Aziraphale really sees, in person, just an inkling of how dangerous hell is to Crowley. And it always takes things a while to percolate with him, but I think that's a large part of why he does eventually give in and give him the holy water, as well as adding layers to his protectiveness of Crowley in some of the "now" scenes in both seasons.

And all four (especially in combination with "Before the Beginning") give so much more context to the rest of series 2. Aziraphale's long (and still incomplete, which is understandable <3 ) journey in learning his own sense of morality separate from heaven's. Crowley's terror of the word "nice" as it applies to him. The compromises each of them has to make with the ideals of their bosses in order to function in the world and be true to themselves and the humans around them - and the danger that puts each of them in. The growing mutual loyalty that - make no mistake - hasn't been in any way put aside in their falling out at the end of the series. The way in which the solution to the loneliness they identify in "Companion to Owls" is each other. <3

And of course the fact that more people need to know John Finnemore's writing, given he was not merely the co-writer of the whole season, but the main writer on "Companion to Owls", bless him, and my goodness does he need more love for all of it. <3 I'd love to see Cat Clarke getting more credit for "The Resurrectionist" too!!

[badmovieihave]

Bad movie I have If a Man Answers 1962

[blackramhall]

Agatha Christie's CROOKED HOUSE Gilles Paquet-Brenner (2017)

Manor Murder Mystery

[miravayl]

10.08.2023

#Mira-Marathon | Good Omens

I just noticed that I forgot to post about Good Omens season 2.

Serial Name: Good Omens | Season 2 | (2023); Production studios: BBC Studios, Amazon Studios, The Blank Corporation, Narrativia, Bang Post Production, Salt River Studios; Director by: Douglas Mackinnon; Screenwriters: Neil Gaiman, John Finnemore, Jeremy Dyson, Cat Clarke, Andy Nyman; Starring: Michael Sheen, David Tennant, Jon Hamm, Shelley Conn, Nina Sosanya; Genres: Fantasy, Comedy; Running Time: One series – 55 minutes | All series – 5 hours 30 minutes;

The series "Good Omens" is based on the work of Pratchett and Gaiman. The second season offers a continuation of the adventures of an angel and a demon who face new challenges, including the disappearance of the archangel Gabriel, which may lead to a new apocalypse. New characters, interesting plots and funny moments make this season exciting, but there are some confusing plots and jokes, which may not be to everyone's taste.

My rating: 8/10

[fetch-those-damned-bolt-cutters]

Desperately looking for Jamie Lloyd's "Assassins" at Menier Chocolate Factory, if you know where I can watch it please hmu

[fuckyeahgoodomens]

The Good Omens Article From the TotalFilm Magazine, Issue August 2023 :)

POST APOCALYPSE GOOD OMENS The heavenly and hellish creations of Gaiman and Pratchett ride again…

Having averted Armageddon, angel Aziraphale (Michael Sheen) and demon Crowley (David Tennant) have settled down to the quiet life in London – but the arrival of a familiar face shakes things up for everyone.

Season 1 covered events in the novel you wrote with Terry Pratchett – what was the inspiration this time?

Neil Gaiman (showrunner): Terry and I were sharing a room at Seattle’s World Fantasy Con in 1989 and, by the end of one night chatting, we had a huge, apocalyptic sequel to Good Omens. Season 2 is all the stuff we had to put in place before we could get to that sequel, and it starts with the archangel Gabriel [Jon Hamm] wandering through Soho, with no memory – a mystery that doesn’t have giant consequences for the universe, even if it does for Aziraphale and Crowley.

What has changed between Crowley and Aziraphale?

David Tennant (Crowley): Aziraphale is a much more enthusiastic detective in this mystery and, as with most things, Crowley is reluctant to get involved or to exhibit any kind of energy or enthusiasm, so he’s dragged into it. They no longer have to report to head offices, so they’re in this slightly grey area – neither supernatural, nor of the Earth.

Michael Sheen (Aziraphale): They’ve always been the only two beings who could understand each other’s position, but now they’re slightly freer agents so they’re pushed even closer together. It’s an interesting dynamic.

Maggie and Nina, you’re back too – although not as satanic nuns this time…

Nina Sosanya (Nina): No – we’re two human women! Nina is slightly cynical, churlish and owns a coffee shop, Maggie runs the record shop and she’s rather sweet and hopeful. It’s an ‘opposites attract’ thing and Neil kindly gave the characters our names so we couldn’t say no.

Maggie Service (Maggie): Aziraphale is still running his bookshop, but he’s also Maggie’s landlord. She thinks he’s the best because he lets her stay on and doesn’t really mind if she doesn’t make too much money. Maggie and Nina act as catalysts in a way, when Crowley and Aziraphale get involved in their relationship.

Neil, you’ve had some writing help this year…

NG: That’s right. We have three 25-minute ‘minisodes’ within episodes. You learn Aziraphale and Crowley’s part in the story of Job, written by John Finnemore. Cat Clarke takes us to 1820s Edinburgh for a tale of bodysnatching. Finally, Jeremy Dyson and Andy Nyman reunite the League of Gentlemen, because I fell in love with Season 1’s Nazi spies and kept wondering what would happen if they came back as zombies on a mission from hell to investigate whether Crowley and Aziraphale were fraternising. That story involves the Windmill Theatre, black market whisky, and a bullet catch…

[ecoamerica]

Watch the 2024 American Climate Leadership Awards for High School Students now: https://youtu.be/5C-bb9PoRLc

The recording is now available on ecoAmerica's YouTube channel for viewers to be inspired by student climate leaders! Join Aishah-Nyeta Brown & Jerome Foster II and be inspired by student climate leaders as we recognize the High School Student finalists. Watch now to find out which student received the $25,000 grand prize and top recognition!

[thesherrinfordfacility]

Ah, but you must remember Neil didn't write the oxrib scene. His interpretation of someone else's writing isn't the same thing as trying not to turn something he wrote himself into a bad entendre. 😉

very true, good point i had very much forgotten this, thank you (my kingdom for an opportunity to shake john finnemore's hand. and while im at it, now that ive bothered to consult imdb - andy nyman and jeremy dyson too, i am but your humble 1941 servant)

but i still think there's validity in that if the man is able to recognise sexual undertones in the majority of possible responses to "i just need to find a receptive body", he has some gall to look us in the virtual eye after giving the thumbs-up to ep2, and expect us to believe "sometimes an ox-rib is just an ox-rib" (/lh)

[forthegothicheroine]

@allthestoriescantbelies wip meme!

A Ghastly Tragedy: An OSR Adventure

One painting: Vengeance is Sworn by Francesco Hayez

Two teas:

August Uncommon Teas' Breathless

Harney & Sons Royal English Breakfast

Three beauty products:

Besame Blood Red Lipstick 1922

Maybelline Pomegranate Punk Eyeshadow

Four fragrances:

Black Phoenix Alchemy Lab Othello

Juliette Has a Gun Lady Vengeance

Lubin Black Jade

Dior Poison Girl

Five songs:

"Toccata" by OVERWERK

"A Hair on the Head of John the Baptist" by Saltillo

"Miserere" by Michael Nyman

"A lean and hungry look" by Marianne Faithful

"Apres Moi" by Regina Spektor

[ghnosis]

Ghost dissertation bibliography as of 30 May 2024

hey! some of you were curious to read things I'm working on/my bib. my comprehensive exam is 18th June, so these aren't like, FINAL final (in terms of citation formatting), but they're pretty darn close.

I'll probably paste the contextual review document I've been writing for 2 years as well - it's awaiting final say-so from my supervisors right now.

ALDERSLADE, Merlin. 2019. 'How Ghost became the face of the new generation of heavy metal.’ Metal Hammer. May 29 [online] Available at: https://www.loudersound.com/features/how-ghost-became-the-face-of-the-new-generation-of-heavy-metal 

ANZALDÚA, Gloria. 2021. Borderlands/La Frontera: The New Mestiza.  (The Critical Edition, edited by Ricard F. Vivancos-Pérez and Normal Elia Cantú) San Francisco: Aunt Lute Books. 

ANZALDÚA, Gloria. 1991. 'To(o) Queer the Writer – Loca, escritora y chicana.’ In WARLAND, Betsy (ed.). Inversions: Writing by Dykes, Queers, and Lesbians. Vancouver: Press Gang Publishers, 249-264. 

ARROW, V. 2013 ‘Real person(a) fiction’. In JAMIESON, A.(ed.). Fic: Why Fanfiction Is Taking Over the World. Dallas: Smart Pop, 323–32.  

BAKHTIN, Mikhail. 1984. Rabelais and His World. Bloomington: Indiana University Press. 

BARNARD, Ian. 1997. ‘Gloria Anzaldúa’s Queer Mestisaje.’ MELUS. Spring 22(1), 35-53. 

BENNETT, J. 2013. 'Receive the Beast’. Decibel. Issue 100/February, 75-84. 

BENSHOFF, Harry M. 2015. 'The Monster and the Homosexual.' In GRANT, Barry Keith, The Dread of Difference: Gender and the Horror Film. Austin: University of Texas Press, 16-41. 

BIELAK, Zbigniew M. ‘Prequelle.’ [album art] 

BUSSE, Kristina. 2006. ‘My life is a WIP on my LJ: Slashing the slasher and the reality of celebrity and Internet performances.’ In HELLEKSON, Karen and BUSSE, Kristina (eds.). Fan Fiction and Fan Communities in the Age of the Internet: New Essays. Jefferson: McFarland and Company, 207-224. 

BUSSE, Kristina. 2005. ‘Digital Get Down: Postmodern Boy Band Slash and the Queer Female Space.’ In MALCOLM, Cheryl Alexander and NYMAN, Jopi, eros.usa: essays on the culture and literature of desire. Gdańsk: Gdańsk University Press, 103-125. 

BUTLER, Judith. 1990. Gender Trouble. New York: Routledge. 

CHANEY, Keidra and LIEBLER, Raizel. 2006. ‘Me, myself and I: Fan fiction and the art of self-insertion' Bitch. 31, 52-57. 

CHARMAZ, Kathy. 2006. Constructing Grounded Theory: A Practical Guide Through Qualitative Analysis. (2011 reprint) London: SAGE Publications. 

CIXOUS, Hélène. 1976. ‘The Laugh of the Medusa’. Signs. 1(4), 875-893.  

CLIFFORD-NAPOLEONE, Amanda. 2015. 'Living in the margins: Metal’s self-in-reflection.’ Metal Music Studies. 1(3), 379-384. 

CLIFFORD-NAPOLEONE, Amanda. 2015. Queerness in Heavy Metal Music: Metal Bent. New York: Routledge. 

COHEN, Cathy J. 1997. 'Punks, Bulldaggers and Welfare Queens: The Radical Potential of Queer Politics?’ GLQ. 3, 437-465. 

DAWES, Laina. 2013. What Are You Doing Here? A Black Woman’s Life and Liberation in Heavy Metal. Brooklyn: Bazillion Points. 

DAWES Laina. 2015. ‘Challenging an "Imagined Community:” Discussions (or lack thereof) of black and queer experiences within heavy metal culture. Metal Music Studies. 1(3), 385-393. 

DERECHO, Abigail. 'Archontic Literature: A Definition, a History, and Several Theories of Fan Fiction’. In HELLEKSON, Karen and BUSSE, Kristina (eds.). Fan Fiction and Fan Communities in the Age of the Internet: New Essays. Jefferson: McFarland and Company, 61-78. 

DORAN, John. 2012. ‘Mass is in Session.’ Metal Hammer UK. April 2012, 38-47. 

DRISCOLL, Catherine. ‘One True Pairing: the Romance of Pornography and the Pornography of Romance.’ In HELLEKSON, Karen and BUSSE, Kristina (eds.). Fan Fiction and Fan Communities in the Age of the Internet: New Essays. Jefferson: McFarland and Company, 79-96. 

EHRENREICH, Barbara, HESS, Elizabeth, and JACOBS, Gloria. 1992. ‘Beatlemania: Girls Just Want to Have Fun.’ In LEWIS, Lisa A. (ed.). The Adoring Audience: Fan Culture and Popular Media. London: Routledge, 84-106. 

FABBRI, Franco. ‘A Theory of Musical Genres: Two Applications.’ 

FAST, Susan. 1999. ‘Rethinking Issues of Gender and Sexuality in Led Zeppelin: A Woman’s View of Pleasure and Power in Hard Rock’. American Music. Fall 1999, 17(3), 245-299. 

FAUSTO-STERLING, Anne. 1993. ‘The Five Sexes: Why Male and Female are Not Enough’. The Sciences. March/April 1993, 20-25. 

FAXNELD, Per. 2017. Satanic Feminism: Lucifer as the Liberator of Woman in Nineteenth-Century Culture. Oxford: Oxford University Press. 

FIESLER, Casey, MORRISON, Shannon, and BRUCKMAN, Amy S. 2016. ‘An Archive of Their Own: A Case Study of Feminist HCI and Values in Design.’ CHI ‘16 Proceedings of the ACM Conference on Human Factors in Computing Systems. 

FIESLER, Casey. 2019. ‘Ethical Considerations for Research Involving (Speculative) Public Data’. Proc. ACM Hum-Comput. Interact. 3, GROUP, Article 249 (December 2019), 249-249:13. 

FRITH, Simon. 1996. Performing Rites: on the Value of Popular Music. Oxford: Oxford University Press. 

FRITH, Simon, and MCROBBIE, Angela. 1990. 'Rock and Sexuality’. In FRITH, Simon and GOODWIN, Andrew (eds.). On Record: Rock, Pop and the Written Word. London: Routledge, 317-332. 

GARLAND-THOMSON, Rosemarie. 2002. ‘Integrating Disability, Transforming Feminist Theory’. NWSA Journal. Fall 2002, 14(3), 1-32. 

GHOST. 2012. ‘Children! In the wait for some news from the ghoul front, devour some graphics that we applaud here within the ministry...’ October 30, 2012 [Facebook post]. Available at: https://www.facebook.com/thebandghost/posts/297668790339417 

GHOST. 2019. ‘Chapter Seven: New World Redro’. June 13 2019 [YouTube video] Available at: https://www.tumblr.com/ryuzatodraws-archive/672367379880312832/i-remembered-the-jesus-showing-off-his-top?source=share [accessed 30 May 2024] 

GHOST-BAND-AIDS. 2020. ‘Interview with GHOST and TRIBULATION.’ [Tumblr post] Translated from DELASTIK, Anja. 2020. ‘Schlagabtaush: Ghost vs. Tribulation.’ Metal Hammer Germany. March 2020. Available at: https://www.tumblr.com/ghost-band-aids/190811297796/interview-with-ghost-and-tribulation  https://www.metal-hammer.de/schlagabtausch-ghost-vs-tribulation-1424295/ 

GREEN, Shoshanna, JENKINS, Cynthia, and JENKINS, Henry. 1998. ‘Normal Female Interest in Men Bonking: Selections from The Terra Nostra Underground and Strange Bedfellows’. In HARRIS, Cheryl and ALEXANDER, Alison (eds.). Theorizing Fandom: Fans, Subculture, and Identity. Cresskill: Hampton Press. 

HAGEN, Ross. 2015. 'Bandom Ate My Face: The Collapse of the Fourth Wall in Online Fan Fiction’. Popular Music and Society. 38(1), 44-58. 

HALBERSTAM, Judith. 2003. ‘Reflections on Queer Studies and Queer Pedagogy’. In YEP, Gust A, LOVAAS, Karen E., and ELIA, John P. (eds.). Queer Theory and Communication: From Disciplining Queers to Queering the Discipline(s). Binghamton: Harrington Park Press, 361-364. 

HALBERSTAM, Judith. 2005. In a Queer Time and Place: Transgender Bodies, Subcultural Lives. New York: New York University Press. 

HICKMAN, Langdon. 2023. ‘The Dialectical Satan’. In LUKES, Daniel and PANAYOTOV, Stanimir (eds.). Black Metal Rainbows. Oakland: PM Press, 335-350. 

HILL, Rosemary Lucy. 2016. ‘”Power has a penis”: Cost reduction, social exchange and sexism in metal – reviewing the work of Sonia Vasan’. Metal Music Studies. 2(3), 263-271. 

HILLS, Matt. 2002. Fan Cultures. London: Routledge. 

HINERMAN, Stephen. 1992. '”I’ll Be Here With You”: Fans, Fantasy and the Figure of Elvis’. In LEWIS, Lisa A. (ed.). The Adoring Audience: Fan Culture and Popular Media. London: Routledge, 107-134. 

HOAD, Catherine. 2017. 'Slashing through the boundaries: Heavy metal fandom, fan fiction and girl cultures’. Metal Music Studies. 3(1), 5-22. 

HOOKS, bell. 2015. Feminism: From Margin to Center. New York: Routledge. (third edition) 

HOPPER, Jessica. 2021. The First Collection of Criticism by a Living Female Rock Critic. New York: Farrar, Straus and Giroux. First MCD x FSG Originals Edition. 

HUTCHERSON, Ben and HAENFLER, Ross. 2010. ‘Musical Genre as a Gendered Process: Authenticity in Extreme Metal’. Studies in Symbolic Interactions. Vol 35, 101-121. 

IRIGARAY, Luce. 1989. This Sex Which is Not One. Ithaca: Cornell University Press. 

ISMMS 2023: ‘No Outsides’. (Conference June 3-6, 2023) 

JENKINS, Henry. 2013. Textual Poachers. New York: Routledge. The Classic Edition. 

JONAS, Hans. 1958. The Gnostic Religion. Boston: Beacon Press.  

JONES, Rhian E. and DAVIES, Eli (eds.). 2017. Under My Thumb: Songs That Hate Women and the Women Who Love Them. London: Repeater Books. 

KAPLAN, Deborah. 2006. ‘Construction of Fan Fiction Character Through Narrative.’ In HELLEKSON, Karen and BUSSE, Kristina (eds.). Fan Fiction and Fan Communities in the Age of the Internet: New Essays. Jefferson: McFarland and Company, 134-152. 

KROVATIN, Christopher. 2018. 'Ghost is the Most Try-Hard Satanic Rock Band on Earth’. Vice. 31 May [online]. Available at: https://www.vice.com/en/article/9k8qbe/ghost-is-the-most-try-hard-satanic-rock-band-on-earth [accessed 29 May 2024]. 

LATZKO-TOTH, Guillaume, BONNEAU, Claudine, and MILLETTE, Mélanie. 2017. ‘Small Data, Thick Data: Thickening Strategies for Trace-Based Social Media Research’. In SLOAN, Luke and QUAN-HAASE, Anabel (eds). The SAGE Handbook of Social Media Research Methods. London: SAGE Publications, 199-214. 

LUKES, Daniel and PANAYOTOV, Stanimir. 2023. Black Metal Rainbows. Oakland: PM Press. 

MCINTOSH, Peggy. 1990. ‘White Privilege: Unpacking the Invisible Knapsack’. 

Metal and Religion Conference 2022 

NAMASTE, Viviane. 2009. 'Undoing Theory: The “Transgender Question” and the Epistemic Violence of Anglo-American Feminist Theory.’ Hypatia. 24(3), 11-32. 

PAGELS, Elaine. 1989. The Gnostic Gospels. New York: Random House. (Vintage Books Edition, September 1989.) 

PARR, George. 2023. ‘Rape Culture’. In LUKES, Daniel and PANAYOTOV, Stanimir (eds.). Black Metal Rainbows. Oakland: PM Press, 353-361. 

PASCOE, C.J.. 2011. Dude, You’re a Fag: Masculinity and Sexuality in High School. Berkeley: University of California Press.  

PETROCELLI, Heather Oriana. 2023. Queer for Fear: Horror Film and the Queer Spectator. University of Wales Press. 

REED-DANAHAY, Deborah. 1997. Auto/ethnography: rewriting the self and the social. New York: Berg. 

RICHES, Gabby. 2015. ‘Re-conceptualizing women’s marginalization in heavy metal: a feminist post-structuralist perspective’. Metal Music Studies. 1(2), 263-270. 

RICHES, Gabrielle, LASHUA, Brett, and SPRACKLEN, Karl. 2014. ‘Female, Mosher, Transgressor: A “Moshography” of Transgressive Practices within the Leeds Extreme Metal Scene’. IASPM Journal, 4(1), 87-100.  

ROACH, Emily E. 2018. ‘The homoerotics of the boyband, queerbaiting and RPF in pop music fandoms’, Journal of Fandom Studies. 6(2), 167-186.  

RYUZATODRAWS. 2022. ‘I remembered the “jesus showing off his top surgery scar to the homies" post so heres Trans Copia showing his off!’ [Tumblr post] Available at: https://www.tumblr.com/ryuzatodraws-archive/672367379880312832/i-remembered-the-jesus-showing-off-his-top?source=share 

S_G. 2022. ‘Ghost/Tobias Forge - Hård rock pä export, 2022, (English subtitles) [YouTube user-generated content]. Available at: https://www.youtube.com/watch?v=zPwiFdYJc20 [Accessed Jul. 31 2022] 

SAVIGNY, Heather and SLEIGHT, Sam. 2015. ‘Postfeminism and heavy metal in the United Kingdom: Sexy or sexist?’ Metal Music Studies. 1(3), 341-357. 

SHADRACK, Jasmine Hazel. 2021. Black Metal, Trauma, Subjectivity and Sound : Screaming the Abyss. Bingley, UK: Emerald Publishing. 

SLAVGHOUL. 2019. ‘Tobias on being the sexy face of Satanism.’ Translated from CZARTORYSKI, Bartosz. 2019. ‘Seksowne oblicze satanizmu. Rozmawiamy z liderem zespołu Ghost.’ Available at: https://slavghoul.tumblr.com/post/189496141322/tobias-on-being-the-sexy-face-of-satanism [accessed 29 May 2024]. 

SLAVGHOUL. 2020. Into the Fog. Translated from LAGERGREN, Richard. 2010. ‘In i dimman’. Sweden Rock Magazine. 76. Available at: https://slavghoul.tumblr.com/post/619019726477213697/heres-an-interview-with-papa-from-2010-that-i [accessed 29 May 2024]. 

SLAVGHOUL. 2022. ‘Ghost MySpace, 2010’. [Tumblr post]. Available at: https://slavghoul.tumblr.com/post/695852845125238784/ghost-myspace-2010 [accessed 30 May 2024] 

SLOAN, Luke and QUAN-HAASE, Anabel. 2017. The SAGE Handbook of Social Media Research Methods. London: SAGE Publications. 

SMOKE-AND-SILVER. 2024. [Tumblr post] Available at: https://smoke-and-silver.tumblr.com/post/741475063435542528 

SPRACKLEN, Karl. 2020. ‘From The Wicker Man (1973) to Atlantean Kodex: Extreme music, alternative identities and the invention of paganism.’ Metal Music Studies. 6(1), 71-86. 

STASI, Mafalda. 2006. ‘The Toy Soldiers from Leeds: The Slash Palimpsest.’ In HELLEKSON, Karen and BUSSE, Kristina (eds.). Fan Fiction and Fan Communities in the Age of the Internet: New Essays. Jefferson: McFarland and Company, 115-133. 

SWIST, Jeremy J. 2019. ‘Satan’s Empire: Ancient Rome’s anti-Christian appeal in extreme metal.’ Metal Music Studies. 5(1), 35-51. 

TEDDLIE, Charles, and TASHAKKORI, Abbas. 2009. Foundations of mixed methods research: integrating quantitative and qualitative approaches in the social and behavioral sciences. Los Angeles: SAGE Publications. 

TIIDENBERG, Katrin, HENDRY, Natalie Ann, ABIDIN, Crystal. 2021. tumblr. Polity Press. 

TIIDENBERG, Katrin. 2018. ‘Research Ethics, Vulnerability, and Trust on the Internet.’ In HUNSINGER, J., ALLEN, Matthew M., and KLASTRUP, Lisbeth (eds). Second International Handbook of Internet Research, Springer. 569-585. 

THOMSON, Andrew. 2021. ‘Right hand up, left hand down: The New Satanists of Rock n’ Roll, Evil and the Underground War on the Abject.’ Metal Music Studies. 7(1), 43-60. 

TRANARCHYREIGNS. 2024 [tumblr post] ‘I made a diagram that represents myself perfectly.’ March 26th, 2024 Available at: https://www.tumblr.com/tranarchyreigns/746022566448316416/i-made-a-diagram-that-represents-myself-perfectly [accessed 30 May 2024] 

TRINH, T. Minh-Ha. 1989. Woman, Native, Other: Writing Postcoloniality and Feminism. Bloomington: Indiana University Press. 

UNGER, Matthew P. 2019. ‘Ode to a dying God: Debasement of Christian symbols in extreme metal.’ Metal Music Studies. 5(2), 243-262. 

VASAN, Sonia. 2010. ‘”Den mothers and band whores”: Gender, sex, and power in the death metal scene’, in HILL, R.L. and SPRACKLEN, Karl (eds.), Heavy Fundamentalisms: Music, Metal and Politics. Oxford: Inter-Disciplinary Press, 69-78. 

VASAN, Sonia. 2011. ‘The Price of Rebellion: Gender Boundaries in the Death Metal Scene,’ Journal for Cultural Research. 15(3). 333-349. 

WALSER, Robert. 1993. Running With the Devil: Power, Gender, and Madness in Heavy Metal Music. London: Wesleyan University Press. 

WEINSTEIN, Deena. 2000. Heavy Metal: the Music and Its Culture. Da Capo Press. First Da Capo Press Edition 2000. 

WISE, Sue. 1990. ‘Sexing Elvis’. In FRITH, Simon and GOODWIN, Andrew (eds.). On Record: Rock, Pop and the Written Word. London: Routledge, 333-340. 

YOUNG, Iris Marion. 1990. Justice and the Politics of Difference. Princeton, NJ: Princeton University Press.  

YOUNG, Iris Marion. 1990. Throwing Like a Girl and Other Essays in Feminist Philosophy and Social Theory. Bloomington: Indiana University Press 

[alexanderpearce]

EAT OR DIE; a playlist for boyd and ives ➵ listen here

1. Desire by Meg Myers || 2. Cannibal Fantasy / Michael Nyman || 3. Hammer / Dry the River || 4. Cranium / Slothrust || 5. Feral Love / Chelsea Wolfe || 6. The Cannibals / Nick Cave and Warren Ellis || 7. Grissecon / Thou || 8. Love Like Blood / Icehouse || 9. Passenger On the Menu / GBH || 10. Hail Columbia! / American Murder Song || 11. Murderer, Cannibal, Thief! / Michael Packer || 12. Breezeblocks / alt-J || 13. Cannibal / Marika Hackman || 14. Tongues & Teeth / The Crane Wives || 15. Animal Skin / Bryan Dunn || 16. Bark Like a God / Sloppy Jane || 17. Animal Impulses / IAMX || 18. The Turning of Our Bones / Arab Strap || 19. In the House - In a Heartbeat / John Murphy || 20. Scene of the Crime / Placebo

[ecoamerica]

Watch the American Climate Leadership Awards 2024 now: https://youtu.be/bWiW4Rp8vF0?feature=shared

The American Climate Leadership Awards 2024 broadcast recording is now available on ecoAmerica's YouTube channel for viewers to be inspired by active climate leaders. Watch to find out which finalist received the $50,000 grand prize! Hosted by Vanessa Hauc and featuring Bill McKibben and Katharine Hayhoe!