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{{redirect|Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0}} |
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{{redirect|Heavy metal}} |
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{{genrebox|name=Heavy |
{{genrebox|name=Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0|color=#bb0022 |
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|bgcolor=white |
|bgcolor=white |
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|stylistic_origins=[[Psychedelic rock]]<br />[[Blues-rock]]<br />[[Hard rock]] |
|stylistic_origins=[[Psychedelic rock]]<br />[[Blues-rock]]<br />[[Hard rock]] |
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|popularity=Worldwide, peaking in the 1980s. |
|popularity=Worldwide, peaking in the 1980s. |
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|derivatives= |
|derivatives= |
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|subgenrelist=List of heavy |
|subgenrelist=List of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 genres |
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|subgenres=[[Avant-garde If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Classic If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Dark If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Doom If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Glam If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Gothic If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Groove If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[New Wave of British Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0|NWOBHM]] - [[Neo-classical If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Post-If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Progressive If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Speed If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Stoner rock|Stoner If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Symphonic If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Viking If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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|subgenres=[[Avant-garde metal]] - [[Black metal]] - [[Classic metal]] - [[Dark metal]] - [[Death metal]] - [[Doom metal]] - [[Glam metal]] - [[Gothic metal]] - [[Groove metal]] - [[New Wave of British Heavy Metal|NWOBHM]] - [[Neo-classical metal]] - [[Post-metal]] - [[Power metal]] - [[Progressive metal]] - [[Speed metal]] - [[Stoner rock|Stoner metal]] - [[Symphonic metal]] - [[Thrash metal]] - [[Viking metal]] |
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|fusiongenres=[[Alternative If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Christian If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Folk If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Funk If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Grindcore]] - [[Industrial If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0core]] - [[Nu If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Punk If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Rapcore]] |
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|fusiongenres=[[Alternative metal]] - [[Christian metal]] - [[Folk metal]] - [[Funk metal]] - [[Grindcore]] - [[Industrial metal]] - [[Metalcore]] - [[Nu metal]] - [[Punk metal]] - [[Rapcore]] |
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|regional_scenes=[[Gothenburg |
|regional_scenes=[[Gothenburg If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0|Gothenburg]] - [[Bay Area thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0|Bay Area]] |
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|other_topics=[[Heavy |
|other_topics=[[Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 fashion|Fashion]] - [[Timeline of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0|History]] - [[List of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands|Bands]] - [[Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 umlaut|Umlaut]] - [[Blast beat]] - [[List of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 genres|Subgenres]] - [[Extreme If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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'''Heavy |
'''Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0''' (sometimes referred to simply as '''If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0''') is a genre of [[rock music]]<ref>Du Noyer (2003), p. 74</ref> that developed in the late 1960s and early 1970s.<ref>Weinstein (1991), p. 14</ref> With roots in [[blues-rock]] and [[psychedelic rock]], the bands that created heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 developed a thick, heavy, guitar-and-drums-centered sound, characterized by highly amplified [[Guitar effects#Distortion|distortion]] and fast guitar solos. The [[All Music Guide]] states that "of all rock & roll's myriad forms, heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 is the most extreme in terms of volume, [[machismo]], and theatricality."<ref>{{cite web|title=Genre - Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0|author=|publisher=''[[All Music Guide]]''|date=|url=http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:655|accessmonthday=March 17 | accessyear=2007}}</ref> |
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Heavy |
Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 has long had a worldwide following of fans known as "[[If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0head]]s" or "[[headbanging|headbangers]]". Although early heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands such as [[Black Sabbath]] and [[Deep Purple]] attracted large audiences, they were often critically reviled at the time, a status common throughout the history of the genre. In the mid-1970s, [[Judas Priest]] helped spur the genre's evolution by discarding much of its [[blues]] influence; the [[New Wave of British Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] followed in a similar vein, fusing the music with a [[punk rock]] sensibility and an increasing emphasis on speed. |
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Heavy |
Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 became broadly popular during the 1980s, when many now-widespread subgenres first evolved. Variations more aggressive and extreme than If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 music of the past were mostly restricted to an [[Underground music|underground]] audience; others, including [[glam If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] and, to a lesser extent, [[thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] went on to mainstream commercial success. In recent years, styles such as [[nu If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] have further expanded the definition of the genre. |
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== Characteristics == |
== Characteristics == |
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Heavy |
Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 is traditionally characterized by loud distorted guitars, emphatic rhythms, dense bass-and-drum sound, and vigorous vocals. If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 subgenres variously emphasize, alter, or omit one or more of these tropes. The typical band lineup includes a [[drummer]], a [[bass guitar|bassist]], a [[rhythm guitar]]ist, a [[lead guitar]]ist, and a singer, who may or may not be an instrumentalist. [[Keyboard instrument|Acoustic keyboards]] were popular with early If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands—especially the [[organ (instrument)|organ]] and occasionally the [[mellotron]]—but they are now uncommon. [[Electronic keyboard]]s are often featured today by bands in a variety of styles, including [[progressive If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]], [[power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]], and [[symphonic If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]]. |
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The electric guitar and the sonic power that it projects through amplification is historically the key element in heavy |
The electric guitar and the sonic power that it projects through amplification is historically the key element in heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0.<ref>Weinstein (1991), p. 23</ref> Guitars are often played with [[distortion pedal]]s through heavily overdriven [[Valve amplifier|tube amplifiers]] to create a thick, powerful, "heavy'" sound. In the early 1970s, some popular If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 groups began cofeaturing two guitarists. Leading bands such as [[Judas Priest]] and [[Iron Maiden]] followed this pattern of having two or three guitarists share the roles of both lead and rhythm guitar. A central element of much heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 is the guitar solo, a form of [[cadenza]]. As the genre developed, more intricate solos and [[riffs]] became an integral part of the style. Guitarists use [[sweep-picking]], [[tapping]], and other advanced techniques for rapid playing, and many subgenres emphasize [[virtuoso|virtuosic]] displays. |
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The lead role of the guitar in heavy |
The lead role of the guitar in heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 often collides with the traditional "frontman" or bandleader role of the vocalist, creating a musical tension. If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 vocals vary widely in style, from the multioctave, theatrical manner of Judas Priest's [[Rob Halford]] and Iron Maiden's [[Bruce Dickinson]], to the intentionally gruff approach of [[Motörhead]]'s [[Lemmy]] and [[If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lica]]'s [[James Hetfield]], to the straight-out screaming and growling of [[Lamb of God (band)|Lamb of God]]'s [[Randy Blythe]] and [[At the Gates]]' [[Tomas Lindberg]], to the phlegm-clogged, possessed style of black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 singers such as [[Mayhem (band)|Mayhem]]'s [[Dead (musician)|Dead]]. The [[bass guitar]] plays an important role in most If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands, providing the low-end sound crucial to making the music "heavy."<ref>Weinstein (1991), pp. 23–24</ref> In addition, the bass is often distorted and modified by a variety of effects pedals. If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bassists frequently use picks instead of their fingers to get a stronger articulation. The drum setup is generally much larger than with other forms of rock music.<ref>Weinstein (1991), p. 24</ref> Aside from the standard toms, bass drum, snare, and hi-hat, ride, and crash cymbals, there is often a double bass drum, additional toms and cymbals (e.g., "splash" cymbals), and other instruments such as a [[cowbell]]. |
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In terms of live sound, volume is considered vital.<ref>Weinstein (1991), p. 23</ref> Following the lead set by [[Jimi Hendrix]] and [[The Who]]—which once held the distinction of "World's Loudest Band" in the ''[[Guinness Book Of World Records]]''—early heavy |
In terms of live sound, volume is considered vital.<ref>Weinstein (1991), p. 23</ref> Following the lead set by [[Jimi Hendrix]] and [[The Who]]—which once held the distinction of "World's Loudest Band" in the ''[[Guinness Book Of World Records]]''—early heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands set new benchmarks for volume. [[Dickie Peterson|Dick Peterson]] of [[Blue Cheer]] says, "We had a place in forming that heavy-If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 sound. Although I'm not saying we knew what we were doing, 'cause we didn't. All we knew was we wanted more power."<ref>Walser (1993), p. 9</ref> [[Tony Iommi]], guitarist for the pioneering [[Black Sabbath]], is among the numerous heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 musicians to suffer substantial hearing loss due to the volume of their live performances. Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0's volume fixation was mocked in the [[rockumentary]] spoof ''[[This Is Spinal Tap]]'' in which guitarist "[[Nigel Tufnel]]" reveals that his [[Marshall Amplification|Marshall amplifiers]] have been modified to "[[Up to eleven|go to eleven]]." |
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=== Musical language === |
=== Musical language === |
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====Rhythm and groove==== |
====Rhythm and groove==== |
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The heavy |
The heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 main groove is characterized by short, two-note or three-note rhythmic figures—generally made up of [[eighth note|8th]] or [[sixteenth note|16th notes]]—in [[staccato]] thanks to palm-muted technique on the rhythm guitar.<ref>"Master of Rhythm: The Importance of Tone and Right-hand Technique," ''Guitar Legends'', April 1997, p. 99</ref> Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 thus often involves the use of dynamic and off-handed rhythmic patterns thanks to the adjunction of brief, abrupt rhythmic cells. However, heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 may also employ long rhythmic figures such as the [[whole note]] that let the chords ring, particularly in slow-tempo songs such as ballads, or to add ambience and texture with one guitarist letting a chord ring while another plays faster passages. |
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''' |
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====Chords==== |
====Chords==== |
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One of the signatures of the genre is the guitar [[power chord]].<ref>Walser (1993), p. 2</ref> In technical terms, the power chord is relatively simple: it involves just one main [[interval]], generally the [[perfect fifth]], though an [[octave]] may be added as a doubling of the [[root]]. Other types of power chords are also used: often the traditional perfect fifth is replaced by a different interval such as the [[Perfect fourth|fourth]], the [[minor third]]/-[[major third]], the [[diminished fifth]], and the [[minor sixth]].<ref>"Shaping Up and Riffing Out: Using Major and Minor Power Chords to Add Colour to Your Parts," ''Guitar Legends'', April 1997, p. 97</ref> The power chord makes possible a high level of distortion without unintended [[Consonance and dissonance|dissonance]]. Various power chords can also be played with a consistent finger arrangement that slides easily up and down the [[fingerboard|fretboard]].<ref>Schonbrun (2006), p. 22</ref> |
One of the signatures of the genre is the guitar [[power chord]].<ref>Walser (1993), p. 2</ref> In technical terms, the power chord is relatively simple: it involves just one main [[interval]], generally the [[perfect fifth]], though an [[octave]] may be added as a doubling of the [[root]]. Other types of power chords are also used: often the traditional perfect fifth is replaced by a different interval such as the [[Perfect fourth|fourth]], the [[minor third]]/-[[major third]], the [[diminished fifth]], and the [[minor sixth]].<ref>"Shaping Up and Riffing Out: Using Major and Minor Power Chords to Add Colour to Your Parts," ''Guitar Legends'', April 1997, p. 97</ref> The power chord makes possible a high level of distortion without unintended [[Consonance and dissonance|dissonance]]. Various power chords can also be played with a consistent finger arrangement that slides easily up and down the [[fingerboard|fretboard]].<ref>Schonbrun (2006), p. 22</ref> |
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[[Image:Addicted to chaos transcirption and analysis.jpg|820px|thumb|center|The main riff from [[Megadeth]]'s "Addicted to Chaos" is an example of a heavy |
[[Image:Addicted to chaos transcirption and analysis.jpg|820px|thumb|center|The main riff from [[Megadeth]]'s "Addicted to Chaos" is an example of a heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 riff incorporating several types of [[power chord]]s]] |
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==== Typical harmonic relationships==== |
==== Typical harmonic relationships==== |
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Heavy |
Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 is usually [[riff]]-based. Riffs are frequently created with three main harmonic traits: modal scales progressions, tritone and chromatic progressions, and the use of pedal point. |
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'''Modal harmony''' |
'''Modal harmony''' |
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[[Image:Btl transcription and harmonic analysis.nwc.jpg|500px|thumb|right|Example of a typical heavy |
[[Image:Btl transcription and harmonic analysis.nwc.jpg|500px|thumb|right|Example of a typical heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 [[Aeolian mode|aeolian]] harmonic progression in I-VI-VII (Am-F-G): the main riff of [[Judas Priest]]'s "[[Breaking the Law]]"]] |
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Traditional heavy |
Traditional heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 tends to employ modal scales, in particular the [[Aeolian mode|Aeolian]] and [[Phrygian mode]]s.<ref>Walser (1993), p. 46</ref> Harmonically speaking, this means the genre typically incorporates modal chord progressions such as aeolian progression like I-VI-VII, I-VII-(VI) or I-VI-IV-VII and phrygian progressions implying the relation between I and ♭II (I-♭II-I, I-♭II-III or I-♭II-VII for example). |
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Examples of aeolian harmony include Judas Priest's "[[Breaking the Law]]", Iron Maiden's "[[Hallowed Be Thy Name]]", and [[Accept]]'s "Princess of the Dawn", each employing a I-VI-VII progression as its main riff. |
Examples of aeolian harmony include Judas Priest's "[[Breaking the Law]]", Iron Maiden's "[[Hallowed Be Thy Name]]", and [[Accept]]'s "Princess of the Dawn", each employing a I-VI-VII progression as its main riff. |
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'''Tritone and chromatism''' |
'''Tritone and chromatism''' |
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[[Image:Black sabbath- transcription by Frederick Duhautpas.jpg|500px|thumb|right|Example of a harmonic progression with the tritone G-C#: the main riff of "[[Black Sabbath (song)|Black Sabbath]]"]] |
[[Image:Black sabbath- transcription by Frederick Duhautpas.jpg|500px|thumb|right|Example of a harmonic progression with the tritone G-C#: the main riff of "[[Black Sabbath (song)|Black Sabbath]]"]] |
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A trademark of many heavy |
A trademark of many heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 subgenres is the use of tense harmony, such as [[chromatic]] or [[tritone]] relationships.<ref>Marshall, Wolf. "Power Lord—Climbing Chords, Evil Tritones, Giant Callouses," ''Guitar Legends'', April 1997, p. 29</ref><ref name="MH">Dunn, Sam (2005). "[http://www.If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0history.com If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0: A Headbanger's Journey]". Warner Home Video (2006). Retrieved on [[March 19]], [[2007]].</ref> The tritone, an interval spanning three whole tones—such as C and F#—is one of the fundamental expressions of dissonance in Western music. The tritone was banned from medieval ecclesiastical singing because of its dissonant quality, which led monks to call it ''diabolus in musica''—"the devil in music."<ref> The first explicit prohibition of that interval seems to occur with ''"the development of '''[[Guido of Arezzo]]''''s Hexacordal system which made B flat a diatonic note, namely as the 4th degree of the hexachordal on F. From then until the end of Renaissance the tritone, nick name the "diabolus in musica" was regarded as an unstable interval and rejected as a consonance"''. (Sadie, Stanley (1980). "Tritone " in The New Grove Dictionary of Music and Musicians (1st ed.). MacMillan, pp.154-155 ISBN 0-333-23111-2) |
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''"It seems first to have been designated as a 'dangerous' interval when '''[[Guido of Arezzo]]''' developed his system of hexachords and with the introduction of B flat as a diatonic note, at much the same time acquiring its nickname of 'Diabolus in Musica' ('the devil in music')''." (Arnold, Denis (1983) « Tritone » in The New Oxford Companion to Music, Volume 1: A-J. Oxford University Press. ISBN 0-19-311316-3). |
''"It seems first to have been designated as a 'dangerous' interval when '''[[Guido of Arezzo]]''' developed his system of hexachords and with the introduction of B flat as a diatonic note, at much the same time acquiring its nickname of 'Diabolus in Musica' ('the devil in music')''." (Arnold, Denis (1983) « Tritone » in The New Oxford Companion to Music, Volume 1: A-J. Oxford University Press. ISBN 0-19-311316-3). |
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But later in history with the rise of the Baroque and Classical music era, that interval came to be perfectly accepted, but yet was used in a specific controlled way. It's only in the Romantism and modern classical music that composers started to use it freely and to exploit the evil connotations which are culturally associated to it </ref> Because of that original symbolic association, it came to be heard in Western cultural convention as “evil.” Today the interval continues to suggest an "oppressive," "scary," or "evil" sound. Heavy |
But later in history with the rise of the Baroque and Classical music era, that interval came to be perfectly accepted, but yet was used in a specific controlled way. It's only in the Romantism and modern classical music that composers started to use it freely and to exploit the evil connotations which are culturally associated to it </ref> Because of that original symbolic association, it came to be heard in Western cultural convention as “evil.” Today the interval continues to suggest an "oppressive," "scary," or "evil" sound. Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 has made extensive use of ''diabolus in musica'' because of these connotative qualities; it is frequently used in guitar solos and riffs, for example at the beginning of "[[Black Sabbath (song)|Black Sabbath]]," the lead song on the band's debut album. |
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'''Pedal point'''<br> |
'''Pedal point'''<br> |
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Heavy |
Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 often makes extensive use of [[pedal point]] as a harmonic basis. A pedal point is a sustained tone, typically in the bass range, during which at least one foreign (i.e., dissonant) harmony is sounded in the other parts.<ref>Kennedy (1985), "Pedal Point," p. 540</ref> Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 riffs are frequently constructed over a persistent repeating note played on the low strings of the bass or rhythmic guitar, most usually on the E, A, and D strings.<ref>In black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, however, pedal point is seldom a component of the guitar riff itself, but is rather played in the background by the bass.</ref> In other words, a single bass note—most frequently low E or A—is persistently repeated while some different chords are successively played, including chords that don't normally incorporate that bass note. An example is the opening riff of Judas Priest's "[[You've Got Another Thing Comin']]." In this case, one guitar plays the pedal point in F#, while the second guitar plays the chords. |
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==== Classical influence ==== |
==== Classical influence ==== |
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The appropriation of "classical" music by heavy |
The appropriation of "classical" music by heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 typically involves musical elements associated with [[Baroque]], [[Romantic music|Romantic]], and [[Modernist (music)|Modernist]] composers such as [[Johann Sebastian Bach]], [[Niccolò Paganini]], [[Richard Wagner]], [[Ludwig van Beethoven]], [[Béla Bartók]], and [[Igor Stravinsky]]. The tritone, for instance, was already exploited for its dark, anguished connotations by Romantics like [[Franz Liszt]] and 20th century classical composers such as Bartók, Stravinsky, and [[Arnold Schoenberg]]. [[Deep Purple]]/[[Rainbow (band)|Rainbow]] guitarist [[Ritchie Blackmore]] began experimenting with musical figurations borrowed from classical music in the early 1970s. In the 1980s, guitarists [[Randy Rhoads]] and [[Uli Jon Roth]] looked to the early 18th century for models of speed and technique. [[Yngwie Malmsteen]], drawing from similar roots, has inspired myriad neoclassical If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 players including [[Michael Romeo]], [[Michael Angelo Batio]], and [[Tony MacAlpine]]. |
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Despite the fact that many |
Despite the fact that many If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 musicians have cited classical composers as inspiration, heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 is hardly the modern descendant of classical music.<ref>Historical classical music's true descendant is [[contemporary classical music]].</ref> As many critics and analysts have observed, heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 musicians focus on and borrow only superficial aspects of classical music, such as [[motif (music)|motifs]], melodies, and scales. Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands, including progressive and neoclassical If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands, generally do not try to observe the basic compositional and aesthetical exigencies of classical music. Classical music is [[erudite music]], whereas heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 is [[popular music]].<ref>See, e.g., Cook and Dibben (2001): "Analyses of popular music also sometimes reveal the influence of 'art traditions.' An example is Walser’s linkage of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 music with the ideologies and even some of the performance practices of nineteenth-century Romanticism. However, it would be clearly wrong to claim that traditions such as blues, rock, heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, rap or dance music derive primarily from '[[art music]]' (p. 56)."</ref> Players who cite Bach as an influence, for example, seldom make use of the complex [[counterpoint]] that is central to the composer's work. Moreover, the extensive use of power chords in heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, implying countless [[consecutive fifths]] and octaves, violates rules of harmony at the heart of the classical aesthetic.<ref>Arnold (1983), p. 476; Sadie (1980), p. 666; Kennedy (1985), "Consecutive," p. 159</ref> |
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=== Themes === |
=== Themes === |
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Common themes in heavy |
Common themes in heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 lyrics are sex, violence, fantasy, and the occult. The sexual nature of many heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 lyrics, ranging from [[Black Sabbath]] to those of latter-day nu If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands, derives from the genre's roots in blues music.<ref>Weinstein (1991), p. 36</ref> Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 songs often feature outlandish, fantasy-inspired lyrics, lending them an escapist quality. Iron Maiden's songs, for instance, were frequently inspired by mythology, fiction, and poetry, such as "[[Rime of the Ancient Mariner (song)|Rime of the Ancient Mariner]]," based on the [[Samuel Taylor Coleridge]] [[Rime of the Ancient Mariner|poem]]. Other examples include Black Sabbath's "The Wizard," [[Megadeth]]'s "The Conjuring" and "Five Magics," and Judas Priest's "Dreamer Deceiver." Other artists base their lyrics on war, nuclear annihilation, environmental issues, and politics or religion. Examples include Black Sabbath's "[[War Pigs (song)|War Pigs]]," [[Ozzy Osbourne]]'s "Killer of Giants," If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lica's ''[[...And Justice for All (album)|...And Justice for All]]'', Iron Maiden's "[[2 Minutes to Midnight]]," Accept's "[[Balls to the Wall]]," and Megadeth's "[[Peace Sells]]." Death is a predominant theme in heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, routinely featuring in the lyrics of such different bands as Black Sabbath, [[Slayer]], and [[W.A.S.P. (band)|W.A.S.P.]] |
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As with much popular music, visual imagery plays a large role in heavy |
As with much popular music, visual imagery plays a large role in heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0. A heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 band's "image" is associated with the thematic content of their lyrics, and is expressed in album sleeve art, stage sets, the clothes of the band, and even band logos, as well as the sound of the music.<ref>Weinstein (1991), p. 27</ref> |
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The thematic content of heavy |
The thematic content of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 has long been a target of criticism. Music critics have often deemed If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 lyrics and imagery banal, and others have objected to what they see as advocacy of [[misogyny]] and the occult. During the 1980s, the [[Parents Music Resource Center]] petitioned the U.S. Congress to regulate the popular music industry due to objectionable lyrics, |
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particularly those in heavy |
particularly those in heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 songs. |
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=== Physical gestures === |
=== Physical gestures === |
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Certain body movements are widely performed at heavy |
Certain body movements are widely performed at heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 concerts, including [[headbanging]], [[mosh]]ing, and various hand gestures such as the infamous [[devil horns]], popularized by vocalist [[Ronnie James Dio]] while with Black Sabbath and [[Dio]].<ref name="MH"/> [[Gene Simmons]] of [[Kiss (band)|Kiss]] claims to have been the first to make the gesture in concert.<ref>Appleford, Steve. "[http://www.mk-magazine.com/news/archives/000929.php Odyssey of the Devil Horns]". ''MK Magazine'', [[September 9]], [[2004]]. Retrieved on [[March 31]], [[2007]].</ref> [[Stage diving]], [[air guitar]], and [[crowd surfing]] are also practiced. |
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== Origin of the term ''heavy |
== Origin of the term ''heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0''== |
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The origin of the term ''heavy |
The origin of the term ''heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0'' in a musical context is uncertain. The phrase has been used for centuries in chemistry and If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lurgy, as shown by citations in the ''Oxford English Dictionary''. An early use of the term in modern popular culture was by [[counterculture|countercultural]] writer [[William S. Burroughs]]. His 1962 novel ''[[The Soft Machine]]'' includes a character known as "Uranian Willy, the Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 Kid." Burroughs's next novel, ''[[Nova Express]]'' (1964), develops the theme, using ''heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0'' as a metaphor for addictive drugs: "With their diseases and orgasm drugs and their sexless parasite life forms—Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 People of Uranus wrapped in cool blue mist of vaporized bank notes—And The Insect People of Minraud with If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 music."<ref>[[William S. Burroughs|Burroughs, William S]]. "[http://www.efn.org/~dredmond/PP3.html Nova Express]". New York: Grove Press, 1964. Pg. 112</ref> |
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If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 historian [[Ian Christe]] describes what the components of the term mean in "hippiespeak": "heavy" is roughly synonymous with "potent" or "profound," and "If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0" designates a certain type of mood, grinding and weighted as with If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0.<ref>Christe (2003), p. 10</ref> The word "heavy" in this sense was a basic element of [[beatnik]] and later countercultural [[slang]], and references to "heavy music"—typically slower, more amplified variations of standard pop fare—were already common by the mid-1960s. [[Iron Butterfly]]'s debut album, released in early 1968, was titled ''[[Heavy (album)|Heavy]]''. The first recorded use of ''heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0'' in a song lyric is in [[Steppenwolf (band)|Steppenwolf]]'s "[[Born to Be Wild]]," also released that year:<ref>Walser (1993), p. 8</ref> "I like smoke and lightning/Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 thunder/Racin' with the wind/And the feelin' that I'm under." A late, and disputed, claim about the source of the term was made by [[Chas Chandler|"Chas" Chandler]], former manager of the [[Jimi Hendrix Experience]]. In a 1995 interview on the [[PBS]] program ''Rock and Roll'', he asserted that heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 "was a term originated in a ''New York Times'' article reviewing a [[Jimi Hendrix]] performance," in which the author likened the event to "listening to heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 falling from the sky." A source for Chandler's claim has never been found. |
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The first documented use of the term to describe a musical style is in a May 1971 ''[[Creem]]'' review by [[Mike Saunders]] of [[Sir Lord Baltimore]]'s ''[[Kingdom Come (Sir Lord Baltimore album)|Kingdom Come]]'': "Sir Lord Baltimore seems to have down pat most all the best heavy |
The first documented use of the term to describe a musical style is in a May 1971 ''[[Creem]]'' review by [[Mike Saunders]] of [[Sir Lord Baltimore]]'s ''[[Kingdom Come (Sir Lord Baltimore album)|Kingdom Come]]'': "Sir Lord Baltimore seems to have down pat most all the best heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 tricks in the book."<ref>{{cite web|title=Sir Lord Baltimore's "Kingdom Come" (review)|author=Saunders, Mike|publisher=''[[Creem Magazine]]''|date=|url=http://www.creemmagazine.com/_site/BeatGoesOn/SirLordBaltimore/KingdomCome001.html|accessmonthday=March 17 | accessyear=2007}}</ref> ''Creem'' critic [[Lester Bangs]] is credited with popularizing the term via his early 1970s essays on bands such as [[Deep Purple]] and [[Black Sabbath]].<ref>Weinstein (1991), p.19</ref> "Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0" may have initially been used as a jibe by a number of music critics, but it was quickly adopted by fans of the style. |
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The terms "heavy |
The terms "heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0" and "hard rock" have often been used interchangeably, particularly in discussing bands of the 1970s, a period when the terms were largely synonymous.<ref>Du Noyer (2003), pp. 96, 78</ref> For example, according to an entry in the 1983 ''[[Rolling Stone]]'' encyclopedia, "known for its aggressive blues-based hard-rock style, [[Aerosmith]] was the top American heavy-If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 band of the mid-Seventies."<ref>Pareles and Romanowski (1983), p. 4</ref> Few would now characterize Aerosmith's classic sound, with its clear links to traditional [[rock and roll]], as "heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0." Even some acts closely identified with the emergence of the genre, such as [[Black Sabbath]] and [[Deep Purple]], are not considered heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands by some in the present-day If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 community. |
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== History == |
== History == |
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=== Pre-history (mid-1960s) === |
=== Pre-history (mid-1960s) === |
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American [[blues music]] was a major influence on the early British rockers. Bands like [[The Rolling Stones]] and [[The Yardbirds]] recorded covers of many classic blues songs, using [[electric guitar]] where many of the originals had used [[Steel-string guitar|acoustic]] and sometimes speeding up the [[tempo]]. As they experimented with the music, the UK blues-based bands—and the U.S. acts they influenced in turn—developed what would become the hallmarks of heavy |
American [[blues music]] was a major influence on the early British rockers. Bands like [[The Rolling Stones]] and [[The Yardbirds]] recorded covers of many classic blues songs, using [[electric guitar]] where many of the originals had used [[Steel-string guitar|acoustic]] and sometimes speeding up the [[tempo]]. As they experimented with the music, the UK blues-based bands—and the U.S. acts they influenced in turn—developed what would become the hallmarks of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0: At the core was a loud, distorted guitar style, built around power chords.<ref>Walser (1993), p. 9</ref> [[The Kinks]] played a major role in popularizing this sound with their 1964 hit "[[You Really Got Me]]."<ref>Weinstein (1991), p. 18; Walser (1993), p. 9</ref> A significant contributor to the emerging guitar sound was the [[feedback]] facilitated by the new generation of amplifiers. In addition to The Kinks' [[Dave Davies]], other guitarists such as [[The Who]]'s [[Pete Townshend]] and the Tridents' [[Jeff Beck]] were experimenting with feedback.<ref>Wilkerson (2006), p. 19.</ref> Where the blues-rock drumming style started out largely as simple shuffle beats on small kits, drummers began using a more muscular, complex, and amplified approach to match and be heard against the increasingly loud guitar.<ref>Walser (1993), p. 10</ref> Vocalists similarly modified their technique and increased their reliance on amplification, often becoming more stylized and dramatic. In terms of sheer volume, especially in live performance, The Who's "bigger-louder-wall-of-[[Marshall Amplification#Marshall Stack|Marshall]]s" approach was seminal.<ref>McMichael (2004), p. 112</ref> Simultaneous advances in amplification and recording technology made it possible to successfully capture the power of this heavier approach on record. |
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The combination of blues-rock with psychedelic rock formed much of the original basis for heavy |
The combination of blues-rock with psychedelic rock formed much of the original basis for heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0.<ref>Weinstein (1991), p. 16</ref> One of the most influential bands in forging the merger of genres was the power trio [[Cream (band)|Cream]], who derived a massive, heavy sound from [[unison]] riffing between guitarist [[Eric Clapton]] and bassist [[Jack Bruce]], as well as [[Ginger Baker]]'s double bass drumming.<ref>Charlton (2003), pp. 232–33</ref> Their first two LPs, ''[[Fresh Cream]]'' (1966) and ''[[Disraeli Gears]]'' (1967) are regarded as essential prototypes for the future style. The Jimi Hendrix Experience's debut album, ''[[Are You Experienced (album)|Are You Experienced]]'' (1967), was also highly influential. Hendrix's virtuosic technique would be emulated by many If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 guitarists and the album's most successful single, "[[Purple Haze]]," is identified by some as the first heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 hit.<ref>Walser (1993), p. 9</ref> |
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=== Origins and early popularity (early 1970s) === |
=== Origins and early popularity (early 1970s) === |
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The 1970 releases by [[Black Sabbath]] (''[[Black Sabbath (album)|Black Sabbath]]'' and ''[[Paranoid (album)|Paranoid]]'') and [[Deep Purple]] (''[[Deep Purple in Rock]]'') were crucial in this regard.<ref>Walser (1993), p. 10</ref> Black Sabbath had developed a particularly heavy sound in part due to an industrial accident guitarist [[Tony Iommi]] suffered before cofounding the band. Unable to play normally, Iommi had to tune his guitar down for easier fretting and rely on power chords with their relatively simple fingering.<ref>di Perna, Alan. "The History of Hard Rock: The 70's." ''Guitar World''. March 2001.</ref> Deep Purple had fluctuated between styles in its early years, but by 1969 vocalist [[Ian Gillan]] and guitarist [[Ritchie Blackmore]] had led the band toward the developing heavy |
The 1970 releases by [[Black Sabbath]] (''[[Black Sabbath (album)|Black Sabbath]]'' and ''[[Paranoid (album)|Paranoid]]'') and [[Deep Purple]] (''[[Deep Purple in Rock]]'') were crucial in this regard.<ref>Walser (1993), p. 10</ref> Black Sabbath had developed a particularly heavy sound in part due to an industrial accident guitarist [[Tony Iommi]] suffered before cofounding the band. Unable to play normally, Iommi had to tune his guitar down for easier fretting and rely on power chords with their relatively simple fingering.<ref>di Perna, Alan. "The History of Hard Rock: The 70's." ''Guitar World''. March 2001.</ref> Deep Purple had fluctuated between styles in its early years, but by 1969 vocalist [[Ian Gillan]] and guitarist [[Ritchie Blackmore]] had led the band toward the developing heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 style.<ref>Charlton (2003), p. 241</ref> In 1970, Black Sabbath and Deep Purple scored major UK chart hits with "[[Paranoid (song)|Paranoid]]" and "[[Black Night]]," respectively. That same year, three other British bands released debut albums in a heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 mode: [[Uriah Heep (band)|Uriah Heep]] with ''[[Very 'eavy... Very 'umble]]'', [[UFO (band)|UFO]] with ''[[Unidentified Flying Object (album)|UFO 1]]'', and [[Black Widow (band)|Black Widow]] with ''Sacrifice''. [[Wishbone Ash]], though not commonly identified as If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, introduced a dual-lead/rhythm-guitar style that many If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands of the following generation would adopt. The occult lyrics and imagery employed by Black Sabbath, Uriah Heep, and Black Widow would prove particularly influential; Led Zeppelin also began foregrounding such elements with its [[Led Zeppelin IV|fourth album]], released in 1971. |
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[[Image:BlackSabbath19720012200.sized.jpg|left|thumb|180px|[[Tony Iommi]] and [[Ozzy Osbourne]] of [[Black Sabbath]] onstage in [[January 29]], [[1973]].]] |
[[Image:BlackSabbath19720012200.sized.jpg|left|thumb|180px|[[Tony Iommi]] and [[Ozzy Osbourne]] of [[Black Sabbath]] onstage in [[January 29]], [[1973]].]] |
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On the other side of the Atlantic, the trend-setting group was Grand Funk Railroad, "the most commercially successful American heavy- |
On the other side of the Atlantic, the trend-setting group was Grand Funk Railroad, "the most commercially successful American heavy-If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 band from 1970 until they disbanded in 1976, [they] established the Seventies success formula: continuous touring."<ref>Pareles and Romanowski (1983), p. 225</ref> Other bands identified with If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 emerged in the U.S., such as [[Dust (band)|Dust]] (first LP in 1971), [[Blue Öyster Cult]] ([[Blue Öyster Cult (album)|1972]]), and [[Kiss (band)|Kiss]] ([[Kiss (album)|1974]]). In Germany, the [[Scorpions (band)|Scorpions]] debuted with ''[[Lonesome Crow]]'' in 1972. Blackmore, who had emerged as a virtuoso soloist with Deep Purple's ''[[Machine Head (album)|Machine Head]]'' (1972), quit the group in 1975 to form [[Rainbow (band)|Rainbow]]. These bands also built audiences via constant touring and increasingly elaborate stage shows.<ref>Walser (1993), p. 10</ref> As described above, there are arguments about whether these and other early bands truly qualify as "heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0" or simply as "hard rock." Those closer to the music's blues roots or placing greater emphasis on melody are now commonly ascribed the latter label. [[AC/DC]], which debuted with ''[[High Voltage (Australian album)|High Voltage]]'' in 1975, is a prime example. The 1983 ''Rolling Stone Encyclopedia of Rock & Roll'' entry begins "Australian heavy-If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 band AC/DC..."<ref>Pareles and Romanowski (1983), p. 1</ref> Rock historian Clinton Walker writes, "Calling AC/DC a heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 band in the seventies was as inaccurate as it is today.... [They] were a rock'n'roll band that just happened to be heavy enough for If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0."<ref>Walker (2001), p. 297</ref> The issue is not only one of shifting definitions, but also a persistent distinction between musical style and audience identification: Ian Christe describes how the band "became the stepping-stone that led huge numbers of hard rock fans into heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 perdition."<ref>Christe (2003), p. 54</ref> |
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In certain cases, there is little debate. After Black Sabbath, the next major example is Britain's [[Judas Priest]], which debuted with ''[[Rocka Rolla]]'' in 1974. In Christe's description, Black Sabbath's |
In certain cases, there is little debate. After Black Sabbath, the next major example is Britain's [[Judas Priest]], which debuted with ''[[Rocka Rolla]]'' in 1974. In Christe's description, Black Sabbath's |
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<blockquote> |
<blockquote> |
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audience was...left to scavenge for sounds with similar impact. By the mid-1970s, heavy |
audience was...left to scavenge for sounds with similar impact. By the mid-1970s, heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 aesthetic could be spotted, like a mythical beast, in the moody bass and complex dual guitars of [[Thin Lizzy]], in the stagecraft of [[Alice Cooper]], in the sizzling guitar and showy vocals of [[Queen (band)|Queen]], and in the thundering medieval questions of Rainbow.... Judas Priest arrived to unify and amplify these diverse highlights from hard rock's sonic palette. For the first time, heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 became a true genre unto itself.<ref>Christe (2003), pp. 19–20</ref> |
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</blockquote> |
</blockquote> |
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Though Judas Priest did not have a top 40 album in the U.S. until 1980, for many it was the definitive post-Sabbath heavy |
Though Judas Priest did not have a top 40 album in the U.S. until 1980, for many it was the definitive post-Sabbath heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 band; its twin-guitar attack, featuring rapid tempos and a nonbluesy, more cleanly If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lic sound, was a major influence on later acts.<ref>Walser (1993), p. 6</ref> While heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 was growing in popularity, most critics were not enamored of the music. Objections were raised to If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0's adoption of visual spectacle and other trappings of commercial artifice,<ref>Walser (1993), p. 11</ref> but the main offense was its perceived musical and lyrical vacuity: reviewing a Black Sabbath album in the early 1970s, leading critic [[Robert Christgau]] described it as "dull and decadent...dim-witted, amoral exploitation."<ref>Christgau (1981), p. 49</ref> |
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=== Mainstream dominance (late 1970s and 1980s) === |
=== Mainstream dominance (late 1970s and 1980s) === |
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[[Image:Iron Maiden - bass and guitars 30nov2006.jpg|thumb|right|200px|[[Iron Maiden]] was one of the central bands in the [[punk rock]]–inspired [[NWOBHM|New Wave of British Heavy |
[[Image:Iron Maiden - bass and guitars 30nov2006.jpg|thumb|right|200px|[[Iron Maiden]] was one of the central bands in the [[punk rock]]–inspired [[NWOBHM|New Wave of British Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]].]] |
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[[Punk rock]] emerged in the mid-1970s as a reaction against contemporary social conditions as well as the overindulgent rock music of the time, including heavy |
[[Punk rock]] emerged in the mid-1970s as a reaction against contemporary social conditions as well as the overindulgent rock music of the time, including heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0. Sales of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 records declined sharply in the late 1970s in the face of punk, [[disco]], and more mainstream rock.<ref>Walser (1993), p. 11</ref> With the major labels fixated on punk, many newer British heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands were inspired by the movement's high-energy sound and do-it-yourself ethos, putting out releases independently to small, devoted audiences.<ref>Christe (2003), pp. 30, 33</ref> British music papers such as the ''[[NME]]'' and ''[[Sounds (magazine)|Sounds]]'' began to take notice, with ''Sounds'' writer Geoff Barton christening the movement the "[[New Wave of British Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]]."<ref>Christe (2003), p. 33</ref> NWOBHM bands including [[Iron Maiden]], [[Motörhead]], [[Saxon (band)|Saxon]], [[Diamond Head (band)|Diamond Head]], and [[Def Leppard]] reenergized the heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 genre. Following Judas Priest's lead, they toughened up the sound, reduced its blues elements, and emphasized increasingly fast tempos.<ref>{{cite web|title=Judas Priest|author=Stephen Thomas Erlewine and Greg Prato|publisher=''[[All Music Guide]]''|date=|url=http://www.allmusic.com/cg/amg.dll?p=amg&searchlink=JUDAS|PRIEST&sql=11:kifrxqe5ldse~T1|accessmonthday=April 30 | accessyear=2007}}; {{cite web|title=Genre - New Wave of British Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0|author=|publisher=''[[All Music Guide]]''|date=|url=http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:7760|accessmonthday=March 17 | accessyear=2007}}</ref> In 1980, NWOBHM broke into the mainstream, as albums by Iron Maiden, Motörhead, and Saxon reached the British top 10. The next year, Motörhead became the first band in the movement to top the UK charts with ''[[No Sleep 'til Hammersmith]]''. Other NWOBHM bands, such as Diamond Head and [[Venom (band)|Venom]], though less successful would also have a significant influence on If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0's development.<ref>Weinstein (1991), p. 44</ref> |
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The first generation of |
The first generation of If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands was ceding the limelight. Deep Purple had broken up soon after Blackmore's departure in 1975, and Led Zeppelin folded in 1980. Black Sabbath was routinely upstaged in concert by its opening act, the [[Los Angeles]] band [[Van Halen]].<ref>Christe (2003), p. 25</ref> [[Eddie Van Halen]] established himself as one of the leading If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 guitar virtuosos of the era—his solo on "[[Eruption (song)|Eruption]]," from the band's [[Van Halen (album)|self-titled 1978 album]], is considered a milestone.<ref>Christe (2003), p. 51</ref> [[Randy Rhoads]] and [[Yngwie J. Malmsteen]] also became famed virtuosos, associated with what would be known as the [[neoclassical If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] style. The adoption of classical elements had been spearheaded by Blackmore and the Scorpions' [[Uli Jon Roth]]; this next generation progressed to occasionally using classical nylon-stringed guitars, as Rhoads does on "Dee" from former Sabbath lead singer [[Ozzy Osbourne]]'s first solo album, ''[[Blizzard of Ozz]]'' (1980). |
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|title="Purgatory" |
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|description=Sample of "Purgatory" by [[Iron Maiden]], from the album ''[[Killers (Iron Maiden album)|Killers]]'' (1981). The early Iron Maiden sound was a mix of punk rock speed and heavy |
|description=Sample of "Purgatory" by [[Iron Maiden]], from the album ''[[Killers (Iron Maiden album)|Killers]]'' (1981). The early Iron Maiden sound was a mix of punk rock speed and heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 guitar work typical of the New Wave of British Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0. |
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|description=Sample of "[[Hot for Teacher]]" by [[Van Halen]], from the album ''[[MCMLXXXIV]]'' (1984). The virtuosity of guitarist [[Eddie Van Halen]] was a touchstone of 1980s heavy |
|description=Sample of "[[Hot for Teacher]]" by [[Van Halen]], from the album ''[[MCMLXXXIV]]'' (1984). The virtuosity of guitarist [[Eddie Van Halen]] was a touchstone of 1980s heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0. |
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Inspired by Van Halen's success, a |
Inspired by Van Halen's success, a If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 scene began to develop in Southern California, particularly Los Angeles, during the late 1970s. Based around the clubs of L.A.'s [[Sunset Strip]], bands such as [[Quiet Riot]], [[Ratt]], [[Mötley Crüe]], and [[W.A.S.P. (band)|W.A.S.P.]] were influenced by traditional heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 of the earlier 1970s<ref>Rivadavia, Eduardo. "[http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:6q1tk6rx9kr3 Quiet Riot]". All Music Guide. Retrieved on [[March 25]], [[2007]]; Neely, Kim "[http://www.rollingstone.com/artists/ratt/albums/album/211449/review/5946112/detonator Ratt]". Rolling Stone. Retrieved on [[April 3]], [[2007]]; Barry Weber & Greg Prato. "[http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:9yen97l7krrt Mötley Crüe]". All Music Guide. Retrieved on [[April 3]], [[2007]]; Dolas, Yiannis. "[http://www.rockpages.gr/interviews/wasp2004-en.htm Blackie Lawless Interview]" Rockpages. Retrieved on [[April 3]], [[2007]]</ref> and incorporated the theatrics (and sometimes makeup) of [[glam rock]] acts such as [[Alice Cooper]] and Kiss.<ref>Christe (2003), pp. 55–57</ref> These [[glam If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] bands—along with similarly styled acts such as New York's [[Twisted Sister]]—became a major force in If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 and the wider spectrum of rock music. |
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In the wake of the New Wave of British Heavy |
In the wake of the New Wave of British Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 and Judas Priest's breakthrough ''[[British Steel (album)|British Steel]]'' (1980), heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 became increasingly popular in the early 1980s. Many If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 artists benefited from the exposure they received on [[MTV]], which began airing in 1981—sales often soared if a band's videos screened on the channel.<ref>Christe (2003), p. 79</ref> Def Leppard's videos for ''[[Pyromania (album)|Pyromania]]'' (1983) made them superstars in America and Quiet Riot became the first domestic heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 band to top the ''Billboard'' chart with ''[[If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 Health]]'' (1983). One of the seminal events in If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0's growing popularity was the 1983 [[US Festival]] in California, where the "heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 day" featuring Ozzy Osbourne, Van Halen, Scorpions, Mötley Crüe, Judas Priest, and others drew the largest audiences of the three-day event.<ref>Weinstein (1991), p. 45</ref> Between 1983 and 1984, heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 went from an 8 percent to a 20 percent share of all recordings sold in the U.S.<ref>Walser (1993), p. 12</ref> Several major professional magazines devoted to the genre were launched, including ''[[Kerrang!]]'' (in 1981) and ''[[If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 Hammer]]'' (in 1984), as well as a host of fan journals. In 1985, ''Billboard'' declared, "If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 has broadened its audience base. If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 music is no longer the exclusive domain of male teenagers. The If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 audience has become older (college-aged), younger (pre-teen), and more female."<ref>Walser (1993), pp. 12–13, 182 n. 35</ref> |
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By the mid-1980s, glam |
By the mid-1980s, glam If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 was a dominant presence on the U.S. charts, [[music television]], and the arena concert circuit. New bands including [[Poison (band)|Poison]] and [[New Jersey]]'s [[Bon Jovi]] became major draws, while Mötley Crüe and Ratt remained consistently successful. In 1987, MTV launched a show, ''[[Headbanger's Ball]]'', devoted exclusively to heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 videos. However, the If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 audience had begun to factionalize, with those in many underground If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 scenes favoring more extreme sounds and disparaging the popular style as "lite If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0" or "hair If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0."<ref>Walser (1993), p. 14; Christe (2003), p. 170</ref> One band that reached diverse audiences was [[Guns N' Roses]]. In contrast to their glam If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 contemporaries in L.A., they were seen as much rawer and more dangerous. With the release of their chart-topping ''[[Appetite for Destruction]]'' (1987), they "recharged and almost single-handedly sustained the Sunset Strip sleaze system for several years."<ref>Christe (2003), p. 165</ref> The following year, [[Jane's Addiction]] emerged from the same L.A. hard-rock club scene with its major label debut, ''[[Nothing's Shocking]]''. Reviewing the album, ''Rolling Stone'' declared, "as much as any band in existence, Jane's Addiction is the true heir to Led Zeppelin."<ref>{{cite web|title=Jane's Addiction: ''Nothing's Shocking''|author=Steve Pond|publisher=''Rolling Stone''|date=1988-10-20|url=http://www.rollingstone.com/artists/janesaddiction/albums/album/119704/review/5942383/nothings_shocking|accessdate=2007-05-01}}</ref> The group was one of the first to be identified with the "[[alternative If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]]" trend that would come to the fore in the next decade. |
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=== Underground |
=== Underground If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 (1980s, 1990s, and 2000s) === |
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Many [[List of heavy |
Many [[List of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 genres|subgenres of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] developed outside of the commercial mainstream during the 1980s.<ref>Weinstein (1991), p. 21</ref> Several attempts have been made to map the complex world of underground If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, most notably by the editors of [[Allmusic]], as well as critic [[Rockdetector|Garry Sharpe-Young]]. Sharpe-Young's multivolume If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 encyclopedia separates the underground into five major categories: [[thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]], [[death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]], [[black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]], [[power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]], and the related subgenres of [[doom If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0|doom]] and [[gothic If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]]. |
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===== Thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 ===== |
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===== Thrash metal ===== |
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:''For more details on this topic, see [[Thrash |
:''For more details on this topic, see [[Thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]]'' |
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[[Image:Reign in blood.jpg|130px|thumb|left| [[Slayer]]'s ''[[Reign in Blood]]'' (1986) was a landmark thrash |
[[Image:Reign in blood.jpg|130px|thumb|left| [[Slayer]]'s ''[[Reign in Blood]]'' (1986) was a landmark thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 album.]] |
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Thrash |
Thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 emerged in the early 1980s under the influence of [[hardcore punk]] and the New Wave of British Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0,<ref name="Genre - Thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0">"[http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:373 Genre - Thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]". [[All Music Guide]]. Retrieved on March 3, 2007.</ref> particularly songs in the revved-up style known as [[speed If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]]. The movement began in the United States, with the leading scene in the [[Bay Area thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0|San Francisco Bay Area]]. The sound developed by thrash groups was faster and more aggressive than that of the original If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands and their glam If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 successors.<ref name="Genre - Thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0"/> Peter Steel of [[Type O Negative]] described thrash as a form of "urban blight music" and a palefaced cousin of rap.<ref>Moynihan, Søderlind (1998), p. 26</ref> |
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|description=[[Slayer]]'s "[[Angel of Death (song)|Angel of Death]]", from ''[[Reign in Blood]]'' (1986), which features the fast, technically complex musicianship typical of thrash |
|description=[[Slayer]]'s "[[Angel of Death (song)|Angel of Death]]", from ''[[Reign in Blood]]'' (1986), which features the fast, technically complex musicianship typical of thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0|format=[[Ogg]]}} |
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The subgenre was popularized by the "Big Four of Thrash": [[Anthrax (band)|Anthrax]], [[Megadeth]], [[ |
The subgenre was popularized by the "Big Four of Thrash": [[Anthrax (band)|Anthrax]], [[Megadeth]], [[If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lica]], and [[Slayer]].<ref>Walser (1993), p.14</ref> Three German bands, [[Kreator]], [[Sodom (band)|Sodom]], and [[Destruction (band)|Destruction]], played a central role in bringing the style to Europe. Others, including San Francisco's [[Testament (band)|Testament]] and [[Exodus (band)|Exodus]], New Jersey's [[Overkill (band)|Overkill]], and Brazil's [[Sepultura]], also had a significant impact. While thrash began as an underground scene, and remained largely for that for almost a decade, the leading bands in the movement began to reach a wider audience. If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lica brought the sound into the top 40 of the ''Billboard'' album chart in 1986 with ''[[Master of Puppets]]''; two years later, the band's ''[[...And Justice for All (album)|...And Justice for All]]'' hit number 6, while Megadeth and Anthrax had top 40 records.<ref>[http://www.billboard.com/bbcom/retrieve_chart_history.do?model.chartFormatGroupName=Albums&model.vnuArtistId=5199&model.vnuAlbumId=758988 If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lica - Artist Chart History]"; "[http://www.billboard.com/bbcom/retrieve_chart_history.do?model.chartFormatGroupName=Albums&model.vnuArtistId=5179&model.vnuAlbumId=933608 Megadeth - Artist Chart History]"; "[http://www.billboard.com/bbcom/retrieve_chart_history.do?model.chartFormatGroupName=Albums&model.vnuArtistId=3982&model.vnuAlbumId=728383 Anthrax - Artist Chart History]". Billboard.com. Retrieved on [[April 7]], [[2007]].</ref> |
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Though less commercially successful than the rest of the Big Four, Slayer released one of the genre's definitive records: ''[[Reign in Blood]]'' (1986) was described by ''Kerrang!'' as the "heaviest album of all time."<ref name="Lostprophets scoop rock honours">{{cite web| title = Lostprophets scoop rock honours | publisher = [[BBC News]] | date = [[2006-08-25]]| url = http://news.bbc.co.uk/2/hi/entertainment/5282780.stm| accessdate = 2007-01-10 }}</ref> Two decades later, '' |
Though less commercially successful than the rest of the Big Four, Slayer released one of the genre's definitive records: ''[[Reign in Blood]]'' (1986) was described by ''Kerrang!'' as the "heaviest album of all time."<ref name="Lostprophets scoop rock honours">{{cite web| title = Lostprophets scoop rock honours | publisher = [[BBC News]] | date = [[2006-08-25]]| url = http://news.bbc.co.uk/2/hi/entertainment/5282780.stm| accessdate = 2007-01-10 }}</ref> Two decades later, ''If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 Hammer'' named it the best album of the preceding twenty years.<ref name="Golden Gods Awards Winners">{{cite web| title = Golden Gods Awards Winners| publisher = [[If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 Hammer]]| date = [[2006-06-13]]| url = http://www.If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0hammer.co.uk/news/article/?id=44410| accessdate = 2007-01-10 }}</ref> Slayer attracted a following among far-right skinheads, and accusations of promoting violence and Nazi themes have dogged the band.<ref>Moynihan, Søderlind (1998), p. 30; O'Neil (2001), p. 164</ref> In the early 1990s, thrash achieved breakout success, challenging and redefining the If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 mainstream.<ref>Walser (1993), p. 15</ref> If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lica's [[If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lica (album)|self-titled 1991 album]] topped the ''Billboard'' chart, Megadeth's ''[[Countdown to Extinction]]'' (1992) hit number 2, Anthrax and Slayer cracked the top 10, and albums by regional bands such as Testament and Sepultura entered the top 100. |
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===== Death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 ===== |
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===== Death metal ===== |
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:''For more details on this topic, see [[Death |
:''For more details on this topic, see [[Death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]]'' |
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[[Image:Aleister Crowley.jpg|thumb|100px|left|[[Aleister Crowley]] was an inspiration to Jimmy Page, as well as many death and black |
[[Image:Aleister Crowley.jpg|thumb|100px|left|[[Aleister Crowley]] was an inspiration to Jimmy Page, as well as many death and black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands.<ref>Moynihan, Søderlind (1998), pp. 2–5</ref>]] |
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Thrash soon began to evolve and split into more extreme |
Thrash soon began to evolve and split into more extreme If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 genres. According to Allmusic, Slayer's ''Reign in Blood'' "almost single-handedly inspired the entire death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 genre (at least on the American side of the Atlantic)."<ref>Huey, Steve. "[http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:39fwxqu5ldje~T1 ''Reign in Blood'' – Review]." Allmusic.com. Retrieved [[April 8]], [[2007]].</ref> The NWOBHM band Venom was also an important progenitor. The death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 movement in both North America and Europe adopted and emphasized the elements of blasphemy and diabolism employed by such acts. The term is thought to have originated with the song "Death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0," from ''[[Seven Churches]]'' (1985), the debut album by Bay Area band [[Possessed (band)|Possessed]]. Death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 utilized the speed and aggression of both thrash and hardcore, fused with lyrics preoccupied with [[Z movie|Z-grade]] [[slasher film|slasher movie]] violence and [[Satanism]].<ref name="LOC27">Moynihan, Søderlind (1998), p. 27</ref> Death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 vocals are typically bleak, involving guttural "[[death grunt]]s," high-pitched screaming, and other uncommon techniques.<ref name="Genre - Death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0/Black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0">"[http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:384 Genre - Death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0/Black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]". [[All Music Guide]]. Retrieved on [[February 27]], [[2007]].</ref> Complimenting the deep, aggressive vocal style are downtuned, highly [[distortion (guitar)|distorted]] guitars<ref name="LOC27"/> and extremely fast percussion, often with rapid [[bass drum|double bass]] drumming, [[blast beats]], and syncopation. Frequent tempo and time signature changes are typical. |
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{{listen|filename=Obituary Suffocation.ogg|title=Suffocation |description="Suffocation"" by [[Obituary (band)|Obituary]] from the album ''[[Slowly We Rot]]'' (1989).| format=[[Ogg]]}}{{sample box end}} |
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Death |
Death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, like thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, generally rejected the theatrics of earlier If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 styles, opting instead for an everyday look of ripped jeans and plain leather jackets.<ref name="MS28">Moynihan, Søderlind (1998), p. 28</ref> One major exception to this rule was [[Deicide (band)|Deicide]]'s [[Glen Benton]], who branded an inverted cross on his forehead and wore armor on stage. [[Morbid Angel]] adopted [[neo-fascist]] imagery.<ref name="MS28"/> These two bands, along with [[Death]] and [[Obituary (band)|Obituary]], were leaders of the major death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 scene that emerged in Florida in the mid-1980s. In the UK, the related style of [[grindcore]], led by bands such as [[Napalm Death]] and [[Extreme Noise Terror]], emerged out of the [[anarcho-punk]] movement.<ref>Moynihan, Søderlind (1998), p. 27</ref> A large [[Scandinavian death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] scene, with bands such as Sweden's [[Entombed (band)|Entombed]] and [[Dismember (band)|Dismember]], began to develop as well. Out of this evolved a [[melodic death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] sound, typified by Swedish bands such as [[In Flames]] and [[Dark Tranquillity]] and Finland's [[Kalmah]] and [[Norther]]. By the 1990s, American [[technical death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] bands such as [[Atheist (band)|Atheist]] and [[Cynic (band)|Cynic]] were showcasing astonishing levels of guitar speed and technicality. |
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===== Black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 ===== |
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===== Black metal ===== |
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:''For more details on this topic, see [[Black |
:''For more details on this topic, see [[Black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]]'' |
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[[Image:Burzum aske.jpg|thumb|left|130px|Photo of the burned ruins of [[Fantoft stave church]] depicted on [[Burzum]]'s 1992 EP ''[[Aske (album)|Aske]]''.]] |
[[Image:Burzum aske.jpg|thumb|left|130px|Photo of the burned ruins of [[Fantoft stave church]] depicted on [[Burzum]]'s 1992 EP ''[[Aske (album)|Aske]]''.]] |
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The first wave of black |
The first wave of black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 emerged in Europe in the early and mid-1980s, led by Britain's Venom, Switzerland's [[Hellhammer]] and [[Celtic Frost]], and Sweden's [[Bathory (band)|Bathory]]. By the late 1980s, Norwegian bands such as [[Mayhem (band)|Mayhem]], [[Burzum]], and [[Emperor (band)|Emperor]] were heading a second wave.<ref>Christe (2003), p. 270</ref> Black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 varies considerably in style and production quality, although most bands emphasize shrieked and growled vocals, highly distorted guitars, and a "dark" atmosphere.<ref name="Genre - Death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0/Black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0"/> [[Darkthrone]] drummer [[Fenriz]] explains, "It had something to do with production, lyrics, the way they dressed and a commitment to making ugly, raw, grim stuff. There wasn't a generic sound."<ref name="Campion">Campion, Chris. "[http://observer.guardian.co.uk/omm/story/0,,1415240,00.html#article_continue In the face of death]". ''The Observer'' (UK), [[February 20]], [[2005]]. Retrieved on [[4 April]], [[2007]].</ref> Satanic themes are common in black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, though many bands take inspiration from ancient [[paganism]], promoting a return to pre-Christian values.<ref>Moynihan, Søderlind (1998), p. 212</ref> By 1990, Mayhem was regularly wearing [[corpsepaint]]; many other black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 acts also adopted the look. |
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{{listen|filename=Mayhem De Mysteriis Dom Sathanas.ogg|title=De Mysteriis Dom Sathanas|description="De Mysteriis Dom Sathanas" by [[Mayhem (band)|Mayhem]] (1994). | format=[[Ogg]]}}{{sample box end}} |
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Even as Bathory inspired the [[Viking |
Even as Bathory inspired the [[Viking If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] and [[folk If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] movements and [[Immortal (band)|Immortal]] brought blast beats to the fore, other bands in the Scandinavian black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 scene became associated with considerable violence in the early 1990s.<ref>Christe (2003), p. 276</ref> Mayhem and Burzum soon became mired in accusations of church burning and Satanism. Growing commercial hype around death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 generated a backlash; beginning in Norway, much of the Scandanavian If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 underground shifted to support a black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 scene that resisted co-option and dilution.<ref>Moynihan, Søderlind (1998), pp. 31–32</ref> According to [[Gorgoroth (band)|Gorgoroth]] vocalist [[Gaahl]], "Black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 was never meant to reach an audience.... [We] had a common enemy which was, of course, Christianity, socialism and everything that democracy stands for."<ref name="Campion"/> |
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By 1992, black |
By 1992, black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 scenes had begun to emerge in areas outside Scandinavia, including Germany, France, and Poland.<ref>Moynihan, Søderlind (1998), pp. 271, 321, 326</ref> The 1993 murder of Mayhem's [[Euronymous]] by Burzum's [[Varg Vikernes]] provoked intensive media coverage.<ref name="Campion"/> Around 1996, when many in the scene felt the genre was stagnating,<ref>Vikernes, Varg. "[http://www.burzum.org/eng/library/a_burzum_story06.shtml A Burzum Story: Part VI - The Music]". Burzum.org, July 2005; "[http://www.anus.com/If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0/about/If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0/black_If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0_death.html Is Black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 Dead?]". ''Dark Legions Archive''. Both retrieved on [[April 4]], [[2007]].</ref> several key bands, including Burzum and Finland's [[Beherit (band)|Beherit]], moved toward an [[dark ambient|ambient]] style, while [[symphonic black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] was explored by Sweden's [[Tiamat (band)|Tiamat]] and Switzerland's [[Samael (band)|Samael]].<ref>[http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:11957 Genre – Symphonic Black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]. Allmusic.com. Retrieved [[April 9]], [[2007]].</ref> In the late 1990s and early 2000s, Norway's [[Dimmu Borgir]] brought black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 closer to the mainstream,<ref>Tepedelen, Adam. [http://www.rollingstone.com/artists/dimmuborgir/articles/story/5935933/dimmu_borgirs_death_cult "Dimmu Borgir's 'Death Cult'"]. ''Rolling Stone'', [[November 7]], [[2003]]. Retrieved on [[September 10]], [[2007]].</ref> as did [[Cradle of Filth]], claimed by some as England's most successful If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 band since Iron Maiden.<ref>Bennett, J. [http://www.decibelmagazine.com/features/jun2007/dimmuborgir.aspx "Dimmu Borgir"]. ''Decibel'', June 2007. Retrieved on [[September 10]], [[2007]].</ref> Critically lauded contemporary acts include Sweden's traditionalist [[Watain]],<ref>Begrand, Adrien. [http://www.popmatters.com/pm/music/reviews/42007/watain-sworn-to-the-dark/ "Watain: ''Sworn to the Dark''"]. ''PopMatters'', [[June 19]], [[2007]]; Harris, Chris, and Jon Wiederhorn. [http://www.mtv.com/news/articles/1550858/20070125/shadows_fall.jhtml "If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 File: Watain, Shadows Fall, Furze & More News That Rules"]. MTV.com, [[January 26]], [[2007]]. Both retrieved on [[September 10]], [[2007]].</ref> France's more experimental [[Deathspell Omega]],<ref>Freeman, Phil. [http://www.villagevoice.com/music/0736,freeman,77696,22.html "Deathspell Omega's ''Fas—Ite, Maledicti, In Ignem Aeternum''"]. ''Village Voice'', [[September 4]], [[2007]]; Jurek, Thom. [http://wm05.allmusic.com/cg/amg.dll?p=amg&sql=10:fnfixzt5ldde "Deathspell Omega: ''Fas—Ite, Maledicti, In Ignem Aeternum''"]. ''All Music Guide''. Both retrieved on [[September 10]], [[2007]]</ref> and America's one-man [[Xasthur]].<ref>Stosuy, Brandon. [http://www.pitchforkmedia.com/article/record_review/38838-subliminal-genocide "Xasthur: ''Subliminal Genocide''"]. ''Pitchfork'', [[October 10]], [[2006]]; Rivadavia, Eduardo. [http://wm05.allmusic.com/cg/amg.dll?p=amg&sql=10:acfwxqedldae "Xasthur: ''Subliminal Genocide''"]. ''All Music Guide''. Both retrieved on [[September 10]], [[2007]]</ref> |
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===== Power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 ===== |
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===== Power metal ===== |
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:''For more details on this topic, see [[Power |
:''For more details on this topic, see [[Power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]]'' |
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[[Image:Hammerfall group.jpg|left|thumb|160px|[[HammerFall]], live in Milano, Italy, 2005.]] |
[[Image:Hammerfall group.jpg|left|thumb|160px|[[HammerFall]], live in Milano, Italy, 2005.]] |
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During the early 1990s, the power |
During the early 1990s, the power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 scene came together largely in reaction to the harshness of death and black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0.<ref name="Genre - Power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0">"[http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:11959 Genre - Power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]". [[All Music Guide]]. Retrieved on [[March 20]], [[2007]].</ref> Though a relatively underground style in North America, it enjoys wide popularity in Europe. Power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 focuses on upbeat, epic melodies and themes that "appeal to the listener's sense of valor and loveliness."<ref>Christe (2003), p. 372</ref> The prototype for the sound was established in the mid- to late 1980s by Germany's [[Helloween]], which combined the power riffs, melodic approach, and high-pitched, "clean" singing style of bands like Judas Priest and Iron Maiden with thrash's speed and energy, "crystalliz[ing] the sonic ingredients of what is now known as power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0."<ref>"[http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:difuxqe5ld0e~T1 Helloween - Biography]". [[All Music Guide]]. Retrieved on [[April 8]], [[2007]].</ref> New York's [[Manowar (band)|Manowar]] and [[Virgin Steele]] were pioneering American bands. [[Yngwie J. Malmsteen]]'s ''[[Rising Force]]'' (1984) was crucial in popularizing the ultrafast electric guitar style known as "[[shred guitar|shredding]]" as well as the merger of If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 with [[neo-classical If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0|classical music elements]], developments that have strongly influenced power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0. |
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Traditional power |
Traditional power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands like Sweden's [[HammerFall]] and England's [[DragonForce]] have a sound relatively close to classic heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0. Many power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands such as Florida's [[Kamelot]], Italy's [[Rhapsody of Fire]], and Russia's [[Catharsis (Russian band)|Catharsis]] feature a keyboard-based [[Symphonic If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0#Symphonic power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0|"symphonic" sound]], sometimes employing orchestras and opera singers. Power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 has built a strong fanbase in Japan and South America, where bands like Brazil's [[Angra (band)|Angra]] and Argentina's [[Rata Blanca]] are popular. |
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Closely related to power |
Closely related to power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 is [[progressive If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]], which adopts the complex compositional approach of bands like [[Rush (band)|Rush]] and [[King Crimson]]. This style emerged in the United States in the early and mid-1980s, with innovators such as [[Queensrÿche]], [[Fates Warning]], and [[Dream Theater]]. In 1990, Queensrÿche released the [[Music recording sales certification|triple-platinum]] ''[[Empire (album)|Empire]]''. The mix of the progressive and power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 sounds is typified by New Jersey's [[Symphony X]], whose guitarist [[Michael Romeo]] is among the most recognized of latter-day shredders.<ref name="Genre - Progressive If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0">"[http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:2952 Genre - Progressive If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]". [[All Music Guide]]. Retrieved on [[March 20]], [[2007]].</ref> |
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=====Doom and gothic |
=====Doom and gothic If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0===== |
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:''For more details on this topic, see [[Doom |
:''For more details on this topic, see [[Doom If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] and [[Gothic If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]]'' |
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[[Image:Sunn-2000-00Void.jpg|left|thumb|120px|''[[ØØ Void]]'' (2000), [[drone music|drone doom]] band [[Sunn O)))]]'s debut.]] Emerging in the mid-1980s with such bands as California's [[Saint Vitus (band)|Saint Vitus]], Maryland's [[The Obsessed]], Chicago's [[Trouble (band)|Trouble]], and Sweden's [[Candlemass]], the doom |
[[Image:Sunn-2000-00Void.jpg|left|thumb|120px|''[[ØØ Void]]'' (2000), [[drone music|drone doom]] band [[Sunn O)))]]'s debut.]] Emerging in the mid-1980s with such bands as California's [[Saint Vitus (band)|Saint Vitus]], Maryland's [[The Obsessed]], Chicago's [[Trouble (band)|Trouble]], and Sweden's [[Candlemass]], the doom If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 movement rejected other If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 styles' emphasis on speed, slowing its music to a crawl. Doom If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 traces its roots back to early Black Sabbath albums, and incorporates lyrical themes and musical approaches indebted to Sabbath<ref>Christe (2003), p. 345</ref> and Sabbath contemporaries such as [[Blue Cheer]], [[Pentagram (band)|Pentagram]], and [[Black Widow (band)|Black Widow]].<ref name="DoomM">"[http://www.doom-If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0.com/history.html The History of Doom If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]". doom-If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0.com. Retrieved on [[March 21]], [[2007]].</ref> [[The Melvins]] have also been a significant influence on doom If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 and a number of its subgenres.<ref>Begrand, Adrien. "[http://www.popmatters.com/columns/begrand/060215.shtml Blood and Thunder: The Profits of Doom]". [[February 15]], [[2006]]. PopMatters.com. Retrieved on [[April 8]], [[2007]].</ref> Doom emphasizes melody, melancholy tempos, and a sepulchral mood relative to many other varieties of If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0.<ref name="NYT1">Wray, John. "[http://www.nytimes.com/2006/05/28/magazine/28artIf it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0.html?ei=5090&en=68f0bcd99797d7a3&ex=1306468800&partner=rssuserland&emc=rss&pagewanted=all Heady If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]". ''New York Times'', [[May 28]], [[2006]]. Retrieved on [[March 21]], [[2007]].</ref> |
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The 1991 release of ''[[Forest of Equilibrium]]'', the debut album by UK band [[Cathedral (band)|Cathedral]], helped spark a new wave of doom |
The 1991 release of ''[[Forest of Equilibrium]]'', the debut album by UK band [[Cathedral (band)|Cathedral]], helped spark a new wave of doom If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0. During the same period, the doom-death fusion style of British bands [[Paradise Lost (band)|Paradise Lost]], [[My Dying Bride]], and [[Anathema (band)|Anathema]] gave rise to European gothic If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, with its signature dual-vocalist arrangements, exemplified by Norway's [[Theatre of Tragedy]] and [[Tristania (band)|Tristania]]. New York's [[Type O Negative]] introduced an American take on the style. Led by the Swedish band [[Therion (band)|Therion]]'s incorporation of classical elements, gothic If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 in turn spawned a [[symphonic If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] movement including Australia's [[Virgin Black]], Finland's [[Nightwish]], and the Netherlands' [[Within Temptation]] and [[After Forever]]. |
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In the United States, [[sludge |
In the United States, [[sludge If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]], mixing doom and hardcore, emerged in the late 1980s—[[Eyehategod]] and [[Crowbar (US band)|Crowbar]] were leaders in a major Louisiana sludge scene. Early in the next decade, California's [[Kyuss]] and [[Sleep (band)|Sleep]], inspired by the earlier doom If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands, spearheaded the rise of [[stoner If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]],<ref>Christe (2003), p. 347</ref> while Seattle's [[Earth (band)|Earth]] helped develop the [[drone music|drone If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] subgenre.<ref>Jackowiak, Jason. "[http://www.splendidezine.com/review.html?reviewid=1125311580560974 Hex: Or Printing in the Infernal Method]". Splendid Magazine, September, 2005. Retrieved on [[March 21]], [[2007]].</ref> The late 1990s saw the emergence of new bands such as the Los Angeles–based [[Goatsnake]], with a classic stoner/doom sound, and [[Sunn O)))]], which crosses lines between doom, drone, and [[dark ambient]] If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0—the ''New York Times'' has compared their sound to an "Indian raga in the middle of an earthquake".<ref name="NYT1"/> In 2006, Atlanta's [[Mastodon (band)|Mastodon]], whose equally hard-to-define style mixes progressive and sludge, broke into the ''Billboard'' top 40 with ''[[Blood Mountain (album)|Blood Mountain]]''. |
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=== The alternative era and nu |
=== The alternative era and nu If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 (1990s and 2000s) === |
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:''For more details on this topic, see [[Alternative |
:''For more details on this topic, see [[Alternative If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] and [[Nu If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]]'' |
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The era of |
The era of If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0's mainstream dominance in North America came to an end in the early 1990s with the emergence of [[Nirvana (band)|Nirvana]] and other [[Grunge music|grunge]] bands, signaling the popular breakthrough of [[alternative rock]].<ref>Christe (2003), pp. 304–6; Weinstein (1991), p. 278</ref> Grunge bands were influenced by the heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 sound, but rejected the excesses of the more popular If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands. Glam If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 fell out of favor thanks not only to the success of grunge,<ref>Christe (2003), p. 231</ref> but also because of the growing popularity of the more aggressive sound typified by If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lica and the post-thrash [[groove If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] of [[Pantera]].<ref>Birchmeier, Jason. "[http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:6qktk6rx9krw~T1 Pantera]". Allmusic.com. Retrieved on [[March 19]], [[2007]].</ref> A few new, unambiguously If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands had commercial success during the first half of the decade—Pantera's ''[[Far Beyond Driven]]'' topped the ''Billboard'' chart in 1994—but, "In the dull eyes of the mainstream, If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 was dead."<ref>Christe (2003), p. 305</ref> Some bands tried to adapt to the new musical landscape. If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lica revamped its image: the band members cut their hair and, in 1996, headlined the alternative musical festival [[Lollapalooza]] founded by Jane's Addiction singer [[Perry Farrell]]. While this prompted a backlash among some long-time fans,<ref>Christe (2003), p. 312</ref> If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lica remained one of the most successful bands in the world into the new century.<ref>Christe (2003), p. 322</ref> |
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[[Image:AliceinChainsDirt.jpg|left|thumb|160px|[[Alice in Chains]]' ''[[Dirt (album)|Dirt]]'' (1992) was one of the biggest-selling albums identified with alternative |
[[Image:AliceinChainsDirt.jpg|left|thumb|160px|[[Alice in Chains]]' ''[[Dirt (album)|Dirt]]'' (1992) was one of the biggest-selling albums identified with alternative If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0.]] |
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Like Jane's Addiction, many of the most popular early 1990s groups with roots in heavy |
Like Jane's Addiction, many of the most popular early 1990s groups with roots in heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 fall under the umbrella term "alternative If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0."<ref name="alternativeIf it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0">{{cite web|title=Genre - Alternative If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0|author=|publisher=''[[All Music Guide]]''|date=|url=http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:2697|accessdate=2007-03-26}}</ref> The label was applied to a wide spectrum of acts that fused If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 with different styles, not all associated with alternative rock. Acts labeled alternative If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 included the Seattle grunge scene's [[Alice in Chains]], the [[noise rock]]-infused [[White Zombie (band)|White Zombie]], and groups drawing on multiple styles: [[Faith No More]] combined their alternative rock sound with punk, [[funk]], If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, and [[hip hop music|hip-hop]]; [[Primus (band)|Primus]] joined elements of funk, punk, [[thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]], and [[experimental music]]. [[Tool (band)|Tool]] mixed If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 and [[progressive rock]]; [[Ministry (band)|Ministry]] began incorporating If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 into its [[industrial music|industrial sound]]; and [[Marilyn Manson (band)|Marilyn Manson]] went down a similar route, while also employing shock effects of the sort popularized by Alice Cooper. Alternative If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 artists, though they did not represent a cohesive scene, were united by their willingness to experiment with the If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 genre and their rejection of glam If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 aesthetics (with White Zombie's and Marilyn Manson's stagecraft representing significant, if partial, exceptions).<ref name="alternativeIf it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0" /> Alternative If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0's mix of styles and sounds represented "the colorful results of If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 opening up to face the outside world."<ref>Christe (2003), p. 224</ref> |
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In the mid- and late 1990s came a new wave of U.S. |
In the mid- and late 1990s came a new wave of U.S. If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 groups inspired by the alternative If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands and their mix of genres.<ref>Christe (2003), pp. 324–25</ref> Dubbed "nu If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0," bands such as [[P.O.D.]], [[Korn]], [[Papa Roach]], [[Limp Bizkit]], [[Slipknot (band)|Slipknot]], and [[Linkin Park]] incorporated elements ranging from hip-hop to death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, proving "pancultural If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 could pay off."<ref>Christe (2003), p. 329</ref> Nu If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 gained mainstream success through heavy [[MTV]] rotation and Ozzy Osbourne's 1996 introduction of [[Ozzfest]], which led the media to talk of a resurgence of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0.<ref>Christe (2003), p. 324</ref> That year, Korn released ''[[Life Is Peachy]]'', the first nu If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 album to reach the top 10; two years later, the band's ''[[Follow the Leader (Korn album)|Follow the Leader]]'' hit number 1. In 1999, ''Billboard'' noted that there were more than 500 specialty If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 radio shows in the U.S., nearly three times as many as ten years before.<ref>Christe (2003), p. 344</ref> While nu If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 was widely popular early in the 2000s, traditional If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 fans did not fully embrace the style.<ref>Christe (2003), p. 328</ref> By 2005, the nu If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 movement was waning, though P.O.D. and Korn, as well as some bands with related styles, such as [[System of a Down]], remained successful.<ref>{{cite web | last = D'angelo | first = Joe | title=Nu If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 Meltdown | publisher = MTV.com | date=2003 | url=http://www.mtv.com/bands/m/If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0_meltdown/news_feature_030124/index.jhtml | accessdate=2007-03-28}}</ref> |
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=== Recent trends (mid-2000s) === |
=== Recent trends (mid-2000s) === |
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[[ |
[[If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0core]], an originally American hybrid of thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, [[melodic death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]], and [[hardcore punk]], emerged as a commercial force in 2002–3. It is rooted in the [[crossover thrash]] style developed by bands such as [[Suicidal Tendencies]], [[Dirty Rotten Imbeciles]], and [[Stormtroopers of Death]] in the mid-1980s.<ref>Christe (2003), p. 184</ref> Through the 1990s, If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0core was mostly an underground phenomenon, but by 2004 it had become popular enough that [[Killswitch Engage]]'s ''[[The End of Heartache]]'' and [[Shadows Fall]]'s ''[[The War Within (album)|The War Within]]'' debuted at numbers 21 and 20, respectively, on the ''Billboard'' album chart.<ref>{{cite web|title=Killswitch Engage|author=|publisher=''[[Roadrunner Records]]''|date=|url=http://www.roadrunnerrecords.com/artists/KillswitchEngage/bio.aspx/|accessmonthday=March 17 | accessyear=2007}}</ref><ref>{{cite web|title=Shadows Fall|author=|publisher=''[[Atlantic Records]]''|date=|url=http://www.atlanticrecords.com/shadowsfall/about/|accessmonthday=March 17 | accessyear=2007}}</ref> [[Bullet for My Valentine]], from Wales, reached similar heights on the British album chart with ''[[The Poison]]'' (2005). [[Lamb of God (band)|Lamb of God]] broke into the ''Billboard'' top 10 with ''[[Sacrament (album)|Sacrament]]'' (2006). In recent years, If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0core bands have received prominent slots at Ozzfest and [[Download Festival]]. |
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In Europe, especially Germany and Scandinavia, |
In Europe, especially Germany and Scandinavia, If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 continues to be broadly popular. Acts such as the thrash shredding group [[The Haunted]], melodic death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 band [[In Flames]], and power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 group [[HammerFall]] have been very successful in recent years. In English-speaking countries, the term "retro-If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0" was applied in the early and mid-2000s to such bands as England's [[The Darkness]]<ref name="DAMG">[http://www.allmusic.com/cg/amg.dll?p=amg&token=&sql=10:dcfpxqwald0e The Darkness]. ''All Music Guide''. Retrieved on [[June 11]], [[2007]].</ref> and Australia's [[Wolfmother]].<ref name="WRS">[http://www.rollingstone.com/artists/wolfmother Wolfmother]. ''RollingStone'', [[April 18]], [[2006]]. Retrieved on [[March 31]], [[2007]].</ref> The Darkness's ''[[Permission to Land]]'' (2003), described as an "eerily realistic simulation of '80s If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 and '70s glam,"<ref name="DAMG"/> topped the UK charts, going quintuple platinum. Wolfmother's [[Wolfmother (album)|self-titled 2005 debut album]], with "Deep Purple-ish organs," "Jimmy Page-worthy chordal riffing," and lead singer [[Andrew Stockdale]] howling "notes that Robert Plant can't reach anymore,"<ref name="WRS"/> also sold well and was widely praised by critics. |
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==See also== |
==See also== |
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*[[Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 fashion]] |
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*[[Heavy metal fashion]] |
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*[[Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 umlaut]] |
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*[[Heavy metal umlaut]] |
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*[[List of heavy |
*[[List of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands]] |
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*[[List of heavy |
*[[List of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 genres]] |
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*[[Timeline of heavy |
*[[Timeline of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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==Sources== |
==Sources== |
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*Carson, Annette (2001). ''Jeff Beck: Crazy Fingers''. Backbeat Books. ISBN 0-87930-632-7 |
*Carson, Annette (2001). ''Jeff Beck: Crazy Fingers''. Backbeat Books. ISBN 0-87930-632-7 |
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*Charlton, Katherine (2003). ''Rock Music Styles: A History''. McGraw Hill. ISBN 0-07-249555-3 |
*Charlton, Katherine (2003). ''Rock Music Styles: A History''. McGraw Hill. ISBN 0-07-249555-3 |
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*[[Ian Christe|Christe, Ian]] (2003). ''Sound of the Beast: The Complete Headbanging History of Heavy |
*[[Ian Christe|Christe, Ian]] (2003). ''Sound of the Beast: The Complete Headbanging History of Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0''. HarperCollins. ISBN 0-380-81127-8 |
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*[[Robert Christgau|Christgau, Robert]] (1981). "''[[Master of Reality]]'' (1971) [review]," in ''Christgau's Record Guide''. Ticknor & Fields. ISBN 0-89919-026-X |
*[[Robert Christgau|Christgau, Robert]] (1981). "''[[Master of Reality]]'' (1971) [review]," in ''Christgau's Record Guide''. Ticknor & Fields. ISBN 0-89919-026-X |
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*Cook, Nicholas, and Nicola Dibben (2001). "Musicological Approaches to Emotion," in ''Music and Emotion''. Oxford University Press. ISBN 0-1926-3188-8 |
*Cook, Nicholas, and Nicola Dibben (2001). "Musicological Approaches to Emotion," in ''Music and Emotion''. Oxford University Press. ISBN 0-1926-3188-8 |
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*[[Stanley Sadie|Sadie, Stanley]] (1980). "Consecutive Fifth, Consecutive Octaves," in ''[[The New Grove Dictionary of Music and Musicians]]'' (1st ed.). MacMillan. ISBN 0-333-23111-2 |
*[[Stanley Sadie|Sadie, Stanley]] (1980). "Consecutive Fifth, Consecutive Octaves," in ''[[The New Grove Dictionary of Music and Musicians]]'' (1st ed.). MacMillan. ISBN 0-333-23111-2 |
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*Schonbrun, Marc (2006). ''The Everything Guitar Chords Book''. Adams Media. ISBN 1-59337-529-8 |
*Schonbrun, Marc (2006). ''The Everything Guitar Chords Book''. Adams Media. ISBN 1-59337-529-8 |
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*[[Robert Walser (musicologist)|Walser, Robert]] (1993). ''Running with the Devil: Power, Gender, and Madness in Heavy |
*[[Robert Walser (musicologist)|Walser, Robert]] (1993). ''Running with the Devil: Power, Gender, and Madness in Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 Music''. Wesleyan University Press. ISBN 0-8195-6260-2 |
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*Weinstein, Deena (1991). ''Heavy |
*Weinstein, Deena (1991). ''Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0: A Cultural Sociology''. Lexington. ISBN 0-669-21837-5. Revised edition: (2000). ''Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0: The Music and its Culture''. Da Capo. ISBN 0-306-80970-2 |
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*Wilkerson, Mark Ian (2006). ''Amazing Journey: The Life of Pete Townshend'' (Louisville: Bad News Press). ISBN 1-4116-7700-5 |
*Wilkerson, Mark Ian (2006). ''Amazing Journey: The Life of Pete Townshend'' (Louisville: Bad News Press). ISBN 1-4116-7700-5 |
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==External links== |
==External links== |
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*[http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:655 All Music Guide] entry for heavy |
*[http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:655 All Music Guide] entry for heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0. |
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{{commonscat| |
{{commonscat|If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 (Music)}} |
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{{rock}} |
{{rock}} |
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{{featured article}} |
{{featured article}} |
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{{DEFAULTSORT:Heavy |
{{DEFAULTSORT:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 music}} |
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[[Category:Heavy |
[[Category:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0| ]] |
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[[Category:Music genres]] |
[[Category:Music genres]] |
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[[als:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[als:Heavy Metal]] |
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[[ar:هيفي ميتال]] |
[[ar:هيفي ميتال]] |
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[[bs:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[bs:Heavy metal]] |
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[[bg:Метъл]] |
[[bg:Метъл]] |
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[[ca:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[ca:Heavy Metal]] |
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[[cs:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[cs:Heavy metal]] |
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[[da:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[da:Heavy metal]] |
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[[de:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[de:Heavy Metal]] |
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[[et:If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[et:Metal]] |
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[[es:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[es:Heavy metal]] |
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[[eo:If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0roko]] |
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[[eo:Metalroko]] |
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[[eu:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[eu:Heavy metal]] |
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[[fa:موسیقی هوی متال]] |
[[fa:موسیقی هوی متال]] |
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[[fr:Heavy |
[[fr:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 (musique)]] |
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[[gl:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[gl:Heavy Metal]] |
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[[ko:헤비 메탈]] |
[[ko:헤비 메탈]] |
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[[hr:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[hr:Heavy metal]] |
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[[io:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[io:Heavy metal]] |
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[[id:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[id:Heavy metal]] |
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[[it:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[it:Heavy metal]] |
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[[he:הבי מטאל]] |
[[he:הבי מטאל]] |
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[[la:If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lum (musica)]] |
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[[la:Metallum (musica)]] |
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[[lv:Smagais metāls (mūzikas žanrs)]] |
[[lv:Smagais metāls (mūzikas žanrs)]] |
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[[lt:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[lt:Heavy metal]] |
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[[hu:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[hu:Heavy metal]] |
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[[mk:Хеви метал музика]] |
[[mk:Хеви метал музика]] |
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[[nl:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[nl:Heavy metal]] |
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[[ja:ヘヴィメタル]] |
[[ja:ヘヴィメタル]] |
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[[no:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[no:Heavy metal]] |
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[[nn:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[nn:Heavy metal]] |
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[[oc:If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 (musica)]] |
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[[oc:Metal (musica)]] |
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[[uz:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[uz:Heavy metal]] |
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[[pl:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[pl:Heavy metal]] |
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[[pt:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[pt:Heavy metal]] |
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[[ro:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[ro:Heavy metal]] |
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[[qu:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[qu:Heavy metal]] |
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[[ru:Хеви-метал]] |
[[ru:Хеви-метал]] |
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[[simple:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[simple:Heavy metal]] |
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[[sk:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[sk:Heavy metal]] |
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[[sl:If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[sl:Metal]] |
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[[sr:Хеви метал]] |
[[sr:Хеви метал]] |
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[[sh:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[sh:Heavy metal]] |
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[[fi:If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0limusiikki]] |
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[[fi:Metallimusiikki]] |
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[[sv:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[sv:Heavy metal]] |
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[[th:เฮฟวีเมทัล]] |
[[th:เฮฟวีเมทัล]] |
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[[tr:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
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[[tr:Heavy Metal]] |
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[[uk:Важкий метал (музика)]] |
[[uk:Важкий метал (музика)]] |
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[[vls:If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 (muzik)]] |
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[[vls:Metal (muzik)]] |
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[[zh:重金属音乐]] |
[[zh:重金属音乐]] |
Revision as of 12:44, 12 October 2007
Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 | |
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Stylistic origins | Psychedelic rock Blues-rock Hard rock |
Cultural origins | Late 1960s United Kingdom and United States |
Typical instruments | Electric guitar - Bass - Drums - Keyboards (occasional) |
Subgenres | |
[[Avant-garde If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Classic If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Dark If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Doom If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Glam If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Gothic If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Groove If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[New Wave of British Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0|NWOBHM]] - [[Neo-classical If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Post-If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Progressive If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Speed If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - Stoner If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 - [[Symphonic If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Viking If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] | |
Fusion genres | |
[[Alternative If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Christian If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Folk If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Funk If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - Grindcore - [[Industrial If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0core]] - [[Nu If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - [[Punk If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] - Rapcore | |
Regional scenes | |
[[Gothenburg If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0|Gothenburg]] - [[Bay Area thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0|Bay Area]] | |
Other topics | |
[[Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 fashion|Fashion]] - [[Timeline of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0|History]] - [[List of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands|Bands]] - [[Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 umlaut|Umlaut]] - Blast beat - [[List of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 genres|Subgenres]] - [[Extreme If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] |
Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 (sometimes referred to simply as If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0) is a genre of rock music[1] that developed in the late 1960s and early 1970s.[2] With roots in blues-rock and psychedelic rock, the bands that created heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 developed a thick, heavy, guitar-and-drums-centered sound, characterized by highly amplified distortion and fast guitar solos. The All Music Guide states that "of all rock & roll's myriad forms, heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 is the most extreme in terms of volume, machismo, and theatricality."[3]
Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 has long had a worldwide following of fans known as "[[If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0head]]s" or "headbangers". Although early heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands such as Black Sabbath and Deep Purple attracted large audiences, they were often critically reviled at the time, a status common throughout the history of the genre. In the mid-1970s, Judas Priest helped spur the genre's evolution by discarding much of its blues influence; the [[New Wave of British Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] followed in a similar vein, fusing the music with a punk rock sensibility and an increasing emphasis on speed.
Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 became broadly popular during the 1980s, when many now-widespread subgenres first evolved. Variations more aggressive and extreme than If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 music of the past were mostly restricted to an underground audience; others, including [[glam If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] and, to a lesser extent, [[thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] went on to mainstream commercial success. In recent years, styles such as [[nu If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] have further expanded the definition of the genre.
Characteristics
Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 is traditionally characterized by loud distorted guitars, emphatic rhythms, dense bass-and-drum sound, and vigorous vocals. If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 subgenres variously emphasize, alter, or omit one or more of these tropes. The typical band lineup includes a drummer, a bassist, a rhythm guitarist, a lead guitarist, and a singer, who may or may not be an instrumentalist. Acoustic keyboards were popular with early If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands—especially the organ and occasionally the mellotron—but they are now uncommon. Electronic keyboards are often featured today by bands in a variety of styles, including [[progressive If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]], [[power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]], and [[symphonic If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]].
The electric guitar and the sonic power that it projects through amplification is historically the key element in heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0.[4] Guitars are often played with distortion pedals through heavily overdriven tube amplifiers to create a thick, powerful, "heavy'" sound. In the early 1970s, some popular If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 groups began cofeaturing two guitarists. Leading bands such as Judas Priest and Iron Maiden followed this pattern of having two or three guitarists share the roles of both lead and rhythm guitar. A central element of much heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 is the guitar solo, a form of cadenza. As the genre developed, more intricate solos and riffs became an integral part of the style. Guitarists use sweep-picking, tapping, and other advanced techniques for rapid playing, and many subgenres emphasize virtuosic displays.
The lead role of the guitar in heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 often collides with the traditional "frontman" or bandleader role of the vocalist, creating a musical tension. If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 vocals vary widely in style, from the multioctave, theatrical manner of Judas Priest's Rob Halford and Iron Maiden's Bruce Dickinson, to the intentionally gruff approach of Motörhead's Lemmy and [[If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lica]]'s James Hetfield, to the straight-out screaming and growling of Lamb of God's Randy Blythe and At the Gates' Tomas Lindberg, to the phlegm-clogged, possessed style of black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 singers such as Mayhem's Dead. The bass guitar plays an important role in most If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands, providing the low-end sound crucial to making the music "heavy."[5] In addition, the bass is often distorted and modified by a variety of effects pedals. If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bassists frequently use picks instead of their fingers to get a stronger articulation. The drum setup is generally much larger than with other forms of rock music.[6] Aside from the standard toms, bass drum, snare, and hi-hat, ride, and crash cymbals, there is often a double bass drum, additional toms and cymbals (e.g., "splash" cymbals), and other instruments such as a cowbell.
In terms of live sound, volume is considered vital.[7] Following the lead set by Jimi Hendrix and The Who—which once held the distinction of "World's Loudest Band" in the Guinness Book Of World Records—early heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands set new benchmarks for volume. Dick Peterson of Blue Cheer says, "We had a place in forming that heavy-If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 sound. Although I'm not saying we knew what we were doing, 'cause we didn't. All we knew was we wanted more power."[8] Tony Iommi, guitarist for the pioneering Black Sabbath, is among the numerous heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 musicians to suffer substantial hearing loss due to the volume of their live performances. Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0's volume fixation was mocked in the rockumentary spoof This Is Spinal Tap in which guitarist "Nigel Tufnel" reveals that his Marshall amplifiers have been modified to "go to eleven."
Musical language
Rhythm and groove
The heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 main groove is characterized by short, two-note or three-note rhythmic figures—generally made up of 8th or 16th notes—in staccato thanks to palm-muted technique on the rhythm guitar.[9] Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 thus often involves the use of dynamic and off-handed rhythmic patterns thanks to the adjunction of brief, abrupt rhythmic cells. However, heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 may also employ long rhythmic figures such as the whole note that let the chords ring, particularly in slow-tempo songs such as ballads, or to add ambience and texture with one guitarist letting a chord ring while another plays faster passages.
Chords
One of the signatures of the genre is the guitar power chord.[10] In technical terms, the power chord is relatively simple: it involves just one main interval, generally the perfect fifth, though an octave may be added as a doubling of the root. Other types of power chords are also used: often the traditional perfect fifth is replaced by a different interval such as the fourth, the minor third/-major third, the diminished fifth, and the minor sixth.[11] The power chord makes possible a high level of distortion without unintended dissonance. Various power chords can also be played with a consistent finger arrangement that slides easily up and down the fretboard.[12]
Typical harmonic relationships
Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 is usually riff-based. Riffs are frequently created with three main harmonic traits: modal scales progressions, tritone and chromatic progressions, and the use of pedal point.
Modal harmony
Traditional heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 tends to employ modal scales, in particular the Aeolian and Phrygian modes.[13] Harmonically speaking, this means the genre typically incorporates modal chord progressions such as aeolian progression like I-VI-VII, I-VII-(VI) or I-VI-IV-VII and phrygian progressions implying the relation between I and ♭II (I-♭II-I, I-♭II-III or I-♭II-VII for example).
Examples of aeolian harmony include Judas Priest's "Breaking the Law", Iron Maiden's "Hallowed Be Thy Name", and Accept's "Princess of the Dawn", each employing a I-VI-VII progression as its main riff.
Examples of phrygian harmony include, Mercyful Fate's "Gypsy" (main riff I-♭II-I-VI-V), Megadeth's "Symphony of Destruction" (main riff built on the ♭II-I relation) and Sodom's "Remember the Fallen" (Introduction + main riff - the riff closing implies a phrygian cadence: I-♭II-III)
Tritone and chromatism
A trademark of many heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 subgenres is the use of tense harmony, such as chromatic or tritone relationships.[14][15] The tritone, an interval spanning three whole tones—such as C and F#—is one of the fundamental expressions of dissonance in Western music. The tritone was banned from medieval ecclesiastical singing because of its dissonant quality, which led monks to call it diabolus in musica—"the devil in music."[16] Because of that original symbolic association, it came to be heard in Western cultural convention as “evil.” Today the interval continues to suggest an "oppressive," "scary," or "evil" sound. Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 has made extensive use of diabolus in musica because of these connotative qualities; it is frequently used in guitar solos and riffs, for example at the beginning of "Black Sabbath," the lead song on the band's debut album.
Pedal point
Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 often makes extensive use of pedal point as a harmonic basis. A pedal point is a sustained tone, typically in the bass range, during which at least one foreign (i.e., dissonant) harmony is sounded in the other parts.[17] Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 riffs are frequently constructed over a persistent repeating note played on the low strings of the bass or rhythmic guitar, most usually on the E, A, and D strings.[18] In other words, a single bass note—most frequently low E or A—is persistently repeated while some different chords are successively played, including chords that don't normally incorporate that bass note. An example is the opening riff of Judas Priest's "You've Got Another Thing Comin'." In this case, one guitar plays the pedal point in F#, while the second guitar plays the chords.
Classical influence
The appropriation of "classical" music by heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 typically involves musical elements associated with Baroque, Romantic, and Modernist composers such as Johann Sebastian Bach, Niccolò Paganini, Richard Wagner, Ludwig van Beethoven, Béla Bartók, and Igor Stravinsky. The tritone, for instance, was already exploited for its dark, anguished connotations by Romantics like Franz Liszt and 20th century classical composers such as Bartók, Stravinsky, and Arnold Schoenberg. Deep Purple/Rainbow guitarist Ritchie Blackmore began experimenting with musical figurations borrowed from classical music in the early 1970s. In the 1980s, guitarists Randy Rhoads and Uli Jon Roth looked to the early 18th century for models of speed and technique. Yngwie Malmsteen, drawing from similar roots, has inspired myriad neoclassical If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 players including Michael Romeo, Michael Angelo Batio, and Tony MacAlpine.
Despite the fact that many If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 musicians have cited classical composers as inspiration, heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 is hardly the modern descendant of classical music.[19] As many critics and analysts have observed, heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 musicians focus on and borrow only superficial aspects of classical music, such as motifs, melodies, and scales. Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands, including progressive and neoclassical If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands, generally do not try to observe the basic compositional and aesthetical exigencies of classical music. Classical music is erudite music, whereas heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 is popular music.[20] Players who cite Bach as an influence, for example, seldom make use of the complex counterpoint that is central to the composer's work. Moreover, the extensive use of power chords in heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, implying countless consecutive fifths and octaves, violates rules of harmony at the heart of the classical aesthetic.[21]
Themes
Common themes in heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 lyrics are sex, violence, fantasy, and the occult. The sexual nature of many heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 lyrics, ranging from Black Sabbath to those of latter-day nu If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands, derives from the genre's roots in blues music.[22] Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 songs often feature outlandish, fantasy-inspired lyrics, lending them an escapist quality. Iron Maiden's songs, for instance, were frequently inspired by mythology, fiction, and poetry, such as "Rime of the Ancient Mariner," based on the Samuel Taylor Coleridge poem. Other examples include Black Sabbath's "The Wizard," Megadeth's "The Conjuring" and "Five Magics," and Judas Priest's "Dreamer Deceiver." Other artists base their lyrics on war, nuclear annihilation, environmental issues, and politics or religion. Examples include Black Sabbath's "War Pigs," Ozzy Osbourne's "Killer of Giants," If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lica's ...And Justice for All, Iron Maiden's "2 Minutes to Midnight," Accept's "Balls to the Wall," and Megadeth's "Peace Sells." Death is a predominant theme in heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, routinely featuring in the lyrics of such different bands as Black Sabbath, Slayer, and W.A.S.P.
As with much popular music, visual imagery plays a large role in heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0. A heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 band's "image" is associated with the thematic content of their lyrics, and is expressed in album sleeve art, stage sets, the clothes of the band, and even band logos, as well as the sound of the music.[23]
The thematic content of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 has long been a target of criticism. Music critics have often deemed If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 lyrics and imagery banal, and others have objected to what they see as advocacy of misogyny and the occult. During the 1980s, the Parents Music Resource Center petitioned the U.S. Congress to regulate the popular music industry due to objectionable lyrics, particularly those in heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 songs.
Physical gestures
Certain body movements are widely performed at heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 concerts, including headbanging, moshing, and various hand gestures such as the infamous devil horns, popularized by vocalist Ronnie James Dio while with Black Sabbath and Dio.[15] Gene Simmons of Kiss claims to have been the first to make the gesture in concert.[24] Stage diving, air guitar, and crowd surfing are also practiced.
Origin of the term heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0
The origin of the term heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 in a musical context is uncertain. The phrase has been used for centuries in chemistry and If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lurgy, as shown by citations in the Oxford English Dictionary. An early use of the term in modern popular culture was by countercultural writer William S. Burroughs. His 1962 novel The Soft Machine includes a character known as "Uranian Willy, the Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 Kid." Burroughs's next novel, Nova Express (1964), develops the theme, using heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 as a metaphor for addictive drugs: "With their diseases and orgasm drugs and their sexless parasite life forms—Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 People of Uranus wrapped in cool blue mist of vaporized bank notes—And The Insect People of Minraud with If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 music."[25]
If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 historian Ian Christe describes what the components of the term mean in "hippiespeak": "heavy" is roughly synonymous with "potent" or "profound," and "If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0" designates a certain type of mood, grinding and weighted as with If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0.[26] The word "heavy" in this sense was a basic element of beatnik and later countercultural slang, and references to "heavy music"—typically slower, more amplified variations of standard pop fare—were already common by the mid-1960s. Iron Butterfly's debut album, released in early 1968, was titled Heavy. The first recorded use of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 in a song lyric is in Steppenwolf's "Born to Be Wild," also released that year:[27] "I like smoke and lightning/Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 thunder/Racin' with the wind/And the feelin' that I'm under." A late, and disputed, claim about the source of the term was made by "Chas" Chandler, former manager of the Jimi Hendrix Experience. In a 1995 interview on the PBS program Rock and Roll, he asserted that heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 "was a term originated in a New York Times article reviewing a Jimi Hendrix performance," in which the author likened the event to "listening to heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 falling from the sky." A source for Chandler's claim has never been found.
The first documented use of the term to describe a musical style is in a May 1971 Creem review by Mike Saunders of Sir Lord Baltimore's Kingdom Come: "Sir Lord Baltimore seems to have down pat most all the best heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 tricks in the book."[28] Creem critic Lester Bangs is credited with popularizing the term via his early 1970s essays on bands such as Deep Purple and Black Sabbath.[29] "Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0" may have initially been used as a jibe by a number of music critics, but it was quickly adopted by fans of the style.
The terms "heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0" and "hard rock" have often been used interchangeably, particularly in discussing bands of the 1970s, a period when the terms were largely synonymous.[30] For example, according to an entry in the 1983 Rolling Stone encyclopedia, "known for its aggressive blues-based hard-rock style, Aerosmith was the top American heavy-If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 band of the mid-Seventies."[31] Few would now characterize Aerosmith's classic sound, with its clear links to traditional rock and roll, as "heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0." Even some acts closely identified with the emergence of the genre, such as Black Sabbath and Deep Purple, are not considered heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands by some in the present-day If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 community.
History
Pre-history (mid-1960s)
American blues music was a major influence on the early British rockers. Bands like The Rolling Stones and The Yardbirds recorded covers of many classic blues songs, using electric guitar where many of the originals had used acoustic and sometimes speeding up the tempo. As they experimented with the music, the UK blues-based bands—and the U.S. acts they influenced in turn—developed what would become the hallmarks of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0: At the core was a loud, distorted guitar style, built around power chords.[32] The Kinks played a major role in popularizing this sound with their 1964 hit "You Really Got Me."[33] A significant contributor to the emerging guitar sound was the feedback facilitated by the new generation of amplifiers. In addition to The Kinks' Dave Davies, other guitarists such as The Who's Pete Townshend and the Tridents' Jeff Beck were experimenting with feedback.[34] Where the blues-rock drumming style started out largely as simple shuffle beats on small kits, drummers began using a more muscular, complex, and amplified approach to match and be heard against the increasingly loud guitar.[35] Vocalists similarly modified their technique and increased their reliance on amplification, often becoming more stylized and dramatic. In terms of sheer volume, especially in live performance, The Who's "bigger-louder-wall-of-Marshalls" approach was seminal.[36] Simultaneous advances in amplification and recording technology made it possible to successfully capture the power of this heavier approach on record.
The combination of blues-rock with psychedelic rock formed much of the original basis for heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0.[37] One of the most influential bands in forging the merger of genres was the power trio Cream, who derived a massive, heavy sound from unison riffing between guitarist Eric Clapton and bassist Jack Bruce, as well as Ginger Baker's double bass drumming.[38] Their first two LPs, Fresh Cream (1966) and Disraeli Gears (1967) are regarded as essential prototypes for the future style. The Jimi Hendrix Experience's debut album, Are You Experienced (1967), was also highly influential. Hendrix's virtuosic technique would be emulated by many If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 guitarists and the album's most successful single, "Purple Haze," is identified by some as the first heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 hit.[39]
Origins and early popularity (early 1970s)
The 1970 releases by Black Sabbath (Black Sabbath and Paranoid) and Deep Purple (Deep Purple in Rock) were crucial in this regard.[40] Black Sabbath had developed a particularly heavy sound in part due to an industrial accident guitarist Tony Iommi suffered before cofounding the band. Unable to play normally, Iommi had to tune his guitar down for easier fretting and rely on power chords with their relatively simple fingering.[41] Deep Purple had fluctuated between styles in its early years, but by 1969 vocalist Ian Gillan and guitarist Ritchie Blackmore had led the band toward the developing heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 style.[42] In 1970, Black Sabbath and Deep Purple scored major UK chart hits with "Paranoid" and "Black Night," respectively. That same year, three other British bands released debut albums in a heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 mode: Uriah Heep with Very 'eavy... Very 'umble, UFO with UFO 1, and Black Widow with Sacrifice. Wishbone Ash, though not commonly identified as If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, introduced a dual-lead/rhythm-guitar style that many If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands of the following generation would adopt. The occult lyrics and imagery employed by Black Sabbath, Uriah Heep, and Black Widow would prove particularly influential; Led Zeppelin also began foregrounding such elements with its fourth album, released in 1971.
On the other side of the Atlantic, the trend-setting group was Grand Funk Railroad, "the most commercially successful American heavy-If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 band from 1970 until they disbanded in 1976, [they] established the Seventies success formula: continuous touring."[43] Other bands identified with If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 emerged in the U.S., such as Dust (first LP in 1971), Blue Öyster Cult (1972), and Kiss (1974). In Germany, the Scorpions debuted with Lonesome Crow in 1972. Blackmore, who had emerged as a virtuoso soloist with Deep Purple's Machine Head (1972), quit the group in 1975 to form Rainbow. These bands also built audiences via constant touring and increasingly elaborate stage shows.[44] As described above, there are arguments about whether these and other early bands truly qualify as "heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0" or simply as "hard rock." Those closer to the music's blues roots or placing greater emphasis on melody are now commonly ascribed the latter label. AC/DC, which debuted with High Voltage in 1975, is a prime example. The 1983 Rolling Stone Encyclopedia of Rock & Roll entry begins "Australian heavy-If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 band AC/DC..."[45] Rock historian Clinton Walker writes, "Calling AC/DC a heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 band in the seventies was as inaccurate as it is today.... [They] were a rock'n'roll band that just happened to be heavy enough for If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0."[46] The issue is not only one of shifting definitions, but also a persistent distinction between musical style and audience identification: Ian Christe describes how the band "became the stepping-stone that led huge numbers of hard rock fans into heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 perdition."[47]
In certain cases, there is little debate. After Black Sabbath, the next major example is Britain's Judas Priest, which debuted with Rocka Rolla in 1974. In Christe's description, Black Sabbath's
audience was...left to scavenge for sounds with similar impact. By the mid-1970s, heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 aesthetic could be spotted, like a mythical beast, in the moody bass and complex dual guitars of Thin Lizzy, in the stagecraft of Alice Cooper, in the sizzling guitar and showy vocals of Queen, and in the thundering medieval questions of Rainbow.... Judas Priest arrived to unify and amplify these diverse highlights from hard rock's sonic palette. For the first time, heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 became a true genre unto itself.[48]
Though Judas Priest did not have a top 40 album in the U.S. until 1980, for many it was the definitive post-Sabbath heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 band; its twin-guitar attack, featuring rapid tempos and a nonbluesy, more cleanly If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lic sound, was a major influence on later acts.[49] While heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 was growing in popularity, most critics were not enamored of the music. Objections were raised to If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0's adoption of visual spectacle and other trappings of commercial artifice,[50] but the main offense was its perceived musical and lyrical vacuity: reviewing a Black Sabbath album in the early 1970s, leading critic Robert Christgau described it as "dull and decadent...dim-witted, amoral exploitation."[51]
Mainstream dominance (late 1970s and 1980s)
![](https://upload.wikimedia.org/wikipedia/commons/thumb/e/eb/Iron_Maiden_-_bass_and_guitars_30nov2006.jpg/200px-Iron_Maiden_-_bass_and_guitars_30nov2006.jpg)
Punk rock emerged in the mid-1970s as a reaction against contemporary social conditions as well as the overindulgent rock music of the time, including heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0. Sales of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 records declined sharply in the late 1970s in the face of punk, disco, and more mainstream rock.[52] With the major labels fixated on punk, many newer British heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands were inspired by the movement's high-energy sound and do-it-yourself ethos, putting out releases independently to small, devoted audiences.[53] British music papers such as the NME and Sounds began to take notice, with Sounds writer Geoff Barton christening the movement the "[[New Wave of British Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]]."[54] NWOBHM bands including Iron Maiden, Motörhead, Saxon, Diamond Head, and Def Leppard reenergized the heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 genre. Following Judas Priest's lead, they toughened up the sound, reduced its blues elements, and emphasized increasingly fast tempos.[55] In 1980, NWOBHM broke into the mainstream, as albums by Iron Maiden, Motörhead, and Saxon reached the British top 10. The next year, Motörhead became the first band in the movement to top the UK charts with No Sleep 'til Hammersmith. Other NWOBHM bands, such as Diamond Head and Venom, though less successful would also have a significant influence on If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0's development.[56]
The first generation of If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands was ceding the limelight. Deep Purple had broken up soon after Blackmore's departure in 1975, and Led Zeppelin folded in 1980. Black Sabbath was routinely upstaged in concert by its opening act, the Los Angeles band Van Halen.[57] Eddie Van Halen established himself as one of the leading If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 guitar virtuosos of the era—his solo on "Eruption," from the band's self-titled 1978 album, is considered a milestone.[58] Randy Rhoads and Yngwie J. Malmsteen also became famed virtuosos, associated with what would be known as the [[neoclassical If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] style. The adoption of classical elements had been spearheaded by Blackmore and the Scorpions' Uli Jon Roth; this next generation progressed to occasionally using classical nylon-stringed guitars, as Rhoads does on "Dee" from former Sabbath lead singer Ozzy Osbourne's first solo album, Blizzard of Ozz (1980). Template:Sound sample box align right Template:Sample box end Inspired by Van Halen's success, a If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 scene began to develop in Southern California, particularly Los Angeles, during the late 1970s. Based around the clubs of L.A.'s Sunset Strip, bands such as Quiet Riot, Ratt, Mötley Crüe, and W.A.S.P. were influenced by traditional heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 of the earlier 1970s[59] and incorporated the theatrics (and sometimes makeup) of glam rock acts such as Alice Cooper and Kiss.[60] These [[glam If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] bands—along with similarly styled acts such as New York's Twisted Sister—became a major force in If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 and the wider spectrum of rock music.
In the wake of the New Wave of British Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 and Judas Priest's breakthrough British Steel (1980), heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 became increasingly popular in the early 1980s. Many If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 artists benefited from the exposure they received on MTV, which began airing in 1981—sales often soared if a band's videos screened on the channel.[61] Def Leppard's videos for Pyromania (1983) made them superstars in America and Quiet Riot became the first domestic heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 band to top the Billboard chart with [[If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 Health]] (1983). One of the seminal events in If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0's growing popularity was the 1983 US Festival in California, where the "heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 day" featuring Ozzy Osbourne, Van Halen, Scorpions, Mötley Crüe, Judas Priest, and others drew the largest audiences of the three-day event.[62] Between 1983 and 1984, heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 went from an 8 percent to a 20 percent share of all recordings sold in the U.S.[63] Several major professional magazines devoted to the genre were launched, including Kerrang! (in 1981) and [[If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 Hammer]] (in 1984), as well as a host of fan journals. In 1985, Billboard declared, "If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 has broadened its audience base. If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 music is no longer the exclusive domain of male teenagers. The If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 audience has become older (college-aged), younger (pre-teen), and more female."[64]
By the mid-1980s, glam If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 was a dominant presence on the U.S. charts, music television, and the arena concert circuit. New bands including Poison and New Jersey's Bon Jovi became major draws, while Mötley Crüe and Ratt remained consistently successful. In 1987, MTV launched a show, Headbanger's Ball, devoted exclusively to heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 videos. However, the If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 audience had begun to factionalize, with those in many underground If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 scenes favoring more extreme sounds and disparaging the popular style as "lite If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0" or "hair If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0."[65] One band that reached diverse audiences was Guns N' Roses. In contrast to their glam If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 contemporaries in L.A., they were seen as much rawer and more dangerous. With the release of their chart-topping Appetite for Destruction (1987), they "recharged and almost single-handedly sustained the Sunset Strip sleaze system for several years."[66] The following year, Jane's Addiction emerged from the same L.A. hard-rock club scene with its major label debut, Nothing's Shocking. Reviewing the album, Rolling Stone declared, "as much as any band in existence, Jane's Addiction is the true heir to Led Zeppelin."[67] The group was one of the first to be identified with the "[[alternative If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]]" trend that would come to the fore in the next decade.
Underground If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 (1980s, 1990s, and 2000s)
Many [[List of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 genres|subgenres of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] developed outside of the commercial mainstream during the 1980s.[68] Several attempts have been made to map the complex world of underground If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, most notably by the editors of Allmusic, as well as critic Garry Sharpe-Young. Sharpe-Young's multivolume If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 encyclopedia separates the underground into five major categories: [[thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]], [[death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]], [[black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]], [[power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]], and the related subgenres of [[doom If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0|doom]] and [[gothic If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]].
Thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0
- For more details on this topic, see [[Thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]]
![](https://upload.wikimedia.org/wikipedia/en/thumb/8/8e/Reign_in_blood.jpg/130px-Reign_in_blood.jpg)
Thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 emerged in the early 1980s under the influence of hardcore punk and the New Wave of British Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0,[69] particularly songs in the revved-up style known as [[speed If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]]. The movement began in the United States, with the leading scene in the [[Bay Area thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0|San Francisco Bay Area]]. The sound developed by thrash groups was faster and more aggressive than that of the original If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands and their glam If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 successors.Cite error: A <ref>
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Template:Sample box end The subgenre was popularized by the "Big Four of Thrash": Anthrax, Megadeth, [[If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lica]], and Slayer.[70] Three German bands, Kreator, Sodom, and Destruction, played a central role in bringing the style to Europe. Others, including San Francisco's Testament and Exodus, New Jersey's Overkill, and Brazil's Sepultura, also had a significant impact. While thrash began as an underground scene, and remained largely for that for almost a decade, the leading bands in the movement began to reach a wider audience. If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lica brought the sound into the top 40 of the Billboard album chart in 1986 with Master of Puppets; two years later, the band's ...And Justice for All hit number 6, while Megadeth and Anthrax had top 40 records.[71]
Though less commercially successful than the rest of the Big Four, Slayer released one of the genre's definitive records: Reign in Blood (1986) was described by Kerrang! as the "heaviest album of all time."[72] Two decades later, If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 Hammer named it the best album of the preceding twenty years.[73] Slayer attracted a following among far-right skinheads, and accusations of promoting violence and Nazi themes have dogged the band.[74] In the early 1990s, thrash achieved breakout success, challenging and redefining the If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 mainstream.[75] If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lica's [[If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lica (album)|self-titled 1991 album]] topped the Billboard chart, Megadeth's Countdown to Extinction (1992) hit number 2, Anthrax and Slayer cracked the top 10, and albums by regional bands such as Testament and Sepultura entered the top 100.
Death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0
- For more details on this topic, see [[Death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]]
![](https://upload.wikimedia.org/wikipedia/en/thumb/7/7e/Aleister_Crowley.jpg/100px-Aleister_Crowley.jpg)
Thrash soon began to evolve and split into more extreme If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 genres. According to Allmusic, Slayer's Reign in Blood "almost single-handedly inspired the entire death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 genre (at least on the American side of the Atlantic)."[77] The NWOBHM band Venom was also an important progenitor. The death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 movement in both North America and Europe adopted and emphasized the elements of blasphemy and diabolism employed by such acts. The term is thought to have originated with the song "Death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0," from Seven Churches (1985), the debut album by Bay Area band Possessed. Death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 utilized the speed and aggression of both thrash and hardcore, fused with lyrics preoccupied with Z-grade slasher movie violence and Satanism.[78] Death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 vocals are typically bleak, involving guttural "death grunts," high-pitched screaming, and other uncommon techniques.[79] Complimenting the deep, aggressive vocal style are downtuned, highly distorted guitars[78] and extremely fast percussion, often with rapid double bass drumming, blast beats, and syncopation. Frequent tempo and time signature changes are typical.
Template:Sound sample box align rightTemplate:Sample box end Death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, like thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, generally rejected the theatrics of earlier If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 styles, opting instead for an everyday look of ripped jeans and plain leather jackets.[80] One major exception to this rule was Deicide's Glen Benton, who branded an inverted cross on his forehead and wore armor on stage. Morbid Angel adopted neo-fascist imagery.[80] These two bands, along with Death and Obituary, were leaders of the major death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 scene that emerged in Florida in the mid-1980s. In the UK, the related style of grindcore, led by bands such as Napalm Death and Extreme Noise Terror, emerged out of the anarcho-punk movement.[81] A large [[Scandinavian death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] scene, with bands such as Sweden's Entombed and Dismember, began to develop as well. Out of this evolved a [[melodic death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] sound, typified by Swedish bands such as In Flames and Dark Tranquillity and Finland's Kalmah and Norther. By the 1990s, American [[technical death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] bands such as Atheist and Cynic were showcasing astonishing levels of guitar speed and technicality.
Black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0
- For more details on this topic, see [[Black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]]
![](https://upload.wikimedia.org/wikipedia/en/thumb/7/77/Burzum_aske.jpg/130px-Burzum_aske.jpg)
The first wave of black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 emerged in Europe in the early and mid-1980s, led by Britain's Venom, Switzerland's Hellhammer and Celtic Frost, and Sweden's Bathory. By the late 1980s, Norwegian bands such as Mayhem, Burzum, and Emperor were heading a second wave.[82] Black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 varies considerably in style and production quality, although most bands emphasize shrieked and growled vocals, highly distorted guitars, and a "dark" atmosphere.Cite error: A <ref>
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(see the help page). Satanic themes are common in black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, though many bands take inspiration from ancient paganism, promoting a return to pre-Christian values.[83] By 1990, Mayhem was regularly wearing corpsepaint; many other black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 acts also adopted the look.
Template:Sound sample box align rightTemplate:Sample box end Even as Bathory inspired the [[Viking If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] and [[folk If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] movements and Immortal brought blast beats to the fore, other bands in the Scandinavian black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 scene became associated with considerable violence in the early 1990s.[84] Mayhem and Burzum soon became mired in accusations of church burning and Satanism. Growing commercial hype around death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 generated a backlash; beginning in Norway, much of the Scandanavian If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 underground shifted to support a black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 scene that resisted co-option and dilution.[85] According to Gorgoroth vocalist Gaahl, "Black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 was never meant to reach an audience.... [We] had a common enemy which was, of course, Christianity, socialism and everything that democracy stands for."[86]
By 1992, black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 scenes had begun to emerge in areas outside Scandinavia, including Germany, France, and Poland.[87] The 1993 murder of Mayhem's Euronymous by Burzum's Varg Vikernes provoked intensive media coverage.[86] Around 1996, when many in the scene felt the genre was stagnating,[88] several key bands, including Burzum and Finland's Beherit, moved toward an ambient style, while [[symphonic black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] was explored by Sweden's Tiamat and Switzerland's Samael.[89] In the late 1990s and early 2000s, Norway's Dimmu Borgir brought black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 closer to the mainstream,[90] as did Cradle of Filth, claimed by some as England's most successful If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 band since Iron Maiden.[91] Critically lauded contemporary acts include Sweden's traditionalist Watain,[92] France's more experimental Deathspell Omega,[93] and America's one-man Xasthur.[94]
Power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0
- For more details on this topic, see [[Power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]]
![](https://upload.wikimedia.org/wikipedia/commons/thumb/f/f7/Hammerfall_group.jpg/160px-Hammerfall_group.jpg)
During the early 1990s, the power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 scene came together largely in reaction to the harshness of death and black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0.[95] Though a relatively underground style in North America, it enjoys wide popularity in Europe. Power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 focuses on upbeat, epic melodies and themes that "appeal to the listener's sense of valor and loveliness."[96] The prototype for the sound was established in the mid- to late 1980s by Germany's Helloween, which combined the power riffs, melodic approach, and high-pitched, "clean" singing style of bands like Judas Priest and Iron Maiden with thrash's speed and energy, "crystalliz[ing] the sonic ingredients of what is now known as power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0."[97] New York's Manowar and Virgin Steele were pioneering American bands. Yngwie J. Malmsteen's Rising Force (1984) was crucial in popularizing the ultrafast electric guitar style known as "shredding" as well as the merger of If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 with [[neo-classical If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0|classical music elements]], developments that have strongly influenced power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0.
Template:Sound sample box align right Template:Sample box end Traditional power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands like Sweden's HammerFall and England's DragonForce have a sound relatively close to classic heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0. Many power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands such as Florida's Kamelot, Italy's Rhapsody of Fire, and Russia's Catharsis feature a keyboard-based [[Symphonic If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0#Symphonic power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0|"symphonic" sound]], sometimes employing orchestras and opera singers. Power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 has built a strong fanbase in Japan and South America, where bands like Brazil's Angra and Argentina's Rata Blanca are popular.
Closely related to power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 is [[progressive If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]], which adopts the complex compositional approach of bands like Rush and King Crimson. This style emerged in the United States in the early and mid-1980s, with innovators such as Queensrÿche, Fates Warning, and Dream Theater. In 1990, Queensrÿche released the triple-platinum Empire. The mix of the progressive and power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 sounds is typified by New Jersey's Symphony X, whose guitarist Michael Romeo is among the most recognized of latter-day shredders.[98]
Doom and gothic If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0
- For more details on this topic, see [[Doom If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] and [[Gothic If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]]
Emerging in the mid-1980s with such bands as California's Saint Vitus, Maryland's The Obsessed, Chicago's Trouble, and Sweden's Candlemass, the doom If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 movement rejected other If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 styles' emphasis on speed, slowing its music to a crawl. Doom If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 traces its roots back to early Black Sabbath albums, and incorporates lyrical themes and musical approaches indebted to Sabbath[99] and Sabbath contemporaries such as Blue Cheer, Pentagram, and Black Widow.[100] The Melvins have also been a significant influence on doom If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 and a number of its subgenres.[101] Doom emphasizes melody, melancholy tempos, and a sepulchral mood relative to many other varieties of If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0.[102]
Template:Sound sample box align rightTemplate:Sample box end The 1991 release of Forest of Equilibrium, the debut album by UK band Cathedral, helped spark a new wave of doom If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0. During the same period, the doom-death fusion style of British bands Paradise Lost, My Dying Bride, and Anathema gave rise to European gothic If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, with its signature dual-vocalist arrangements, exemplified by Norway's Theatre of Tragedy and Tristania. New York's Type O Negative introduced an American take on the style. Led by the Swedish band Therion's incorporation of classical elements, gothic If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 in turn spawned a [[symphonic If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] movement including Australia's Virgin Black, Finland's Nightwish, and the Netherlands' Within Temptation and After Forever.
In the United States, [[sludge If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]], mixing doom and hardcore, emerged in the late 1980s—Eyehategod and Crowbar were leaders in a major Louisiana sludge scene. Early in the next decade, California's Kyuss and Sleep, inspired by the earlier doom If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands, spearheaded the rise of [[stoner If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]],[103] while Seattle's Earth helped develop the drone If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 subgenre.[104] The late 1990s saw the emergence of new bands such as the Los Angeles–based Goatsnake, with a classic stoner/doom sound, and Sunn O))), which crosses lines between doom, drone, and dark ambient If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0—the New York Times has compared their sound to an "Indian raga in the middle of an earthquake".[102] In 2006, Atlanta's Mastodon, whose equally hard-to-define style mixes progressive and sludge, broke into the Billboard top 40 with Blood Mountain.
The alternative era and nu If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 (1990s and 2000s)
- For more details on this topic, see [[Alternative If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] and [[Nu If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]]
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The era of If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0's mainstream dominance in North America came to an end in the early 1990s with the emergence of Nirvana and other grunge bands, signaling the popular breakthrough of alternative rock.[105] Grunge bands were influenced by the heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 sound, but rejected the excesses of the more popular If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands. Glam If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 fell out of favor thanks not only to the success of grunge,[106] but also because of the growing popularity of the more aggressive sound typified by If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lica and the post-thrash [[groove If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] of Pantera.[107] A few new, unambiguously If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands had commercial success during the first half of the decade—Pantera's Far Beyond Driven topped the Billboard chart in 1994—but, "In the dull eyes of the mainstream, If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 was dead."[108] Some bands tried to adapt to the new musical landscape. If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lica revamped its image: the band members cut their hair and, in 1996, headlined the alternative musical festival Lollapalooza founded by Jane's Addiction singer Perry Farrell. While this prompted a backlash among some long-time fans,[109] If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lica remained one of the most successful bands in the world into the new century.[110]
Like Jane's Addiction, many of the most popular early 1990s groups with roots in heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 fall under the umbrella term "alternative If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0."[111] The label was applied to a wide spectrum of acts that fused If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 with different styles, not all associated with alternative rock. Acts labeled alternative If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 included the Seattle grunge scene's Alice in Chains, the noise rock-infused White Zombie, and groups drawing on multiple styles: Faith No More combined their alternative rock sound with punk, funk, If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, and hip-hop; Primus joined elements of funk, punk, [[thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]], and experimental music. Tool mixed If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 and progressive rock; Ministry began incorporating If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 into its industrial sound; and Marilyn Manson went down a similar route, while also employing shock effects of the sort popularized by Alice Cooper. Alternative If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 artists, though they did not represent a cohesive scene, were united by their willingness to experiment with the If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 genre and their rejection of glam If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 aesthetics (with White Zombie's and Marilyn Manson's stagecraft representing significant, if partial, exceptions).Cite error: A <ref>
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In the mid- and late 1990s came a new wave of U.S. If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 groups inspired by the alternative If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands and their mix of genres.[112] Dubbed "nu If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0," bands such as P.O.D., Korn, Papa Roach, Limp Bizkit, Slipknot, and Linkin Park incorporated elements ranging from hip-hop to death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, proving "pancultural If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 could pay off."[113] Nu If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 gained mainstream success through heavy MTV rotation and Ozzy Osbourne's 1996 introduction of Ozzfest, which led the media to talk of a resurgence of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0.[114] That year, Korn released Life Is Peachy, the first nu If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 album to reach the top 10; two years later, the band's Follow the Leader hit number 1. In 1999, Billboard noted that there were more than 500 specialty If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 radio shows in the U.S., nearly three times as many as ten years before.[115] While nu If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 was widely popular early in the 2000s, traditional If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 fans did not fully embrace the style.[116] By 2005, the nu If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 movement was waning, though P.O.D. and Korn, as well as some bands with related styles, such as System of a Down, remained successful.[117]
Recent trends (mid-2000s)
[[If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0core]], an originally American hybrid of thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, [[melodic death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]], and hardcore punk, emerged as a commercial force in 2002–3. It is rooted in the crossover thrash style developed by bands such as Suicidal Tendencies, Dirty Rotten Imbeciles, and Stormtroopers of Death in the mid-1980s.[118] Through the 1990s, If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0core was mostly an underground phenomenon, but by 2004 it had become popular enough that Killswitch Engage's The End of Heartache and Shadows Fall's The War Within debuted at numbers 21 and 20, respectively, on the Billboard album chart.[119][120] Bullet for My Valentine, from Wales, reached similar heights on the British album chart with The Poison (2005). Lamb of God broke into the Billboard top 10 with Sacrament (2006). In recent years, If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0core bands have received prominent slots at Ozzfest and Download Festival.
In Europe, especially Germany and Scandinavia, If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 continues to be broadly popular. Acts such as the thrash shredding group The Haunted, melodic death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 band In Flames, and power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 group HammerFall have been very successful in recent years. In English-speaking countries, the term "retro-If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0" was applied in the early and mid-2000s to such bands as England's The Darkness[121] and Australia's Wolfmother.[122] The Darkness's Permission to Land (2003), described as an "eerily realistic simulation of '80s If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 and '70s glam,"[121] topped the UK charts, going quintuple platinum. Wolfmother's self-titled 2005 debut album, with "Deep Purple-ish organs," "Jimmy Page-worthy chordal riffing," and lead singer Andrew Stockdale howling "notes that Robert Plant can't reach anymore,"[122] also sold well and was widely praised by critics.
See also
- [[Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 fashion]]
- [[Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 umlaut]]
- [[List of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 bands]]
- [[List of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 genres]]
- [[Timeline of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]]
Sources
- Arnold, Denis (1983). "Consecutive Intervals," in The New Oxford Companion to Music, Volume 1: A-J. Oxford University Press. ISBN 0-19-311316-3
- Blake, Andrew (1997). The Land Without Music: Music, Culture and Society in Twentieth-century Britain. Manchester University Press. ISBN 0-7190-4299-2
- Carson, Annette (2001). Jeff Beck: Crazy Fingers. Backbeat Books. ISBN 0-87930-632-7
- Charlton, Katherine (2003). Rock Music Styles: A History. McGraw Hill. ISBN 0-07-249555-3
- Christe, Ian (2003). Sound of the Beast: The Complete Headbanging History of Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0. HarperCollins. ISBN 0-380-81127-8
- Christgau, Robert (1981). "Master of Reality (1971) [review]," in Christgau's Record Guide. Ticknor & Fields. ISBN 0-89919-026-X
- Cook, Nicholas, and Nicola Dibben (2001). "Musicological Approaches to Emotion," in Music and Emotion. Oxford University Press. ISBN 0-1926-3188-8
- Du Noyer, Paul (ed.) (2003). The Illustrated Encyclopedia of Music. Flame Tree. ISBN 1-9040-4170-1
- Kennedy, Michael (1985). The Oxford Dictionary of Music. Oxford University Press. ISBN 0-1931-1333-3
- McCleary, John Bassett (2004). The Hippie Dictionary: A Cultural Encyclopedia of the 1960s and 1970s. Ten Speed Press. ISBN 1-58008-547-4
- McMichael, Joe (2004). The Who Concert File. Omnibus Press. ISBN 1-84449-009-2
- Moynihan, Michael, and Dirik Søderlind (1998). Lords of Chaos (2nd ed.). Feral House. ISBN 0-922915-94-6
- O'Neil, Robert M. (2001). The First Amendment and Civil Liability. Indiana University Press. ISBN 0-253-34033-0
- Pareles, Jon, and Patricia Romanowski (eds.) (1983). The Rolling Stone Encyclopedia of Rock & Roll. Rolling Stone Press/Summit Books. ISBN 0-671-44071-3
- Sadie, Stanley (1980). "Consecutive Fifth, Consecutive Octaves," in The New Grove Dictionary of Music and Musicians (1st ed.). MacMillan. ISBN 0-333-23111-2
- Schonbrun, Marc (2006). The Everything Guitar Chords Book. Adams Media. ISBN 1-59337-529-8
- Walser, Robert (1993). Running with the Devil: Power, Gender, and Madness in Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 Music. Wesleyan University Press. ISBN 0-8195-6260-2
- Weinstein, Deena (1991). Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0: A Cultural Sociology. Lexington. ISBN 0-669-21837-5. Revised edition: (2000). Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0: The Music and its Culture. Da Capo. ISBN 0-306-80970-2
- Wilkerson, Mark Ian (2006). Amazing Journey: The Life of Pete Townshend (Louisville: Bad News Press). ISBN 1-4116-7700-5
References
- ^ Du Noyer (2003), p. 74
- ^ Weinstein (1991), p. 14
- ^ "Genre - Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0". All Music Guide.
{{cite web}}
: Italic or bold markup not allowed in:|publisher=
(help); Unknown parameter|accessmonthday=
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suggested) (help) - ^ Weinstein (1991), p. 23
- ^ Weinstein (1991), pp. 23–24
- ^ Weinstein (1991), p. 24
- ^ Weinstein (1991), p. 23
- ^ Walser (1993), p. 9
- ^ "Master of Rhythm: The Importance of Tone and Right-hand Technique," Guitar Legends, April 1997, p. 99
- ^ Walser (1993), p. 2
- ^ "Shaping Up and Riffing Out: Using Major and Minor Power Chords to Add Colour to Your Parts," Guitar Legends, April 1997, p. 97
- ^ Schonbrun (2006), p. 22
- ^ Walser (1993), p. 46
- ^ Marshall, Wolf. "Power Lord—Climbing Chords, Evil Tritones, Giant Callouses," Guitar Legends, April 1997, p. 29
- ^ a b Dunn, Sam (2005). "it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0history.com If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0: A Headbanger's Journey". Warner Home Video (2006). Retrieved on March 19, 2007.
- ^ The first explicit prohibition of that interval seems to occur with "the development of Guido of Arezzo's Hexacordal system which made B flat a diatonic note, namely as the 4th degree of the hexachordal on F. From then until the end of Renaissance the tritone, nick name the "diabolus in musica" was regarded as an unstable interval and rejected as a consonance". (Sadie, Stanley (1980). "Tritone " in The New Grove Dictionary of Music and Musicians (1st ed.). MacMillan, pp.154-155 ISBN 0-333-23111-2) "It seems first to have been designated as a 'dangerous' interval when Guido of Arezzo developed his system of hexachords and with the introduction of B flat as a diatonic note, at much the same time acquiring its nickname of 'Diabolus in Musica' ('the devil in music')." (Arnold, Denis (1983) « Tritone » in The New Oxford Companion to Music, Volume 1: A-J. Oxford University Press. ISBN 0-19-311316-3). But later in history with the rise of the Baroque and Classical music era, that interval came to be perfectly accepted, but yet was used in a specific controlled way. It's only in the Romantism and modern classical music that composers started to use it freely and to exploit the evil connotations which are culturally associated to it
- ^ Kennedy (1985), "Pedal Point," p. 540
- ^ In black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, however, pedal point is seldom a component of the guitar riff itself, but is rather played in the background by the bass.
- ^ Historical classical music's true descendant is contemporary classical music.
- ^ See, e.g., Cook and Dibben (2001): "Analyses of popular music also sometimes reveal the influence of 'art traditions.' An example is Walser’s linkage of heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 music with the ideologies and even some of the performance practices of nineteenth-century Romanticism. However, it would be clearly wrong to claim that traditions such as blues, rock, heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0, rap or dance music derive primarily from 'art music' (p. 56)."
- ^ Arnold (1983), p. 476; Sadie (1980), p. 666; Kennedy (1985), "Consecutive," p. 159
- ^ Weinstein (1991), p. 36
- ^ Weinstein (1991), p. 27
- ^ Appleford, Steve. "Odyssey of the Devil Horns". MK Magazine, September 9, 2004. Retrieved on March 31, 2007.
- ^ Burroughs, William S. "Nova Express". New York: Grove Press, 1964. Pg. 112
- ^ Christe (2003), p. 10
- ^ Walser (1993), p. 8
- ^ Saunders, Mike. "Sir Lord Baltimore's "Kingdom Come" (review)". Creem Magazine.
{{cite web}}
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suggested) (help) - ^ Weinstein (1991), p.19
- ^ Du Noyer (2003), pp. 96, 78
- ^ Pareles and Romanowski (1983), p. 4
- ^ Walser (1993), p. 9
- ^ Weinstein (1991), p. 18; Walser (1993), p. 9
- ^ Wilkerson (2006), p. 19.
- ^ Walser (1993), p. 10
- ^ McMichael (2004), p. 112
- ^ Weinstein (1991), p. 16
- ^ Charlton (2003), pp. 232–33
- ^ Walser (1993), p. 9
- ^ Walser (1993), p. 10
- ^ di Perna, Alan. "The History of Hard Rock: The 70's." Guitar World. March 2001.
- ^ Charlton (2003), p. 241
- ^ Pareles and Romanowski (1983), p. 225
- ^ Walser (1993), p. 10
- ^ Pareles and Romanowski (1983), p. 1
- ^ Walker (2001), p. 297
- ^ Christe (2003), p. 54
- ^ Christe (2003), pp. 19–20
- ^ Walser (1993), p. 6
- ^ Walser (1993), p. 11
- ^ Christgau (1981), p. 49
- ^ Walser (1993), p. 11
- ^ Christe (2003), pp. 30, 33
- ^ Christe (2003), p. 33
- ^ Stephen Thomas Erlewine and Greg Prato. "Judas Priest". All Music Guide.
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: Italic or bold markup not allowed in:|publisher=
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suggested) (help) - ^ Weinstein (1991), p. 44
- ^ Christe (2003), p. 25
- ^ Christe (2003), p. 51
- ^ Rivadavia, Eduardo. "Quiet Riot". All Music Guide. Retrieved on March 25, 2007; Neely, Kim "Ratt". Rolling Stone. Retrieved on April 3, 2007; Barry Weber & Greg Prato. "Mötley Crüe". All Music Guide. Retrieved on April 3, 2007; Dolas, Yiannis. "Blackie Lawless Interview" Rockpages. Retrieved on April 3, 2007
- ^ Christe (2003), pp. 55–57
- ^ Christe (2003), p. 79
- ^ Weinstein (1991), p. 45
- ^ Walser (1993), p. 12
- ^ Walser (1993), pp. 12–13, 182 n. 35
- ^ Walser (1993), p. 14; Christe (2003), p. 170
- ^ Christe (2003), p. 165
- ^ Steve Pond (1988-10-20). "Jane's Addiction: Nothing's Shocking". Rolling Stone. Retrieved 2007-05-01.
{{cite web}}
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(help) - ^ Weinstein (1991), p. 21
- ^ :0">"Genre - Thrash If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0". All Music Guide. Retrieved on March 3, 2007.
- ^ Walser (1993), p.14
- ^ If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lica - Artist Chart History"; "Megadeth - Artist Chart History"; "Anthrax - Artist Chart History". Billboard.com. Retrieved on April 7, 2007.
- ^ "Lostprophets scoop rock honours". BBC News. 2006-08-25. Retrieved 2007-01-10.
{{cite web}}
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(help) - ^ it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0hammer.co.uk/news/article/?id=44410 "Golden Gods Awards Winners". [[If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 Hammer]]. 2006-06-13. Retrieved 2007-01-10.
{{cite web}}
: Check|url=
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(help) - ^ Moynihan, Søderlind (1998), p. 30; O'Neil (2001), p. 164
- ^ Walser (1993), p. 15
- ^ Moynihan, Søderlind (1998), pp. 2–5
- ^ Huey, Steve. "Reign in Blood – Review." Allmusic.com. Retrieved April 8, 2007.
- ^ a b Moynihan, Søderlind (1998), p. 27
- ^ :0/Black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0">"Genre - Death If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0/Black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0". All Music Guide. Retrieved on February 27, 2007.
- ^ a b Moynihan, Søderlind (1998), p. 28
- ^ Moynihan, Søderlind (1998), p. 27
- ^ Christe (2003), p. 270
- ^ Moynihan, Søderlind (1998), p. 212
- ^ Christe (2003), p. 276
- ^ Moynihan, Søderlind (1998), pp. 31–32
- ^ a b Cite error: The named reference
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was invoked but never defined (see the help page). - ^ Moynihan, Søderlind (1998), pp. 271, 321, 326
- ^ Vikernes, Varg. "A Burzum Story: Part VI - The Music". Burzum.org, July 2005; "it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0/about/If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0/black_If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0_death.html Is Black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 Dead?". Dark Legions Archive. Both retrieved on April 4, 2007.
- ^ Genre – Symphonic Black If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0. Allmusic.com. Retrieved April 9, 2007.
- ^ Tepedelen, Adam. "Dimmu Borgir's 'Death Cult'". Rolling Stone, November 7, 2003. Retrieved on September 10, 2007.
- ^ Bennett, J. "Dimmu Borgir". Decibel, June 2007. Retrieved on September 10, 2007.
- ^ Begrand, Adrien. "Watain: Sworn to the Dark". PopMatters, June 19, 2007; Harris, Chris, and Jon Wiederhorn. "If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 File: Watain, Shadows Fall, Furze & More News That Rules". MTV.com, January 26, 2007. Both retrieved on September 10, 2007.
- ^ Freeman, Phil. "Deathspell Omega's Fas—Ite, Maledicti, In Ignem Aeternum". Village Voice, September 4, 2007; Jurek, Thom. "Deathspell Omega: Fas—Ite, Maledicti, In Ignem Aeternum". All Music Guide. Both retrieved on September 10, 2007
- ^ Stosuy, Brandon. "Xasthur: Subliminal Genocide". Pitchfork, October 10, 2006; Rivadavia, Eduardo. "Xasthur: Subliminal Genocide". All Music Guide. Both retrieved on September 10, 2007
- ^ :0">"Genre - Power If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0". All Music Guide. Retrieved on March 20, 2007.
- ^ Christe (2003), p. 372
- ^ "Helloween - Biography". All Music Guide. Retrieved on April 8, 2007.
- ^ :0">"Genre - Progressive If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0". All Music Guide. Retrieved on March 20, 2007.
- ^ Christe (2003), p. 345
- ^ "it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0.com/history.html The History of Doom If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0". doom-If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0.com. Retrieved on March 21, 2007.
- ^ Begrand, Adrien. "Blood and Thunder: The Profits of Doom". February 15, 2006. PopMatters.com. Retrieved on April 8, 2007.
- ^ a b Wray, John. "it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0.html?ei=5090&en=68f0bcd99797d7a3&ex=1306468800&partner=rssuserland&emc=rss&pagewanted=all Heady If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0". New York Times, May 28, 2006. Retrieved on March 21, 2007.
- ^ Christe (2003), p. 347
- ^ Jackowiak, Jason. "Hex: Or Printing in the Infernal Method". Splendid Magazine, September, 2005. Retrieved on March 21, 2007.
- ^ Christe (2003), pp. 304–6; Weinstein (1991), p. 278
- ^ Christe (2003), p. 231
- ^ Birchmeier, Jason. "Pantera". Allmusic.com. Retrieved on March 19, 2007.
- ^ Christe (2003), p. 305
- ^ Christe (2003), p. 312
- ^ Christe (2003), p. 322
- ^ :0">"Genre - Alternative If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0". All Music Guide. Retrieved 2007-03-26.
{{cite web}}
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(help) - ^ Christe (2003), pp. 324–25
- ^ Christe (2003), p. 329
- ^ Christe (2003), p. 324
- ^ Christe (2003), p. 344
- ^ Christe (2003), p. 328
- ^ D'angelo, Joe (2003). it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0_meltdown/news_feature_030124/index.jhtml "Nu If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 Meltdown". MTV.com. Retrieved 2007-03-28.
{{cite web}}
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value (help) - ^ Christe (2003), p. 184
- ^ "Killswitch Engage". Roadrunner Records.
{{cite web}}
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suggested) (help) - ^ a b The Darkness. All Music Guide. Retrieved on June 11, 2007.
- ^ a b Wolfmother. RollingStone, April 18, 2006. Retrieved on March 31, 2007.
External links
- All Music Guide entry for heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0.
[[Category:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0| ]]
Template:Link FA Template:Link FA Template:Link FA [[als:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[bs:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[ca:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[cs:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[da:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[de:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[et:If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[es:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[eo:If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0roko]] [[eu:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[fr:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 (musique)]] [[gl:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[hr:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[io:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[id:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[it:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[la:If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0lum (musica)]] [[lt:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[hu:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[nl:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[no:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[nn:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[oc:If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 (musica)]] [[uz:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[pl:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[pt:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[ro:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[qu:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[simple:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[sk:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[sl:If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[sh:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[fi:If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0limusiikki]] [[sv:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[tr:Heavy If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0]] [[vls:If it's that funny, if it's that fuckin' funny, why don't you fuckin' laugh! >:0 (muzik)]]