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SLAYER on CAPITAL CHAOS TV 1998 SLAYER perform Bitter Peace & Death's Head on the "Diabolus In Music" world tour @ Sacramento Memorial Auditorium 1998...also on the bill were FEAR FACTORY, KILGORE & THE COUNCIL...Slayer is an American thrash metal band, formed in 1981 by guitarists Jeff Hanneman and Kerry King. Slayer rose to fame as a leader of the American thrash metal movement with their 1986 release Reign in Blood, which has been called "the heaviest album of all time.The band is credited as one of the "Big Four" thrash metal bands, along with Megadeth, Metallica, and Anthrax. Slayer is known for its musical traits, involving fast tremolo picking, guitar solos, double bass drumming, and shouting vocals. The band's lyrics and album art, which cover topics such as serial killers, Satanism, religion and warfare have generated album bans, delays, lawsuits and strong criticism from religious groups and the public. Since their debut record in 1983, the band has released two live albums, one box set, two DVDs, two EPs, and ten albums, four of which have received gold certification. The band has received two Grammy nominations, winning one in 2007 for the song "Eyes of the Insane", and headlined music festivals worldwide, including Ozzfest, The Unholy Alliance and the Download Festival. http://slayer.net Early days (1981--1982) Slayer formed in 1981, when guitarist Kerry King met Jeff Hanneman while auditioning for a band. The two recruited bassist and vocalist Tom Araya, who had played with King in a band called Quits, and drummer Dave Lombardo who met King while delivering pizzas. The band began playing cover versions of Iron Maiden and Judas Priest songs at clubs and parties in Southern California. Early shows relied on a Satanic image, which featured pentagrams, make-up, spikes, and inverted crosses A rumor has the band originally known as Dragonslayer, after the 1981 movie of the same name. However, when King was asked "How did you come up with the name Dragonslayer, King responded "We never did; it's a myth to this day." The band was offered to open for Bitch at the Woodstock Club in Los Angeles, performing eight songs — six being covers. While performing the song "Phantom of the Opera" by Iron Maiden the band was spotted by Brian Slagel, a former music journalist who had recently founded Metal Blade Records. Impressed with Slayer's performance, Slagel met with the band backstage and asked them to record an original song, "Aggressive Perfector"(sample (help·info)) for his upcoming Metal Massacre III compilation. The band agreed and the song created underground buzz, which led to Slagel offering the band a recording contract with Metal Blade. http://myspace.com/slayer Show No Mercy (1983--1984) Without a recording budget, the band was forced to self-finance its debut album. Combining the savings of Araya, who was employed as a respiratory therapist,[9] and money borrowed from King's father,[2] the band entered the studio in November 1983. The album was rushed into release, hitting shelves three weeks after tracks were completed. Show No Mercy, released in December 1983 by Metal Blade Records, generated underground popularity for the band, and they began their first national club tour in 1984 to promote the album traveling in Araya's Camaro towing a U-Haul trailer.[2] The tour gave the band additional popularity; sales of Show No Mercy reached more than 20,000 in the US and another 20,000 worldwide.[8] Slayer's Show No Mercy covered topics such as Satanism, Hell, and the Devil. Slayer's Show No Mercy covered topics such as Satanism, Hell, and the Devil. In August 1984, Slayer released a three song EP, entitled Haunting the Chapel. The EP featured a darker, more thrash-oriented style than its predecessor, and laid the groundwork for the future direction of the band.[10] The opening track, "Chemical Warfare," has become a live staple, played at nearly every show since 1984. After the release of Haunting the Chapel, Slayer made its live European debut at the Heavy Sounds Festival in Belgium opening for UFO,[11] returning to the US to begin the Haunting The West Coast tour.[12] Following the tour, King temporarily left Slayer to join Dave Mustaine's new band Megadeth.[13] Hanneman was worried about King's decision, stating in an interview "I guess we're gonna get a new guitar player".[2] While Mustaine wanted King to stay on a permanent basis, King rejoined Slayer after five shows, stating Megadeth was "taking too much of my time".[2] The split caused a rift between King and Mustaine, which evolved into a long running feud between the two bands.[14] Following King's return, the band embarked on the 1984 Combat Tour, with Venom and Exodus, and released a live album titled Live Undead in November. [edit] Hell Awaits (1985--1986) Slayer released its first live home video in 1985, dubbed Combat Tour: The Ultimate Revenge. The video featured live footage filmed at New York's Studio 54 club, on the band's 1984 tour with Venom and Exodus. By early 1985, Show No Mercy had sold over 40,000 copies,[8] which lead to the band returning to the studio to record a second full length album. Metal Blade financed a recording budget, which allowed the band to hire producer Ron Fair. Released in September 1985, Slayer's second full length release Hell Awaits expanded on the darkness of Haunting the Chapel, with hell and Satan as common song subjects. The album was the band's most progressive offering, featuring longer and more complex song structures.[2] The intro is a backwards recording of a demonic-sounding voice repeating "Join us," ending with "Welcome back" before the track begins.[15] [edit] Reign in Blood (1986--1987) Following the success of Hell Awaits, Slayer was offered a recording contract with Rick Rubin's newly founded Def Jam Records, a largely rap-based label.[2] The band accepted and with an experienced producer and major label recording budget, the band underwent a sonic makeover resulting in shorter, faster songs with clearer production. Gone were the complex arrangements and long songs featured on Hell Awaits, ditched in favor of stripped down, hardcore influenced song structures.[2] The release of Reign in Blood was delayed due to the nature of its artwork and lyrical themes. The release of Reign in Blood was delayed due to the nature of its artwork and lyrical themes. Def Jam's distributor, Columbia Records refused to release the album Reign in Blood, due to its graphic graphic cover art and lyrical themes.[2] "Angel of Death", detailed the Nazi concentration camps and human experiments conducted by Nazi physician Josef Mengele. The album was distributed by Geffen Records on October 7, 1986. However, due to the controversy Reign in Blood did not appear on Geffen Records release schedule.[2] Although the album received virtually no radio airplay, it became the band's first to enter the Billboard 200, debuting at #94,[16] and the band's first album certified gold in the United States.[17] In October 1986, Slayer embarked on the Reign in Pain world tour, with Overkill in the US, and Malice in Europe. The band were added as the opening act on W.A.S.P.'s US tour, but just one month in, drummer Lombardo left the band: "I wasn't making any money. I figured if we were gonna be doing this professionally, on a major label, I wanted my rent and utilities paid."[2] To continue with the tour, Slayer enlisted Tony Scaglione of Whiplash. However, Lombardo's wife convinced Dave to return in 1987.[2] At the insistence of Rubin, Slayer recorded a cover version of Iron Butterfly's "In-A-Gadda-Da-Vida" for the film Less Than Zero.[2] Although the band was not happy with the final product, Hanneman deeming it a poor representation of Slayer and King labeling it "a hunk of shit", it was the first songs to garner radio airplay.[2] [edit] South of Heaven (1988--1989) Slayer returned to the studio to record their fourth studio album. To contrast the speed of Reign in Blood, the band consciously decided to slow down the tempo incorporating melodic singing, rather than screaming. Hanneman asserted; "We knew we couldn't top Reign in Blood, so we had to slow down. We knew whatever we did was gonna be compared to that album, and I remember we actually discussed slowing down. It was weird—we've never done that on an album, before or since."[2] 1988's South of Heaven received mixed responses from both fans and critics, although it was Slayer's most commercially successful release at the time, debuting at #57 on the Billboard 200,[16] and the second album to receive gold certification in the United States.[17] Press response to the album was mixed, with All Music Guide citing the album as "disturbing and powerful",[18] and Rolling Stone calling it "genuinely offensive satanic drivel".[19] King says "that album was my most lackluster performance," although Araya called it a "late bloomer" which eventually grew on people.[2] [edit] Seasons in the Abyss (1990--1993) Slayer returned to the studio with co-producer Andy Wallace in 1989, to record their fifth studio album. Following the backlash created by South of Heaven, Slayer returned to the "pounding speed of Reign in Blood", while retaining their new found melodic sense.[20] Seasons in the Abyss, released in October 1990, was the first Slayer album to be released under Rubin's new Def American label, as he parted ways with Def Jam owner Russell Simmons over creative differences. The album debuted at #44 on the Billboard 200,[16] and was certified gold in 1992.[17] The title track, spawned Slayer's first music video, which was filmed in front of the Giza pyramids in Egypt prior to the Gulf War. Slayer returned as a live act in September 1990 to co-headline the European Clash of the Titans tour with Megadeth, Suicidal Tendencies, and Testament. With the popularity of American thrash at its peak, the tour was extended to the US beginning in May 1991, with Megadeth, Anthrax and opening act Alice in Chains. The band released a double live album, Decade of Aggression in 1991, to celebrate ten years. The compilation debuted at #55 on the Billboard 200.[16] In May 1992, Lombardo quit the band due to conflicts with other members, as well as arguments over his wish to bring his wife on tour.[21] Lombardo formed his own band Grip Inc, with Voodoocult guitarist Waldemar Sorychta,[22] and Slayer recruited former Forbidden drummer Paul Bostaph to fill his place. Slayer made its debut appearance with Bostaph at the 1992 Monsters of Rock festival at Castle Donington. Bostaph's first studio effort was a medley of three Exploited songs, "War", "UK '82", and "Disorder", with rapper Ice-T, for the Judgment Night movie soundtrack in 1993.[23] [edit] Divine Intervention (1994--1995) In 1994 Slayer released Divine Intervention, the band's first record with drummer Bostaph. The record became the band's highest charting at that time, debuting at #8 on the Billboard 200.[16] The album featured songs boasting about Reinhard Heydrich, an architect of the Holocaust, Jeffrey Dahmer, "213" his apartment number where he murdered, raped, and tortured seventeen victims. Other themes included murder, the evils of church, and the lengths to which governments will go to wield power, Araya's interest in serial killers inspired much of the lyrical content.[9][24] Music sample: * "SS-3" (1994) (file info) — [Play media] play in browser (beta) o SS-3 is about Reinhard Heydrich, an architect of the Holocaust. SS-3 refers to the license plate number of the car he was killed in. o Problems listening to the file? See media help. Slayer geared up for a world tour in 1995, with openers Biohazard and Machine Head. A video of concert footage, Live Intrusion was released, featuring a joint cover of Venom's "Witching Hour" with Machine Head. Relations between Slayer and Machine Head have since badly deteriorated.[25] Following the tour, Slayer were billed fourth at the 1995 Monsters of Rock festival, headlined by Metallica. [edit] Undisputed Attitude (1996--1997) In 1996, Undisputed Attitude, an album of punk covers, was released. The band covered songs by Minor Threat, T.S.O.L., D.R.I., D.I., Dr. Know, Verbal Abuse and Iggy and the Stooges. The album featured three original tracks, "Gemini", "Can't Stand You", "Ddamm" written by Hanneman in 1984--1985 for a side project entitled "Pap Smear". Bostaph left Slayer shortly after the album's release to work on his own project, The Truth about Seafood. With Bostaph's departure, Slayer recruited Testament drummer Jon Dette, and headlined the 1996 Ozzfest alongside Ozzy Osbourne, Danzig, Biohazard, Sepultura, and Fear Factory. Dette was fired after a year, due to a fallout with band members; Bostaph returned to continue the tour.[26] A lawsuit was brought against the band in 1996, by the parents of Elyse Pahler, who accused the band of encouraging their daughter's murderers through their lyrics.[27] Elyse was drugged, strangled, stabbed, trampled on, and raped as a sacrifice to the devil by three fans of the band.[27] The case was unsealed by the court on May 19, 2000, stating Slayer and related business markets distribute harmful products to teens, encouraging violent acts through their lyrics,[27] and "none of the vicious crimes committed against Elyse Marie Pahler would have occurred without the intentional marketing strategy of the death-metal band Slayer".[28] The lawsuit was dismissed in 2001, for multiple reasons including "principles of free speech, lack of a duty and lack of foreseeability".[29] A second lawsuit was filed by the parents, an amended complaint for damages against Slayer, their label, and other industry and label entities. The lawsuit was dismissed; Judge E. Jeffrey Burke stated "I do not consider Slayer's music obscene, indecent or harmful to minors."[29] [edit] Diabolus in Musica (1998--2000) Diabolus in Musica (Latin for "The Devil in Music")[30] was released in 1998, and debuted at #31 on the Billboard 200, selling over 46,000 copies.[31] The album received a mixed critical reception and was criticized for adopting characteristics of nu-metal music such as tuned down guitars, murky chord structures, and churning beats. Blabbermouth.net reviewer Borijov Krgin described the album as "a feeble attempt at incorporating updated elements into the group's sound, the presence of which elevated the band's efforts somewhat and offered hope that Slayer could refrain from endlessly rehashing their previous material for their future output.",[32] while New York Time's Ben Ratliff had similair sentiments by saying "eight of the 11 songs on Diabolus in Musica, a few of which were played at the show, are in the same gray key".[33] However, Adrien Begrand of PopMatters said the songs "Bitter Peace", "Death's Head", and "Stain of Mind"; "blow away anything that young pretenders like Slipknot have put out."[34] The album was the band's first with drop D tuning, as featured on the lead track, "Bitter Peace",(sample (help·info)) making use of the musical range referred to in the Middle Ages as the tritone or Devil's scale.[35] Slayer teamed up with digital hardcore group Atari Teenage Riot to record a song for the Spawn soundtrack titled "No Remorse (I Wanna Die)". The band later payed tribute to Black Sabbath by recording a cover of "Hand of Doom" for the second of two tribute albums, entitled Nativity in Black II. A world tour followed to support the new album, with Slayer making an appearance at the United Kingdom Ozzfest 1998 alongside Black Sabbath, Ozzy Osbourne, Foo Fighters, Pantera, Soulfly, Fear Factory, and Therapy?. [edit] God Hates Us All (2001--2005) The original cover of God Hates Us All was deemed "too graphic", so a slip-insert was created to allow the album to be distributed. The original cover of God Hates Us All was deemed "too graphic", so a slip-insert was created to allow the album to be distributed. After delays regarding remixing and artwork,[36] including slip covers created to cover the original artwork as it was deemed "too graphic", God Hates Us All was released on September 11, 2001. The band received its first Grammy nomination for the lead track "Disciple", although the Grammy was awarded to Tool, for "Schism".[37] Promotional material announcing the album title and release drew an unintended connection with the September 11 terrorist attacks. The attacks jeopardized the 2001 European tour Tattoo the Planet originally set to feature Pantera, Static X, Biohazard and Vision of Disorder. Dates were canceled or postponed due to flight restrictions, with a majority of bands deciding to withdraw, leaving Slayer and Static X remaining for the European leg of the tour.[38] Pantera, Vision of Disorder and Biohazard were replaced by Cradle of Filth and other bands dependent on location; Amorphis, In Flames, Moonspell, Children of Bodom, and Necrodeath. Drummer Bostaph left Slayer before Christmas in 2001, due to a chronic elbow injury which would hinder his ability to play.[39] Slayer's "God Hates Us All" tour was unfinished so King contacted original drummer Lombardo, and asked if he would like to finish the remainder of the tour. Lombardo accepted the offer, and stayed as a permanent member.[39] Slayer toured playing Reign in Blood in its entirety throughout the fall of 2003, under the tour banner "Still Reigning". Their playing of the final song "Raining Blood" culminated with the band drenched in a rain of fake blood. Live footage of this was recorded at the Augusta Civic Center in Augusta, Maine, on July 11, 2004 and released on the 2004 DVD Still Reigning. The band also released War at the Warfield and a box set, Soundtrack to the Apocalypse featuring rarities, live CD and DVD performances and various Slayer paraphernalia. From 2002 to 2004 the band performed over 250 tour dates, headlining major music festivals including H82k2, Summer tour, Ozzfest 2004, the Download Festival and a European tour with Slipknot. While preparing for the Download Festival in England, Metallica drummer Lars Ulrich was rushed to hospital with a mysterious illness, and was unable to perform.[40] Metallica vocalist James Hetfield searched for volunteers at the last minute to replace Ulrich; Lombardo and Slipknot drummer Joey Jordison volunteered, with Lombardo performing the songs "Battery" and "The Four Horsemen".[40] [edit] Christ Illusion (2006--present) The album Christ Illusion was originally scheduled for release on June 6, 2006, and would be the first album with original drummer Lombardo since 1990's Seasons in the Abyss.[41]. However, the band decided to delay the release of the record as they did not want to be among the many, according to King, "half-ass, stupid fucking loser bands" releasing records on June 6,[42] although USA Today reported the idea was thwarted because the band failed to secure sufficient studio recording time.[43] Instead, Slayer released Eternal Pyre on June 6 as a limited-edition EP. Eternal Pyre featured the song "Cult", a live performance of "War Ensemble" in Germany, video footage of the band recording "Cult", and a five minute video of a Slayer fan carving the band's name onto his forearm. Five thousand copies were released and sold exclusively through Hot Topic chain stores, and sold out within hours of release.[44] On June 30, Nuclear Blast Records released a 7" vinyl picture disc version limited to a thousand copies.[45] Christ Illusion was released on August 8, 2006, and debuted at #5 on the Billboard 200, selling over 62,000 copies in its first week.[46] The album became Slayer's highest charting, improving on its previous highest charting album, Divine Intervention, which had debuted at #8. However, despite its high positioning, the album dropped to #44 in the following week.[47] Three weeks after the album's release Slayer were inducted into the Kerrang! Hall of Fame for their influence to the heavy metal scene.[48] Slayer performing at The Unholy Alliance Tour Slayer performing at The Unholy Alliance Tour A worldwide tour dubbed The Unholy Alliance, was undertaken to support the new record. The tour was originally set to launch on June 6, but was postponed to June 10, as Araya had to undergo gall bladder surgery.[49] In Flames, Mastodon, Children of Bodom, Lamb of God, and Thine Eyes Bleed, Which features Araya's brother Johnny Araya, were supporting Slayer.[50] The tour made its way through America and Europe and the bands who participated, apart from Thine Eyes Bleed, reunited to perform at Japan's Loud Park Festival on October 15, 2006.[51] The video for the album's first single, "Eyes of the Insane", was released on October 30, 2006.[52] The track was featured on the Saw III soundtrack, and won a Grammy-award for "Best Metal Performance" at the 49th Grammy Awards, although the band were unable to attend due to touring obligations.[53] A week later, the band visited the 52nd Services Squadron located on the Spangdahlem U.S. Air Force Base in Germany to meet and play a show. This was the first visit ever to a military base for the band.[54] The band made its first network TV appearance on the show Jimmy Kimmel Live! on January 19, playing the song "Eyes of the Insane", and four additional songs for fans after the show, although footage from "Jihad" was cut due to its controversial lyrical themes. Slayer toured Australia and New Zealand in April with Mastodon, and appeared at the Download Festival and Rock Am Ring.[56] The band planned to attend the Heineken Jammin' Festival,[57] Switzerland's Greenfield Festival, and a summer tour with Marilyn Manson.[58] In May 2007, Blabbermouth.net announced that a 'first English language Slayer biography' was being written by British author Joel McIver, although no release date was announced.[59] [edit] Influence Slayer is credited as one of the "Big four" thrash metal bands along with Megadeth, Anthrax and Metallica, all of which rose to fame in the early 1980s.[1] These four bands have had a great influence on thrash and death metal scenes. "Their downtuned rhythms, infectious guitar licks, graphically violent lyrics and grisly artwork set the standard for dozens of emerging thrash bands, and Slayer's music was directly responsible for the rise of death metal" states MTV, ranking Slayer as the sixth "greatest metal band of all time,"[15] also ranking number 50 on VH1's "100 Greatest Artists of Hard Rock".[60] Hanneman and King ranked number 10 in Guitar World's "100 greatest metal guitarists of all time" in 2004,[61] and were voted "Best Guitarist/Guitar Team" in Revolver's reader's poll. Lombardo was also voted "Best Drummer" and the band entered the top five in the categories "Best Band Ever," "Best Live Band," "Album of the Year" (for Christ Illusion), and "Band of the Year."[62] The band's 1986 release, Reign in Blood has been an influence to extreme and thrash metal bands since its release. The album was hailed the "heaviest album of all time" by Kerrang! Magazine,[3] a "genre-definer" by Stylus Magazine,[63] and a "stone-cold classic upon its release" by All Music Guide.[64] In 2006 it was named the best metal album of the last 20 years by Metal Hammer.[65] Richard Christy, former member of Death was blown away by Dave's performance on the album Reign in Blood,[66] as was Cannibal Corpse drummer Paul Mazurkiewicz.[67] Drummer Lombardo has been an influence on many modern metal drummers including Ray Herrera of Fear Factory,[68] Pete Sandoval of Morbid Angel,[69] former Cradle of Filth drummer Adrian Erlandsson,[70] and Krisiun drummer Max Kolesne.[71] Patrick Grün of Caliban's inspiration to play drums came from Lombardo,[72] with Jason Bittner of Shadows Fall inspired by Lombardo's double bass, utilizing double bass when starting his own music career.[73] [edit] Style Early works were praised for their "breakneck speed and instrumental prowess," combining the structure of hardcore tempos and speed metal the band released fast, aggressive material.[1] The album Reign in Blood is the band's fastest, performed at an average of 250 beats per minute.[74] The album Diabolus in Musica was the band's first with drop D tuning, God Hates Us All the first with drop B tuning - utilizing seven-string guitars.[75] All Music Guide cited the album as "abandoning the extravagancies and accessibility of their late-'80s/early-'90s work and returning to perfect the raw approach",[76] with some fans labeling it nu-metal.[77] Hanneman's and King's dual guitar solos have been called "wildly chaotic,"[1] and "twisted genius."[78] Drummer Lombardo uses two bass drums, instead of the double kick which is used on a single bass drum. Lombardo's speed and aggression earned him the title of the "godfather of double bass" by Drummerworld. Lombardo states his reasons for using two bass drums: "When you hit the bass drum the head is still resonating. When you hit it in the same place right after that you kinda get a "slapback" from the bass drum head hitting the other pedal. You're not letting them breathe." When playing the double bass Lombardo uses the "heel-up" technique, angling his pedals. Writing lyrics and music Hanneman, King and Araya contribute to the band's lyrics, and Lombardo, King and Hanneman create the music. Araya's first contribution to lyrical content was 1988's South of Heaven, forming a lyric writing partnership with Hanneman, which can overshadow the creative input of King.Hanneman states writing lyrics and music is a "free for all"; "It's all just whoever comes up with what. Sometimes I'll be more on a roll and I'll have more stuff, same with Kerry — it's whoever's hot, really. Anybody can write anything; if it's good we use it, if not we don't." When writing new material the band writes the music before incorporating lyrics. King or Hanneman will use a 24-track and drum machine to show band members the riff they have created, and to get their opinion. Either King or Hanneman and Lombardo will mention if any alterations can be made. The band will play the riff to get the basic song structure, and figure out where the lyrics and solos will be placed. Feuds As of 2007, Araya and King have an ongoing feud with Dave Mustaine of Megadeth. It began when Mustaine attempted to convince King to stay with Megadeth rather than the "lame spikes" and "eyeliner" with the "poseurs" in 1984. Mustaine proceeded to tell Araya he liked it when he "sucked his dick" at the 1991 "Clash of the Titans" tour. Araya rebutted calling him a "homo" on stage. Since their falling out at the tour, King lashed out at Mustaine in several interviews stating he is a "cocksucker", "everybody hates him", and he is a "dictator". Recently in GuitarWorld.com's Dear Guitar Hero, King "admires him to this day" but as a guitarist even though he considers Mustaine as a "hypocrite". Relations between Machine Head and Slayer deteriorated when King labeled Machine Head as "sell-outs" after the release of its 2001 album Supercharger. King continued to criticize the band stating "They're responsible for rap-metal", "they fooled me into thinking they're metal", "'they have no integrity left." Machine Head front man Robb Flynn stated King was not provoked, and these comments had come from nowhere. Flynn, who once idolized King rebutted "Oh, Mr. SUM 41 video has so much fuckin' integrity now!? Shit?!" after King appeared in Sum 41's music video "What We're All About", also stating "King's eaten so many cheeseburgers his brain's starting to clog up." However, on June 16, 2007 Flynn reported that the two sorted out their 'beef' at the Metal Hammer Awards, at which Slayer won an award for 'Metal Icon'. Controversy The lyrics of "Angel of Death" were inspired by the acts of Josef Mengele during World War II Slayer has been accused of holding Nazi sympathies, due to the band's eagle logo bearing resemblance to the Eagle atop swastika, Schutzstaffel stickers on guitars, and the lyrics of "Angel of Death". The lyrics of "Angel of Death" were inspired by the acts of Josef Mengele, the doctor who conducted human experiments on Jewish and Roma prisoners during World War II at the Auschwitz concentration camp, and was dubbed the "Angel of Death" by inmates. Throughout their career, the band members were asked about these accusations, and have stated numerous times they do not condone Nazism, and are merely interested in the subject. Slayer's cover of Minor Threat's "Guilty Of Being White" raised questions about a possible message of white supremacy in the band's music. The controversy surrounding the cover involved the changing of the refrain "guilty of being white" to "guilty of being right", at the song's ending. This incensed Minor Threat frontman Ian MacKaye, who stated "that is so offensive to me". In a 2004 interview with Araya, when asked, "did critics realize you were wallowing in parody?", Araya replied, "No. People thought we were serious!...back then you had that PMRC, who literally took everything to heart, when in actuality you're trying to create an image. You're trying to scare people on purpose". Araya also denied rumors that Slayer members are Satanists, but they find the subject of Satanism interesting and "we are all on this planet to learn and experience". The controversial cover of "Christ Illusion" The song "Jihad" of the album Christ Illusion sparked controversy among families of the September 11 victims. The song deals with the attack from the perspective of a religious terrorist. The band stated the song is spoken through perspective without being sympathetic to the cause, and supports neither side. Seventeen bus benches promoting the album in Fullerton, California were deemed offensive by city officials. They felt the Antichrist and skull were inappropriate, and felt the name "Slayer" pertains to a murderer. City officials contacted the band's record label and demanded that the ads be removed. All seventeen benches were removed. In India, the album was recalled by EMI India after protests with Muslim and Christian religious groups due to the nature of the graphic artwork. The album cover depicts Christ mutilated, missing arms and an eye, in a sea of blood with severed heads. On October 11, 2006 EMI announced that all stocks had been destroyed, noting it had no plans to re-release the record in India in the future. Main article: Slayer discography Studio albums * 1983: Show No Mercy * 1985: Hell Awaits * 1986: Reign in Blood #94 US[16] * 1988: South of Heaven #57 US[16] * 1990: Seasons in the Abyss #40 US[16] * 1994: Divine Intervention #8 US[16] * 1996: Undisputed Attitude #34 US[16] * 1998: Diabolus in Musica #31 US[16] * 2001: God Hates Us All #28 US[16] * 2006: Christ Illusion #5 US[16] EPs/Box Sets * 1984: Haunting the Chapel * 2003: Soundtrack to the Apocalypse * 2006: Eternal Pyre DVDs/Live CDs * 1984: Live Undead * 1991: Decade of Aggression * 1995: Live Intrusion * 2003: War at the Warfield * 2004: Still Reigning [edit] Band members [edit] Current members * Tom Araya - bass, lead vocals (1981--present) * Jeff Hanneman - guitar (1981--present) * Kerry King - guitar (1981-present) * Dave Lombardo - drums (1981--1986, 1987--1992, 2001--present) [edit] Former members * Paul Bostaph - drums (1992--1996, 1997--2001) * Jon Dette - drums (1996--1997) * Tony Scaglione - drums (1986--1987) Tags: slayer metal thrash satan devil sacramento speedmetal

User: qwirkyguy

FIGHT!!! Very Funny, TV Confrontations w/ angry Celebrities HEY BJORK HATERS!!! THAT REPORTER WAS TALKING ALOT OF SHIT FOR ABOUT A MONTH. BJORK GOT TIRED OF IT. BJORK PUT THE REPORTER IN CHECK, THE REPORTER GOT ROCKED!!! There are a lot of Bjork haters, and god knows the majority of them probably live in the mid-west, in trailer parks, or in their mother's basement, or with their Grandma's. Or perhaps they are watching wrestling on TV 24/7 so they can inspire themselves to one day grace Television Screens with their athletic, and unstable personalities. This clip contains violent celebrities/well known people getting pissed off at each other in front of Television Cameras...It is a long clip, and may take long to download,but it is worth it and very entertaining to see them lose their composure. If you want to see pissed off people, see this clip. Enjoy Friends.... "Larry Holmes punched me..hit me in my head!" Tags: Morton Bjork Mike Tyson Fights richard pryor Douglas Marc Summers Burt Reynolds Jay Leno David Letterman violence

User: tokiohotelchannel

Tokio Hotel TV [Episode 25] TH Special - SCREAM U.S. Tokio Hotel TV [Episode 25] TH Special - SCREAM U.S. Tags: Tokio Hotel TV [Episode 25] TH Special SCREAM U.S. bill tom gustav georg

User: capitalchaos

MR BUNGLE on CAPITAL CHAOS TV 1999 http://www.capitalchaos.net MR BUNGLE @ Club Xtreme - Cameron Park, CA 1999 on their "California" tour, also on the bill were DILLINGER ESCAPE PLAN..Mr. Bungle was an influential avant-progressive experimental rock group formed in Northern California in 1985. Created while the members were still in high school and named after a children's educational film, they released four demo tapes in the mid to late 1980s, before being signed to Warner Bros. Records, who subsequently released three full-length studio albums between 1991 and 1999. Mr. Bungle have not been active since touring in 2000 to support their last album, and a recent media interview has confirmed the group is now disbanded.[1] While early in their career Mr. Bungle went through several line up changes, the bands most long serving members were vocalist Mike Patton, guitarist Trey Spruance, bassist Trevor Dunn, drummer Danny Heifetz, and Clinton "Bär" McKinnon on saxophone and other woodwind instruments. Mr. Bungle were known for their distinctive musical traits, often blending and cycling through several musical genres within the course of a single song and fusing radically different musical styles together. Many of their songs had a non-conventional structure and utilized a wide array of instruments and samples. Distinguished by their live shows, which often featured members dressing up and an array of unlikely cover songs, their style has influenced many recent funk metal bands. During the course of their career the band also had an ongoing feud with Red Hot Chili Peppers frontman Anthony Kiedis, which escalated in the late 90s with Kiedis having Mr. Bungle removed from a number of large music festivals in Europe and Australasia where the Chili Peppers were headlining. Although signed to a major record label, Mr. Bungle never had significant commercial success and only released one music video. They did, however, gain a reasonable amount of worldwide popularity due to a large cult following. Mr. Bungle formed in 1985 in Eureka, California while the members were still in high school; initially consisting of Trevor Dunn, Mike Patton, Trey Spruance, Theo Lengyel, and Jed Watts. Watts was subsequently replaced by Hans Wagner, and he by Danny Heifetz, while Clinton "Bär" McKinnon joined in 1989.[2] The band's name was taken from a children's educational film devised to teach children good manners and hygiene, which was featured in a Pee Wee Herman HBO special in the early '80s. A puppet named Mr. Bungle was the main character, used to represent the kind of person no clean, polite child would wish to be. In 1989 Faith No More bassist Billy Gould told Patton about a pornographic video called Sharon's Sex Party, which also starred a character known as Mr. Bungle.[2] Soon after forming, the band's first demo, The Raging Wrath of the Easter Bunny, was recorded during Easter of 1986. It generally featured a fast, low-fi, death metal style, though it also utilized a trainwhistle, a saxophone, bongos, and a kazoo. The Raging Wrath of the Easter Bunny was followed by the demo Bowel of Chiley in 1987; this recording featured a completely different style incorporating the sounds of ska, swing, and funk. In 1988 Mr. Bungle released their third demo, Goddammit I Love America!, which was musically similar to Bowel of Chiley. Their final demo tape was OU818, released in 1989; this recording was the first to feature tenor sax player Clinton "Bär" McKinnon and drummer Danny Heifetz. OU818 combined songs from the earlier demos along with some new tracks having a heavier overall sound than the previous releases.[3][4] In 1989 Mike Patton landed the lead vocalist slot with San Francisco's Faith No More, getting the job after Jim Martin of Faith No More heard him on a Mr. Bungle demo.[5] Patton decided not to break up Mr. Bungle, and continued to be a member of both bands simultaneously. Having established a strong following in Northern California, Mr. Bungle was signed to Warner Bros., who released their self-titled debut in 1991. Their debut, Mr. Bungle, was recorded a year after Mike Patton was recruited into Faith No More and was produced by jazz experimentalist John Zorn. Released on August 13, 1991 the album contained several new songs but overall the sound was in a similar style as OU818. The record mixed metal, funk, ska, carnival music, and free jazz, but was normally described as "funk metal" by music critics.[3] The content is, however, very hard to pin down using specific genres, and the structure and musical style of any single track frequently changes dramatically.[6] Critic Steve Huey wrote in All Music Guide "Mr. Bungle is a dizzying, disconcerting, schizophrenic tour through just about any rock style the group can think of, hopping from genre to genre without any apparent rhyme or reason, and sometimes doing so several times in the same song."[7] The album featured numerous samples, including Kentucky Fried Chicken commercial outtakes, items from the videogames "Super Mario Bros", "Smash TV", and "RBI Baseball", the movies Blue Velvet and Sharon's Sex Party, and the pinball games "Cyclone," "Earthshaker," and "Haunted House." Almost all the members went by obscure aliases in the album credits. To promote the album in some stores, a Mr. Bungle bubble bath was given away with copies of the record sold.[2] The first track on the self-titled recording was originally called "Travolta"(sample (help·info)); however, the actor John Travolta took issue with this title and threatened legal action. With the encouragement of Warner Bros. the song name was changed and on later pressings of the album was called "Quote Unquote", which is also the title of an unauthorized John Travolta biography by Bob McCabe.[2] They created a video for "Travolta" and submitted it to MTV. However, the station refused to air the video because of images of bodies dangling on meat hooks.[6] The album sold well despite MTV refusing to air their video and a lack of radio airplay. It received mostly positive reviews with Journalist Bill Pahnelas calling it "an incredible musical tour de force, and hands down the best alternative rock record of the year so far".[8] Following the release of the album the band toured North America successfully building a large and loyal cult following. Their popularity was partly due to unique stage shows where they often performed with masks to hide their identities and played unlikely covers during their set such as Billy Squier's "The Stroke," "The Star Wars Theme", and John Sebastian's "Welcome Back". Due to artwork delays and the band members' many side-projects, it was another 4 years before Disco Volante was released in October 1995.[3] This, their second major release, has a completely different tone and style to earlier Mr. Bungle recordings.[9] While the self-titled album was described as "funk metal", with Disco Volante this was replaced with the label "avant-garde" or "experimental."[6] The music was complex and unpredictable with the band continuing with their extreme shifts of musical style during songs. Some the tracks were in foreign languages and would radically change genres mid-song, arguably making it Mr. Bungle's most difficult and inaccessible release.[6] Featuring lyrics about death, suicide, and child abuse,[ along with plodding death metal, deranged children's songs, and a Middle Eastern techno number, music critic Greg Prato described the album as having "a totally original and new musical style that sounds like nothing that currently exists". Not all critics were impressed with the album, with The Washington Post describing it as "an album of cheesy synthesizers, mangled disco beats, virtuosic playing and juvenile noises", calling it "self-indulgent" and adding that "Mr. Bungle musicians like to show off their classical, jazz and world-beat influences in fast, difficult passages which are technically impressive but never seem to go anywhere". Disco Volante included influences from contemporary classical music, avant-garde jazz, electronic music pioneer Pierre Henry, Edgar Allan Poe, John Zorn, Frank Zappa, Penderecki, and European film music of the 1960s and 1970s such as those composed by Ennio Morricone and Peter Thomas. The album notes also contained an invitation to participate in an "unusual scam" - if $2 was sent to the bands address, participants would receive additional artwork, lyrics to the songs "Ma Meeshka Mow Skwoz" and "Chemical Marriage", and some stickers. Mr. Bungle supported this record with extensive tours through the United States, Europe, and Australia during '95 and '96, with the tours successfully widening the groups fan base. In 1996 Theo Lengyel retired as Bungle's original sax player and keyboardist due to creative differences. After another 4 year break between albums, the band's third album, California, was released on July 13 1999.[16] California is said to be Mr. Bungles most accessible[17][18] and while the genre shifts are still present, they are less frequent, with succinct song formats giving the album a less chaotic and more stable feel.[19] This resulted in what All Music Guide described as "their most concise album to date; and while the song structures are far from traditional, they're edging more in that direction and that greatly helps the listener in making sense of the often random-sounding juxtapositions of musical genres".[20] California continues the bands musical, lyrical, and thematic experimentation, although it has a much lighter tone.[21] On the different style of this album, Mike Patton explained that to the band "the record is pop-y", before adding "but to some fucking No Doubt fan in Ohio, they're not going to swallow that."[22] The album was generally well received with music critic Robert Everett-Green stating "The band's newest and greatest album does not reveal itself quickly, but once the bug bites, there is no cure. The best disc of the year, by a length."[23] Additionally, the recording process for California became much more complex. The group chose to record the disc on analog rather than digitally[24] and some songs required several 24-track machines while utilizing more than 50 analog tracks.[19] As a result each song contains detailed layers of original samples, keyboards, percussion, and melodies.[6] Mr Bungle live in 1999 Mr Bungle live in 1999 The album displays numerous influences, including exotica, Burt Bacharach, and The Beach Boys, while blending lounge, pop, jazz, funk, thrash-metal, Hawaiian, Middle Eastern, kecak, and avant-garde soundscapes.[17][18][21][25][20] The band did 5 tours to support this record. For the most part, perhaps with the exception of the Sno-Core 2000 tour where they were often booed, the band did have success attracting an audience. Following the 2000 tour the band again went on hiatus. Rumors circulated that the band had dissolved, with some members stating that the band was "over" while others insisted it was just "in limbo".[3] In 2003 Patton alluded to the fact that the band would probably not record any more albums stating "I think it is over. The guys are spread all over the world and we don't talk to each other. I have not spoken to a couple of the guys since the last tour, years ago."[28] While no official break-up announcement ever materialized, a 2004 Rolling Stone interview with Patton confirmed Mr. Bungle had disbanded with him revealing "We could have probably squeezed out a couple more records but the collective personality of this group became so dysfunctional, this band was poisoned by one person's petty jealousy and insecurity, and it led us to a slow, unnatural death. And I'm at peace with that, because I know I tried all I could."[1] When asked about a possible reunion, Mike Patton said, "It could happen, but I won't be singing. Some bridges have definitely been burned. It was a fun time and sometimes you just have to move on. I've got a lot on my plate now."[29] Trevor Dunn adds, on his website, "Bungle is dead and I'm happy about it" and that "the members of Mr. Bungle will never work together as such again".[30] Spruance,[31] Heifetz, and McKinnon[32] have been more optimistic; to quote Spruance, in response to the standard 'Mr. Bungle regrouping' question: "I hope so because that band could take over the fucking world if it wanted to."[31] After the dissolution of Mr. Bungle the members have gone on to numerous different projects. Mike Patton co-founded the record label Ipecac Recordings[33] and is involved with several other ventures, most notably the bands Fantômas,[34] Tomahawk,[35] and Peeping Tom.[36] He also acted in the motion picture Firecracker.[37] Trey Spruance is involved with various bands, including Secret Chiefs 3 and Faxed Head. Trevor Dunn joined Patton in Fantômas as well as forming his own jazz band, Trevor Dunn's Trio Convulsant; he also occasionally played bass with Secret Chiefs 3.[6][38] Danny Heifetz's projects included playing with Secret Chiefs 3 and in a country/punk band called Dieselhed;[6] he now resides in Sydney, Australia, and plays in outfits such as The Tango Saloon and The Fantastic Terrific Munkle.[39][40] Clinton McKinnon also played with Secret Chiefs 3; he now lives in Melbourne, Australia, and plays with The Ribbon Device. Mr. Bungle were generally regarded as an experimental rock or avant-progressive rock group. All Music described Mr. Bungles music as a "unique mix of the experimental, the abstract, and the absurd",[4] while The Seattle Times characterized their music as "harsh, grating, unstructured, blasting, squeaky, speedy, slow, eerie and strangely compelling".[10] Distinctive features of the music were the utilization of numerous different instruments, unique vocals, and the use of unpredictable song formats and a number of different musical genres. Along with the normal instruments of a rock band, Mr. Bungle would also incorporate additions such as bongos, woodblocks, tenor sax, Jews harp, xylophone, glockenspeil, clarinet, piano, and organ.[14] Journalist John Serba commented that the instrumentation "sounded kind of like drunken jazz punctuated with Italian accordions and the occasional Bavarian march, giant power chord, or feedback noise thrown in"[42] Overlaying this was Mike Patton's vocals, who often used death metal growls, crooning, screeching, gurgling, or simply whispering. The arrangement of their songs was also unique, normally displaying a total lack of any structured song format and rotating through different genres ranging from slow melodies to thrash-metal.[19] Critic Patrick Macdonald commented "In the middle of hard-to-follow, indecipherable noise, a relatively normal, funky jazz organ solo will suddenly drift in, it doesn't seem to fit but you can't stop listening to it".[10] Similarly New York Times journalist Jon Pareles described it as music that "leaps from tempo to tempo, key to key, style to style, all without warning".[43] Some of the notable genres they utilized include heavy metal,[20] funk,[20] free jazz,[20] surf rock,[17] punk,[43] klezmer music,[43] ska,[6] kecak,[25] avant-jazz,[21] folk music,[44] pop,[20] doo-wop,[44] funk metal,[25] electronica,[45] swing music,[20] space age pop,[20] death metal,[20][44] rockabilly,[20][25] bossa nova,[20] progressive rock,[18] country and western,[20] circus music [20] and even video game and cartoon music.[25] Critic Greg Prato stated they "may be the most talented rock instrumentalists today, as they skip musical genres effortlessly, while Mike Patton illustrates why many consider him to be the best singer in rock".[11] Mr. Bungle's style has influenced many recent funk and metal chart-toppers, most notably Korn, whose guitarists utilize what they've dubbed the "Mr. Bungle chord".[1] Brandon Boyd of Incubus also cited Mr. Bungle as an influence.[46] Although, Patton has stated that he considers it an insult when people cite him as a forefather of Korn and Limp Bizkit, stating "I feel no responsibility for that, it's their mothers' fault, not mine." Mr. Bungle were well-known for their stage shows, where all of the band members would dress up in outrageous costumes and masks, often wearing a uniform of mechanic's jumpsuits along with masks such as Madonna, Nixon, Darth Vader, an executioner's hood, or plastic clown or gimp masks.[13] Bassist Trevor Dunn explained that initially the reason for the masks and dressing up was to assure anonymity.[48] The shows for the California tours, while still involving various members in costumes, were largely devoid of the trademark masks and outfits due to the increased demands of the music.[19][49] Often the theme was related to California with palm tree props and the band members wearing beach party outfits including Hawaiian shirts and khaki pants.[19][50] Occasionally, the band would simply appear in black suits with white dress shirts or dress up in chef costumes, cowboy suits, or as the Village People.[42][51] Throughout their career Mr. Bungle also performed numerous covers in their live shows, ranging from tiny snippets to whole songs. The covers were by a wide variety of artists and genres encompassing movie scores by Ennio Morricone, Henry Mancini, and John Williams, pop songs by Elton John and Jennifer Lopez, hip hop by Public Enemy and Ol' Dirty Bastard, to punk and metal songs by the Dead Kennedys, Metallica, and Slayer.Mr. Bungle is known to have had a bad relationship with the Red Hot Chili Peppers' frontman Anthony Kiedis.[2] The feud began when Kiedis saw singer Mike Patton performing with Faith No More and accused him of imitating his style. Stating "Yeah I watch that 'Epic' video, and I see him jumping up and down, rapping, and it looked like I was looking in the mirror. The thing is, I had no problem with him personally. I mean, I love 'The Real Thing,' and I liked his vocals on that record. I mean, when I heard the record I noticed subtle similarities, but when I saw that video it was like, 'Wait a second here, what the fuck?".[2] Mike Patton and Mr. Bungle took offense to Kiedis' comment, sarcastically threatening Kiedis in the press. In the early nineties, Patton met with Kiedis; the two were polite to each other and the feud seemed to have ended.[2] However, in 1999 Mr. Bungle's album California was scheduled to be released on June 8, but their label, Warner Bros. Records, pushed it back so as not to coincide with the Red Hot Chili Peppers similarly titled album, Californication, which was to be released on the same day. This appeared to reignite the old feud with Kiedis having Mr. Bungle removed from a series of summer festivals in Europe; as the headlining act at the festivals The Chili Peppers had final word on the bands that would appear.[2][28] Patton stated "Our agent was in the process of booking these festivals, and it was becoming apparent that we'd landed some pretty good ones—one in France, another one in Holland, some big-name festivals. Turns out someone's holding a grudge! We were booted off several bills, including a really big festival in Australia, specifically because Anthony Kiedis did not want us on the bill. He threatened to pull the Chili Peppers if Mr. Bungle was on the bill. Now, rationalize that one! That's so fucking pathetic! I mean, this guy's selling a million records! We are not even a speck of dust on this guy's ass! What's the fucking problem?"[52] Trey Spruance added "We were booked, months in advance, to do eleven festival dates in Europe. Come Summer, we get a call from the three biggest of those festivals, all of them the same day, saying that we can't play, because the headlining band retains the right to hire and fire whomever they wish. We found out it was the Red Hot Chili Peppers, so our manager called their manager to find out what the hell was going on, and their manager was very apologetic, and said, 'We're really sorry, we want you to know this doesn't reflect the management's position, or the band's for that matter, it's Anthony Kiedis who wants this.'"[53] As a result, Mr. Bungle parodied the Red Hot Chili Peppers in Detroit, Michigan on Halloween of 1999. Patton introduced each Mr. Bungle band member with the name of one of the Red Hot Chili Peppers before covering the songs Give It Away, Around The World, Under the Bridge and Scar Tissue, with Patton deliberately using incorrect lyrics. Mr. Bungle also satirized many of the mannerisms of the band, mocking their frequent heroin injections and on-stage antics. Kiedis responded by having them removed from the 2000 Big Day Out festival in Australia and New Zealand,[2][28] stating "I would not have given two fucks if they played with us there, but after I heard about some Halloween show where they mocked us and read another interview where Patton talked shit about us, and I was like, you know what, fuck him and fuck the whole band." Tags: mrbungle mike patton rock faith no more metal

User: seanfindley

Black Flag 'TV Party' Target video for Black Flag's TV PARTY Tags: tv party black flag rollins ginn punk funk

User: SamusekTDS

Charlie Brooker's Screenwipe - Reality TV Editing An absolutely brilliant clip from his BBC show about how "unreal" reality TV really is... Tags: Charlie Brooker Screenwipe reality tv

User: Kyole

Amina Iceland Tv Performance Amina performing on a Icelandic tv show. Tags: Amina Sigur Ros Sigur-Ros Iceland

User: tokiohotelchannel

Tokio Hotel TV [Episode 24] TH in Germany - Part 2 Tokio Hotel TV [Episode 24] TH in Germany - Part 2 Tags: Tokio Hotel TV [Episode 23] TH in Germany Part tom bill georg gustav

User: camul3

joga tv, brazil joga tv Tags: joga tv

User: tokiohotelchannel

Tokio Hotel TV [Episode 22] NYC Part 2 Tokio Hotel TV [Episode 22] NYC Part 2 Tags: Tokio Hotel TV [Episode 22] NYC Part tom bill gustav georg

User: niceguynoel

Mad TV - Abercrombie Skits Abercrombie Spoof Tags: mad abercrombie

User: pwherman666

A-HA - The Sun Always Shines On TV(1985) My fave video from A-ha Tags: A- HA The Sun Always Shines On TV

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