A BLACK MAN WALKS INTO A CAFE EARLY ONE MORNING AND NOTICES HE'S THE ONLY ONE THERE

AS HE SAT DOWN HE NOTICED A WHITE MAN SAT BEHIND HIM, THE WHITE MAN SAID "COLOURED PEOPLE ARN'T ALLOWED IN HERE" .

THE BLACK MAN REPLIED...

"WHEN I WAS BORN I WAS BLACK

WHEN I GREW UP I WAS BLACK

WHEN I'M SICK I'M BLACK

WHEN I GO IN THE SUN I'M BLACK

WHEN I'M COLD I'M BLACK

AND WHEN I DIE I'M BLACK.

BUT YOU SIR...

WHEN YOU WERE BORN YOU WERE PINK

WHEN YOUR'E SICK YOUR'E GREEN

WHEN YOU STAY IN THE SUN YOUR'E RED

WHEN YOUR'E COLD YOU TURN BLUE

AND WHEN YOU DIE YOU TURN "PURPLE."

"AND YET YOU HAVE THE NERVE TO CALL ME COLOURED"

THE BLACK MAN TURNED BACK AROUND AND THE WHITE MAN WALKED AWAY.

☺☻ COPY THIS INTO YOUR SPACE AND HELP ERASE RACISM ☺☻

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The most consistently innovative metal band of the late 80s and early 90s was formed in 1981 in California, USA, by Lars Ulrich (b. 26 December 1963, Copenhagen, Denmark; drums) and James Alan Hetfield (b. 3 August 1963, USA; guitar, vocals) after each separately advertised for fellow musicians in the classified section of American publication The Recycler. They recorded their first demo, No Life Til' Leather, with Lloyd Grand (guitar), who was replaced in January 1982 by David Mustaine, whose relationship with Ulrich and Hetfield proved unsatisfactory.

Jef Warner (guitar) and Ron McGovney (bass) each had a brief tenure with the group, and at the end of 1982 Clifford Lee Burton (b. 10 February 1962, USA, d. 27 September 1986; bass), formerly of Trauma, joined the band, playing his first live performance on 5 March 1983

Mustaine departed to form Megadeth and was replaced by Kirk Hammett (b. 18 November 1962, San Francisco, California, USA; guitar). Hammett, who came to the attention of Ulrich and Hetfield while playing with rock band Exodus, played his first Hammett combination endured until disaster struck the band in the small hours of 27 September 1986, when Metallica's tour bus overturned in Sweden, killing Cliff Burton.



During those four years, the group put thrash metal on the map with the aggression and exuberance of their debut, Kill 'Em All, the album sleeve of which bore the legend 'Bang that head that doesn't bang'. This served as a template for a whole new breed of metal, though the originators themselves were quick to dispense with their own rulebook. Touring with New Wave Of British Heavy Metal bands Raven and Venom followed, while Music For Nations signed them for European distribution. Although Ride The Lightning was not without distinction, notably on 'For Whom The Bell Tolls', it was Master Of Puppets that offered further evidence of Metallica's appetite for the epic.

Their first album for Elektra Records in the USA (who had also re-released its predecessor), this was a taut, multi-faceted collection that both raged and lamented with equal conviction. After the death of Burton, the band elected to continue, the remaining three members recruiting Jason Newsted (b. 4 March 1963; bass) of Flotsam And Jetsam. Newsted played his first concert with the band on 8 November 1986.

The original partnership of Ulrich and Hetfield, however, remained responsible for Metallica's lyrics and musical direction. The new line-up's first recording together was The $5.98 EP - Garage Days Revisited - a collection of cover versions including material from Budgie, Diamond Head, Killing Joke and the Misfits, which also served as a neat summation of the group's influences to date.



Sessions for ...And Justice For All initially began with Guns N'Roses producer Mike Clink at the helm, before the group opted to return to Johnny Zazula, a realtionship they had begun with Ride The Lightning. A long and densely constructed effort, this 1988 opus included an appropriately singular spectacular moment in 'One', also released as a single, while elsewhere the barrage of riffs somewhat obscured the usual Metallica artistry. Songs continued to deal with large themes - justice and retribution, insanity, war, religion and relationships, on 1991's Metallica. Compared to Kill 'Em All nearly a decade previously, however, the group had grown from iconoclastic chaos to thoughtful harmony, hallmarked by sudden a nd unexpected changes of mood and tempo.

The MTV -friendly 'Enter Sandman' broke the band on a stadium level. Constant touring in the wake of the album ensued, along with a regular itinerary of awards ceremonies. There could surely be no more deserving recipients, Metallica having dragged mainstream metal, not so much kicking and screaming as whining and complaining, into a bright new dawn when artistic redundancy seemed inevitable.

Metallica was certified as having sold nine million