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Read Razorcake Issue #27 As A
t’s never been easy. On average, I put sixty to seventy hours a Yesterday, some of us had helped our friend Chris move, and before we week into Razorcake. Basically, our crew does something that’s moved his stereo, we played the Rhythm Chicken’s new 7”. In the paus- IInot supposed to happen. Our budget is tiny. We operate out of a es between furious Chicken overtures, a guy yelled, “Hooray!” We had small apartment with half of the front room and a bedroom converted adopted our battle call. into a full-time office. We all work our asses off. In the past ten years, That evening, a couple bottles of whiskey later, after great sets by I’ve learned how to fix computers, how to set up networks, how to trou- Giant Haystacks and the Abi Yoyos, after one of our crew projectile bleshoot software. Not because I want to, but because we don’t have the vomited with deft precision and another crewmember suffered a poten- money to hire anybody to do it for us. The stinky underbelly of DIY is tially broken collarbone, This Is My Fist! took to the six-inch stage at finding out that you’ve got to master mundane and difficult things when The Poison Apple in L.A. We yelled and danced so much that stiff peo- you least want to. ple with sourpusses on their faces slunk to the back. We incited under- Co-founder Sean Carswell and I went on a weeklong tour with our aged hipster dancing. -
Individuality, Collectivity, and Samoan Artistic Responses to Cultural Change
The I and the We: Individuality, Collectivity, and Samoan Artistic Responses to Cultural Change April K Henderson That the Samoan sense of self is relational, based on socio-spatial rela- tionships within larger collectives, is something of a truism—a statement of such obvious apparent truth that it is taken as a given. Tui Atua Tupua Tamasese Taisi Efi, a former prime minister and current head of state of independent Sāmoa as well as an influential intellectual and essayist, has explained this Samoan relational identity: “I am not an individual; I am an integral part of the cosmos. I share divinity with my ancestors, the land, the seas and the skies. I am not an individual, because I share a ‘tofi’ (an inheritance) with my family, my village and my nation. I belong to my family and my family belongs to me. I belong to my village and my village belongs to me. I belong to my nation and my nation belongs to me. This is the essence of my sense of belonging” (Tui Atua 2003, 51). Elaborations of this relational self are consistent across the different political and geographical entities that Samoans currently inhabit. Par- ticipants in an Aotearoa/New Zealand–based project gathering Samoan perspectives on mental health similarly described “the Samoan self . as having meaning only in relationship with other people, not as an individ- ual. This self could not be separated from the ‘va’ or relational space that occurs between an individual and parents, siblings, grandparents, aunts, uncles and other extended family and community members” (Tamasese and others 2005, 303). -
“Punk Rock Is My Religion”
“Punk Rock Is My Religion” An Exploration of Straight Edge punk as a Surrogate of Religion. Francis Elizabeth Stewart 1622049 Submitted in fulfilment of the doctoral dissertation requirements of the School of Language, Culture and Religion at the University of Stirling. 2011 Supervisors: Dr Andrew Hass Dr Alison Jasper 1 Acknowledgements A debt of acknowledgement is owned to a number of individuals and companies within both of the two fields of study – academia and the hardcore punk and Straight Edge scenes. Supervisory acknowledgement: Dr Andrew Hass, Dr Alison Jasper. In addition staff and others who read chapters, pieces of work and papers, and commented, discussed or made suggestions: Dr Timothy Fitzgerald, Dr Michael Marten, Dr Ward Blanton and Dr Janet Wordley. Financial acknowledgement: Dr William Marshall and the SLCR, The Panacea Society, AHRC, BSA and SOCREL. J & C Wordley, I & K Stewart, J & E Stewart. Research acknowledgement: Emily Buningham @ ‘England’s Dreaming’ archive, Liverpool John Moore University. Philip Leach @ Media archive for central England. AHRC funded ‘Using Moving Archives in Academic Research’ course 2008 – 2009. The 924 Gilman Street Project in Berkeley CA. Interview acknowledgement: Lauren Stewart, Chloe Erdmann, Nathan Cohen, Shane Becker, Philip Johnston, Alan Stewart, N8xxx, and xEricx for all your help in finding willing participants and arranging interviews. A huge acknowledgement of gratitude to all who took part in interviews, giving of their time, ideas and self so willingly, it will not be forgotten. Acknowledgement and thanks are also given to Judy and Loanne for their welcome in a new country, providing me with a home and showing me around the Bay Area. -
The Clash and Mass Media Messages from the Only Band That Matters
THE CLASH AND MASS MEDIA MESSAGES FROM THE ONLY BAND THAT MATTERS Sean Xavier Ahern A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill © 2012 Sean Xavier Ahern All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis analyzes the music of the British punk rock band The Clash through the use of media imagery in popular music in an effort to inform listeners of contemporary news items. I propose to look at the punk rock band The Clash not solely as a first wave English punk rock band but rather as a “news-giving” group as presented during their interview on the Tom Snyder show in 1981. I argue that the band’s use of communication metaphors and imagery in their songs and album art helped to communicate with their audience in a way that their contemporaries were unable to. Broken down into four chapters, I look at each of the major releases by the band in chronological order as they progressed from a London punk band to a globally known popular rock act. Viewing The Clash as a “news giving” punk rock band that inundated their lyrics, music videos and live performances with communication images, The Clash used their position as a popular act to inform their audience, asking them to question their surroundings and “know your rights.” iv For Pat and Zach Ahern Go Easy, Step Lightly, Stay Free. v ACKNOWLEDGMENTS This thesis would not have been possible without the help of many, many people. -
MC Trey: the 'Feline Force' of Australian Hip Hop Tony Mitchell
ARTIST PROFILE MC Trey: The ‘Feline Force’ of Australian Hip Hop Tony Mitchell A Hip Hop Role Model Fijian-Australian MC Trey, aka Thelma Thomas, is arguably Australia’s leading female MC, who has begun to receive prominent mainstream media coverage for her Pacific Islander style, dynamic live performances, distinctively street-wise and musically diverse recordings, and her hip hop workshops. Described by Andrew Drever in the Sydney Morning Herald as ‘one of Australian hip hop’s true role models,’1 to date she has released two acclaimed mini-albums, the ten-track Daily Affirmations (2000)—described as a ‘landmark for the Australian hip hop scene’ and album of the week in Sydney street mag Revolver2—and the eight-track Tapastry Tunes (2003), described by George Palathingal in the Sydney Morning Herald’s ‘Metro’ as ‘[d]emonstrating potentially the biggest leap forward for Australian hip hop.’3 Trey (initially an anagram for ‘The Rhymin’ Edifying Young’un’) has also contributed tracks to numerous Australian hip hop compilations, most notably the all-woman First Words (2000), released on Sydney-based label Mother Tongues, described by label founder Heidi Pasqual as ‘the first label in the world dedicated to the development of Women in Hip Hop Music.’ On the US release Best of International Hip Hop (Hip-O Universal, 2000) she represents Australia with her ‘melodic, realistic, personal, political, positive’ MC style, alongside a host of non-Anglophone male MCs and crews from Argentina, Algeria, Switzerland, Israel, Romania, Greece, Austria, Greenland, Croatia, France, South Africa and Portugal. Trey’s track on the international hip hop compilation, ‘Feline Forces,’ is about the African- American and Australian women in hip hop who have influenced her, from Roxanne Shante to MC Lyte, Baby Love, MC Que and local graffiti artist and MC Charlene aka Spice, who ‘in ’88 dropped the first Aussie female tune’ (on the Virgin compilation of Australian hip hop 1 Andrew Drever, ‘Trey bien,’ Sydney Morning Herald 27 June 2003: ‘Metro’ 10. -
Still Life Press
Still Life Best Short Film - Montreal World Film Festival 2001 Telleride Film Festival 2001 Sundance Film Festival 2002 PresskitPresskit TEL: 64 4 382 7680 FAX: 64 4 384 9719 PO BOX 11 546 WELLINGTON __________________________________________________________________ LEVEL 2 THE FILM CENTRE 119 JERVOIS QUAY WELLINGTON NEW ZEALAND www.nzfilm.co.nz [email protected] Production Notes Writer: Sima Urale Director: Sima Urlae Producer: Anna Rasmussen Production Company: Niu Movies Ltd Colour 11 minutes 35 mm 1:1:85 Dolby Digital Log Line Director’s True love never dies. Notes “I love seeing elderly people on screen, Synopsis whether its commercials, soaps, or movies. Everything is so youth-orientated today, Still Life explores how love overcomes romantic movies are always about the physical pain. An elderly couple, who young and the beautiful, so I wanted to decide to throw away life to re-unite in make a short film about real and lasting death, fnd that great love defies all. love. In a way, if they had lived to see it, Still Life is about Romeo and Juliet fifty years on”. Still Life Director’s Biography Sima Urale Sima Urale was born in Savaii, Samoa. Sima has been directing commercials in New Her family immigrated to New Zealand Zealand as well as abroad. She is currently in 1974. She is a graduate of the New writing her first feature film. Zealand Drama School (1989). After two years of stage acting in various productions throughout New Zealand, she was accepted into the Victorian College of the Arts Film and Television School, where she studied film-making for three years. -
Pop Goes to War, 2001–2004:U.S. Popular Music After 9/11
1 POP GOES TO WAR, 2001–2004: U.S. POpuLAR MUSIC AFTER 9/11 Reebee Garofalo Mainstream popular music in the United States has always provided a window on national politics. The middle-of-the-road sensibilities of Tin Pan Alley told us as much about societal values in the early twentieth century as rock and roll’s spirit of rebellion did in the fifties and sixties. To cite but one prominent example, as the war in Vietnam escalated in the mid-sixties, popular music provided something of a national referendum on our involvement. In 1965 and 1966, while the nation was sorely divided on the issue, both the antiwar “Eve of Destruction” by Barry McGuire and the military ode “The Ballad of the Green Berets” by Barry Sadler hit number one within months of each other. As the war dragged on through the Nixon years and military victory seemed more and more remote, however, public opinion began to turn against the war, and popular music became more and more clearly identified with the antiwar movement. Popular music—and in particular, rock—has nonetheless served con- tradictory functions in American history. While popular music fueled opposition to the Vietnam War at home, alienated, homesick GIs eased the passage of time by blaring those same sounds on the battlefield (as films such as Apocalypse Now and Good Morning, Vietnam accurately document). Rock thus was not only the soundtrack of domestic opposition to the war; it was the soundtrack of the war itself. This phenomenon was not wasted on military strategists, who soon began routinely incorporat- ing music into U.S. -
PROMOTING DIVERSITY of CULTURAL EXPRESSION in ARTS in AUSTRALIA a Case Study Report
PROMOTING DIVERSITY OF CULTURAL EXPRESSION IN ARTS IN AUSTRALIA A case study report Dr Phillip Mar Institute for Culture and Society, Western Sydney University Distinguished Professor Ien Ang Institute for Culture and Society, Institute for Culture Western Sydney University and Society DIVERSITY OF CULTURAL EXPRESSIONS Published under Creative Commons Attribution-Noncommercial-NonDerivative Works 2.5 License Any distribution must include the following attribution: P.Mar & I.Ang (2015) Promoting Diversity of Cultural Expressions in Arts in Australia, Sydney, Australia Council for the Arts. ABOUT THE AUTHORS Dr Phillip Mar Phillip Mar is an anthropologist by training, with research interests in migration, political emotions, contemporary art and cultural policy. Since 2008, Phillip Mar has been a researcher at the Centre for Cultural Research / Institute for Culture and Society, Western Sydney University. Distinguished Professor Ien Ang Ien Ang is a Distinguished Professor of Cultural Studies at the Institute for Culture and Society (ICS) at Western Sydney University. She is one of the leaders in cultural studies worldwide, with interdisciplinary work spanning many areas of the humanities and social sciences, focusing broadly on the processes and impacts of cultural flow and exchange in the globalised world. Her books, including Watching Dallas, Desperately Seeking the Audience and On Not Speaking Chinese, are recognised as classics in the field and her work has been translated into many languages, including Chinese, Japanese, Italian, Turkish, German, Korean and Spanish. Her most recent book, co-edited with E. Lally and K. Anderson, is The Art of Engagement: Culture, Collaboration, Innovation (2011). She is also the co-author (with Y. -
Party Warehouse Karaoke & Jukebox Song List
Party Warehouse Karaoke & Jukebox Song List Please note that this is a sample song list from one Karaoke & Jukebox Machine which may vary from the one you hire You can view a sample song list for digital jukebox (which comes with the karaoke machine) below. Song# ARTIST TRACK NAME 1 10CC IM NOT IN LOVE Karaoke 2 10CC DREADLOCK HOLIDAY Karaoke 3 2 PAC CALIFORNIA LOVE Karaoke 4 4 NON BLONDES WHATS UP Karaoke 5 50 CENT IN DA CLUB Karaoke 6 A HA TAKE ON ME Karaoke 7 A HA THE SUN ALWAYS SHINES ON TV Karaoke 8 A1 CAUGHT IN THE MIDDLE Karaoke 9 AALIYAH I DONT WANNA Karaoke 10 ABBA DANCING QUEEN Karaoke 11 ABBA WATERLOO Karaoke 12 ABBA THANK YOU FOR THE MUSIC Karaoke 13 ABBA SUPER TROUPER Karaoke 14 ABBA SOS Karaoke 15 ABBA ROCK ME Karaoke 16 ABBA MONEY MONEY MONEY Karaoke 17 ABBA MAMMA MIA Karaoke 18 ABBA KNOWING ME KNOWING YOU Karaoke 19 ABBA FERNANDO Karaoke 20 ABBA CHIQUITITA Karaoke 21 ABBA I DO I DO I DO I DO I DO Karaoke 22 ABC POISON ARROW Karaoke 23 ABC THE LOOK OF LOVE Karaoke 24 ACDC STIFF UPPER LIP Karaoke 25 ACE OF BASE ALL THAT SHE WANTS Karaoke 26 ACE OF BASE DONT TURN AROUND Karaoke 27 ACE OF BASE THE SIGN Karaoke 28 ADAM ANT ANT MUSIC Karaoke 29 AEROSMITH CRAZY Karaoke 30 AEROSMITH I DONT WANT TO MISS A THING Karaoke 31 AEROSMITH LOVE IN AN ELEVATOR Karaoke 32 AFROMAN BECAUSE I GOT HIGH Karaoke 33 AIR SUPPLY ALL OUT OF LOVE Karaoke 34 ALANIS MORISSETTE YOU OUGHTA KNOW Karaoke 35 ALANIS MORISSETTE THANK U Karaoke 36 ALANIS MORISSETTE ALL I REALLY WANT Karaoke 37 ALANIS MORISSETTE IRONIC Karaoke 38 ALANNAH MYLES BLACK VELVET Karaoke -
View Sample Pages of Tangata O Le Moana
Edited by Sean Mallon, Kolokesa Māhina-Tuai and Damon Salesa First published in New Zealand in 2012 by Te Papa Press, P O Box 467, Wellington, New Zealand Text © Museum of New Zealand Te Papa Tongarewa and the contributors Images © Museum of New Zealand Te Papa Tongarewa or as credited This book is copyright. Apart from any fair dealing for the purpose of private study, research, criticism, or review, as permitted under the Copyright Act, no part of this book may be reproduced by any process, stored in a retrieval system, or transmitted in any form, without the prior permission of the Museum of New Zealand Te Papa Tongarewa. TE PAPA® is the trademark of the Museum of New Zealand Te Papa Tongarewa Te Papa Press is an imprint of the Museum of New Zealand Te Papa Tongarewa Tangata o le moana : New Zealand and the people of the Pacific / edited by Sean Mallon, Kolokesa Māhina-Tuai and Damon Salesa. Includes bibliographical references and index. ISBN 978-1-877385-72-8 [1. Pacific Islanders—New Zealand. 2. Pacific Islanders—New Zealand—History.] I. Mallon, Sean. II. Māhina-Tuai, Kolokesa Uafā. III. Salesa, Damon Ieremia, 1972- IV. Title. 305.8995093—dc 22 Design by Spencer Levine Digital imaging by Jeremy Glyde Printed by Everbest Printing Co, China Cover: All images are selected from the pages of Tangata o le Moana. Back cover: Tokelauans leaving for New Zealand, 1966. Opposite: Melanesian missionary scholars and cricket players from Norfolk Island with the Bishop of Melanesia, Cecil Wilson, at the home of the Bishop of Christchurch, 1895. -
Queer Youth and the Importance of Punk Rock
QUEERING PUNK: QUEER YOUTH AND THE IMPORTANCE OF PUNK ROCK DENISE SCOTT A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN INTERDISCIPLINARY STUDIES YORK UNIVERSITY TORONTO, ONTARIO DECEMBER 2011 Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-90087-1 Our file Notre reference ISBN: 978-0-494-90087-1 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
A Rhythmic Analysis of Rap - What Can We Learn from ‘Flow’?
A Rhythmic Analysis of Rap - What can we learn from ‘flow’? A thesis submitted in partial fulfilment of the requirements for the degree of Masters of Linguistics in the University of Canterbury by Iskandar Rhys Davis March 2017 Contents Chapter I: Introduction ........................................................................................................... 1 1.1 Purpose and goals of investigating rap rhythm ........................................................... 1 1.2 Hip-Hop roots .............................................................................................................. 2 1.2.1 MCs and DJs ........................................................................................................ 2 1.2.2 Where rap began .................................................................................................. 3 1.2.3 Progression of rap content ................................................................................... 4 1.2.4 The use of sampling ............................................................................................. 6 1.3 An introduction to flow ............................................................................................... 7 1.4 Rap arenas and their influence on rap style............................................................... 10 1.4.1 Different rap forms ............................................................................................ 11 1.4.2 The mainstream vs. underground debate ..........................................................