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Atari Teenage Riot Sick to Death EP Mp3, Flac
Atari Teenage Riot Sick To Death E.P. mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Sick To Death E.P. Country: UK & Europe Released: 1997 Style: Hardcore, Downtempo, Breakcore MP3 version RAR size: 1753 mb FLAC version RAR size: 1889 mb WMA version RAR size: 1290 mb Rating: 4.9 Votes: 431 Other Formats: MOD ASF VOC MP2 AC3 AU VQF Tracklist 1 Sick To Death 3:44 2 We've Got The Fucking Power 4:44 3 Sick To Death (Remix) 6:00 4 Waves Of Disaster 5:11 Companies, etc. Marketed By – Intercord Record Service Distributed By – Intercord Record Service Licensed To – Intercord Record Service Phonographic Copyright (p) – Digital Hardcore Recordings Ltd. Copyright (c) – Digital Hardcore Recordings Ltd. Published By – Digital Hardcore Music Credits Artwork [Video Pix] – Phillip Virus* Cover [From] – Hell* Engineer [Assistant] – Janek S.* (tracks: 1, 2) MC – Carl Crack Producer, Programmed By, Vocals [Shouts] – Alec Empire Vocals – Hanin Elias Written-By – Alec Empire, Carl Crack (tracks: 2) Notes All tracks produced at Empire Studios, Berlin 1996. Vocal recordings on track 1 and 2 at MK Audio, Berlin. ©+℗ 1997 DHR Ltd. All tracks published by Digital Hardcore Music. Marketed and distributed by Intercord Record Service, Licensee. Barcode and Other Identifiers Barcode (Scanned): 724388359320 Barcode (Printed): 7 24388 35932 0 Label Code: LC 4396 Rights Society: bel BIEM Other versions Category Artist Title (Format) Label Category Country Year Atari Sick To Death Digital Hardcore DHR 12 DHR 12 Germany 1997 Teenage Riot E.P. (12", EP) Recordings (DHR) Atari Sick To Death Digital Hardcore none none 1997 Teenage Riot E.P. -
Heavy Metal and Classical Literature
Lusty, “Rocking the Canon” LATCH, Vol. 6, 2013, pp. 101-138 ROCKING THE CANON: HEAVY METAL AND CLASSICAL LITERATURE By Heather L. Lusty University of Nevada, Las Vegas While metalheads around the world embrace the engaging storylines of their favorite songs, the influence of canonical literature on heavy metal musicians does not appear to have garnered much interest from the academic world. This essay considers a wide swath of canonical literature from the Bible through the Science Fiction/Fantasy trend of the 1960s and 70s and presents examples of ways in which musicians adapt historical events, myths, religious themes, and epics into their own contemporary art. I have constructed artificial categories under which to place various songs and albums, but many fit into (and may appear in) multiple categories. A few bands who heavily indulge in literary sources, like Rush and Styx, don’t quite make my own “heavy metal” category. Some bands that sit 101 Lusty, “Rocking the Canon” LATCH, Vol. 6, 2013, pp. 101-138 on the edge of rock/metal, like Scorpions and Buckcherry, do. Other examples, like Megadeth’s “Of Mice and Men,” Metallica’s “For Whom the Bell Tolls,” and Cradle of Filth’s “Nymphetamine” won’t feature at all, as the thematic inspiration is clear, but the textual connections tenuous.1 The categories constructed here are necessarily wide, but they allow for flexibility with the variety of approaches to literature and form. A segment devoted to the Bible as a source text has many pockets of variation not considered here (country music, Christian rock, Christian metal). -
Catholics and Lutherans Has Intprmpdiatp Court Hinged on the Doctrine of Justification
love lessons Spicy_Hot A student writes about her younger brother, Red Hot Chili Peppers sizzled in their April 8 Tuesday who recently died of meningitis, and concert. according to music critic Dave Fulton. encourages everyone to embrace life as he did. APRIL 18, Scene + page 10 Viewpoint+ page 9 2000 THE The Independent Newspaper Serving Notre Dame and Saint Mary's VOL XXXIII NO. 124 HTTP://OBSERVER.ND.EDU NEWS ANALYSIS Theologians Bauer: Microsoft could face 01ore lawsuits been absolutely what I expected," discuss By COLLEEN McCARTHY Bauer said. Associate News Editor The third ruling, which Bauer Highlights of the expects could come this summer, justification Tlw April 3 ruling by a federal judge would deal with remedies to the situa Microsoft Case that t~omputnr giant Microsoft violated tion, since Jackson declared Microsoft By ERIN PIROUTEK U.S. antitrust laws dons not mean that in violation of antitrust laws. Associate News Editor tlw ease is ovPr. "The range of remedies extends to the breakup of Microsoft to ending dif In fact. appeals by For centuries the disagreement \1irrosort to the ferent kinds of conduct to changing May 1998 contracts it has with competitors and between Catholics and Lutherans has intPrmPdiatP court hinged on the Doctrine of Justification. of appnals in eustomt'rs," Bauer said. "The ruling Judge Thomas Penfield could also deal with Microsoft's licens Traditionally Lutherans have empha Washington, D.C. Jackson rules Microsoft sized that salvation is by faith alone, and tlwn possibly to ing codes regarding placement of their Web browser. while Catholics maintained that good thP U.S. -
Full Text In
Acta Universitatis Sapientiae, Philologica, 3, 2 (2011) 224-235 A Common Image Loss, A Common Memory Image Attempt for an Anthropology of Art Emese EGYED Babeş-Bolyai University Department of Hungarian Literary Studies [email protected] Orsolya LÁNG Sapientia Hungarian University of Transylvania Faculty of Sciences and Arts [email protected] Abstract. Teilhard de Chardin writes: “Man, ever since he has existed, offers himself as a spectacle for himself. In fact, he has been regarding nothing else for millennia than himself”.1 In search for the meanings of regard, spectacle, and vision, we have chosen the syncretic field of art since works of art initiate mechanisms of cognition the duration of which goes beyond perception. This is what we have experienced in the case of Federico Fellini’s (1920-1993) film Rome (1972), and János Géczi A.’s (1953-2005) short story Mint szénagyűjtéskor az árnyékban [Like at Hay Gathering, in the Shade]. Fellini is a legendary figure in the history of film, while János Géczi A., the outstanding Transylvanian writer, editor of Kriterion and Polis Publishing Houses, founder and head of Kalota Publishing House, who passed away tragically early, is only known by few. His individual volumes are: Holdfényben (In Moonlight, 1987), and Patthelyzetek (Deadlocks, 1992). Keywords: knowledge, hypogeum, image vision, cognition, double author Writing changes in time even within a given sign system, it is simplified, its logic becomes different. An image however has the same elementary and immediate effect on its onlooker even after thousands of years. Cave paintings, to the best of our present knowledge, primarily had a role in community building, with mystical 1 Quoted by Péter Nádas as a motto to his lecture Az égi és földi szerelemről (On Heavenly and Worldly Love). -
From No Future to Delete Yourself (You Have No Chance to Win)
Journal of Popular Music Studies, Volume 25, Issue 4, Pages 504–536 From “No Future” to “Delete Yourself (You Have No Chance to Win)”: Death, Queerness, and the Sound of Neoliberalism Robin James University of North Carolina, Charlotte Introduction Death is one of the West’s oldest philosophical problems, and it has recently been the focus of heated debates in queer theory. These debates consider the political and aesthetic function of a specific concept of death— death as negation, failure, an-arche, or creative destruction. However, as Michel Foucault (1990) argues, death is an important component of the discourse of sexuality precisely because it isn’t a type of negation. The discourse of sexuality emerges when “the ancient right to take life or let live was,” he argues, “replaced by a power to foster life or disallow it to the point of death” (Foucault 138).1 “Sexuality is the heart and lifeblood of biopolitics” (Winnubst 2012: 79) because it—or rather, as other scholars like Laura Ann Stoler (1995), LaDelle McWhorter (2009), and Jasbir Puar (2013) have demonstrated, racialized sexuality—is one of the main instruments through which liberalism “fosters” or “disallows” life. So, insofar as it pertains to sexuality, death isn’t a negation or a subtraction of life, but a side effect of a particular style of life management. In late capitalist neoliberalism, “death” only appears indirectly, not as a challenge to or interruption of life, but as its unthinkable, imperceptible limit.2 What are the theoretical, political, and aesthetic implications of neoliberalism’sreconceptualization of death as divested, or “bare,” life?3 What if we reframe ongoing debates about queer death, futurity, and antisociality by replacing the punk metaphorics of “No Future” with the cyberpunk/digital hardcore mantra “Delete Yourself (You Have No Chance To Win)”? Asking the question in this way, I use some methods, concepts, and problems from queer theory to think about a few pieces of music; I then use my analyses of these musical works to reflect back on that theory. -
From Silver Apples of the Moon to a Sky of Cloudless Sulphur: V Morton Subotnick & Lillevan 2015 US, Europe & JAPAN
From Silver Apples of the Moon to A Sky of Cloudless Sulphur: V Morton Subotnick & Lillevan 2015 US, Europe & JAPAN February 3 – 7 Oakland, California Jean Macduff Vaux ComposerinResidence at Mills College February 7 Oakland, California Mills College, Littlefield Concert Hall March 7 Moscow Save Festival at Arma March 4 New York the Kitchen: SYNTH Nights May Tel-Aviv, Israel Vertigo Dance Company June 7 London Cafe Oto June 16 Tel-Aviv, Israel Israel Museum June 20 Toronto Luminato Festival/Unsound Toronto July 28 Berlin Babylon Mitte (theatre) September 11 Tokyo TodaysArt.JP Tokyo September 12 Yamaguchi YCAM September 20 Kobe TodaysArt.JP Kobe November 22 Washington, DC National Gallery of Art 1 Morton Subotnick 2015 Other Events photo credit: Adam Kissick for RECORDINGS WERGO released in June 2015 After the Butterfly The Wild Beasts http://www.schott-music.com/news/archive/show,11777.html?newsCategoryId=19 Upcoming re-releases from vinyl on WERGO Fall 2015: Axolotl, Joel Krosnick, cello A Fluttering of Wings with the Juilliard Sting Quartet Ascent into Air from Double life of Amphibians The Last Dream of the Beat for soprano, Two Celli and Ghost electronics; Featuring Joan La Barbara, soprano Upcoming Mode Records: Complete Piano Music of Morton Subotnick The Other Piano, Liquid Strata, Falling Leaves and Three Piano Preludes. Featuring SooJin Anjou, pianist Release of a K-6 online music curriculum: Morton Subotnicks Music Academy https://musicfirst.com/msma 2 TABLE OF CONTENTS PROGRAM INFO Pg 4 CONCERT LISTING AND BIOS Pg 5 CAREER HIGHLIGHTS Pg 6 PRESS PHOTOS Pg 8 AUDIO AND VIDEO LINKS Pg 13 PRESS QUOTES Pg 15 TECH RIDER Pg 19 3 PROGRAM INFO TITLE OF WORK TO BE PRESENTED From Silver Apples of the Moon to A Sky of Cloudless Sulphur Revisited :VI PROGRAM DESCRIPTION A light and sound duet utilizing musical resources from my analog recordings combined with my most recent electronic patches and techniques performed spontaneously on my hybrid Buchla 2003/Ableton Live ’instrument’, with video animation by Lillevan. -
Adolescenti Italiani
LUCA TOCCACELI (Università Bicocca- Milano) Cantare i canti oggi: tra kolossal e opere rock* 1. L’EREDITA’ CLASSICA Confesso che, quando mi è giunta l’offerta di partecipare a questo dibattito con un intervento che mettesse in relazione Dante e la musica, ero davvero un po’ perplesso. Se la richiesta fosse stata quella di occuparmi di musica classica o lirica, quella che viene solitamente definita musica colta, il gioco sarebbe stato più semplice: anche limitandoci ai soli personaggi della Commedia, possiamo annoverare le Francesca da Rimini di Rachmaninoff, Staffa, Fournier-Gorre, Morlacchi, Borgatta, Devasini, Canetti, Marcarini, Götz, Napravnik, Zandonai, Mercadante. Per non parlare dei due lavori più notevoli sotto il titolo di Francesca da Rimini: il Poema sinfonico op. 77 del violinista bresciano Antonio Bazzini e la Fantasia op. 32 di Cajkovskij, la più famosa, anche in sede coreografica, delle composizioni dedicate al famoso personaggio femminile del quinto canto dell'Inferno. Altri personaggi danteschi: Pia de' Tolomei e il Conte Ugolino hanno sedotto Donizetti; Gianni Schicchi compare nel teatro di Giacomo Puccini. Ci sono stati autori che si sono cimentati con la Commedia nella sua completezza: il pensiero corre verso la Sinfonia Dante in quattro parti di Giovanni Pacini e, soprattutto, alla Dante-Symphonie di Franz Liszt, con la sua sinfonia in tre movimenti: Inferno, Purgatorio e Magnificat. Fu Wagner a dissuadere il compositore ungherese dal musicare il Paradiso; per la conclusione, pertanto, Liszt utilizzò il testo del Magnificat (tratto dal Vangelo secondo Luca), affidandolo ad un coro esclusivamente femminile. A Liszt dobbiamo anche una Fantasia quasi sonata Après une lecture de Dante. -
Stereo Total Bio English
The Story of Stereo Total The Beginning 1992-1994 In the winter 1992/93 Françoise Cactus and Brezel Göring met while shopping in a bakery in Adalbertstraße, Berlin. Françoise played in the French girl-garage-punk-R'n'R-Band Lolitas (they released 5 albums in Germany and France and toured all over Europe and America) and Brezel had the experimental-noise-copyright-ignoring-tapeloop-soundeffects project called Sigmund Freud Experience (they did 3 vinyl-records, 100 copies each). In 1993 they started playing together. Their first recording was a 10 minute cooking-recipe, in which all ingredients had sexual connotations. The recording is sadly lost. In 1994 Stereo Total started recording in Hamburg at the Alien Sound Studio of Peter Stein. They started to do concerts in Berlin and Germany. The line-up at this time was Françoise Cactus (vocals and drums), Lesley Campell (distortion guitar) from Scotland and Brezel Göring (vocals, guitar, organ, synthesizer). The logo of the band was two tits (shown on the backside of the first record "OH AH"). This sign was painted on a mix-tape Françoise made for Brezel that was named STEREO TOTAL. At this time it was impossible to find a label with this unusual mix of musical influences and languages: the band played French Chanson, Disco, Rockabilly, Garage in a very minimal, simplified, essential way with self built guitars and cheap electronics: the lyrics where French or German. The first 45-EP 1995 In 1995 they released their first 4-track-EP: "Allô j'écoute", which came out on the small label Desert Records. -
University of Idaho Digital Collections
'f'I-I F UN IVF RSITV AF ID~H(3 j J <,<'( 4/i ri '! .4 THF S I UDFNTs VDIcE The 1nngesf www.ui(Iaho,<'du>'argonaut continuously pub1isked college newspaper in the Northwest Tuesday, January Z6, I 999 V'olunvc IOO, I'io. 39 Moscow, Idaho, r<JYA <and I»y sf i.~- ArgoIIBUlf JVaI1 > <-,--..8'XV1 1'(:IsofIa1s... I'.xpcct clouds, j ( (iuess vvh;it wc I'ound witll p«<>E so<lie I tie C hap<.'I iii (lie i>i<i< I- breaks of even (g Argon<i<it bag? A pack;ige I'ruin, goes willi tile more clouds. r highI rl nsk an aliininus.... s~iP I l ~" 0<.ti) goes n>ctdJ w lili nlii<ieuver iil 13ralils ill <1 V<<< this i'ssuc iVews, A2 e,r I ()J>ini< n, A6 Pcfsoilals, rl. I 2 I UI and seven " <<<crt.i<on<(<if A4 gage p~epeygd'gI noI g Crisis line seeks vojunteers schools unite By Beth Green e<ill in ii profess<<><1<<i (I('lll'lir llllgr rrli Umvers<r>r of /dai>o itrgonaai for grants thc. n;it»re of'the e ill. ( o;ilir<in s<ilcl tlic 1)'pc <>I rcso»rces As.rocialed Thc neiv volunteer I'r Press training the they pool I'r<>rn include p<>lice;i»d Palouse Regional (.'risis I.ine ambulance seri iccs. "It's real l) a Un i vcrsi (PRCLJ has it's ties in Washington, Idaho, begun, but not too judgment call Jor us," slic said. -
Grand Tour E Turismo a Venezia 1.1
INTRODUZIONE p. 3 1 PREVISIONI E VISIONI: GRAND TOUR E TURISMO A VENEZIA 1.1. Viaggi narrati e viaggi ritratti: il paesaggio tra scrittura e immagini p. 15 1.2 . Il desiderio di possesso: viaggiatori-artisti e viaggiatori-clienti p. 33 1.3. Il faticoso esercizio dello sguardo: attese, invadenze e frustrazioni p. 47 2 IL GRAN TEATRO DI VENEZIA: IL PAESAGGIO VENEZIANO ATTRAVERSO LE ARTI DELLA RAPPRESENTAZIONE 2.1. Rimandi, incroci e contaminazioni: nascita dell’iconografia fotografica p. 63 2.2 . Fotografia e mito: il trionfo delle superfici p. 79 2.3. Lo sguardo tradotto: dall’immagine a stampa alla fotografia p. 91 3 SGUARDI ESTETICI E SGUARDI RAZIONALI: IL PAESAGGIO VENEZIANO NELLA PERCEZIONE DEL XIX SECOLO 3.1 . Fotografia e paesaggio: nascita di un nuovo sguardo artistico p. 109 3.2 . Cartografia, letteratura e fotografia: tra paesaggi interiori e paesaggi topografici 3.2.1. Idealità e razionalità nel paesaggio veneziano: storia di una collaborazione p. 125 3.2.2. La fotografia d’atelier: protagonisti e caratteri principali p. 149 4 TRADIZIONE E INNOVAZIONE NELLA FOTOGRAFIA DI PAESAGGIO: TEMPO E FORMA DI VENEZIA 4.1. Sguardi assoluti e sguardi relativi: la fotografia e la sua epoca p. 183 4.2 . Il tempo sospeso: lo sguardo tra rimando e contemplazione p. 201 4.2.1. Proiezioni personali e proiezioni collettive p. 221 4.2.2. Venezia città artificiale: stanze e palcoscenici p. 243 4.3. La fotografia tra itinerari artistici e urbani: dall’accumulo all’ordine p. 265 4.4. Venezia e il bon savage : un rapporto letto attraverso la fotografia p. -
Titre Construit 1Er Responsable Série Edith Piaf
Titre construit 1er responsable Série Edith Piaf (1963-2003) (20) : Volume 20 : Carnegie Hall 1956-1957 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] Edith Piaf (1963-2003) (19) : Volume 19 : Carnegie Hall 1956 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] Edith Piaf (1963-2003) (18) : Volume 18 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] Edith Piaf (1963-2003) (17) : Volume 17 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] Léo chante Ferré (16) : Léo chante l'espoir Ferré, Léo (1916 - 1993) Léo chante Ferré / Léo Ferré [Universal Music S.A.] Edith Piaf (1963-2003) (16) : Volume 16 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] Intégrale 1965-1995 (16) : Disque 16 Sardou, Michel Intégrale 1965-1995 / Michel Sardou [Universal Music France S.a] Léo chante Ferré (15) : Léo chante Et ... basta ! Ferré, Léo (1916 - 1993) Léo chante Ferré / Léo Ferré [Universal Music S.A.] Edith Piaf (1963-2003) (15) : Volume 15 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] L'Intégrale (15) : Les Marquises Brel, Jacques L'Intégrale / Jacques Brel [Universal Music France S.a] Intégrale 1965-1995 (15) : Disque 15 Sardou, Michel Intégrale 1965-1995 / Michel Sardou [Universal Music France S.a] L'Intégrale studio de Claude Nougaro (14) : Embarquement immédiat Nougaro, Claude L'Intégrale studio de Claude Nougaro / Claude Nougaro [Mercury France] Intégrale 1965-1995 (14) : Disque 14 Sardou, Michel Intégrale 1965-1995 / Michel Sardou [Universal Music France S.a] Edith Piaf (1963-2003) -
Dante Xxi: Uma Ponte Entre a Idade Média E a Contemporaneidade
PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO DA UNIVERSIDADE FEDERAL DE SANTA MARIA DANTE XXI: UMA PONTE ENTRE A IDADE MÉDIA E A CONTEMPORANEIDADE DANTE XXI: A BRIDGE BETWEEN THE AVERAGE AGE AND THE CONTEMPORANEITY DANTE XXI: UM PUENTE ENTRE LA EDAD MEDIA Y LA CONTEMPORANEIDAD Alexandro Buffon Universidade Feevale- [email protected] Cristina Ennes da Silva Docente Historia Medieval - Universidade Feevale – [email protected] Resumo Este estudo tem como tema a obra medieval A Divina Comedia de Dante Alighieri. O objetivo é identificar e analisar a apropriação dos elementos constantes na obra e reinterpretados pela banda Sepultura em seu registro sonoro Dante XXI. Produtos culturais de tempos e sociedades distintas, com características próprias de suas épocas, buscamos compreender semelhanças e diferenças que apresentam, veiculadas, é claro, aos seus respectivos contextos de produção. A análise se dará dentro da seguinte perspectiva: como Dante percebia o tema aqui escolhido em sua época e como a banda Sepultura reinterpreta e atualiza em seu registro sonoro esta visão para os dias atuais. Palavras-chave: Dante. Heavy Metal. Política. Abstract This study has as subject the medieval work Divine Comedy of Dante Alighieri. The objective is to identify and to analyze the appropriation of the elements constant in the medieval work and reinterpreted by the band Sepultura in its cd Dante XXI. Cultural products of times and distinct societies, with proper characteristics of its times, we search to understand similarities and differences that present, propagated, clearly, to its respective contexts of production. This analysis will be inside of the following perspective: how Dante perceived them at his time and how the band Sepultura reinterprets them and updates it in its sound recording with a vision of the current days.