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The Doors”—The Doors (1967) Added to the National Registry: 2014 Essay by Richie Unterberger (Guest Post)*
“The Doors”—The Doors (1967) Added to the National Registry: 2014 Essay by Richie Unterberger (guest post)* Original album cover Original label The Doors One of the most explosive debut albums in history, “The Doors” boasted an unprecedented fusion of rock with blues, jazz, and classical music. With their hypnotic blend of Ray Manzarek’s eerie organ, Robby Krieger’s flamenco-flecked guitar runs, and John Densmore’s cool jazz-driven drumming, the band were among the foremost pioneers of California psychedelia. Jim Morrison’s brooding, haunting vocals injected a new strand of literate poetry into rock music, exploring both the majestic highs and the darkest corners of the human experience. The Byrds, Bob Dylan, and other folk-rockers were already bringing more sophisticated lyrics into rock when the Doors formed in Los Angeles in the summer of 1965. Unlike those slightly earlier innovators, however, the Doors were not electrified folkies. Indeed, their backgrounds were so diverse, it’s a miracle they came together in the first place. Chicago native Manzarek, already in his late 20s, was schooled in jazz and blues. Native Angelenos Krieger and Densmore, barely in their 20s, when the band started to generate a local following, had more open ears to jazz and blues than most fledgling rock musicians. The charismatic Morrison, who’d met Manzarek when the pair were studying film at the University of California at Los Angeles, had no professional musical experience. He had a frighteningly resonant voice, however, and his voracious reading of beat literature informed the poetry he’d soon put to music. -
University of Pardubice Faculty of Arts and Philosophy the City in Songs
University of Pardubice Faculty of Arts and Philosophy The City in Songs, Songs in the City: The Image of New York in the Folk Music of the 1960s Tomáš Racek Bachelor Thesis 2016 1 2 3 Prohlašuji: Tuto bakalářskou práci jsem vypracoval samostatně. Veškeré literární prameny a informace, které jsem použil, jsou uvedeny v seznamu literatury. Byl jsem seznámen s tím, že na moji práci se vztahují práva a povinnosti vyplývající ze zákona č.121/2000 Sb., autorský zákon, zejména se skutečností, že Univerzita Pardubice má právo na uzavření licenční smlouvy o užití této práce jako školního díla podle § 60 odst. 1 autorského zákona, a s tím, že pokud dojde k užití této práce mnou nebo bude poskytnuta licence o užití jinému subjektu, je Univerzita Pardubice oprávněna ode mne požadovat přiměřený příspěvek na úhradu nákladů, které na vytvoření díla vynaložila, a to podle okolností až do jejich skutečné výše. Souhlasím s prezenčním zpřístupněním mé práce v Univerzitní knihovně. V Pardubicích dne 29. 6. 2014 Tomáš Racek 4 Acknowledgements I would like to express my gratitude to my supervisor PhDr. Ladislav Vít, Ph.D. for his assistance, especially in the early stages of writing, and together with other university teachers, for all the effort they put in their valuable and inspirational lessons. I would also like to thank my mother, partner and children for their love, support, encouragement and patience during my studies. 5 ANOTATION This bachelor thesis is concerned with the image of New York City in the folk music of the 1960s, specifically in the song lyrics of the North American singer-songwriters Bob Dylan, Paul Simon, Joni Mitchell, Fred Neil, Phil Ochs, John Phillips, John Sebastian and Joey Levine. -
NCLR-Annual-Report-2
national center for lesbian rights 2005 ANNUAL REPORT WWW.NCLRIGHTS.ORG 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 9 9 2000 2001 2002 2003 2004 2005 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 9 1 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 1977 1978 1979 1980 1981 1982 983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 4 2005 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 997 1998 1999 2000 2001 2002 2003 2004 2005 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 89 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2003 2004 2005 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 9 5 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 9 7 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 1977 1978 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003“ 2004Since 2005 1977,1977 1978 the1979 1980National 1981 1982 Center1983 1984 1985for 1986Lesbian 1987 1988 Rights 1989 1990 1991 1992 9 3 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 1977 1978 1979 1980 1981 1982 1983 1984 85 1986 1987 1988 1989has 1990 been 1991 at 1992 the 1993 forefront 1994 1995 1996 of 1997nearly 1998 1999every 2000 legal 2001 2002 gain 2003 2004 2005 7 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 9 9 2000 2001 2002 2003 2004 2005 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 9 1 1992 1993 1994won 1995 1996 for 1997 LGBT 1998 1999people 2000 2001and 2002 families. -
2003 Annual Report Breast Cancer Action
Breast Cancer Action Annual Report 2003 Coming Together: Moving From Illness to Activism Founded by a group of women who realized the power of community, Breast Cancer Action was born from a need for a grassroots organization with a unique understanding of the political, economic, and social context of breast cancer. Today BCA’s mission is to carry the voices of people affected by breast cancer in order to inspire and compel the changes necessary to end this epidemic. Never straying far from our community-based roots, and with a keen eye toward structural change, BCA organizes people to do something besides worry about breast cancer. 2003 was an extraordinary year for our organization and our movement. We came togeth- er in entirely new ways. New bridges were built. New steps were taken. Bold moves for- ward were made. Our community grew exponentially and our critical messages—that every woman should have access to information and care, that we need true prevention of breast cancer, and that we must develop more effective and less toxic treatments—reached an ever- growing audience. Together we demanded, and ultimately effected, lasting change. Information: The Key to Activism Information is an essential precursor to action. BCA has always been committed to providing accurate, reliable, and honest information about breast cancer. We reach the public through our English- and Spanish-language newsletters, our web site, and a toll-free number. By pro- viding information, BCA both enables people to make informed decisions for themselves and supports their activism. In 2003, we mailed the BCA Newsletter to an expanding list of more than 12,000 individu- als and institutions. -
Get Back: the Unauthorized Chronicle of the Beatles' " Let It Be" Disaster, 1999, 336 Pages, Doug Sulpy, Ray Schweighardt, 0312199813, 9780312199814, St
Get Back: The Unauthorized Chronicle of the Beatles' " Let It Be" Disaster, 1999, 336 pages, Doug Sulpy, Ray Schweighardt, 0312199813, 9780312199814, St. Martin's Press, 1999 DOWNLOAD http://bit.ly/1A5PAQV http://www.powells.com/s?kw=Get+Back%3A+The+Unauthorized+Chronicle+of+the+Beatles%27+%22+Let+It+Be%22+Disaster Here, for the first time, Beatles experts Sulpy and Schweighardt trace the group's breakdown through the fascinating prism of the Get Back recording sessions. January 2, 1969: The Beatles begin a month of intensive sessions, designed to capture the musicians "as nature intended." Playing raw, live, with no studio tricks or gimmicks, the Beatles were consciously rejecting the high- gloss production style of their recent albums in favor of a return to their earlier stripped-down rock and roll sound. But Beatles Unplugged soon became Beatles Undone, and the project turned into the thirty-day saga of a group in freefall. Bickering and sniping, trudging through sloppy versions of old hits, the Fab Four were coming apart. For twenty-five years, tapes from the ill-fated Get Back sessions - only a fraction of which were released as Let It Be - have circulated among collectors. Sulpy and Schweighardt, for the first time, have undertaken a Herculean task: Sifting through those countless hours on tape, they reconstruct in amazing detail the drama of those sessions - the songs, jokes, outbursts, and fights. Get Back puts the reader in the studio as John cedes power to Yoko, Paul scrambles to keep things afloat, and George quits the band. It traces each step in the band's unique creative process. -
Authenticity and Artifice in Rock and Roll: “And I Guess That I Just Don't Care”
Rock Music Studies ISSN: 1940-1159 (Print) 1940-1167 (Online) Journal homepage: http://www.tandfonline.com/loi/rrms20 Authenticity and Artifice in Rock and Roll: “And I Guess That I Just Don’t Care” Bernardo Alexander Attias To cite this article: Bernardo Alexander Attias (2016) Authenticity and Artifice in Rock and Roll: “And I Guess That I Just Don’t Care”, Rock Music Studies, 3:2, 131-147, DOI: 10.1080/19401159.2016.1155376 To link to this article: http://dx.doi.org/10.1080/19401159.2016.1155376 Published online: 21 Mar 2016. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rrms20 Download by: [Bernardo Attias] Date: 21 March 2016, At: 23:50 Rock Music Studies, 2016 Vol. 3, No. 2, 131–147, http://dx.doi.org/10.1080/19401159.2016.1155376 Authenticity and Artifice in Rock and Roll: “And I Guess That I Just Don’t Care” Bernardo Alexander Attias Musicians, journalists and academics often hold up the Velvet Underground as the paragon of authenticity in rock music, and the band indeed portrayed itself this way from the outset. While much ink has been spilled explaining the original and authentic genius that is the Velvet Underground, an equally compelling case can be made that the band’s first album marked a turn towards insincerity and inauthen- ticity in popular music. This project emerges from the tension between these identi- ties. A close textual analysis of The Velvet Underground & Nico functions as an entry into theoretical arguments about truth and meaning in popular music. -
2012 Annual Report
2012 ANNUAL REPORT LIGHTING THE WAY FOR LGBT RIGHTS ABOUT NCLR The National Center for Lesbian Rights is a national legal organization committed to advancing the civil and human rights of lesbian, gay, bisexual, and transgender (LGBT) people and their families through litigation, public policy advocacy, and public education. Thirty-six years ago, a brave and determined woman, fresh out of law school and eager to make a difference, decided to put her knowledge to good use. As a legal scholar, Donna Hitchens saw the courtroom as a way to change the world. As a lesbian, she had experienced both personal and professional frustrations and fears, and didn’t want others to suffer the same. That was in 1977. Today, that pioneering spirit and unwavering commitment to advance the civil and human rights of all LGBT people continues. Each year, through litigation, public policy advocacy, and public education, NCLR helps more than 5,000 LGBT people and their families nationwide. Our precedent-setting case victories literally rewrite the law, changing the legal landscape for all LGBT people and families across the nation. For more than three decades we’ve been leaders in bringing historic cases, and today we are still blazing trails in pursuit of justice, fairness, and legal protections for all LGBT people. From a humble yet tenacious initial focus on addressing the overlooked discrimination against lesbians, NCLR has grown to expand its life- and law-changing work in order to advance the legal landscape for every LGBT person. Our programs focusing on elder law, employment, family law, federal legislation, healthcare, immigration, marriage, relationship protections, sports, transgender law, and youth create safer homes, safer jobs, and a more just world. -
Rock Music's Crusade of Authenticity
ROCK MUSIC’S CRUSADE OF AUTHENTICITY by DANIEL BROMFIELD A THESIS Presented to the Department of Journalism and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2016 An Abstract of the Thesis of Daniel Bromfield for the degree of Bachelor of Arts in the School of Journalism and Communications to be taken June 2016 Title: Rock Music's Crusade Of Authenticity Prof. Thomas Wheeler This thesis attempts to define rock music's standards of authenticity and explore their origins. Included are comparison of rock's standards of authenticity to those of other genres and an exploration of how authenticity has been perceived throughout the history of rock music. This study argues that rock's standards of authenticity are unusual among pop music genres in that they entail artists both writing their own songs and playing their own instruments. This is in contrast to genres like hip hop, contemporary pop, and R&B, which have their own quite different standards of authenticity. Quotes from rock fans, critics, and musicians are used to provide insight into rock's standards of authenticity and how they developed over time. ii Acknowledgements I would like to first and foremost thank my father for introducing me to music. If not for his decision to turn me on to the Beatles one sunny day in June 2006, I would surely be pursuing a far more boring career – and thesis topic. And I would like to thank my mother for giving me a great life and being endlessly supportive. -
2014 Annual Report Contents Vision/Mission
2014 ANNUAL REPORT CONTENTS VISION/MISSION Letter from Executive Director ...................................................................3 In 1977 a group of women came Achievements .................................................................................................4 together across racial and class differences to build a truly just social Unique Collaborations Fueled the Global Movement movement that prioritized the needs for LGBTQI Rights .......................................................................................5 and vision of lesbians and women of CommsLabs: Defending Human Rights Through Media and Tech ...6 color. In order to do so, they realized they would need to fund the work Grantee Partners in Action ...................................................................... 11 themselves. Their uncompromising Art to End Silence ...................................................................................... 11 vision became the Astraea Lesbian Foundation for Justice. Building an LGBTQI Movement in West Africa .................................. 12 Undocumented, Unafraid and Organized ............................................. 13 Astraea remains true to this founding lesbian feminist ethos, supporting In Colombia, Trans* Women Demand Changes from Cops ............ 14 movement building through four Thank You! ................................................................................................... 15 strategic pillars: Financial Statement of Activities .......................................................... -
GAY GAMES VI Sydney's
“BACK IN THE DAY...” Movement grew underground efore the Gay Games, very talented, competent Blong before the coach, Mike Rio, who internet and email, gay was a part-time wrestling and straight grapplers fed coach in Orange County, their hunger for matches a Los Angeles Police on the dark fringes of Department officer, and a urban life. macho hunky Hollywood The most effective extra. modus operandi for SCWC dominated closeted gay wrestlers Gay Games I and II. to meet was through Wrestlers often met through SCWC’s efforts were secretive word-of-mouth magazine ads. enhanced in 1981 when referrals and mailing lists Tom Waddell asked Jung published by various pre-cyber clubs, to create a legitimate freestyle club in such as the New York Wrestling Club, San Francisco, separate from the more Gillespie’s List and New Orleans Wres- playful and unstructured San Fran- tling Club. The forerunners of today’s cy- cisco Wrestling Club. This became the ber contact lists and social media, they GGWC, and both clubs scheduled many provided the same functions: communi- inter-club competitions every year. cation and contact. Some Jung was al- of it was good, some of it ready well known was bad: you got in touch “Inter fæces et and respected and took your chances. urinam nascimur” in California. Before Gay Games I, – St. Augustine A state champ the “Challenge in ‘82” at both Vallejo for wrestling had already been tackled High School and Chabot Junior College, by wrestling organizers from California. he became the coach at Mission High Most notable were Don Jung, coach School in San Francisco. -
2020-QWOCFF-Program-Book.Pdf
WELCOME Greetings from Yelamu, the traditional unceded territory of the Ramaytush Ohlone people, which is known as San Francisco. This naming is crucial. The hemisphere that QWOCMAP inhabits, the entire Americas, from Canada to Chile, was founded on anti-Native and anti-Black racist violence, from dispossession and enslavement to policing and incarceration, that affects our safety to this very day. QWOCMAP works to end oppression and advance abolition. We use film as protest, as respite, as imagination for a just future. This embodiment of art and culture is grounded in the spiritual and ethical aspects of Black and Indigenous resistance, and that of all people of color. We welcome you to our 16th annual San Francisco International Queer Women of Color Film Festival. Our Festival Focus SafeSpace/NoPlace digs up the roots of injustice, showing how it seeds discourse and proliferates violence against our oppressed communities. From gentrification and displacement to the global pandemic, from the street to our homes, the safety of our communities is crucial to the new world we all need. We want the films and discussions to connect us, even as we are physically distant from each other. We want to spark joy for you and galvanize your courage to act. When we act, we learn and change. And action, making the road as we walk it, creates hope. We cherish working in solidarity with you to create justice. With light, love, and liberation, QWOCMAP STAFF QWOCMAP BOARD Madeleine Lim, Executive Director Alisha Klatt T. Kebo Drew, Managing Director Cassandra Falby Christina Lang, Program Manager Leis Rodriguez, J.D. -
JEWELLE GOMEZ & DIANE SABIN Petitioners, in Re Marriage Cases
JEWELLE GOMEZ & DIANE SABIN Petitioners, In re Marriage Cases We have been together for 16 years now. When we met, it was absolutely love at first sight. But life and professions intervened. However, eight years later I moved across the country to start a life with Diane and neither of us has once regretted the decision. We consider ourselves to be engaged, a term that represents an active state of connection, reflecting the complete commitment and love that we both feel. Now in our 50’s, the age of many grandparents, we face similar challenges as the rest of the aging population, with the added obstacles of being denied the right to marry thrown in our emotional and economic paths. Going through the issues of family and friends aging, planning for retirement and growing old are challenging enough, but navigating them without the rights and privileges afforded to other married couples makes the situation even more complicated and frustrating. Aside from the emotional and social benefits of marriage, there are countless tangible rights that marriage grants to couples—more than 1,000 according to legal experts. As we prepare for retirement, neither of us can designate the other to receive social security survivor benefits in the event of one of our deaths. Will that mean one of us will lose such significant income she has to leave our home? Even after A.B. 205, the California Domestic Partnership Act went into effect in 2003, we still had anxiety. Like many people in our middle years, we have both have had to undergo serious surgeries recently and we paid considerable attorney’s fees to draft durable power of attorney paperwork in the event of an emergency.