DOCSLIB.ORG

Clamor Magazine to Help Sustain One Source, Small Changes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Clamor Magazine to Help Sustain One Source, Small Changes Sex Mags on Olympia Free FHtta'j Indy Video in India I Education in Haiti Corporations and Community Colleges >n of ber 2005 • Issue 34 1 | r i ILL Mi & # .#- &#<&-<! ^ <? *^ a? ^c ^ V # C CO " Wif*. ^ * SPECIAL EDITION * CLAMOR INTERVIEWS: • Chuck D • M*e turns " i Riley The Rewfcjtwn o« Ewiy** U" lyears of interviews PLUS: new interviews with Ian MacKaye & Todd Solondz EXCLUSIVE: ***** FIVE YEARS ***** OF ***** ***** CLAMOR . ***** INTERVIEWS Order this special edition ot Clamor featuring some of the best interviews we've done in the first five years of ***** publishing. The issue features brand new interviews with Ian MacKaye and Todd Solondz as welll as memorable reprinted interviews with Howard Zinn, Chuck D, Randi ***** Rhodes, Studs Terkel, Dead Prez, Boots Riley, Laura Flanders, Betita Martinez, Christian Parenti, Derrick Jensen, ***** John K. Samson, Carol Leigh, and Mike Davis. This exclusive edition is only available online and on the ***** newsstand, so order your copy now to make sure you get one. order yours for $4.50 ***** online: www.infoshopnovv.com ***** mail: Clamor I PO Box 20128 1 Toledo, OH 43610 : EDITORS/PUBLISHERS Jen Angel & Jason Kucsma from your editors CULTURE EDITOR WEB DESIGN Eric Zassenhaus Derek Hogue At this time four years ago, we released the tenth issue of Clamor. Itwas loosely focused around issues of ECONOMICS EDITOR VOLUNTEERS/INTERNS education inside and outside the classroom, and it sold out almost as soon as we released it. Since then, Arthur Stamoulis Mariana Brandman Nathan Titman we've received numerous requests each year to repeat the "Back to School" issue, so here you are. MEDIA EDITOR Jeff Nolish Catherine Komp Frankly, we could have released an entire issue of Clamor covering the things we've learned about the maga- PROOFREADERS zine publishing business that we were clueless before started. like: PEOPLE EDITOR Mike McHone. Kristen about we Things • Keidra Chaney Schmidt. Hal Hixson Your magazine is considered "successful" on the newsstand if you sell 40% of the copies you Elliot Adams. Scott put out there And yes. the rest are simply are thrown away. SEX &GENOER EDITOR Puckett • There are tens of thousands of young people out there who are hungry for a progressive/radi- Brian Bergen-Aurand infoSHOP workhorse cal political magazine that doesn't eschew the importance of culture and a radical culture Evan Morrison POLITICS EDITORS magazine that doesn't eschew politics. Jones Chad • No matter how many times you stress how important it is for people to subscribe to the & Mariana Ruiz COVER THIS ISSUE independent love, still by Victor J. Blue magazines they many would rather pick up their copy at the local big REVIEW EDITOR box newsstand. Keith McCrea • Doing a bi-monthly magazine with a staff of two people is straight-up bananas — no matter how you slice it. Even now with an editorial staff of of LAYOUT & DESIGN almost ten people and a team volun- Jason Kucsma teers, there just isn't enough time in the day. • Regardless of how great the articles are, if you put sports on the cover of a magazine like Clamor, it'll be doomed (see Clamor #19, March/April 2003). TOOLS • Thanks to a generous donation. Clamor is Doing a magazine that acknowledges that people have a million different interests that they designed using licensed Adobe software. want to read about (rather than creating a niche magazine appealing to one of those inter- ests), while noble and necessary in our opinion, is marketing suicide. ADVERTISING Rates and deadlines available upon request. Please call 419-255-3020 or visit We could go on, but we'll save more for our 10th anniversary issue. In the meantime, we're pleased to revisit www.clamormagazine.org/advertise the education theme with articles that shake the foundation of traditional learning environments and en- courage us all to think about education in ways we hadn't before. Jennifer Utz and her sister Lindsay travel PRINTING Westcan Printing Group to India to teach young women about how they can use new media tools to tell their stories (p. 22). Kaci Elder Winnipeg. Manitoba. Canada shares the inspiring success story of Olympia Community Free School (p. 50). and Ida Lake visits a stencil- Phone: 866-669-9914 making workshop hosted by NYC's Visual Resistance on the back page. Clamor is a bi-monthly magazine. Single copies are $4.50 ppd and 6 issue subscriptions are $18 Of course many of us are still connected to conventional learning institutions in some way or another, which ppd in the US (Outside of the US single issues is why we're extremely excited to present a feature investigating organized attacks by right-wing groups on are $6 and a 6-issue subscription is $25 in US higher learning (p. 8). Expect more of this sort of work in future issues of Clamor, and you'll probably be see- Funds). Checks may be made payable to Become The Media. ing another "education" issue from us in a few years. Even with all this great content, we didn't have room to talk about the Toledo School for the Arts (www.ts4arts.org), the Highlander Center (www.highlandercenter. BACK ISSUES org), or the School of Unity and Liberation (www.youthec.org/soul) — all projects worthy of stories. Please Available at www infoshopnow com visit our website, under the heading "Participate," to find out how you can send in stories on your favorite DISTRIBUTION projects, too. Clamor is distributed to stores and distributors by IPA/Big Top Newsstand Services. 65 Battery for reading. St. 2nd Floor. San Francisco, CA94111 Thanks [email protected] ^c^Af-\ Clamor is also available through these fine distribution outlets: AK Press, Armadillo, Doormouse. Gordon & Gotch, Ingram, IPO. Kent News, Last Gasp, Media Solutions, Milligan, One PS: If you haven't already, please consider making a small donation to Clamor Magazine to help sustain one Source, Small Changes. Stickfigure. Tower, and of your favorite independent media projects. Clamor's innovative model works because its readers are much Ubiquity more pro-active and aware of the importance of independent media compared to more passive consumers Clamor (ISSN 15-34-9489) is published six times of mainstream media. Please do your part and pledge what you can. Please visit: wwwclamormagazine. a year (Jan/Feb. Mar/Apr, May/Jun, Jul/Aug, Sept/ org/support shtml for more information. Oct. Nov/Dec) ©2005 in the US by Become The Media Incorporated I PO Box 20128 Toledo. OH 43610 I Phone: 419.243 4688 Postmaster: Send address changes to: [iiiifliiimiiiiii Magazine Clamor Clamor s mission is to provide a media outlet that reflects the reality of alternative politics and culture in a format PO Box 20128 that is accessible to people from a variety of backgrounds. Clamor exists to fill the voids left by mainstream media. Toledo OH 43610 We recognize and celebrate the fact that each of us can and should participate in media, politics, and culture We publish writing and art that exemplify the value we place on autonomy, creativity, exploration, and cooperation. Periodicals postage paid at Toledo. OH Clamor is an advocate of progressive social change through active creation of political and cultural alternatives. rp UPROAR © 06 Where Clamor Readers Have Their Say Number 34 I September/October 2005 CULTURE 08 Under Attack: Free Speech on Campus by Justin M. Park 15 Foyer Maurice Sixto and Haiti's Restaveks by Doris Charrollais 1 7 Learning Liberation by Kat Shiftier and Patrick W. Quirk 15 Foyer Maurice Sixto and Haiti's Restaveks by Doris Charrollais 19 Professor & the Photocopy byJosh Medsker MEDIA 22 Ready. Aim. Shoot! by Jennifer utz 27 James Loewen on Sundown Towns by Edward Burch PEOPLE 32 School Of Punk Rock by Antonio Lopez 34 Katy Otto: D.C. Superhero interview by Matt Dineen 36 Kitchen of Distinction by Tess. Lotta 39 Jets to Brazil by Rex Ganding POLITICS 42 Getting in Bed with the Bad Guys by Jackie Regales 45 Me Abrio los 0JOS by Teresa Niedda and Jose Manuel Guzman 46 Battling Blink Kong by Sarah Bradley 48 Teamsters Teaching Teamsters by Ben Speight ECONOMICS 50 Olympia Community Free School by Kaci Elder 54 Energizing the Eggheads by Rebecca Hyman 56 Bosses? No, Thank You! by Marie Trigona SEX & GENDER 58 Getting Off ... On Campus by Rebecca Gottlieb 61 S&G Resources by Chris Newman 62 Shake (off) What Your Parents Gave Ya! by Mandy Van Deven 63 Dirty Learning Curve by Dorian Katz 63 Passing in the Classroom by Anne Balay MURMURS 65 What We're Talking About... HERE 72 Visual Resistance in NYC by Ida Lake Please address letters to [email protected] or write us at PO Box 20128 Toledo, OH 43610 Letters may be edited for length. Not all letters received will be printed. DEALING WITH SEXUAL ASSAULT viable, radical means of proving the guilt or inno- as possible from both sides, as well as any practical cence of someone. This is a large step backward from evidence. From these things the folks from outside the First of all I'd like to commend the organizers of the even the current system we reject, which purports to scene should make their judgment about the guilt or Born In Flames conference (Born in Flames; May/June promote the notion of "innocent until proven guilty". innocence of the accused. 2005). Such a gathering of radicals dealing with is- What Lauren Hartley says is, of course, good for The tricky part, of course, is what to do with the exactly she social services dealing with if guilty. sues of sexual assault is a long time coming.
Load more

Recommended publications
  • Culture Wars' Reloaded: Trump, Anti-Political Correctness and the Right's 'Free Speech' Hypocrisy
    The 'Culture Wars' Reloaded: Trump, Anti-Political Correctness and the Right's 'Free Speech' Hypocrisy Dr. Valerie Scatamburlo-D'Annibale University of Windsor, Windsor, Ontario, Canada Abstract This article explores how Donald Trump capitalized on the right's decades-long, carefully choreographed and well-financed campaign against political correctness in relation to the broader strategy of 'cultural conservatism.' It provides an historical overview of various iterations of this campaign, discusses the mainstream media's complicity in promulgating conservative talking points about higher education at the height of the 1990s 'culture wars,' examines the reconfigured anti- PC/pro-free speech crusade of recent years, its contemporary currency in the Trump era and the implications for academia and educational policy. Keywords: political correctness, culture wars, free speech, cultural conservatism, critical pedagogy Introduction More than two years after Donald Trump's ascendancy to the White House, post-mortems of the 2016 American election continue to explore the factors that propelled him to office. Some have pointed to the spread of right-wing populism in the aftermath of the 2008 global financial crisis that culminated in Brexit in Europe and Trump's victory (Kagarlitsky, 2017; Tufts & Thomas, 2017) while Fuchs (2018) lays bare the deleterious role of social media in facilitating the rise of authoritarianism in the U.S. and elsewhere. Other 69 | P a g e The 'Culture Wars' Reloaded: Trump, Anti-Political Correctness and the Right's 'Free Speech' Hypocrisy explanations refer to deep-rooted misogyny that worked against Hillary Clinton (Wilz, 2016), a backlash against Barack Obama, sedimented racism and the demonization of diversity as a public good (Major, Blodorn and Blascovich, 2016; Shafer, 2017).
    [Show full text]
  • Lgi Newsletter 2017
    LGI NEWSLETTER 2017 BENEFIT On September 27th, a benefit to raise money for scholarships to the LGI was held at the home of Kevin Breslin (L73) Professor John Van Sickle of Brooklyn College. Thomas Bruno (G95) Hors d’oeuvres were furnished by M.J. Amy Bush (G93) McNamara (G01), a chef as well as a Ph.D. Rowland Butler (L87) student in classics at The Graduate Center. She Jeffrey Cassvan (L92) explained her choices of food and how she tried Donovan Chaney (G99) to approximate the ingredients the Romans Amy Cooper (G12) used. Dr. Alex Conison, the Brand Manager of Susan Crane (L97) Josh Cellars at Deutsch Family Wine & Spirits, Michael Degener (G84) did his Ph. D. dissertation on Roman wine and Nicholas de Peyster (G85) supplied the wine and explained how it Jeanne Detch (G93) compared with the wines the Romans drank. Joan Esposito (G86) There was a mixture of classicists and non- Michael Esposito (G08) classicists and conversations flowed till late in Isabel Farias (G12) the evening. It was a most successful event. Alison Fields (L07) Earlier in the year, we held a different event for Jeff Fletcher (L88) the same purpose. This was a lecture in lower Thomas Frei (G83) Manhattan followed by a reception. The Robert Frumkin (L82) speaker was Joy Connolly, Provost and John Fulco (L75) Professor of Classics at The CUNY Graduate Peggy Fuller (L85) Center. Her topic was, “Why Autocracy Robert Gabriele (G12) Appeals: Lessons from Roman Epic,” a timely John Gedrick (L90) reflection on the lessons that Lucan’s Pharsalia Richard Giambrone (G81, L82) offers to our current political situation.
    [Show full text]
  • Unmasking the Oregon Klansman: the Ku Klux Klan in Astoria 1921-1925
    Unmasking the Oregon Klansman: The Ku Klux Klan in Astoria 1921-1925 Annie McLain 2003 I. Introduction “Carry on Knights of the Ku Klux Klan! Carry on until you have made it impossible for citizens of foreign birth, of Jewish blood or of Catholic faith to serve their community or their country in any capacity, save as taxpayers.” [1] On January 30, 1922 the Astoria Daily Budget ran an editorial responding to the racial and religious tension in Astoria created by the Ku Klux Klan. The staff of the Daily Budget joined local Catholics and immigrants in an attack against the organization they believed was responsible for the factional strife and political discord that characterized their city. While the editor attacked the Klan, one local minister praised the organization by saying, “I can merely say that I have a deep feeling in my heart for the Klansmen . and that I am proud that men of the type these have proven themselves to be are in an organized effort to perpetuate true Americanism,” [2] The minister clearly believed the Klan would lead the city toward moral reform and patriotic unity. Both the editor and the minister were describing the same organization but their conflicting language raises some important questions. The tension between these two passages reveals the social and political climate of Astoria in the early part of the 1920s. Astorians believed their city was in need of reform at the end of World War I. Their economy was in a slump, moral vice invaded the city and political corruption was rampant.
    [Show full text]
  • Gender, Identity Framing, and the Rhetoric of the Kill in Conservative Hate Mail
    Communication, Culture & Critique ISSN 1753-9129 ORIGINAL ARTICLE Foiling the Intellectuals: Gender, Identity Framing, and the Rhetoric of the Kill in Conservative Hate Mail Dana L. Cloud Department of Communication Studies, University of Texas, Austin, TX 78712, USA This article introduces the concept of identity framing by foil. Characteristics of this communicative mechanism are drawn from analysis of my personal archive of conservative hate mail. I identify 3 key adversarial identity frames attributed to me in the correspondence: elitist intellectual, national traitor, and gender traitor. These identity frames serve as foils against which the authors’ letters articulate identities as real men and patriots. These examples demonstrate how foiling one’s adversary relies on the power of naming; applies tremendous pressure to the target through identification and invocation of vulnerabilities; and employs tone and verbal aggression in what Burke identified as ‘‘the kill’’: the definition of self through the symbolic purgation and/or negation of another. doi:10.1111/j.1753-9137.2009.01048.x I was deluged with so much hate mail, but none of it was political ....It was like, ‘‘Gook, chink, cunt. Go back to your country, go back to your country where you came from, you fat pig. Go back to your country you fat pig, you fat dyke. Go back to your country, fat dyke. Fat dyke fat dyke fat dyke—Jesus saves.’’—Margaret Cho, ‘‘Hate Mail From Bush Supporters’’ (2004) My question to you. If you was [sic] a professor in Saudi Arabia, North Korea, Palestinian university or even in Russia. etc. How long do you think you would last as a living person regarding your anti government rhetoric in those countries? We have a saying referring to people like you.
    [Show full text]
  • PDF Transition
    ! ! ! ! “FINGERS GLITTERING ABOVE A KEYBOARD:” ! THE KEYBOARD WORKS AND HYBRID CREATIVE PRACTICES OF ! TRISTAN PERICH! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! A Dissertation! Presented to the Faculty of the Graduate School! of Cornell University! in Partial Fulfillment of the Requirements for the Degree of! Doctor of Musical! Arts! ! ! by! David Benjamin Friend! May 2019! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! © 2019 David Benjamin! Friend! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! “FINGERS GLITTERING ABOVE A KEYBOARD:”! THE KEYBOARD WORKS AND HYBRID CREATIVE PRACTICES OF ! TRISTAN! PERICH! ! David Benjamin Friend, D.M.A.! Cornell University,! 2019! ! !This dissertation examines the life and work of Tristan Perich, with a focus on his works for keyboard instruments. Developing an understanding of his creative practices and a familiarity with his aesthetic entails both a review of his personal narrative as well as its intersection with relevant musical, cultural, technological, and generational discourses. This study examines relevant groupings in music, art, and technology articulated to Perich and his body of work including dorkbot and the New Music Community, a term established to describe the generationally-inflected structural shifts! in the field of contemporary music that emerged in New York City in the first several years of the twenty-first century. Perich’s one-bit electronics practice is explored, and its impact on his musical and artistic work is traced across multiple disciplines and a number of aesthetic, theoretical, and technical parameters. This dissertation also substantiates the centrality of the piano to Perich’s compositional process and to his broader aesthetic cosmology. A selection of his works for keyboard instruments are analyzed, and his unique approach to keyboard technique is contextualized in relation to traditional Minimalist piano techniques and his one-bit electronics practice." ! ! BIOGRAPHICAL! SKETCH! ! !! !David Friend (b.
    [Show full text]
  • Bloc Party Gets Intimate on New LP
    ---~~A~~F~S:~-~ -, --- PAGE6 .&.. · _ ___:--t_ · SEPTEMBER 2- 8 2008 The Expmdalb>les bring SFI showcases singing Sita reggae grooves to SS·U R<;>sEMCMACKIN 1930's. Her jazz and blues recordings StaffWriter give vibrant life and voice to Sita. Paley's animation style is wildly A'1ANDA CRAVER Prairie Sun Studios right here in Cotati. imaginative: the animated Sita resembles StaffWriter This versatile band combines punk rock, The colorfully animated "Sita Sings Betty Boop, the Sri Lankan king sports reggae, and 80's style guitar flare to cre­ the Blues," is the first feature-length of­ multiple heads, and Rama's skin is the ate a sound that fans just can't seem to fering from independent filmmaker Nina color of blue bells. Start the semester out with a bang get enough of. Paley, and it's making its Northern Cali­ Paley uses an abundance of vary­ and see what kind of entertainment No longer the rookies on the tour, fornia debut this week. ing visual styles, including several sty­ Sonoma State University is bringing The Expendables have accumulated a The Sonoma Film Institute will be listically rotoscoped sequences. The your way! rather large fan base of their own. Some screening Paley's unique vision of the psychedelic animation features a cast On Sept. 13, the Back to School of their most popular songs include "No "Ramayana" at Warren Auditorium in of hundreds, including flying monkeys, Concert in the Commons will feature Time to Worry," "One Night Stand," and Ives Hall. Screenings will be held on evil monsters, gods, goddesses, warriors, "24/7".
    [Show full text]
  • Assignment 3 1/21/2015
    Assignment 3 1/21/2015 The University of Wollongong School of Computer Science and Software Engineering CSCI124/MCS9124 Applied Programming Spring 2010 Assignment 3 (worth 6 marks) • Due at 11.59pm Thursday, September 9 (Week 7). Aim: Developing programs with dynamic memory and hashing. Requirements: This assignment involves the development of a database for a cinema. The program is designed to look up past movie releases, determining when the film was released, the rating it received from the Classification Board and its running time. To accelerate the lookup, a hash table will be used, with two possible hash functions. The program will report how efficiently the table is operating. Storage will be dynamic, enabling the space used by the program to be adjusted to suit the datafile size. The program must clean up after memory usage. During development, the program may ignore the dynamic nature until the program is working. As an addendum, the assignment also involves the use of compiler directives and makefiles. Those students who use a platform other than Linux/Unix will be required to ensure that their programs comply with the specifications below. The program is to be implemented in three files: ass3.cpp contains the simplest form of main function, hash.h contains the function prototypes of the publicly accessible functions, where the implementations of these functions will be placed in the file hash.cpp. The first two files should not be altered, although you may write your own driver programs to test your functions during development. The third file contains the stubs of the four public functions, plus a sample struct for holding the records, usable until they are changed for dynamic memory.
    [Show full text]
  • 2011 – Cincinnati, OH
    Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers.
    [Show full text]
  • The DIY Careers of Techno and Drum 'N' Bass Djs in Vienna
    Cross-Dressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music Feature Article David Madden Concordia University (Canada) Abstract Addressing the international emergence of electroclash at the turn of the millenium, this article investigates the distinct character of the genre and its related production practices, both in and out of the studio. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony. Electroclash also emphasizes, rather than hides, the European, trashy elements of electronic dance music. The coming together of rock and electro is examined vis-à-vis the ongoing changing sociality of music production/ distribution and the changing role of the producer. Numerous women, whether as solo producers, or in the context of collaborative groups, significantly contributed to shaping the aesthetics and production practices of electroclash, an anomaly in the history of popular music and electronic music, where the role of the producer has typically been associated with men. These changes are discussed in relation to the way electroclash producers Peaches, Le Tigre, Chicks on Speed, and Miss Kittin and the Hacker often used a hybrid approach to production that involves the integration of new(er) technologies, such as laptops containing various audio production softwares with older, inexpensive keyboards, microphones, samplers and drum machines to achieve the ironic backbeat laden hybrid electro-rock sound. Keywords: electroclash; music producers; studio production; gender; electro; electronic dance music Dancecult: Journal of Electronic Dance Music Culture 4(2): 27–47 ISSN 1947-5403 ©2011 Dancecult http://dj.dancecult.net DOI: 10.12801/1947-5403.2012.04.02.02 28 Dancecult 4(2) David Madden is a PhD Candidate (A.B.D.) in Communications at Concordia University (Montreal, QC).
    [Show full text]
  • In Defense of the American Surveillance State
    IN DEFENSE OF THE AMERICAN SURVEILLANCE STATE Dr. Gabriel Schoenfeld* ABSTRACT The term “American surveillance state” is something that has come into use by fierce critics of U.S. government counterterrorism efforts, efforts that necessarily contain surveillance as a critical element. A body of opinion has emerged arguing that thanks to the ubiquitous eyes of the National Security Agency, the Central Intelligence Agency, the Federal Bureau of Investigation, the Department of Homeland Security, and thanks also to the widespread distribution of myriad new forms of surveillance technology, privacy in America is being destroyed and George Orwell’s dark vision of Big Brother is on its way to realization. This Article rejects this characterization, and asserts that current counterterrorism efforts are an effective and appropriate response to ongoing threats. While history teaches us the government may at times overstep its bounds, even in today’s current national security climate the U.S. government’s approach is less intrusive than it has been in the past and is critical for protecting the safety of the American people. ARTICLE The term “American surveillance state” is something that has come into use by fierce critics of U.S. government counterterrorism efforts, efforts that necessarily contain surveillance as a critical element.1 A body of opinion has emerged arguing that thanks to the ubiquitous eyes of the National Security Agency, the Central Intelligence Agency, the Federal Bureau of Investigation, the Department of Homeland Security, and thanks also to the widespread distribution of myriad new forms of surveillance technology, privacy in America is being destroyed and George Orwell’s dark vision of Big Brother is on its way to realization.2 * Senior Fellow, Hudson Institute.
    [Show full text]
  • P28-29 Layout 1
    28 Established 1961 Tuesday, March 20, 2018 Lifestyle Gossip Fifth Harmony announce hiatus ifth Harmony are going on hiatus. time to learn and grow creatively and The ‘Work From Home’ hitmakers - really find out footing as individuals. In Fwhich are comprised of Ally Brooke, doing this we are allowing ourselves to Normani, Dinah Jane and Lauren Jauregui gain new experiences, strengths and per- - have decided to go on a break, six years spectives that we can bring back to our after they formed on US TV show ‘The X Fifth Harmony family.” The ‘Worth It’ hit- Factor’, in order to focus on solo projects. makers - whose fifth member, Camila They announced in a statement: Cabello, quit in December 2016 - went on “Reflecting on the past six years since we to thank fans for their support and prom- started on ‘X Factor’, we’ve realized just ised that concerts they have scheduled in how far we’ve come and we appreciate 2018 will still be going ahead as planned. everything so much, more now than ever. The statement concluded: “To our “We’ve really had one hell of a memorable Harmonizers, thank you for everything we journey together and can’t begin to have been able to build as Fifth Harmony. express our gratitude to y’all for coming With your love and encouragement we along with us on this wild ride!” “After six will continue to build on ourselves, sup- years gong hard, non stop, we also real- port one another in everything we do, and ized that in order to stay authentic to our- keep making you proud, each other proud selves and to you, we do need to take and ourselves proud.
    [Show full text]
  • Lync Remembering the Fireballs (Part 8) Mp3, Flac, Wma
    Lync Remembering The Fireballs (Part 8) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Remembering The Fireballs (Part 8) Country: US Released: 1997 Style: Indie Rock MP3 version RAR size: 1436 mb FLAC version RAR size: 1921 mb WMA version RAR size: 1674 mb Rating: 4.1 Votes: 692 Other Formats: AHX FLAC WMA VOC XM APE MP4 Tracklist Hide Credits A1 Pigeons A2 Friend A3 Hands And Knees A4 Electricity A5 Pathetic A6 Mhz B1 Pan B2 Pennies To Save B3 Firestarter B4 Turtle Can't Tie Yet B5 Guitar [Some] – John AtkinsSynthesizer [Moog] – Tim Green Companies, etc. Recorded At – Yo-Yo Studio Recorded At – The Red House, Olympia, WA Recorded At – John & Stu's Remixed At – Yo-Yo Studio Mastered At – Greg Lee Processing – L-48697 Credits Bass, Vocals – James Bertram Cover – Dave* Cover [Insides] – James* Drums – Dave Schneider Guitar, Vocals – Sam Jayne Mixed By [Remixed By] – James Bertram, Pat Maley Photography By – Hollie Brown, James*, J Smith*, Jen*, Michelle Noel Recorded By – Pat Maley (tracks: A1 to A5), Phil Ek (tracks: B5), Tim Green (tracks: A6 to B4) Notes A1-A5 recorded @ yo yo capitol in early '93 A6-B4 recorded @ the red house in late '93 B5 recorded @ john and stu's place mid '94 A1,A4,+A5 originally appeared on magic pail 7" 001 A6+B1 originally appeared on magic pail 002/landspeed 007 7" B3 originally appeared on the "youth on fire" split 7" with excuse seventeen on candy ass All songs on this release were remixed @ yo yo in march '97 in a matter of hours.
    [Show full text]