(In)-Between a Rock and a Hard Place: Notes for an Ecology of Language Policies from a Complementary School for Eastern European Immigrant Children in Portugal

Total Page:16

File Type:pdf, Size:1020Kb

(In)-Between a Rock and a Hard Place: Notes for an Ecology of Language Policies from a Complementary School for Eastern European Immigrant Children in Portugal Olga Solovova (In)-Between a rock and a hard place: notes for an ecology of language policies from a complementary school for Eastern European immigrant children in Portugal Tese de Doutoramento em Letras, área de Línguas e Literaturas Modernas, especialidade em Sociolinguística, apresentada à Faculdade de Letras da Universidade de Coimbra, sob orienta !o da "ro#essora Doutora Maria Clara Bicudo %&eredo 'eating (ul) *+,- 1 Table of Contents Acknowledgements..............................................................................................................................6 Abstract.................................................................................................................................................7 Resumo.................................................................................................................................................9 Chapter I Introduction........................................................................................................................11 Chapter II Literature Review: Multilingualism and learning as a social practice................................18 II.1 Introduction............................................................................................................................18 II.2 Control over language as societal building.............................................................................18 II.3 Western philosophy, rise of nation-states and linguistic theory............................................21 II.4 Paradigms of nation-state ideologies of language: time, space, or timespace? ...................23 II.4.1 Monolingualism as an 'ideal' model of society...............................................................26 II.4.2 Monoglossic views in education.....................................................................................27 II.5 Ideological approach to literacy..............................................................................................29 II.5.1 Literacy as a social practice.............................................................................................29 II.5.2 Multilingual literacies in mainstream and bilingual education.......................................33 II.5.3 From literacy in a second language to biliteracy and pluriliteracies...............................35 II.6 Learning and agency in multilingual contexts.........................................................................38 II.6.1 Metaphors on language, teaching and learning.............................................................38 II.6.1.1 Language acquisition and language socialisation....................................................39 II.6.1.2 A scenario of child socialisation in multilingual contexts: from family language policies to languaging...........................................................................................................42 II.6.1.3 Economic metaphors for language and literacy socialisation.................................45 II.7 Emerging emphases in research on learning and multilingualism.........................................46 II.7.1 Phenomenology and social spaces of language and learning.........................................47 II.7.2 Ecological approaches to language and multilingualism................................................49 II.7.3 Alternatives to ecology of language................................................................................51 Chapter III Methodology and research procedures...........................................................................53 III.1 Introduction...........................................................................................................................53 III.2 Description of the setting and the motivation. .....................................................................53 III.3 Reflections on the nature and on the method for the setting. .............................................55 III.3.1 Culture of the setting.....................................................................................................55 III.3.2 The choice of linguistic ethnography as a method........................................................59 III.4 Catalogue of research activities and data collected..............................................................62 III.4.1 Text-based and interactional data..................................................................................63 III.4.2 Use of ethnographic photographs for a collaborative and democratic research..........66 III.4.3 Research with children...................................................................................................68 III.5 How it all comes together: from description to conceptual ordering...................................69 III.6 Justification of research strategy ..........................................................................................73 III.6.1 Longitudinal ethnography or multi-sited ethnography? ...............................................73 III.6.2 Negotiating the researcher’s identity and acknowledging subjectivity in ethnographic research.....................................................................................................................................76 III.7 System for presenting data: sorting out, anonymising and coding.......................................79 III.7.1 Coding the way to theory...............................................................................................82 III.8 Summary................................................................................................................................85 Chapter IV Language policies in the Russian Empire, Soviet Union and post-Soviet states..............89 IV.1 Language policies in the Russian Empire...............................................................................89 IV.1.1 A foreword on terminology............................................................................................89 2 IV.1.2 “Rightful citizens” and “aliens”......................................................................................90 IV.1.3 Periods of Russification and nativisation.......................................................................91 IV.1.4 Toward an analysis of the language policies in the Russian empire..............................95 IV.2 The revolutionary turn in language policies: new terms and borders...................................97 IV.3 Language policies of the Soviet Union...................................................................................98 IV.3.1 Nativisation policies: new literacies and empowerment...............................................98 IV.3.2 A paradigm shift in Soviet language policies..................................................................99 IV.3.2.1 Course on denativisation and russification............................................................99 IV.3.2.2 Building a supra-ethnic identity along the Russian axis.......................................102 IV.4 Parallels between the language policies of the Russian Empire and the USSR...................105 IV.5 Discrepancies in language policies: opening ways to the USSR dissolution........................107 IV.6 Post-Soviet contexts: Belarus, Ukraine, and Russia.............................................................109 IV.6.1 Russian speakers: what are they?................................................................................109 IV.6.2 Post-Soviet Belarus: actual bilingualism or non-parallel bilingualism? .......................111 IV.6.3 Post-Soviet Ukraine: co-existing ideologies in a complex sociolinguistic situation.....115 IV.6.3.1 A historical and geographical look on Ukraine's language policies......................115 IV.6.3.2 A small borderland region stands apart...............................................................117 IV.6.3.3 East and West: the common history....................................................................118 IV.6.3.4 Russian vs. Ukrainian: a tug of war in the language policies and the sociolinguistic realities of the post-Soviet Ukraine....................................................................................118 IV.6.3.5 The breach in the Ukrainian-only policy: regional languages..............................121 IV.6.4 Towards a critical language policy in post-Soviet Ukraine...........................................122 IV.6.5 Post-Soviet Russia.........................................................................................................123 IV.6.5.1 Alphabet as a language policy..............................................................................123 IV.6.5.2 Language loyalty and territorial approach...........................................................126 IV.6.5.3 Russia as a new migration space..........................................................................128 IV.6.5.3.1 New patterns, new migrations.....................................................................128 IV.6.5.3.2 The “near abroad” policy: new categories...................................................130 IV.6.5.4 The many faces of the Russian language..............................................................131 IV.6.5.4.1 Russian for migrant children in Russia..........................................................136 IV.6.5.4.2 Russia calling: construction of an imagined Russian-speaking community. 138 IV.6.5.5 Russia at the crossroads.......................................................................................141
Recommended publications
  • The Rolling Stones Live at the Tokyo Dome Mp3, Flac, Wma
    The Rolling Stones Live At The Tokyo Dome mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Live At The Tokyo Dome Country: US Released: 2015 Style: Classic Rock MP3 version RAR size: 1230 mb FLAC version RAR size: 1982 mb WMA version RAR size: 1982 mb Rating: 4.8 Votes: 512 Other Formats: VQF MP4 MMF WAV VOC VOX AUD Tracklist DVD-1 Continental Drift DVD-2 Start Me Up DVD-3 Bitch DVD-4 Sad Sad Sad DVD-5 The Harlem Shuffle DVD-6 Tumbling Dice DVD-7 Miss You DVD-8 Ruby Tuesday DVD-9 Almost Hear You Sigh DVD-10 Rock And A Hard Place DVD-11 Mixed Emotions DVD-12 Honky Tonk Women DVD-13 Midnight Rambler DVD-14 You Can't Always Get What You Want DVD-15 Can't Be Seen DVD-16 Happy DVD-17 Paint It Black DVD-18 2000 Light Years From Home DVD-19 Sympathy For The Devil DVD-20 Gimme Shelter DVD-21 It's Only Rock 'N Roll DVD-22 Brown Sugar DVD-23 (I Can't Get No) Satisfaction DVD-24 Jumpin' Jack Flash CD1-1 Continental Drift CD1-2 Start Me Up CD1-3 Bitch CD1-4 Sad Sad Sad CD1-5 The Harlem Shuffle CD1-6 Tumbling Dice CD1-7 Miss You CD1-8 Ruby Tuesday CD1-9 Almost Hear You Sigh CD1-10 Rock And A Hard Place CD1-11 Mixed Emotions CD1-12 Honky Tonk Women CD1-13 Midnight Rambler CD1-14 You Can't Always Get What You Want CD2-1 Can't Be Seen CD2-2 Happy CD2-3 Paint It Black CD2-4 2000 Light Years From Home CD2-5 Sympathy For The Devil CD2-6 Gimme Shelter CD2-7 It's Only Rock 'N Roll CD2-8 Brown Sugar CD2-9 (I Can't Get No) Satisfaction CD2-10 Jumpin' Jack Flash Companies, etc.
    [Show full text]
  • American Punk: the Relations Between Punk Rock, Hardcore, and American Culture
    American Punk: The Relations between Punk Rock, Hardcore, and American Culture Gerfried Ambrosch ABSTRACT Punk culture has its roots on both sides of the Atlantic. Despite continuous cross-fertiliza- tion, the British and the American punk traditions exhibit distinct features. There are notable aesthetic and lyrical differences, for instance. The causes for these dissimilarities stem from the different cultural, social, and economic preconditions that gave rise to punk in these places in the mid-1970s. In the U. K., punk was mainly a movement of frustrated working-class youths who occupied London’s high-rise blocks and whose families’ livelihoods were threatened by a declin- ing economy and rising unemployment. Conversely, in America, punk emerged as a middle-class phenomenon and a reaction to feelings of social and cultural alienation in the context of suburban life. Even city slickers such as the Ramones, New York’s counterpart to London’s Sex Pistols and the United States’ first ‘official’ well-known punk rock group, made reference to the mythology of suburbia (not just as a place but as a state of mind, and an ideal, as well), advancing a subver- sive critique of American culture as a whole. Engaging critically with mainstream U.S. culture, American punk’s constitutive other, punk developed an alternative sense of Americanness. Since the mid-1970s, punk has produced a plethora of bands and sub-scenes all around the world. This phenomenon began almost simultaneously on both sides of the Atlantic—in London and in New York, to be precise—and has since spread to the most remote corners of the world.
    [Show full text]
  • Guitar Magazine Master Spreadsheet
    Master 10 Years Through the Iris G1 09/06 10 years Wasteland GW 4/06 311 Love Song GW 7/04 AC/DC Back in Black + lesson GW 12/05 AC/DC Dirty Deeds Done Dirt Cheap G1 1/04 AC/DC For Those About to Rock GW 5/07 AC/DC Girls Got Rhythm G1 3/07 AC/DC Have a Drink On Me GW 12/05 ac/dc hell's bells G1 9/2004 AC/DC hell's Bells G 3/91 AC/DC Hells Bells GW 1/09 AC/DC Let There Be Rock GW 11/06 AC/DC money talks GW 5/91 ac/DC shoot to thrill GW 4/10 AC/DC T.N.T GW 12/07 AC/DC Thunderstruck 1/91 GS AC/DC Thunderstruck GW 7/09 AC/DC Who Made Who GW 1/09 AC/DC Whole Lotta Rosie G1 10/06 AC/DC You Shook Me All Night Long GW 9/07 Accept Balls to the Wall GW 11/07 Aerosmith Back in the Saddle GW 12/98 Aerosmith Dream On GW 3/92 Aerosmith Dream On G1 1/07 Aerosmith Love in an Elevator G 2/91 Aerosmith Train Kept a Rollin’ GW 11/08 AFI Miss Murder GW 9/06 AFI Silver and Cold GW 6/04 Al DiMeola Egyptian Danza G 6/96 Alice Cooper No More Mr. Nice Guy G 9/96 Alice Cooper School's Out G 2/90 alice cooper school’s out for summer GW hol 08 alice in chains Dam That River GW 11/06 Alice in Chains dam that river G1 4/03 Alice In Chains Man in the Box GW 12/09 alice in chains them bones GW 10/04 All That Remains Two Weeks GW 1/09 All-American Rejects Dirty Little Secret GW 6/06 Allman Bros Midnight Rider GW 12/06 Allman Bros Statesboro Blues GW 6/04 Allman Bros Trouble no More (live) GW 4/07 Allman Bros.
    [Show full text]
  • Something Happened to Me Yesterday © Felix Aeppli 12-2019 / 09-2020
    SPARKS WILL FLY 2018 Something Happened To Me Yesterday © Felix Aeppli 12-2019 / 09-2020 “UK, IRE and EU No Filter Tour” APRIL 30 – MAY 4 Rehearsals, Omnibus Theatre, Clapham, London MAY 7-11 Rehearsals, Unidentified venue, London 14 Rehearsals, Croke Park, Dublin (Entry 1.229) 15 Rehearsals, Croke Park, Dublin (Entry 1.230) 17 Croke Park, Dublin (Entry 1.232 – complete show listed) 22 London Stadium, London (Entry 1.234 – complete show listed) 25 London Stadium, London (Entry 1.235 – complete show listed) (joined by Florence Welch) 29 St Mary’s Stadium, Southampton (Entry 1.236 – complete show listed) JUNE 2 Ricoh Arena, Coventry (Entry 1.237 – complete show listed) 5 Old Trafford Football Stadium, Manchester (Entry 1.238 – complete show listed) 9 BT Murrayfield Stadium, Edinburgh (Entry 1.239 – complete show listed) 15 Principality Stadium, Cardiff (Entry 1.240 – complete show listed) 19 Twickenham Stadium, London (Entry 1.242 – complete show listed) (joined by James Bay) 22 Olympiastadion, Berlin (Entry 1.243 – complete show listed) 26 Orange Velodrome, Marseille (Entry 1.244 – complete show listed) 30 Mercedes-Benz Arena, Stuttgart (Entry 1.245 – complete show listed) JULY 4 Letnany Airport, Prague (Entry 1.247 – complete show listed) 8 PGE Narodowy, Warsaw (Entry 1.248 – complete show listed) Backing: Chuck Leavell: keyboards, back-up vocals, percussion; Darryl Jones: bass, occasional back-up vocals; Karl Denson: saxophone; Tim Ries: horns, occa- sional keyboards; Matt Clifford: keyboards, occasional percussion and French horn; Sasha
    [Show full text]
  • The Rolling Stones
    Chart - History Singles All chart-entries in the Top 100 Peak:1 Peak:1 Peak: 1 Germany / United Kindom / U S A The Rolling Stones No. of Titles Positions The Rolling Stones are an English rock band formed in Peak Tot. T10 #1 Tot. T10 #1 London in 1962. The first stable line-up consisted of 1 46 16 7 500 149 22 bandleader Brian Jones (guitar, harmonica, keyboards), 1 56 21 8 425 109 18 Mick Jagger (lead vocals, harmonica), Keith Richards 1 57 23 8 585 130 17 (guitar, vocals), Bill Wyman (bass guitar), Charlie Watts (drums), and Ian Stewart (piano). Stewart was removed 1 81 32 15 1.510 388 57 from the official line-up in 1963 but continued to work with the band as a contracted musician until his death in 1985. ber_covers_singles Germany U K U S A Singles compiled by Volker Doerken Date Peak WoC T10 Date Peak WoC T10 Date Peak WoC T10 1 Come On 07/1963 21 14 2 I Wanna Be Your Man 11/1963 12 16 3 Not Fade Away 02/1964 3 15 7 05/1964 48 13 4 It's All Over Now 09/1964 14 13 07/1964 1 1 15 9 07/1964 26 10 5 Tell Me (You're Coming Back) 01/1965 24 4 07/1964 24 10 6 Time Is On My Side 01/1965 28 4 10/1964 6 13 6 7 Little Red Rooster 02/1965 14 7 11/1964 1 1 12 6 8 Heart Of Stone 01/1965 19 9 9 The Last Time 05/1965 1 4 22 1603/1965 1 3 13 703/1965 9 10 2 10 Play With Fire 05/1965 96 1 11 (I Can't Get No) Satisfaction 09/1965 1 7 19 1108/1965 1 2412 706/1965 1 14 9 12 Get Off Of My Cloud 12/1965 1 2 17 1510/1965 1 3212 610/1965 1 12 6 13 As Tears Go By 12/1965 6 9 3 14 19th Nervous Breakdown / As Tears Go By 03/1966 1 2 13 1102/1966 2 8 402/1966
    [Show full text]
  • Track Title Artist It's Now Or Never Acoustic Moods Ensemble Stranger
    Track Title Artist It's Now Or Never Acoustic Moods Ensemble Stranger on the Shore Acoustic Moods Ensemble Love Is a Losing Game Acoustic Moods Ensemble As Tears Go BY Acoustic Moods Ensemble Martha's Harbour Acoustic Moods Ensemble Guantanamera Acoustic Moods Ensemble Golden Brown Acoustic Moods Ensemble Because The Night Acoustic Moods Ensemble Make It Easy on Yourself Acoustic Moods Ensemble Walk on By Acoustic Moods Ensemble Something Stupid Acoustic Moods Ensemble Cavatina Acoustic Moods Ensemble Summer Breeze Acoustic Moods Ensemble Miss You Nights Acoustic Moods Ensemble Save the Last Dance For Me Acoustic Moods Ensemble Hotel California Acoustic Moods Ensemble Wonderful Tonight Acoustic Moods Ensemble Something Acoustic Moods Ensemble While My Guitar Gently Weeps Acoustic Moods Ensemble Lay Lady Lay Acoustic Moods Ensemble Fields Of Gold Acoustic Moods Ensemble The Wind Beneath My Wings Acoustic Moods Ensemble Wonderful Land Acoustic Moods Ensemble Time In a Bottle Acoustic Moods Ensemble And I Love Her Acoustic Moods Ensemble Yesterday Acoustic Moods Ensemble Here, There and Everywhere Acoustic Moods Ensemble Moon River Acoustic Moods Ensemble Nights In White Satin Acoustic Moods Ensemble Blue Moon Acoustic Moods Ensemble Wonderwall Acoustic Moods Ensemble La Isla Bonita Acoustic Moods Ensemble The Sound of Silence Acoustic Moods Ensemble Time After Time Acoustic Moods Ensemble I Don’t Want to Talk About IT Acoustic Moods Ensemble I'll Stand By You Acoustic Moods Ensemble In Sleep I Dream Of You Acoustic Moods Ensemble In The
    [Show full text]
  • Barcelona 1990 (2CD) (-).Pdf
    Bootleg CDs B Title: Barcelona 1990 (2CD) TRACKLISTING: CD One: 1. Intro / Continental Drift ............................................... 1'02 2. Start Me Up (**) ......................................................... 3'47 (Jagger/Richards) 3. Sad Sad Sad (**) ........................................................ 3'32 (Jagger/Richards) 4. Tumbling Dice (**) .................................................... 4'21 (Jagger/Richards) 5. Miss You (**) ............................................................. 6'44 (Jagger/Richards) 6. Almost Hear You Sigh (**) (a) ................................. 4'58 (Jagger/Richards) 7. Ruby Tuesday (**) ..................................................... 3'16 (Jagger/Richards) 8. Terrifying (**) ............................................................ 4'44 (Jagger/Richards) 9. Rock And A Hard Place (*) ........................................ 4'46 (Jagger/Richards) 10. Honky Tonk Women (*) ............................................ 4'39 Front with copy number sticker (Jagger/Richards) 11. Happy (*) .................................................................... 3'58 (Jagger/Richards) Total time disc one: 46'59 CD Two: 1. Paint It Black (**) ...................................................... 4'04 (Jagger/Richards) 2. 2000 Light Years From Home (*) .............................. 6'43 (Jagger/Richards) 3. Sympathy For The Devil (**) ..................................... 7'11 (Jagger/Richards) 4. Street Fighting Man (**) ............................................ 4'25 (Jagger/Richards)
    [Show full text]
  • HONK in March, 2019 Tobias Hall Announced the Stones New Compilation When He Tweeted the Following
    HONK In March, 2019 Tobias Hall announced the Stones new compilation when he Tweeted the following: The album was released April 19. On November 27, 2019 Tobias Hall was still grinning when he Tweeted, “2019 highlights part 2: Illustrating the cover of a @therollingstones album will go down as a career highlight for me, thanks again to the guys at @studiofury for getting me on board .” (That is a raised hands emoji.) HONK appeared 2,349 days after Grrr!, the Stones grand 50th anniversary compilation. It’s fun to see this young artist’s enthusiasm. Let’s take a dive into its story. Asked how he got involved with the HONK project. Hall said, “I was commissioned by Studio Fury, who art directed and designed the sleeve artwork.” Studio Fury has worked on Blue and Lonesome as well as HONK. Where did the name come from? Title Studio Fury was asked: “How did the album get the name HONK? Do you know how or why it was so named?” They replied, “Yes, but it’s not public knowledge so no comment I’m afraid.” The origins of this title remain a mystery at this point, in fact that has become the Holy Grail of Stones album titles. It was already determined when Tobias Hall, artist and designer began his work. That leaves us room to speculate and who speculates better than fans? Discussion at popular sites like iorr.or and SteveHoffman offered some ideas. Negative comments are always in more abundant supply that positive ones and this holds true with the title.
    [Show full text]
  • The Rolling Stones Complete Recording Sessions 1962 - 2021 Martin Elliott Live Tracks in Date Order Index
    THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962 - 2021 MARTIN ELLIOTT LIVE TRACKS IN DATE ORDER INDEX All officially released live, and significant live tracks are listed. * Indicates the track has not been released officially. The number following in brackets is where to find the entry in the 2012 book should it have changed. A new entry following the book release will not have a number in brackets. 1964 7 February 1964 – ABC Elstree TV Studios, London, England. L0001. I Wanna Be Your Man (1.42) L0002. You Better Move On (2.40) 19 March 1964 - Camden Theatre, London, England. L0003. Route 66 (2.30) (91) L0004. Cops And Robbers (3.43) (92) L0005. You Better Move On (2.45) (93) L0006. Mona (2.57) (94) 10 April 1964 - Playhouse Theatre, London, England. L0007. Not Fade Away (2.04) * (95) L0008. High Heeled Sneakers (1.56) (96) L0009. Little By Little (2.30) (97) L0010. I Just Want To Make Love To You (2.16) (98) L0011. I'm Moving On (2.06) (99) 26 April 1964 - NME Poll Winners Concert, Empire Pool Wembley, London, England. L0012. Not Fade Away (2.01) (109) L0013. I Just Want To Make Love To You (2.19) (110) L0014. I'm Alright (2.07) (111) 27 April 1964 (Show One) - The Royal Albert Hall, London, England. L0015. Walking The Dog * L0016. You Can Make It If You Try * L0017. Beautiful Delilah * (2.14) (84) 27 April 1964 (Show Two) - The Royal Albert Hall, London, England. L0018. Not Fade Away * (112) L0019. High Heeled Sneakers * (113) L0020.
    [Show full text]
  • Between a Rock and a Hard Place How Parents Deal with Children Who Use Substances and Perpetrate Abuse
    Between a rock and a hard place How parents deal with children who use substances and perpetrate abuse Project report Produced with funding support from the Department of Health Acknowledgements Contents This report has been written by Adfam and Against Violence and Abuse Acknowledgements 2 (AVA) and covers the processes and findings of a joint project carried out Foreword 3 by the two organisations in 2011/12. Executive summary 4 The project would not have been possible without the kind cooperation of 88 parents who agreed to take part. This report reflects their collective Setting the scene experiences, makes suggestions for improvements in services and will be Introduction 7 used as the basis for future training and resource development by Adfam and AVA. Given the inevitable sensitivity of the topics covered in the focus Definitions 8 groups the sessions were at times demanding and all attendees were courageous and forthright in sharing their experiences. Thank you. What we know from research 9 Policy context 13 Adfam and AVA would also like to thank the family support groups which coordinated the focus groups with their service users– without their The project contacts and dedication in coordinating the groups the project would not Aims 14 have been possible. Methodology 14 The groups involved were: ESCAPE Family Support in Northumberland; RODA (Relatives of Drug Abusers) and SPODA for the Sheffield group; Findings 16 Welcome (part of Solihull Integrated Addiction Services) in Solihull; Conclusions 25 Hetty’s in Mansfield; Manchester Carers, Hands, Smart Group and Greater Manchester Alcohol and Drug Carers Focus Group in Manchester; Parents Recommendations 26 Support Link in Southampton; DHI in Warmley; and PATCHED in Brighton.
    [Show full text]
  • 1612855111-Get-Liteeric-Gross.Pdf
    Get Lite Written by Eric Gross VERVE/LIT We hear the sounds of a train coming to a stop. And read: If we’re not supposed to dance, Why all this music? Greg Orr 2. OVER BLACK. A stampede. The rush of commuters as they board a train. CONDUCTOR (O.S.) (intercom) Stand clear of the closing doors. As we hear the doors close, we open to -- INT. TRAIN - EARLY MORNING. Summer. New York City. The morning commute. 149th St. station left in the dust as the 2/3 heads downtown. The train is crowded, airless, miserable. CREDITS ROLL AS WE SEE -- A banker playing Candy Crush, a pregnant woman rubbing her belly, a Sikh with a Chihuahua in his kaftan, a construction worker reading the Wall Street Journal, triplets with a Trinidadian caretaker, a homeless man combing his beard. The MTA subway. The great democratizer. We end on a lanky black teen wearing khaki pants, Penny Loafers, and a button down which blooms sweat patterns. This is SAUNDERS BELL (17). His head is tilted at 45 degrees, ear buds are in, IG feed scrolls across his tired eyes. Bored as can be. But after checking his Casio watch, he smiles. And like clockwork, here they come. Right through the inter train doors. In SLOW MOTION. All wearing the same uniform: black track pants, wife beaters, flat brimmed Mets hats. And on their feet? Air Force 1’s with leather wings protruding from the heel, the Greek Gods of the subway. The leader of the crew is an enthusiastic though chubby black man with three days of stubble sprinkled on his tired face.
    [Show full text]
  • Steel Wheels They're Back the Rolling Stones Incorporated
    Steel Wheels They’re Back The Rolling Stones Incorporated Reunion could have been the title for this album and tour. Keith Richards said, “The Stones are bigger than any of us when it comes down to the nitty gritty,” and they were. This is also when the Stones became a commercial force to deal with by launching their largest worldwide tour ever on the biggest stage ever constructed. The Stones changed the concert business for the biggest acts in the world. They sold their entire tour including concerts, merchandising, TV and films rights to Michael Cohl of Toronto’s Concert Productions International for about $70 million. Cohl was backed by Budweiser money. Most tickets sold for $28.50. Through it all, ran the Steel Wheels album art. This is the story of that art. This art was created not just for the album art but for merchandaise and the tour as well. Albums, Tours, and the Digital Age Nothing reinvigorates Sixties icons like having something to prove. After Undercover and Dirty Work, not to mention Mick Jagger’s solo recordings, the reverence ordinarily shown to the Stones had worn dangerously thin. The Stones were, once again, a band with something to prove. Steel Wheels was a self-styled reunion album released 29 August 1989. It marked a return to a more classic style of music and it launched the band's biggest world tour to date. It was Bill Wyman's final full-length studio album with the Stones and it was the first album that did not feature the sixth Rolling Stone, Ian Stewart.
    [Show full text]