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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
Text Bruce Hainley
Kouros by Yves Saint Laurent 1. Brad Renfro, Skeet Ulrich, Axl Rose, Leif Garrett—I’m listing those things or people I find immediately identifiable in this Hawkins painting of 2017 that I’m looking at in a fairly hi-res digital reproduction, while sitting under a canopy in the noonday sun of Cornino, clear across the entire island of Sicily from Taormina— two different Morandi still lifes (at the top and near the bottom of the painting), numerous b/w reproductions of various Greco-Roman and/or Greco-Roman-like statuary (a few Hercules-es, some hermaphrodites), a vivid pink and yellow de Kooning, Richard Lindner’s Ice (1966), a particular guy with a prominent red kanji or ideogram tattoo on his left pectoral whose name it kills me I can’t recall at the moment and with/by whom Hawkins was obsessed/distracted for a year or more, a few Japanese male models ditto (i.e., the artist was obsessed/distracted with/by them, too, and it kills me I can’t think of their names [not Daisuke Ueda, not Seijo, not Osamu Mukai]), an Egon Schiele self-portrait (?), perhaps a bit of a Rudolf Schwarzkogler perf, Lon Chaney (maybe Bela Lugosi) on an elaborate Hollywood-set staircase as Dracula. Walking down an ersatz West Village street, Tom Cruise has fallen into daydreaming again, triggered by a man and woman kissing deeply in front of a gaudy shop (windows trimmed in neon, lace, Christmas lights); he flashes on Nicole and her fantasy naval officer going at it: this time she’s almost naked, his strong hand fingers her pussy. -
The Aftermath of the Porn Rock Wars
Loyola of Los Angeles Entertainment Law Review Volume 7 Number 2 Article 1 3-1-1987 Radio-Active Fallout and an Uneasy Truce - The Aftermath of the Porn Rock Wars Jonathan Michael Roldan Follow this and additional works at: https://digitalcommons.lmu.edu/elr Part of the Law Commons Recommended Citation Jonathan Michael Roldan, Radio-Active Fallout and an Uneasy Truce - The Aftermath of the Porn Rock Wars, 7 Loy. L.A. Ent. L. Rev. 217 (1987). Available at: https://digitalcommons.lmu.edu/elr/vol7/iss2/1 This Article is brought to you for free and open access by the Law Reviews at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Loyola of Los Angeles Entertainment Law Review by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. RADIO-ACTIVE FALLOUT AND AN UNEASY TRUCE-THE AFTERMATH OF THE PORN ROCK WARS Jonathan Michael Roldan * "Temperatures rise inside my sugar walls." - Sheena Easton from the song "Sugar Walls."' "Tight action, rear traction so hot you blow me away... I want a piece of your action." - M6tley Criie from the album Shout at the Devil.2 "I'm a fairly with-it person, but this stuff is curling my hair." - Tipper Gore, parent.3 "Fundamentalist frogwash." - Frank Zappa, musician.4 I. OVERTURE TO CONFLICT It began as an innocent listening of Prince's award-winning album, "Purple Rain,"5 and climaxed with heated testimony before the Senate Committee on Commerce in September 1985.6 In the interim the phrase "cleaning up the air" took on new dimensions as one group of parents * B.A., Journalism/Political Science, Cal. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
Porgy and Bess Composer: George Gershwin Section of the Work to Be
Title: Porgy and Bess Composer: George Gershwin Section of the work to be studied: ‘Summertime’ Interpretation in performance 1: Leontyne Price, from 1:11 to 4:32, Porgy and Bess: High Performance, RCA Interpretation in performance 2: Billie Holiday, The Quintessential Billie Holiday, Vol. 2: 1936, Columbia, this recording is also available on a number of compilation CDs. Score: Summertime, single for voice and piano. Alfred Publishing. (AP.VS5985) The following notes are designed to inform discussion. They are not to be considered as representative of the VCAA or amuse. The notes are to be used as starting points. Paul Curtis 2009 Briefly: Gershwin completed the work in September 1935 following 20 months of work. The show opened on 30 September 1935 at Boston’s Colonial Theatre. The show opened in New York at the Alvin Theatre on 10 October. The show ran for only 124 shows at the Alvin. The critical reaction was mixed and the entire monetary investment was lost. Gershwin wrote the following defense of his work: It is true that I have written songs for Porgy and Bess. I am not ashamed at writing songs at any time so long as they are good songs. In Porgy and Bess I realized that I was writing an opera for the theatre and without songs it could be neither of the theatre nor entertaining from my viewpoint. But songs are entirely within the operatic tradition. Many of the most successful operas of the past have had songs….Of course, the songs in Porgy and Bess are only a part of the whole…I have used symphonic music to unify entire scenes. -
Emerson, Lake & Palmer Can Still Turn Us on with These Top 5 Song Lyrics
Emerson, Lake & Palmer can still turn us on with these top 5 song lyrics Sign in Akro… Welc… TRENDING TOPICS: metal | Concerts | Celine Dion | Music | festivals | Sports | Comedy | AXS Buzz | rock | pop | Los Angeles | Emerson, Lake & Palmer can still turn us on with these top 5 song lyrics windhoek35 YouTube merson, Lake & Palmer no longer tour as a trio, but Keith Emerson and Greg Lake have recorded and toured together as a duo. In 2010 Keith and Greg released an album titled Live E from Manticore Hall. Performing a two man version of the iconic Emerson, Lake & Palmer songs, the album was recorded during their American tour. The power trio was one of the most commercially successful and popular progressive rock bands of their era. Their music relied heavily on the use of the Moog synthesizer, Hammond organ and Keith Emerson’s http://www.axs.com/emerson-lake-palmer-can-still-turn-us-on-with-these-top-5-song-lyrics-60805[7/13/2015 9:31:39 PM] Emerson, Lake & Palmer can still turn us on with these top 5 song lyrics use of what has been described as the “flamboyant virtuoso” use of the piano. Classical music, hard rock and jazz were the dominating influences in the music created by ELP. Keith Emerson, Greg Lake and Carl Palmer made up the British trio, but it found its origins at the Fillmore West in San Francisco. Emerson and Lake, who were looking for projects outside their current bands, worked together and found their styles were “compatible and complementary.” Music impresario Robert Stigwood suggested that they add Carl Palmer as their drummer. -
DARKWOODS MAILORDER CATALOGUE October 2016
DARKWOODS MAILORDER CATALOGUE October 2016 DARKWOODS PAGAN BLACK METAL DI STRO / LABEL [email protected] www.darkwoods.eu Next you will find a full list with all available items in our mailorder catalogue alphabetically ordered... With the exception of the respective cover, we have included all relevant information about each item, even the format, the releasing label and the reference comment... This catalogue is updated every month, so it could not reflect the latest received products or the most recent sold-out items... please use it more as a reference than an updated list of our products... CDS / MCDS / SGCDS 1349 - Beyond the Apocalypse [CD] 11.95 EUR Second smash hit of the Norwegians 1349, nine outstanding tracks of intense, very fast and absolutely brutal black metal is what they offer us with “Beyond the Apocalypse”, with Frost even more a beast behind the drum set here than in Satyricon, excellent! [Released by Candlelight] 1349 - Demonoir [CD] 11.95 EUR Fifth full-length album of this Norwegian legion, recovering in one hand the intensity and brutality of the fantastic “Hellfire” but, at the same time, continuing with the experimental and sinister side of their music introduced in their previous work, “Revelations of the Black Flame”... [Released by Indie Recordings] 1349 - Hellfire [CD] 11.95 EUR Brutal third full-length album of the Norwegians, an immense ode to the most furious, powerful and violent black metal that the deepest and flaming hell could vomit... [Released by Candlelight] 1349 - Liberation [CD] 11.95 EUR Fantastic -
Dec. 22, 2015 Snd. Tech. Album Arch
SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London. -
Emergency Medical Services Program Policies – Procedures – Protocols
Emergency Medical Services Program Policies – Procedures – Protocols Protocols Table of Contents GENERAL PROVISIONS ................................................................................................ 3 DESTINATION DECISION SUMMARY-METRO BAKERSFIELD AREA ........................ 5 DETERMINATION OF DEATH ..................................................................................... 12 101 AIRWAY OBSTRUCTION ...................................................................................... 16 102 ALTERED LEVEL OF CONSCIOUSNESS ............................................................ 18 103 ALLERGIC REACTION/ANAPHYLAXIS ................................................................ 20 104 ASYSTOLE/ PULSELESS ELECTRICAL ACTIVITY ............................................. 22 105 BITES STINGS ENVENOMATION ......................................................................... 24 106 BRADYCARDIA ..................................................................................................... 26 107 BRIEF RESOLVED UNEXPLAINED EVENT ......................................................... 29 108 BURNS ................................................................................................................... 32 109 CHEMPACK ........................................................................................................... 35 110 CHEST PAIN OR ACUTE CORONARY SYNDROME ........................................... 37 111 CHEST TRAUMA .................................................................................................. -
Padres Press Clips Thursday, May 22, 2014
Padres Press Clips Thursday, May 22, 2014 Article Source Author Page Padres are shut out for eighth time this season MLB.com Miller 2 Play stands after Twins challenge call vs. Padres MLB.com Miller 5 Roach to get second start, filling in for Cashner MLB.com Miller 6 Cubs open set in Renteria's old stomping grounds MLB.com Muskat 7 Jones, Nelson to represent Padres at Draft MLB.com Miller 10 Padres lead the Majors in close games MLB.com Miller 11 Black tries Alonso in cleanup spot MLB.com Miller 12 Grandal takes responsibility for wild pitches MLB.com Miller 13 Kennedy’s Home vs. Away Anomaly FriarWire Center 14 NLCS Victory over Cubs Capped Historic 1984 Season FriarWire Center 16 From the Farm, 5/20/14: Peterson off Fast in El Paso FriarWire Center 18 Again, Padres' bats can't support Ross UT San Diego Sanders 19 Padres' Roach preparing for second start UT San Diego Sanders 21 Mound visits: More than a walk in the park UT San Diego Lin 23 Minors: Another rocky start for Wisler UT San Diego Lin 26 Morning links: 'Filthy' Ross loves Petco UT San Diego Sanders 27 Pregame: Rivera has pop to go with glove UT San Diego Sanders 28 Padres waste Ross' outing in 2-0 loss to Twins Associated Press AP 29 Geer 's Passion Still Motivates Him SAMissions.com Turner 32 1 Padres are shut out for eighth time this season Ross strikes out eight in strong outing, but takes loss By Scott Miller / Special to MLB.com | 5/22/2014 12:58 AM ET SAN DIEGO -- If things keep going the way they're going, the Padres offensive numbers are going to go from bad to invisible. -
And the Band Played on Pdf
And the band played on pdf Continue Music fans were sad to learn that Tom Petty passed away at the age of 66 on Monday night. The musician became famous for his successful career as a solo artist, but worked with several bands, including The Heartbreakers. Who the Heartbreakers were Tom Petty showed they were more than a band. They were the longest-running group Petty had worked with, playing together since 1976. Since then, Petty has released more than a dozen albums, either in collaboration with The Heartbreakers or prominently. Together, the band is recognizable for some of Petty's favorite hits, including Mary Jane's Last Dance and American Girl. The introduction to American Girl has probably stuck in your head since the first time you heard it, but for some reason, you just never get tired of it. You have Tom Petty and the Heartbreakers to thank for that. Petty also collaborated with the following bands: Mudcrutch (1970-1975), the supergroup The Traveling Willburys (1988-1990). On Petty's solo albums, The Heartbreakers served as studio musicians, and were additionally supported by Petty's collaborator stable. This stable famously included musicians like Jeff Lynne and George Harrison, who were also two of the petty bandmates in Willburys Travel. Petty recorded with Bob Dylan, Stevie Nicks and countless other industry icons, but The Heartbreakers were his constant. According to Petty's official website, the 2017 Heartbreakers included Campbell, Trench, bassist Ron Blair, rhythm guitarist Scott Thurston and percussionist Steve Ferrone. Ferrone joined in 1994 after drummer Stan Lynch left to work on other projects. -
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