Late Spring Runoff Causing Concerns for Fish Migrations
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4. Northern England 1. Progress in Hell Northern England was both the center of the European industrial revolution and the birthplace of industrial music. From the early nineteenth century, coal and steel works fueled the economies of cities like Manchester and She!eld and shaped their culture and urban aesthetics. By 1970, the region’s continuous mandate of progress had paved roads and erected buildings that told 150 years of industrial history in their ugly, collisive urban planning—ever new growth amidst the expanding junkyard of old progress. In the BBC documentary Synth Britannia, the narrator declares that “Victorian slums had been torn down and replaced by ultramodern concrete highrises,” but the images on the screen show more brick ruins than clean futurescapes, ceaselessly "ashing dystopian sky- lines of colorless smoke.1 Chris Watson of the She!eld band Cabaret Voltaire recalls in the late 1960s “being taken on school trips round the steelworks . just seeing it as a vision of hell, you know, never ever wanting to do that.”2 #is outdated hell smoldered in spite of the city’s supposed growth and improve- ment; a$er all, She!eld had signi%cantly enlarged its administrative territory in 1967, and a year later the M1 motorway opened easy passage to London 170 miles south, and wasn’t that progress? Institutional modernization neither erased northern England’s nineteenth- century combination of working-class pride and disenfranchisement nor of- fered many genuinely new possibilities within culture and labor, the Open Uni- versity notwithstanding. In literature and the arts, it was a long-acknowledged truism that any municipal attempt at utopia would result in totalitarianism. -
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Pink Fairies’ : Counter-Archaeologies for Unreasonable People
This is a repository copy of ‘Deviants, punks and Pink Fairies’ : counter-archaeologies for unreasonable people. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/142947/ Version: Accepted Version Article: Schofield, Arthur John orcid.org/0000-0001-6903-7395 (2017) ‘Deviants, punks and Pink Fairies’ : counter-archaeologies for unreasonable people. World Archaeology. pp. 281-290. ISSN 1470-1375 https://doi.org/10.1080/00438243.2017.1383182 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ ‘Deviants, Punks and Pink Fairies’: Counter Archaeologies for Unreasonable People John Schofield Department of Archaeology, University of York [email protected] Abstract Like any subject, archaeology has its traditions, its conventional practices and guiding principles that ensure it stays loyal, true to its original aims. That is why today, archaeologists still excavate, generating yet more data, publishing in the latest volumes of long-established journals, or in expensive monographs that only other archaeologists will read. -
Conclusion: Popular Music, Aesthetic Value, and Materiality
CONCLUSION: POPULAR MUSIC, AESTHETIC VALUE, AND MATERIALITY Popular music has been accused of being formulaic, homogeneous, man- ufactured, trite, vulgar, trivial, ephemeral, and so on. These condemna- tions have roots in aspects of the Western aesthetic tradition, especially its modernist and expressivist branches, according to which great art innovates, breaks and re-makes the rules, expresses the artist’s personal vision or unique emotions, or all these. Popular music has its defenders. But they have tended to appeal to the same inherited aesthetic criteria, defending some branches of popular music at the expense of others― valorising its artistic, expressive, innovative, or authentic branches against mere ‘pop’. These evaluations are problematic, because they presuppose all along a set of criteria that are slanted against the popular fi eld. We therefore need new frameworks for the evaluation of popular music. These frameworks need to enable us to evaluate pieces of popular music by the standards proper to this particular cultural form―to judge how well these pieces work as popular music, not how successfully they rise above the popular condition. To devise such frameworks we need an account of popular music’s standard features and of the further organising qualities and typical val- ues to which these features give rise. Popular music normally has four layers of sound―melody, chords, bass, and percussion―and each layer is normally made up of repetitions of short elements, these repeti- tions being aligned temporally with one another, with whole sections of repeated material then being repeated in turn to constitute song sections. © The Author(s) 2016 249 A. -
Tom Burr Body/Building
TOM BURR BODY/BUILDING BODY/BUILDING A selection of material to accompany the exhibition Tom Burr / New Haven, an Artist / City project BY ADRIAN GAUT TEXT BY MARK OWENS PHOTOGRAPHY BY ADRIAN GAUT TEXT BY MARK OWENS PHOTOGRAPH YALE ART AND ARCHITECTURE BUILDING, PAUL RUDOLPH (1963). 180 YORK STREET, BRUTAL RECALL NEW HAVEN. A SELECTIVE ROADMAP OF SOME OF NEW HAVEN’S MOST ICONIC CONCRETE LANDMARKS Entering New Haven by car along Interstate 95 offers a tour through one of America’s last remaining Brutalist corridors. Approaching the Oak Street Connector, you can still catch a glimpse of the briskly fenestrated raw-concrete façade of Marcel Breuer’s striking Armstrong Rubber Company Building (1968), which now sits vacant in a vast IKEA parking lot. Heading towards George Street along Martin Luther King Jr. Boulevard, a stoplight just outside the town’s commercial center brings you momen- tarily to rest at the foot of Roche-Dinkeloo’s enigmatic Knights of Columbus Building (1969), whose 23 raw-steel stories are slung between four colossal brick-clad concrete columns. Further along the boulevard on the right rises the distinctive silhouette of Paul Rudolph’s Crawford Manor housing block (1966), whose “heroic and origi- automobile. It’s perhaps ironically fitting, then, that in order to complete this Brutalist nal” striated-cement cladding promenade you’re best off proceeding on foot. Continuing down Temple Street and was famously contrasted with making a left turn onto Chapel Street, you eventually come to the entrance of Louis the “ugly and ordinary” visage Kahn’s Yale University Art Gallery (1951–53), an expressive use of brick, concrete, and of Venturi and Rauch’s Guild curtain wall that was completed a year before the Alison and Peter Smithson’s Hun- House in the pages of Learning stanton School (Norfolk, England, 1949–54), generally considered the opening salvo from Las Vegas. -
Mag#2 / Aug 2017
CONFERENCE MAG #2 Photo: Inga Humpe © Astrid Grosser AUGUST 2017 _ REEPERBAHN FESTIVAL CONFERENCE MAG Welcome to the 2nd Edition p. 4 Inga Humpe Post-Hedonism Pop Martyn Ware p. 5 British Electric Pioneer Hartwig Masuch p. 8 10 Songs that Helped Create the New BMG p. 12 Striking the Right Chord Dave Allen Music Journalism – Streaming and Music Culture Prospects and Challenges p. 19 p. 15 Terry McBride Understanding the Value of Music and How to Effectively Monetize It p. 22 Camille Hackney On Music, Brands, Live for (Re)Sale – Data and Storytelling A Sort of Darknet for Tickets p. 28 p. 24 Transatlantic The Reeperbahn Festival’s 2017 New York Edition Imprint p. 31 p. 34 2 _ REEPERBAHN FESTIVAL CONFERENCE MAG 19.–23. SEPT. 2017 MUSIKFILME ÜBER: BOLLYWOOD SOUNDS · COUNTRY · DANCEHALL · DISKURSPOP · DRONE · ELECTRONICA · FIELD RECORDINGS · FOLK · GARAGE · GRINGO ROCK · HEAVY METAL · HIPHOP · IMPROVISED MUSIC · JAZZ · NEUE DEUTSCHE WELLE · POSTROCK · PUNK · REGGAE · TECNOBREGA · UVM. REEPERBAHNFESTIVAL.COM/MUSICFILMCONTEST UNERHOERT-FILMFEST.DE 3 Organiser: UNERHÖRT! - Das internationale Musikfi lmfestival in Hamburg | photo credit: Erik Lieshout / Serious Film 2017 UH-2017_Anz_185x270mm.indd 1 10.07.17 09:40 _ REEPERBAHN FESTIVAL CONFERENCE MAG WELCOME TO THE e were very happy about the praise and Wattention we received for our first issue and hope you enjoy our sophomore effort as 2ND EDITION much as the premiere. With more and more topics for our conference being set and the list of speakers growing daily, we were able OF THE once again to tap into a rich well of ideas for possible articles and hope you like the REEPERBAHN selection we made. -
The Human League
THE HUMAN LEAGUE 7" SINGLES Being Boiled/Circus Of Death Fast FAST 4 06/78 [original with white/grey picture labels] Empire State Human/Introducing Virgin VS 294 10/79 HOLIDAY '80 EP: Being Boiled/Marianne//Night Clubbing-Rock'n'Roll/Dancevision Virgin SV 105 04/80 [double pack with green/red labels] HOLIDAY '80 EP: Being Boiled/Marianne//Night Clubbing-Rock'n'Roll/Dancevision Virgin SV 105 04/80 [limited edition double pack with gatefold p/s and green/red labels] Being Boiled/Circus Of Death Fast/EMI FAST 4 08/80 [reissue with red/yellow arrow labels] HOLIDAY '80 EP: Being Boiled/Marianne//Night Clubbing-Rock'n'Roll/Dancevision Virgin SV 105 01/82 [reissue double pack with purple/blue labels] Being Boiled/Circus Of Death Fast/EMI FAST 4 01/82 [second reissue with red/yellow arrow labels] Empire State Human/Introducing//Only After Dark/ Toyota City(Long Version) Virgin VS 351 05/80 [shrinkwrapped double pack] Empire State Human/Introducing Virgin VS 351 05/80 Only After Dark/Toyota City(Long Version) Virgin VS 351 05/80 [singles split from original double pack] Boys And Girls/Tom Baker Virgin VS 395 02/81 Boys And Girls/Tom Baker Virgin VS 395 02/81 [gatefold p/s] The Sound Of The Crowd/The Sound Of The Crowd (Add Your Voice) Virgin VS 416 04/81 Love Action/Hard Times Virgin VS 435 07/81 Open Your Heart/Non-Stop Virgin VS 453 10/81 Don't You Want Me/Seconds Virgin VS 466 12/81 Don't You Want Me/Seconds Virgin VS 466 12/81 [with poster] Mirror Man/Gold Virgin VS 522 11/82 Mirror Man/Gold Virgin VSY 522 11/82 [picture disc] Fascination/Total -
Culture, Theory and Critique Neoliberal Noise: Attali
This article was downloaded by: [12.31.71.58] On: 01 May 2014, At: 07:25 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Culture, Theory and Critique Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/rctc20 Neoliberal Noise: Attali, Foucault & the Biopolitics of Uncool Robin James Published online: 29 Apr 2014. To cite this article: Robin James (2014) Neoliberal Noise: Attali, Foucault & the Biopolitics of Uncool, Culture, Theory and Critique, 55:2, 138-158, DOI: 10.1080/14735784.2014.899881 To link to this article: http://dx.doi.org/10.1080/14735784.2014.899881 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. -
I/II. the Butterfly Alphabet a Is a Being in a State of Flux
I/II. The Butterfly Alphabet A is a being in a state of flux. Certainly though, that’s not the explanation A would have given you as to why he prefers such a mononym all those years ago. A seven year old justification would have probably brought up the pleasing geometry in the arrangement of graphemes; how it resembled a triangle, his favourite shape, except with the bottom line raised to the centre. Perhaps A would also remark on the letter’s predilection in English semiotics; it is the premier letter of the alphabet as well as the asseverative emblem for the highest achievement we should strive to have our tests and assignments and examinations and artwork littered with. And indeed it was a title befitting the wearer; A was a prototypical straight-A student. Naturally gifted in absorbing juvenile academia, A soon grew resentful of his classmates using his mononym to equate him to an “apple polisher” or an overachiever. Over time, A proliferated the anonymity that the letter granted, allowing him to elude any and all preconceptions of what it is A actually is. He became something of an enigma in high school; many classmates would remark on the deep mystery and august disposition gleaned from their first impression of him. They would then note the idiosyncratic shock to find his goofy nature hidden behind the stoicism. A was assuredly deliberate in perpetrating this type of mercurial persona. A has now seen many incarnations of himself borne into that singular letter, each one just an elaboration on the previous concept. -
A Research Project Exploring Selected Post-Punk Influences and Their Relevance to My Contemporary Compositional Work
University of Huddersfield Repository Williams, Paul A research project exploring selected post-punk influences and their relevance to my contemporary compositional work Original Citation Williams, Paul (2010) A research project exploring selected post-punk influences and their relevance to my contemporary compositional work. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/9640/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ A research project exploring selected post-punk influences and their relevance to my contemporary compositional work. Paul Christopher Williams A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of MA by research The University of Huddersfield September 2010 Copyright Statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and s/he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. -
Cord Mirror, December 13,19M I Cause I a Martyr to Her Own Carries
30 Record Mirror, December 13,19M I cause i A martyr to her own carries. If she can is a danger she laces, but ROD STEWART i DANA GILLESPIE Itemper her bitterness, channel It Wembley Arena, London The Green Man, Stratford, into the learning process.to she just By Rosalind Russell East London might surprise us all. Look out Siouxsie, this lady's not for turning, THE IMAGINATION and planning By Rory Baxter that goes Into Rod Stewart's SUSPENDERS, stockings and scanty YOUTH concerts justifies the higher than clothing may have been locked WASTED average ticket price of £8. That, and away, but Miss Gillespie still let her Marquee, London of course his talent. all hang down Paradoxically, her By Jessamy Catkin watcher, I've As an avid Stewart bright green trousers and maroon have Wasted Youth got had the opportunity to see him loads NOT only top drew attention away from her the combination of visual and of limes, and I still get excited when fine body and tówards the music. musical excitement down to a he sings 'Sweet Little Rock 'n' her they are the only band who Roller' and emotional when he does Dana's entrance came after art, but had make the Marquee enjoyable. 'You Wear it Well'. He has the good backing' band, Telemacque, can the rattled the kegs the barmaid) And their devoted following, sense to realise he lust can't miss turned Op to out these songs, even though he with solid but uninspiringiand rhythm funeral crowd, all and blues. They lifted their mourn them at the last of their has new material to perform. -
The Heartbreaks Don't You Know
003 JUN / AUG 10 DON’T YOU KNOW THE HEARTBREAKS global pillage KING CANNIBAL / ALEX LAMBRECHTS / ASHLEIGH SUMNER / TOKYO NYC & LONDON SCENE / 002 THE 004 The Heartbreaks 014 NYC scene TRILOGY 016 Alex Lambrechts Welcome to the third instalment of Uppror. 026 LONDON scene We are sure we have created our best issue to date and one of our proudest achievements must be in discovering the gem that is - The Heartbreaks. Straight out of Morecambe, they are bringing you some Smiths-style indie pop. We think they’re 028 King Cannibal going to blow your mind in the coming months with their brilliant anthemic lyrics. 034 TOKYO scene We also feature the man who created dubstep – King Cannibal – and now he’s about to destroy it. We caught up with him just before he departed our shores for his tour of the States. 036 Ashleigh Sumner Next we have Alex Lambrechts - photographer, events organiser, martial arts expert (you heard me!), failing venue doctor (this will make more sense later) and general ‘man about town’. Last, but 040 And Then Came Lola DVD review not least, Ashleigh Sumner. Ashleigh is from LA; she’s an actress that has appeared in hit US TV shows and independent films and is also an extremely cool artist. 042 Credits For a blast of inspiration go to our new YouTube page, which at the moment features an exclusive interview by Chris Field with hall of fame legend Nigel Harrison from Blondie. Stay tuned to our new channel for a whole host of exclusive interviews and behind the scenes to our photo shoots.