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Student-Directed Play Goes 'Beyond Therapy'
F R O S T B U R G S T A T E U N I V E R S I T Y StateLineswww.frostburg.edu/admin/foundation/news.htm For and about FSU people A publication of the FSU Office of Advancement Volume 31, Number 9, October 23, 2000 Copy deadline: noon Wednesday, 228 Hitchins or [email protected] Community Kids Student-Directed Play to Trick-or-Treat Goes ‘Beyond Therapy’ at Downhill Halls The first of the Halloween is coming ... and so are Season Too! student- the celebrations! Sunday, Oct. 29, is the directed productions date for FSU’s annual Trick or Treat for community children. will be “Beyond Since 1992, this event has attracted hundreds of children Therapy” by Christo- and their parents, who have enjoyed traditional trick-or- pher Durang. The treating in a safe environment, as well as events such as comedy will be haunted rooms and floors, storytelling, Halloween cartoons performed Friday and and the very popular parent refreshment station! Saturday, Oct. 27 and 28, at 8 p.m. in the F. Perry Smith Please feel free to bring your children to the downhill area Studio Theatre. residence halls (Annapolis, Cambridge, Cumberland, Frederick Senior theatre major Lisa Gordon is directing. The cast and Westminster halls) between the hours of 2 and 5 p.m. includes Andrea Smith, Joe Higdon, Mike Abendshien, There will be guides to welcome you and to direct you to the Christina Allen, Chris Krysztofiak and Rob Simkin. various activities when you visit the downhill residence halls. The play is about an unlikely couple and their oddball Admission is free. -
Put on Your Boots and Harrington!': the Ordinariness of 1970S UK Punk
Citation for the published version: Weiner, N 2018, '‘Put on your boots and Harrington!’: The ordinariness of 1970s UK punk dress' Punk & Post-Punk, vol 7, no. 2, pp. 181-202. DOI: 10.1386/punk.7.2.181_1 Document Version: Accepted Version Link to the final published version available at the publisher: https://doi.org/10.1386/punk.7.2.181_1 ©Intellect 2018. All rights reserved. General rights Copyright© and Moral Rights for the publications made accessible on this site are retained by the individual authors and/or other copyright owners. Please check the manuscript for details of any other licences that may have been applied and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. You may not engage in further distribution of the material for any profitmaking activities or any commercial gain. You may freely distribute both the url (http://uhra.herts.ac.uk/) and the content of this paper for research or private study, educational, or not-for-profit purposes without prior permission or charge. Take down policy If you believe that this document breaches copyright please contact us providing details, any such items will be temporarily removed from the repository pending investigation. Enquiries Please contact University of Hertfordshire Research & Scholarly Communications for any enquiries at [email protected] 1 ‘Put on Your Boots and Harrington!’: The ordinariness of 1970s UK punk dress Nathaniel Weiner, University of the Arts London Abstract In 2013, the Metropolitan Museum hosted an exhibition of punk-inspired fashion entitled Punk: Chaos to Couture. -
Chambers Pardon My French!
Chambers Pardon my French! CHAMBERS An imprint of Chambers Harrap Publishers Ltd 7 Hopetoun Crescent, Edinburgh, EH7 4AY Chambers Harrap is an Hachette UK company © Chambers Harrap Publishers Ltd 2009 Chambers® is a registered trademark of Chambers Harrap Publishers Ltd First published by Chambers Harrap Publishers Ltd 2009 Previously published as Harrap’s Pardon My French! in 1998 Second edition published 2003 Third edition published 2007 Database right Chambers Harrap Publishers Ltd (makers) All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission in writing of Chambers Harrap Publishers Ltd, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Chambers Harrap Publishers Ltd, at the address above. You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer. A CIP catalogue record for this book is available from the British Library. ISBN 978 0550 10536 3 10 9 8 7 6 5 4 3 2 1 We have made every effort to mark as such all words which we believe to be trademarks. We should also like to make it clear that the presence of a word in the dictionary, whether marked or unmarked, in no way affects its legal status as a trademark. www.chambers.co.uk Designed -
Authenticity, Politics and Post-Punk in Thatcherite Britain
‘Better Decide Which Side You’re On’: Authenticity, Politics and Post-Punk in Thatcherite Britain Doctor of Philosophy (Music) 2014 Joseph O’Connell Joseph O’Connell Acknowledgements Acknowledgements I could not have completed this work without the support and encouragement of my supervisor: Dr Sarah Hill. Alongside your valuable insights and academic expertise, you were also supportive and understanding of a range of personal milestones which took place during the project. I would also like to extend my thanks to other members of the School of Music faculty who offered valuable insight during my research: Dr Kenneth Gloag; Dr Amanda Villepastour; and Prof. David Wyn Jones. My completion of this project would have been impossible without the support of my parents: Denise Arkell and John O’Connell. Without your understanding and backing it would have taken another five years to finish (and nobody wanted that). I would also like to thank my daughter Cecilia for her input during the final twelve months of the project. I look forward to making up for the periods of time we were apart while you allowed me to complete this work. Finally, I would like to thank my wife: Anne-Marie. You were with me every step of the way and remained understanding, supportive and caring throughout. We have been through a lot together during the time it took to complete this thesis, and I am looking forward to many years of looking back and laughing about it all. i Joseph O’Connell Contents Table of Contents Introduction 4 I. Theorizing Politics and Popular Music 1. -
Reggae: Jamaica's Rebel Music
74 ',1,.)ryry (n ro\ 6 o\ tz o a q o = Kingston 75 Reggqes Jomqicq's Rebel fUlusic By Rita Forest* "On the day that Bob Marley died from which this burst forth, has I was buying vegetables in the mar- been described as a "very small con- ket town of Kasr El Kebir in nor- nection that's glowing red-hot" bet- thern Morocco. Kasr El Kebir was a ween "two extremely heavy cultu- E great city with running water and res"-Africa and North America. ot streetlights when London and Paris But reggae (and its predecessors, ska were muddy villages. Moroccans and rock-steady) came sparking off U tend not to check for any form of that red-hot wire at a particular o western music, vastly preferring the moment-a time in the mid-1960s odes of the late great Om Kalthoum when Jamaica was in the throes of a or the latest pop singer from Cairo mass migration from the country- z= or Beirut. But young Moroccans side to the city. These people, driven 5 love Bob Marley, the from green a only form of the hills into the hellish Ut non-Arabic music I ever saw country tangle of Kingston shantytowns, d= Moroccans willingly dance to. That created reggae music. afternoon in Kasr El Kebir, Bob This same jolting disruption of a Marley banners in Arabic were centuries-old way of life has also strung across the main street. ." shaped the existence of many mil- (Stephen Davis, Reggoe Internatio- lions of people in cities around the nal, 1982). -
Name, a Novel
NAME, A NOVEL toadex hobogrammathon /ubu editions 2004 Name, A Novel Toadex Hobogrammathon Cover Ilustration: “Psycles”, Excerpts from The Bikeriders, Danny Lyon' book about the Chicago Outlaws motorcycle club. Printed in Aspen 4: The McLuhan Issue. Thefull text can be accessed in UbuWeb’s Aspen archive: ubu.com/aspen. /ubueditions ubu.com Series Editor: Brian Kim Stefans ©2004 /ubueditions NAME, A NOVEL toadex hobogrammathon /ubueditions 2004 name, a novel toadex hobogrammathon ade Foreskin stepped off the plank. The smell of turbid waters struck him, as though fro afar, and he thought of Spain, medallions, and cork. How long had it been, sussing reader, since J he had been in Spain with all those corkoid Spanish medallions, granted him by Generalissimo Hieronimo Susstro? Thirty, thirty-three years? Or maybe eighty-seven? Anyhow, as he slipped a whip clap down, he thought he might greet REVERSE BLOOD NUT 1, if only he could clear a wasp. And the plank was homely. After greeting a flock of fried antlers at the shevroad tuesday plied canticle massacre with a flash of blessed venom, he had been inter- viewed, but briefly, by the skinny wench of a woman. But now he was in Rio, fresh of a plank and trying to catch some asscheeks before heading on to Remorse. I first came in the twilight of the Soviet. Swigging some muck, and lampreys, like a bad dram in a Soviet plezhvadya dish, licking an anagram off my hands so the ——— woundn’t foust a stiff trinket up me. So that the Soviets would find out. -
Inside Subculture the Postmodern Meaning of Style
Inside Subculture The Postmodern Meaning of Style David Muggleton OXFORD Inside Subculture Dress, Body, Culture Series Editor Joanne B. Eicher, Regents’ Professor, University of Minnesota Advisory Board: Ruth Barnes, Ashmolean Museum, University of Oxford Helen Callaway, CCCRW, University of Oxford James Hall, University of Illinois at Chicago Beatrice Medicine, California State University, Northridge Ted Polhemus, Curator, “Street Style” Exhibition, Victoria & Albert Museum Griselda Pollock, University of Leeds Valerie Steele, The Museum at the Fashion Institute of Technology Lou Taylor, University of Brighton John Wright, University of Minnesota Books in this provocative series seek to articulate the connections between culture and dress which is defined here in its broadest possible sense as any modification or supplement to the body. Interdisciplinary in approach, the series highlights the dialogue between identity and dress, cosmetics, coiffure, and body alterations as manifested in practices as varied as plastic surgery, tattooing, and ritual scarification. The series aims, in particular, to analyze the meaning of dress in relation to popular culture and gender issues and will include works grounded in anthropology, sociology, history, art history, literature, and folklore. ISSN: 1360-466X Previously published titles in the Series Helen Bradley Foster, “New Raiments of Self”: African American Clothing in the Antebellum South Claudine Griggs, S/he: Changing Sex and Changing Clothes Michaele Thurgood Haynes, Dressing Up Debutantes: Pageantry and Glitz in Texas Anne Brydon and Sandra Niesson, Consuming Fashion: Adorning the Transnational Body Dani Cavallaro and Alexandra Warwick, Fashioning the Frame: Boundaries, Dress and the Body Judith Perani and Norma H. Wolff, Cloth, Dress and Art Patronage in Africa Linda B. -
Suits and Boots: a Guide to Ska Style
Suits and Boots: A Guide to Ska Style With New England summer winding down and cooler weather approaching, it’ll be time for all the rude boys to get their suits out of the closet and get set to look sharp at a show. Wait. What’s that you say? Rude boys? No, no. I don’t mind. I always relish the chance to nerd out about ska. In the 1960s, rude boys were either glorified or vilified in the poorer sections of Kingston, Jamaica. They were discontented youth, violent and prone to crime, and many ska and rocksteady artists of the time had songs about them. Tunes such as Dandy Livingstone’s “A Message to You, Rudi,” Alton Ellis’s “Dance Crasher,” and many more featured rude boy culture. Rude boys favored sharp suits, skinny ties and pork pie or Trilby hats. Think Dan Akroyd and John Belushi as The Blues Brothers, and you won’t be far off. In the late ’70s, the style was revived along with ska music by the 2 Tone Label and its associated bands: The Specials, Madness and The Selecter. The 2 Tone logo featured a cartoon drawing of a cool looking dude in a sharp suit and skinny tie nicknamed “Walt Jabsco.” The artist based the drawing off a slick looking Peter Tosh from one of the earlier Wailers records and thus the rude boy was reborn, not as a violent gangster, but as a fashion archetype and a label to describe fans of ska music. This era also saw the birth of the skinhead and the working class style of flight jackets, Fred Perry polo shirts and jeans held up by braces, rolled up to show off a neat pair of Doc Martens boots. -
Skinheads : Du Reggae Au Rock Against Communism Skinheads, from Reggae to RAC
Volume ! La revue des musiques populaires 9 : 1 | 2012 Contre-cultures n°1 Skinheads : du reggae au Rock Against Communism Skinheads, from Reggae to RAC Gildas Lescop Édition électronique URL : http://journals.openedition.org/volume/2963 DOI : 10.4000/volume.2963 ISSN : 1950-568X Édition imprimée Date de publication : 15 septembre 2012 Pagination : 129-149 ISBN : 978-2-913169-32-6 ISSN : 1634-5495 Référence électronique Gildas Lescop, « Skinheads : du reggae au Rock Against Communism », Volume ! [En ligne], 9 : 1 | 2012, mis en ligne le 15 juin 2014, consulté le 10 décembre 2020. URL : http://journals.openedition.org/ volume/2963 ; DOI : https://doi.org/10.4000/volume.2963 L'auteur & les Éd. Mélanie Seteun 129 Skinheads : du reggae au Rock Against Communism D’une contre-culture à une « contre-contre culture » sous influence musicale par Gildas Lescop Université de Picardie Jules Verne Résumé : Parmi toutes les subcultures s’étant succédées Abstract : Among the various subcultures that developed en Angleterre depuis les années 1950, les skinheads o"rent, in England after World War II, skinheads took quite an semble t-il, un parcours bien singulier : apparaissant dans unusual path: while they were originally associated with les années 1960 comme de jeunes fans de reggae, ils feront reggae music in the 960’s, they en1ded up listening to hate #gure à la #n des années 1980 de dangereux néo-nazis rock, and following a dangerous neo-Nazi ideology and adeptes d’un rock haineux. ethos. How did this working-class counterculture, which Comment, selon -
1 a Cultural Study of Two-Tone in the Socio
A CULTURAL STUDY OF TWO-TONE IN THE SOCIO-POLITICAL AND ECONOMIC CONTEXT OF THE 1970s by Susan Conduit A thesis submitted in partial fulfilment for the requirements for the degree of MA (by Research) at the University of Central Lancashire August 2017 1 STUDENT DECLARATION FORM Concurrent registration for two or more academic awards Either *I declare that while registered as a candidate for the research degree, I have not been a registered candidate or enrolled student for another award of the University or other academic or professional institution or *I declare that while registered for the research degree, I was with the University’s specific permission, a *registered candidate/*enrolled student for the following award: ______________________________________________________________ Material submitted for another award Either *I declare that no material contained in the thesis has been used in any other submission for an academic award and is solely my own work or *I declare that the following material contained in the thesis formed part of a submission for the award of _______________________________________________________________ (state award and awarding body and list the material below): * delete as appropriate Collaboration Where a candidate’s research programme is part of a collaborative project, the thesis must indicate in addition clearly the candidate’s individual contribution and the extent of the collaboration. Please state below: Signature of Candidate _____________________________________________________ Type of Award ______________________________________________________ School _______________________________________________________ 2 ABSTRACT A CULTURAL STUDY OF TWO-TONE IN THE SOCIO-POLITICAL AND ECONOMIC CONTEXT OF THE 1970s My thesis concerns Two-tone music which emerged in the late 1970s and achieved the peak of its popularity around 1980. -
Young Soul Rebels? Soul Scenes in Seventies Britain
Young soul rebels? Soul scenes in seventies Britain David Buckingham This essay is part of a larger project, Growing Up Modern: Childhood, Youth and Popular Culture Since 1945. More information about the project, and illustrated versions of all the essays can be found at: https://davidbuckingham.net/growing-up-modern/. One of my earliest and most formative musical experiences took place at the age of eight or nine. It must have been in 1963 that I happened to watch James Brown playing live on the commercial TV show Ready Steady Go! It wasn’t just his rasping and pleading vocals that I found so compelling, or his astonishing dancing. I can still recall the moment where Brown seemed to break down in an apparent excess of soulful emotion, or perhaps physical exhaustion. He dropped to his knees, sweating profusely, as an assistant wrapped a cloak around him and ushered him off stage. Brown proceeded to throw off the cloak, grabbed the mic and returned to performing. Little did I know that this routine was a regular feature of Brown’s act. For a lower-middle-class white boy in suburban Britain, it was a kind of revelation: it suggested that music could be something other than the bland, white mainstream pop that my parents seemed to like. Soul music has stayed with me. While I grew up with Tamla-Motown, I was obviously much too young to be a mod; although by the time I arrived at my hippy teenage- hood, I was still listening to Stevie Wonder and Marvin Gaye. -
Nicholas Stambuli It Is Undeniable That the World As We Know It, Our Cultures, Communities, and Identities, Did Not Just Appear
RUDE BOY STYLE: MOVING SKA INTO THE POSTNATIONAL WORLD Nicholas Stambuli It is undeniable that the world as we know it, our cultures, communities, and identities, did not just appear out of thin air. Every aspect of our lives is built on roots buried deep within travels of the past. Throughout history, cultures have journeyed across social and transnational borders through migration and trade. Along the way they have changed, evolved, and influenced the people and societies that they have crossed. One of these major, yet little noticed, influences came in the form of ska music. Originating in Jamaica, ska is a musical genre that combines elements of Caribbean mento and calypso with American Jazz and R&B. Beginning in the late 1950’s, it progressed through three main waves across the Atlantic, with each new wave showing a change in ska’s sound, style, and setting. The first wave emerged in Jamaican shantytowns as the people’s voice of poverty and oppression. The second wave erupted in England to stand behind intense riots and a cultural backlash. During the second wave, an offshoot of ska, reggae, became a component of the Civil Rights Movement. The third and final wave shows ska as a U.S. commodity with little intrinsic value. How has this constantly changing and migrating music genre influenced and affected our political, social, and cultural structure and identity across transnational borders in the twentieth century? Nagel’s “Constructing Ethnicity” and Appadurai’s “Modernity at Large” give us a solid foundation to ground our answer. Nagel’s ideas are used to show how ska was formed not only as an individual style of culture, but also as a strategic use of ethnicity to bring people together as a community.