DOCSLIB.ORG

Hatred of Capitalism Would Be a Much Better Title

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hatred of Capitalism Would Be a Much Better Title "I looked through your magazine and I was repelled by the title, Semiotext(e). It's so dry, you just want to throw it in the trash, which I did. Listen: Hatred of Capitalism would be a much better title. It's stunning. The world is starving for thoughts. If you can think of something, the language will fall into place, but the thought is what's going to do it." —Jack Smith A READER edited by Chris Kraus and Sylvère Lotringer SEMIOTEXT(E) ACKNOWLEDGEMENTS The editors would like to thank all the friends who helped us retype portions of this manuscript: Priyanka Basu, Shannon Durbin, Jim Fletcher, Giovanni Intra, D'Arcy Cook Jones, John Kelsey, Hedi El Kholti, Tessa Laird, Joan Laughlin, Allison Madigsohn, Keith Pirlot, Sara Reich, Steve Shimada, Tom Simpson, Mark Stritzel, Joel Tauber, John Tremblay, and Robert Hardwick Weston Additional editing: Mark Von Schlegell Assistant editors: Shannon Durbin and Tessa Laird Designed at The Royal Academy of Nuts + Bolts, D.O.D. www.TheRoyalAcademy.org We gratefully acknowledge financial assistance in the publication of this book from the California Arts Council. This work, published as part of a program of aid for publication, received support from the French Ministry of Foreign Affairs and the Cultural Services of the French Embassy in the United States. Cover photo by Mark Borthwick Text at top of back cover from Algeria by Kathy Acker HATRED OF CAPITALISM, A READER. Copyright © 2001 Edited by Chris Kraus and Sylvère Lotringer. All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews. First Semiotext(e) edition published 2001 ISBN 1584350121 Semiotext(e) 2571 W, Street Los Angeles, California 90057 and 501 Philosophy Hall Columbia University New York, NY 10027 distributed by: The MIT Press, Cambridge, Massachusetts, and London, England To the Memory off an Era (1974-2002) Table Of Contents 013 Chris Kraus & Sylvère Lotringer .. Introduction: The History of Semiotext(e) 025 Eileen Myles .. An American Poem TERROR 037 Assata Shakur .. Prisoner in the United States 051 Jean Baudrillard .. Our Theatre of Cruelty 057 Chris Kraus .. Aliens & Anorexia 063 Ulrike Meinhof .. Armed Anti-Imperialist Strugggle PURE WAR 067 Nina Zivancevic .. Pandora's Box 083 Alain Joxe .. The Empire of Disorder 097 Kathy Acker .. Algeria 105 Georges Bataille .. The Culprit 121 Hélène Cixous .. "The Writing, Always the Writing." POLITICS, DOMESTICITY AND FLIGHT 129 Jean Baudrillard .. Why Theory? 133 David Rattray .. The Angel 151 Paul Virilio .. The Last Vehicle 161 John Cage .. For the Birds 173 Sylvère Lotringer .. The Dance of Signs 191 Bob Flanagan .. January 201 Lynne Tillman . Dynasty Reruns 209 Deleuze & Guattari .. May 68 Did Not Take Place GETTING & SPENDING 215 Deleuze & Guattari .. Capitalism: A Very Special Delirium 221 Jane Delynn .. Leash 229 Jean-Frangois Lyotard .. Energumen Capitalism 243 Jack Smith .. Uncle Fishhook and the Sacred Baby Poo Poo of Art ECSTASY 261 Fanny Howe .. In the White Winter Sun 273 Ulrike Meinhof .. Armed Anti-Imperialist Struggle 281 Louis Wolfson .. Full Stop for an Infernal Planet 285 Frédéric Rossif .. The Wild Celebration 283 Guy Hocquenghem .. We All Can't Die in Bed BECOMING 297 Michel Foucault .. Friendship as a Way of Life 303 Michelle Tea .. Goth-N-Roll High School 321 Chris Marker .. Sunless 335 Kate Millett .. Women, Homosexuals and Youth: Latent Sexual Liberation 341 Chris Kraus .. The Exegesis 355 Félix Guattari .. Becoming-Woman LIFE IN THESE UNITED STATES 363 Tisa Bryant .. Home Training to Crash Pad 375 William Burroughs . The Popling 383 Cookie Mueller .. Abduction and Rape - Highway 31, Elkton, Md - 1969 393 Ann Rower .. LSD...Just the High Points 409 David Wojnarowicz .. Death Mask Introduction: The History of Semiotext(e) Chris Kraus and Sylvère Lotringer Introduction: The History of Semiotext(e) Chris Kraus and Sylvère Lotringer Part 1: Sylvère's First Dream (June 12, '01 - Los Angeles California - 7:30 p.m.) Chris Kraus: Could you tell me about the dream you had last night? Sylvère Lotringer: What was the dream? C: The dream about not having sex. Because, you see, I was disappointed... I moved the bed around here in the room so that everything could be different. S: But we were having sex. We were just, we didn't go beyond the crepuscular. C: Crepuscular Dawn. That's the title I thought up for the book you're doing with Paul Virilio. It's very trans... like a tequila sunrise, pineapple juice getting mixed up with grenadine. But I think the dream was about being middle aged. S: Let me describe my dream. I never dream, but for the last two nights I remember my dreams. In both dreams, there is a communal situation -a big room like a loft or an office, with people coming and going. Nothing is private. And in the first dream I was trying to make out with someone. I just remember the white sheets pushed aside, the mattress on the floor. People were passing and I was kind of annoyed but somehow having sex didn't seem so important. Like in Kafka, The Country Doctor, I was looking between people passing by. The bodies themselves were not so important. And then last night, I was in another of these huge halls, but I was lying on my back with my sex erect - C: You mean, your penis? S: Awgggh, I hate the word "penis." As soon as you become physiological, it's not much fun. C: Sylvère, that's all the fun. S: I mean, I was like the Egyptian Needle. C: You mean, you had a great big hard on. S: Yeah. And you were hovering above me like the sky.. .And, how can you penetrate the sky? C: That is a beautiful dream. S: So then, it's not just you and me, it was people moving around doing their things and I was just trying to do mine and it didn't matter if it went anywhere or not. It was a feeling of energy and presence and there was a point. You don't always have to try to make a point - C: So that is the history of Semiotext(e). S: Exactly. The Red Army Fraction wanted to make a point, and it was taken away from them. You can only take a disparate action... Disparate Action/Desperate Action... wasn't that the title of your first play? C: Yeah - that was how I met you. Of the ten famous people I invited, you were the only one who came. S: What was it about? C: It was about coming to the East Village from Wellington, New Zealand and realizing there wasn't such a thing as politics any more. In New Zealand I was a teenage Maoist, working for trade unions... there was a working class culture that was different from consumer culture, what you'd call "popular" in France... so we had that in common, even though we were different generations. I was wondering how to make sense, or maintain a sense of politics, in a situation that was inherently chaotic and apolitical. Regretting history. Of course that hardly is a topic anymore. But it was one of Semiotext(e)'s big topics. That's why I thought it was destiny that I should meet you. S: I was never a Maoist. I only realized later on that in France I had been a Stalinist. C: Yeah, well. How do you talk about the past without it seeming like an epitaph? S: Hence my hatred of the penis. Hatred of capitalism. C: Yeah, but I love dick, ya know? (laughs) What did you think, looking through the book today? S: I felt that all of it was theory, even when theory wasn't there. It was so strong. Reading Assata's interview, Prisoner in the United States, made me think that while we're supposed to live such a privileged life in our glamorous vacuum it relies on the fact that 1.3 people in this country have just been put away. And that millions of people all over the world and in America are paying for this technological paradise. It's very upsetting. But the feeling I had was also strength - being connected to something very important, that hasn't disappeared. When I started Semiotext(e) in 1974 we were in the last gasp of Marxism, and I knew the terrorists were right, but I could not condone their actions. That is still the way I feel right now. What happened is that we forgot that capitalism even exists. It has become invisible because there's nothing else to see. When I told Baudrillard about this book, he said the title sounded too old-fashioned. C: He didn't get the joke. S: But capitalism hasn't disappeared. I was trying to disappear for years by doing interviews, but capitalism hasn't disappeared. Its repercussions are even more momentous than before, but no one can seem to grasp them. (The phone rings. It's Mark Von Schlegell, who has edited sections of this book.) C: Mark, what do you think about the book? M: I think it's fine. I enjoyed the parts I read. I totally liked it. C: Yeah, but do you think it's historical or speculative? M. Probably a bit of both. I think it's hysterical. What do you want it to be? C: I want it to be beautiful. (Mark hangs up.) Sylvère, should we move on to another topic? I wanted to say something about this direct, immediate tone of voice we publish in Native Agents.
Load more

Recommended publications
  • VIPAW Wall Texts
    3rd Venice International Performance Art Week, 2016 Ouch – Pain and Performance A screening programme curated by Live Art Development Agency, London “I see pain as an inevitable byproduct of interesting performance.” Dominic Johnson According to Wikipedia ‘pain’ is an “unpleasant feeling often caused by intense or damaging stimuli…(it) motivates the individual to withdraw from damaging situations and to avoid similar experiences in the future.” But for many artists and audiences the opposite is just as true, and pain within the context of performance is a challenging, exhilarating and profound experience. Ouch is a collection of documentation and artists’ films looking at pain and performance. The works are not necessarily performances about pain, but in some way involve or invoke pain in their making or reading or experience - both the pain artists cause themselves within the course of their work, whether intentional or not, and the experiences of audiences as they are invited to inflict pain on artists or are subjected to pain and discomfort themselves. The selected works feature eminent and ground breaking artists from around the world whose practices address provocative issues including the lived experiences of illness, the aging female body, cosmetic surgery, addiction, embodied public protest, animalistic impulses, blood letting, staged fights, acts of self harm and flagellation, and what can happen when you invite audiences to be complicit in performance actions. Ouch featured artists: Marina Abramovic, Ron Athey, Marcel.Li Antunez Roca, Franko B, Wafaa Bilal, Rocio Boliver, Cassils, Bob Flanagan, Regina Jose Galindo, jamie lewis hadley, Nicola Hunter & Ernst Fischer, Oleg Kulik, Martin O’Brien, Kira O’Reilly, ORLAN, Petr Pavlensky.
    [Show full text]
  • Book of Condolences
    Book of Condolences Ewan Constable RIP JIM xx Thanks for the best childhood memories and pu;ng Dundee United on the footballing map. Ronnie Paterson Thanks for the memories of my youth. Thoughts are with your family. R I P Thank you for all the memoires, you gave me so much happiness when I was growing up. You were someone I looked up to and admired Those days going along to Tanadice were fantasEc, the best were European nights Aaron Bernard under the floodlights and seeing such great European teams come here usually we seen them off. Then winning the league and cups, I know appreciate what an achievement it was and it was all down to you So thank you, you made a young laddie so happy may you be at peace now and free from that horrible condiEon Started following United around 8 years old (1979) so I grew up through Uniteds glory years never even realised Neil smith where the success came from I just thought it was the norm but it wasn’t unEl I got a bit older that i realised that you were the reason behind it all Thank you RIP MR DUNDEE UNITED � � � � � � � � Michael I was an honour to meet u Jim ur a legend and will always will be rest easy jim xxx� � � � � � � � First of all. My condolences to Mr. McLean's family. I was fortunate enough to see Dundee United win all major trophies And it was all down to your vision of how you wanted to play and the kind of players you wanted for Roger Keane Dundee United.
    [Show full text]
  • Eagle-Eye Cherry Desireless Mp3, Flac, Wma
    Eagle-Eye Cherry Desireless mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Desireless Country: US Released: 1998 MP3 version RAR size: 1503 mb FLAC version RAR size: 1334 mb WMA version RAR size: 1868 mb Rating: 4.6 Votes: 296 Other Formats: XM AHX MPC WMA VOX MMF MP4 Tracklist 1 Save Tonight 3:59 2 Indecision 5:16 3 Comatose (In The Arms Of Slumber) 4:37 4 Worried Eyes 4:31 5 Rainbow Wings 4:04 6 Falling In Love Again 3:30 7 Conversation 4:44 8 When Mermaids Cry 4:22 9 Shooting Up In Vain 5:36 10 Permanent Tears 4:43 11 Death Defied By Will 4:23 12 Desireless 6:14 Companies, etc. Manufactured By – The Work Group Phonographic Copyright (p) – Superstudio Phonographic Copyright (p) – Diesel Music AB Copyright (c) – Sony Music Entertainment Inc. Copyright (c) – Copyright Control Made By – DADC – CTDP-095843 Published By – Diesel 2 Publishing Published By – Management AB Published By – Eternal River Music Recorded At – Cosmos Studios Engineered At – Cosmos Studios Mixed At – Cosmos Studios Credits Co-producer – Eagle-Eye Cherry (tracks: 1 to 5, 7 to 12) Engineer – Adam Kviman (tracks: 1, 4, 5, 9, 11, 12) Engineer [Additional Drum Engineering] – Adam Kviman (tracks: 3, 7) Engineer [Music] – Ed Tuton (tracks: 2) Engineer [Vocals] – Simon Nordberg (tracks: 2) Engineer, Recorded By, Producer – Kent Gillström (tracks: 3, 7, 8) Lyrics By – Eagle-Eye Cherry (tracks: 1 to 11) Management – Tommy Manzi Mixed By – Adam Kviman (tracks: 1, 3, 5, 7, 9, 11, 12), Ed Tuton (tracks: 2, 5, 6), Kaj Erixon (tracks: 8), Kent Gillström (tracks: 8),
    [Show full text]
  • 0 1 5 Road Vs. Street Willie G. a Tale of the Dragon
    FOR THE HARLEY-DAVIDSON® ENTHUSIAST SINCE 1916 ROAD VS. STREET WILLIE G. A TALE OF THE DRAGON 2 0 1 2 $4.99 US 015 2 0 1 2 0 1 5 ROAD VS. STREET WILLIE G. A TALE OF THE DRAGON hog . co m Contents 32 Features Departments 26 Glide vs. Glide 10 Editor Two sleek and stylish Touring family bikes square off in a Savannah showdown. 12 Intake 32 Hogs, Trails, and 14 The Word Dragons’ Tails A taste of things to come (on the H.O.G.® Battle 18 Spotlight Cry tour) in Tennessee and North Carolina. 38 20 Next Ride 38 Reflections on a Career H-D icon Willie G. Davidson reflects on his past, 22 Get Going present, and future with the Harley-Davidson Motor Company. 24 Between the Lines 46 Learning to Fly 54 Enthusiasts H.O.G. rally coordinators hit Las Vegas for a whole lot of training and a little bit of fun. 62 Gear 52 $100 Rides 64 Archives Rambling along the Ohio River and a nostalgic camp-out with Dad. 66 Exhaust 46 Photography: Andy Doerr, MessageMakers Andy Doerr, Photography: Backstage Saddlebag Full of Blues Jake and elwood Blues – a.k.a. Wayne Catania and Kieron Lafferty of the Official Blues Brothers Revue – get the crowd revved up at the VIP H.O.G.® event on March 14 during Daytona Bike Week. Great music, perfect weather, enthusiastic crowds, tasty food and drinks, and premium viewing for H.O.G. members made for a memorable evening. After the show, Jake and Elwood hung around to shake hands, sign autographs, and pose for photos with eager fans.
    [Show full text]
  • 1. Summer Rain by Carl Thomas 2. Kiss Kiss by Chris Brown Feat T Pain 3
    1. Summer Rain By Carl Thomas 2. Kiss Kiss By Chris Brown feat T Pain 3. You Know What's Up By Donell Jones 4. I Believe By Fantasia By Rhythm and Blues 5. Pyramids (Explicit) By Frank Ocean 6. Under The Sea By The Little Mermaid 7. Do What It Do By Jamie Foxx 8. Slow Jamz By Twista feat. Kanye West And Jamie Foxx 9. Calling All Hearts By DJ Cassidy Feat. Robin Thicke & Jessie J 10. I'd Really Love To See You Tonight By England Dan & John Ford Coley 11. I Wanna Be Loved By Eric Benet 12. Where Does The Love Go By Eric Benet with Yvonne Catterfeld 13. Freek'n You By Jodeci By Rhythm and Blues 14. If You Think You're Lonely Now By K-Ci Hailey Of Jodeci 15. All The Things (Your Man Don't Do) By Joe 16. All Or Nothing By JOE By Rhythm and Blues 17. Do It Like A Dude By Jessie J 18. Make You Sweat By Keith Sweat 19. Forever, For Always, For Love By Luther Vandros 20. The Glow Of Love By Luther Vandross 21. Nobody But You By Mary J. Blige 22. I'm Going Down By Mary J Blige 23. I Like By Montell Jordan Feat. Slick Rick 24. If You Don't Know Me By Now By Patti LaBelle 25. There's A Winner In You By Patti LaBelle 26. When A Woman's Fed Up By R. Kelly 27. I Like By Shanice 28. Hot Sugar - Tamar Braxton - Rhythm and Blues3005 (clean) by Childish Gambino 29.
    [Show full text]
  • Blood Rituals from Art to Murder
    The Sacrificial Aesthetic: Blood Rituals from Art to Murder Dawn Perlmutter Department of Fine Arts Cheyney University of Pennsylvania Cheyney PA 19319-0200 [email protected] [Ed. note 2/2017: Many of the links in this article have become invalid and been removed] The concept of the “sacrificial esthetic” introduced in Eric Gans’s Chronicle No. 184 entitled “Sacrificing Culture” describes a situation in which aesthetic forms remain sacrificial but have evolved from a necessary feature of social organization to a psychological element of the human condition. Gans concludes that art’s sacrificial esthetic is essentially exhausted as a creative force and argues that the future lies with simulations, virtual realities in which the spectator plays a partially interactive role. His most significant claim is that “This end of the ability of the esthetic to discriminate between the sacrificial and the antisacrificial is not the end of art. On the contrary, it liberates the esthetic from the ethical end of justifying sacrifice.” The consequence of the liberation of the ethical justification of sacrifice is the main concern of this essay. Throughout the history of art we have encountered images of blood, from the representations of wounded animals in the cave paintings of Lascaux through century after century of brutal Biblical images, through history paintings depicting scenes of war, up through the many films of war, horror, and violence. Blood is now off the canvas, off the screen and sometimes literally in your face. It is no coincidence that this substance has intrigued artists throughout history. Blood is fascinating; it simultaneously represents purity and impurity, the sacred and the profane, life and death.
    [Show full text]
  • Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
    STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach.
    [Show full text]
  • Bob Flanagan, Sheree Rose and Masochistic Art During the NEA Controversies
    BRING THE PAIN: Bob Flanagan, Sheree Rose and Masochistic Art during the NEA Controversies by LAURA MACDONALD BFA., Concordia University, 2003 A THESIS SUBMITTED IN PARTIAL FULFILMENT GF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Art History, Visual Art and Theory UNIVERSITY OF BRITISH COLUMBIA SEPTEMBER 2005 © Laura MacDonald, 2005 Abstract Poet, performance/installation artist, self-proclaimed "supermasochist" and life-long Cystic Fibrosis sufferer, Bob Flanagan and his partner, dominatrix and fellow artist Sheree Rose created art derived from their personal explorations of sadomasochistic sex acts and relationships. This work used the lens of S/M practice to deal with issues of illness, death, gender and sex. Throughout most of their 15 year collaboration (late 1980- early 1996) Flanagan and Rose lived and worked in relative obscurity, their work being circulated mainly in small subcultural circles. It was during the years of controversies surrounding the National Endowment for the Arts (NEA), roughly 1989 to 1997, that Flanagan and Rose experienced unforeseen professional success and fame, propelling them from underground distribution in L.A. to the international art scene. These controversies arose from objections by various rightwing Christian politicians, individuals and groups who felt that the NEA had misused American tax dollars by awarding grants to artists who created and agencies that displayed "obscene" art. Flanagan and Rose were two such artists. This is a case study of the situation of Flanagan and Rose within these controversies, a situation in which there was opportunity, experimentation and heightened awareness despite (or perhaps because of) heated conflicts between opposing sets of ethics, aesthetics and lifestyle.
    [Show full text]
  • Dundee Discovered an Integrated Brand Action Plan
    Dundee Discovered An Integrated Brand Action Plan DUNDEE’S LOCAL ACTION PLAN IN THE FRAME OF URBACT- CITYLOGO Aarhus | Alba Iulia | Coimbra | Dundee | Genoa | Oslo | Utrecht | Vilnius | Warsaw | Zaragoza Contents Local Support Group .................................. 1 Are you talking to me? Our key audiences ........................ 19 Introduction Our priorities ................................. 19 Convenor of City Development, Cllr Will Dawson .......................................... 2 Doing better with less Background to Project and Digital and Social Media ................. 20 Local Action Plan Integration of brand and URBACT Programme 2007 -2013 ............ 3 city events ........................................ 21 CityLogo Rationale .................................. 3 Staying current CityLogo – Dundee Baseline .................... 3 Keeping relevant ........................... 22 Dundee’s Brand Development to date Reflecting the changes ................. 22 Background ............................................... 7 What’s the difference? Dundee Narrative ...................................... 9 Connecting Brand development Dundee Ambassadors ............................... 11 and Economic Development ......... 23 Visual Narrative ......................................... 13 What does success look like? ...... 23 Target Audiences ....................................... 15 Tools for measuring ....................... 23 Current Challenges and paths for the near Future Set of Actions ................................... 25 Whose
    [Show full text]
  • Ouch – Pain and Performance Curated by Live Art Development Agency “I
    Ouch – Pain and Performance Curated by Live Art Development Agency “I see pain as an inevitable byproduct of interesting performance.” Dominic Johnson According to Wikipedia ‘pain’ is an “unpleasant feeling often caused by intense or damaging stimuli…(it) motivates the individual to withdraw from damaging situations and to avoid similar experiences in the future.” But for many artists and audiences the opposite is just as true, and pain within the context of performance is a challenging, exhilarating and profound experience. Ouch is a collection of documentation and artists’ films looking at pain and performance – the pain artists might cause themselves within the course of their work, whether intentional or not, and the experiences of audiences as they are invited to inflict pain on artists or are subjected to pain and discomfort themselves. The selected works feature eminent and ground breaking artists whose practices address provocative issues from the lived experiences of illness, to representations of the aging female body, cosmetic surgery, addiction and self harm, animalistic impulses, and treacherous fire stunts, and what can happen when you invite audiences to be complicit in challenging embodied actions. Please note that this screening contains documentation of some historical performances for which the films are of variable quality. This screening also contains strong images, including blood and nudity. With many thanks to all of the featured artists for permission to show their work, to Sheree Rose and Janez Janša, and to Martin O’Brien. Running time 35’ approx. (on loop) Bob Flanagan (USA) Cystic Fibrosis Song 1990’s 1’32” A short film of Bob Flanagan parodying a famous Disney song to convey his experiences of living with Cystic Fibrosis.
    [Show full text]
  • Business Bulletin Iris Ghnothaichean
    Thursday 10 May 2018 Business Bulletin Iris Ghnothaichean Today's Business Meeting of the Parliament Committee Meetings 11:40 am Parliamentary Bureau Motions 9:00am Culture, Tourism, Europe and 11:40 am General Questions External Relations Committee 12:00 pm First Minister's Questions 9:00am Public Audit and Post-legislative Scrutiny Committee 12:45 pm Members' Business — S5M-11968 Tavish Scott: HIAL's Car Parking Charges 9:00am Public Petitions Committee 2:30 pm Parliamentary Bureau Motions 9:00am Social Security Committee 2:30 pm Scottish Government Debate: A 9:30am Equalities and Human Rights Route Map to an Energy Efficient Scotland Committee followed by Business Motions 1:00pm Justice Sub-Committee on Policing followed by Parliamentary Bureau Motions 1:10pm Culture, Tourism, Europe and External Relations Committee 5:00 pm Decision Time Thursday 10 May 2018 1 Today's Business Future Business Motions & Questions Legislation Other Gnothaichean an-diugh Gnothaichean ri teachd Gluasadan agus Ceistean Reachdas Eile Chamber | Seòmar Meeting of the Parliament 11:40 am Parliamentary Bureau Motions 11:40 am General Questions 1. Ash Denham: To ask the Scottish Government, in light of the ongoing review of the Children (Scotland) Act 1995, what consideration it is giving to putting a professional system, such as the Children and Family Court Advisory and Support Service in England, in place for family courts in Scotland. (S5O-02077) 2. Jamie Halcro Johnston: To ask the Scottish Government what assessment it has made of the effectiveness of the Flexible Workforce Development Fund. (S5O-02078) 3. Bob Doris: To ask the Scottish Government how centres that provide a supervised contact facility for absent parents to spend time with their children are inspected and regulated.
    [Show full text]
  • Karaoke Mietsystem Songlist
    Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind.
    [Show full text]