A WHALE of a Band!
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Kurt Cobain's Childhood Home
WASHINGTON STATE Department of Archaeology and Historic Preservation WWASHINGTON HHERITAGE RREGISTER A) Identification Historic Name: Cobain, Donald & Wendy, House Common Name: Kurt Cobain's Childhood Home Address: 1210 E. First Street City: Aberdeen County: Grays Harbor B) Site Access (describe site access, restrictions, etc.) The nominated home is located mid block near the NW corner of E 1st Street and Chicago Avenue in Aberdeen. The home faces southeast one block from the Wishkah River adjacent to an alleyway. C) Property owner(s), Address and Zip Name: Side One LLC. Address: 144 Sand Dune Ave SW City: Ocean Shores State: WA Zip: 98569 D) Legal boundary description and boundary justification Tax No./Parcel: 015000701700 - 11 - Residential - Single Family Boundary Justification: FRANCES LOT 17 BLK 7 / MAP 1709-04 FORM PREPARED BY Name: Lee & Danielle Bacon Address: 144 Sand Dune Ave SW City / State / Zip: Ocean Shores, WA 98569 Phone: 425.283.2533 Email: [email protected] Nomination June 2021 Date: 1 WASHINGTON STATE Department of Archaeology and Historic Preservation WWASHINGTON HHERITAGE RREGISTER E) Category of Property (Choose One) building structure (irrigation system, bridge, etc.) district object (statue, grave marker, vessel, etc.) cemetery/burial site historic site (site of an important event) archaeological site traditional cultural property (spiritual or creation site, etc.) cultural landscape (habitation, agricultural, industrial, recreational, etc.) F) Area of Significance – Check as many as apply The property belongs to the early settlement, commercial development, or original native occupation of a community or region. The property is directly connected to a movement, organization, institution, religion, or club which served as a focal point for a community or group. -
Bad Rhetoric: Towards a Punk Rock Pedagogy Michael Utley Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 8-2012 Bad Rhetoric: Towards A Punk Rock Pedagogy Michael Utley Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Rhetoric and Composition Commons Recommended Citation Utley, Michael, "Bad Rhetoric: Towards A Punk Rock Pedagogy" (2012). All Theses. 1465. https://tigerprints.clemson.edu/all_theses/1465 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. BAD RHETORIC: TOWARDS A PUNK ROCK PEDAGOGY A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts Professional Communication by Michael M. Utley August 2012 Accepted by: Dr. Jan Rune Holmevik, Committee Chair Dr. Cynthia Haynes Dr. Scot Barnett TABLE OF CONTENTS Page Introduction ..........................................................................................................................4 Theory ................................................................................................................................32 The Bad Brains: Rhetoric, Rage & Rastafarianism in Early 1980s Hardcore Punk ..........67 Rise Above: Black Flag and the Foundation of Punk Rock’s DIY Ethos .........................93 Conclusion .......................................................................................................................109 -
Wonderful Wacky Water Critters
Wonderful, Wacky, Water Critters WONDERFUL WACKY WATER CRITTERS HOW TO USE THIS BOOK 1. The “KEY TO MACROINVERTEBRATE LIFE IN THE RIVER” or “KEY TO LIFE IN THE POND” identification sheets will help you ‘unlock’ the name of your animal. 2. Look up the animal’s name in the index in the back of this book and turn to the appropriate page. 3. Try to find out: a. What your animal eats. b. What tools it has to get food. c. How it is adapted to the water current or how it gets oxygen. d. How it protects itself. 4. Draw your animal’s adaptations in the circles on your adaptation worksheet on the following page. GWQ023 Wonderful Wacky Water Critters DNR: WT-513-98 This publication is available from county UW-Extension offices or from Extension Publications, 45 N. Charter St., Madison, WI 53715. (608) 262-3346, or toll-free 877-947-7827 Lead author: Suzanne Wade, University of Wisconsin–Extension Contributing scientists: Phil Emmling, Stan Nichols, Kris Stepenuck (University of Wisconsin–Extension) and Mike Miller, Mike Sorge (Wisconsin Department of Natural Resources) Adapted with permission from a booklet originally published by Riveredge Nature Center, Newburg, WI, Phone 414/675-6888 Printed on Recycled Paper Illustrations by Carolyn Pochert and Lynne Bergschultz Page 1 CRITTER ADAPTATION CHART How does it get its food? How does it get away What is its food? from enemies? Draw your “critter” here NAME OF “CRITTER” How does it get oxygen? Other unique adaptations. Page 2 TWO COMMON LIFE CYCLES: WHICH METHOD OF GROWING UP DOES YOUR ANIMAL HAVE? egg larva adult larva - older (mayfly) WITHOUT A PUPAL STAGE? THESE ANIMALS GROW GRADUALLY, CHANGING ONLY SLIGHTLY AS THEY GROW UP. -
Kurt Cobain: Montage of Heck Pdf, Epub, Ebook
KURT COBAIN: MONTAGE OF HECK PDF, EPUB, EBOOK Brett Morgen | 160 pages | 05 May 2015 | Insight Editions, Div of Palace Publishing Group, LP | 9781608875498 | English | San Rafael, United States Kurt Cobain: Montage of Heck PDF Book You must be a registered user to use the IMDb rating plugin. Kurt Cobain: Montage of Heck makes a persuasive case for its subject without resorting to hagiography -- and includes plenty of rare and unreleased footage for fans. Sign In. Rolling Stone. After Kurt Cobain is born in , his parents move to Aberdeen, Washington and shortly after his sister Kim is born. Kurt Cobain. Archived from the original on November 19, Book Category. After recording their next album, Nevermind , their song " Smells Like Teen Spirit " becomes a hit and the band is launched into the mainstream. Kurt Cobain: Montage Of Heck After a short while, Kurt breaks up with Tracy. Bleach Nevermind In Utero. Helen Razer. Nevertheless, Kyle Anderson of Entertainment Weekly praised the album, considering it as "a cultural artifact that provides an inside look at the creative process of an enigmatic genius. Cobain's mother, Wendy, had regret in relation to working on the film. Archived from the original on February 6, We would have known that story. Downloads Wrong links Broken links Missing download Add new mirror links. We get a very intimate glimpse of the beloved musician from his early years all the way up to , when he tragically took his own life at the age of After he attempts to have sex with the girl, his classmates begin insulting and shaming him. -
American Foreign Policy, the Recording Industry, and Punk Rock in the Cold War
Georgia State University ScholarWorks @ Georgia State University History Dissertations Department of History Spring 5-10-2017 Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War Mindy Clegg Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/history_diss Recommended Citation Clegg, Mindy, "Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War." Dissertation, Georgia State University, 2017. https://scholarworks.gsu.edu/history_diss/58 This Dissertation is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. MUSIC FOR THE INTERNATIONAL MASSES: AMERICAN FOREIGN POLICY, THE RECORDING INDUSTRY, AND PUNK ROCK IN THE COLD WAR by MINDY CLEGG Under the Direction of ALEX SAYF CUMMINGS, PhD ABSTRACT This dissertation explores the connections between US foreign policy initiatives, the global expansion of the American recording industry, and the rise of punk in the 1970s and 1980s. The material support of the US government contributed to the globalization of the recording industry and functioned as a facet American-style consumerism. As American culture spread, so did questions about the Cold War and consumerism. As young people began to question the Cold War order they still consumed American mass culture as a way of rebelling against the establishment. But corporations complicit in the Cold War produced this mass culture. Punks embraced cultural rebellion like hippies. -
Krist Novoselic
OVERNMENT G & E GRUNG KRIST NOVOSELIC THE ORAL HISTORY OF A WASHINGTON ROCKER WITH A CIVIC MISSION LEGACY PROJECT History through the people who lived it Krist Novoselic Research by John Hughes and Lori Larson Transcripti on by Lori Larson Interviews by John Hughes October 14, 2008 John Hughes: This is October 14, 2008. I’m John Hughes, Chief Oral Historian for the Washington State Legacy Project, with the Offi ce of the Secretary of State. We’re in Deep River, Wash., at the home of Krist Novoselic, a 1984 graduate of Aberdeen High School; a founding member of the band Nirvana with his good friend Kurt Cobain; politi cal acti vist, chairman of the Wahkiakum County Democrati c Party, author, fi lmmaker, photographer, blogger, part-ti me radio host, While doing reseach at the State Archives in 2005, Novoselic volunteer disc jockey, worthy master of the Grays points to Grays River in Wahkiakum County, where he lives. Courtesy Washington State Archives River Grange, gentleman farmer, private pilot, former commercial painter, ex-fast food worker, proud son of Croati a, and an amateur Volkswagen mechanic. Does that prett y well cover it, Krist? Novoselic: And chairman of FairVote to change our democracy. Hughes: You know if you ever decide to run for politi cal offi ce, your life is prett y much an open book. And half of it’s on YouTube, like when you tried for the Guinness Book of World Records bass toss on stage with Nirvana and it hits you on the head, and then Kurt (Cobain) kicked you in the butt . -
Krist Novoselic, Dave Grohl, and Kurt Cobain
f Krist Novoselic, Dave Grohl, and Kurt Cobain (from top) N irvana By David Fricke The Seattle band led and defined the early-nineties alternative-rock uprising, unleashing a generation s pent-up energy and changing the sound and future of rock. THIS IS WHAT NIRVANA SINGER-GUITARIST KURT Cobain thought of institutional honors in rock & roll: When his band was photographed for the cover of Rolling Stone for the first time, in early 1992, he arrived wearing a white T-shirt on which he’d written, c o r p o r a t e m a g a z i n e s s t i l l s u c k in black marker. The slogan was his twist on one coined by the punk-rock label SST: “Corporate Rock Still Sucks.” The hastily arranged photo session, held by the side of a road during a manic tour of Australia, was later recalled by photogra pher Mark Seliger: “I said to Kurt, T think that’s a great shirt... but let’s shoot a couple with and without it.’ Kurt said, ‘No, I’m not going to take my shirt off.’” Rolling Stone ran his Fuck You un-retouched. ^ Cobain was also mocking his own success. At that moment, Nirvana - Cobain, bassist Krist Novoselic, and drummer Dave Grohl - was rock’s biggest new rock band, propelled out of a long-simmering postpunk scene in Seattle by its incendiary second album, N everm ind, and an improbable Top Ten single, “Smells Like Teen Spirit.” Right after New Year’s Day 1992, Nevermind - Nirvana’s first major-label release and a perfect monster of feral-punk challenge and classic-rock magne tism, issued to underground ecstacy just months before - had shoved Michael Jackson’s D angerous out of the Number One spot in B illboard. -
Guidelines on Rainwater Catchment Systems for Hawai'i
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Let's Go Fishing Program Manual 1
LET'S GO FISHING PROGRAM MANUAL l 1 COMPOSITE IMAGE © EMPIPE / DREAMSTIME.COM / EMPIPE © IMAGE COMPOSITE Acknowledgments: Special Thank you! Written by: Kyle Glencross and Andrew Schafermeyer Review and Editing: Nicola Whitley, Jay Martin, Becky Johnson, Jennifer Baldi, and Laura Ryder Layout and Design: Victor Young A special thank you to the following for providing us with some content and many images for this publication: Larry Pape, Going Fishing, Nebraska Game and Parks, Aquatic Education Program To all of the volunteers Daniel Griffith, Fishing in the Schools Manual, Oklahoma Department of Wildlife Conservation who make this program Mike Beauchene, Let's Go Fishing!, Connecticut Aquatic Resources Education possible. Additional images provided by Dreamstime.com and iStock.com The N.H. Fish and Game Department receives Federal Assistance from the U.S. Fish and Wildlife Service, and thus Published by prohibits discrimination on the basis of race, color, national origin, disability, age and sex, pursuant to Title VI of New Hampshire Fish and Game Department the Civil Rights Act of 1964, Section 504 of the Rehabilitation Act of 1973, Title II of the Americans with Disabilities Aquatic Resources Education Program Act of 1990, Title IX of the Education Amendments of 1972, and the Age Discrimination Act of 11 Hazen Drive, Concord, NH 03301 1975. If you believe you have been discriminated against in any program, activity or service, ©2020 NH Fish and Game Dept. please contact or write the U.S. Fish & Wildlife Service, Division of Wildlife and Sport Fish Website: fishnh.com Restoration, 4001 N. Fairfax Drive, Mail Stop: WSFR – 4020, Arlington, Virginia 22203, Attention: E-mail: [email protected] Civil Rights Coordinator for Public Programs. -
A Drop of Knowledge: the Non-Operator's Guide to Drinking Water Systems
COMPANION TO A Drop of Knowledge: A Drop of Knowledge The Non-operator’s Guide to Waste Water Systems The Non-operator’s Guide to Drinking Water Systems RURAL COMMUNITY ASSISTANCE PARTNERSHIP RCAP an equal opportunity provider and employer This guide was written by the National Environmental Services Center (www.nesc.wvu.edu) at West Virginia University on behalf of Rural Community Assistance Partnership, Inc. Copyright © 2011 The entire contents of this guide are available on the RCAP website at www.rcap.org This material is based upon work supported under a grant by the Utilities Programs, United States Department of Agriculture. Any opinions, findings, and conclusions or recommendations expressed in this material are solely the responsibility of the authors and do not necessarily represent the official views of the Utilities Programs. A Drop of Knowledge The Non-operator’s Guide to Drinking Water Systems Rural Community Assistance Partnership, Inc. 1701 K St. NW, Suite 700 Washington, DC 20006 202/408-1273 800/321-7227 (toll-free) [email protected] www.rcap.org Table of Contents ABOUT THIS GUIDE 1 INTRODUCTION TO DRINKING WATER SYSTEMS What are water systems? 3 Source water 4 HOW DOES SOURCE WATER BECOME DRINKING WATER? Multiple-barrier approach 8 Groundwater systems from source to tap 9 Surface water systems from source to tap 13 HOW DOES DRINKING WATER GET TO MY HOME? THE WATER DISTRIBUTION SYSTEM 30 OTHER IMPORTANT THINGS 41 ADDITIONAL RESOURCES 43 GLOSSARY 45 i ABOUT THIS GUIDE About this guide Water is central to our everyday lives. There isn’t a single human being on Earth who can do without it. -
Lambda Pi Eta Undergraduate Journal Is Published by National Communication Association, Washington, DC, United States of America
LAMBDAλ PI ETAπ UNDERGRADUATEη JOURNAL Volume 3 • summer 2015 NATIONAL COMMUNICATION ASSOCIATION The Lambda Pi Eta Undergraduate Journal is published by National Communication Association, Washington, DC, United States of America Cover design by Carrie Lyle EDITOR LaKesha Anderson, NCA Assistant Director for Academic and Professional Affairs EDITORIAL ASSISTANT Megan Moore, NCA Academic and Professional Affairs Associate LAMBDA PI ETA UNDERGRADUATE JOURNAL REVIEW BOARD Chitra Akkoor, Keene State College Matthew LeHew, Shorter University Donna Allen, Northwest Nazarene University Cara Mackie, Florida Southern College Jordan Atkinson, West Virginia University Michelle Maresh-Fuehrer, Texas A&M Amanda Bridges, Gardner-Webb University University-Corpus Christi James Burton, Salisbury University Kelly McBride, Virginia Tech Amy Grim Buxbaum, North Central College Janet McCormick, Middle Tennessee State University Theresa Castor, University of Wisconsin-Parkside Tammy McGuire, Pacific Union College Anne Marie Czerwinski, University Elizabeth Ortiz, Cedar Crest College of Pittsburgh at Greensburg Laura Russell, Denison University Daniel Cochece Davis, Illinois State University Michelle Scollo, College of Mount Saint Vincent Jayson Dibble, Hope College Rachel Silverman, Embry Riddle Aeronautical University Randy Dillon, Missouri State University Mary Toale, SUNY Oswego Francine Edwards, Delaware State University Andrew Tollison, Merrimack College Vickie Shamp Ellis, Oklahoma Baptist University Michelle Violanti, University of Tennessee, Knoxville -
Experiential Blues Identity
Experiential Blues Identity: Analyzing racial categories of difference in a Philadelphia blues club Kate Edmundson Senior Thesis Anthropology Department Haverford College April 18, 2003 Abstract The individual’s proper experience of blues music and other ‘African American’ music according to his or her race has been the subject of a controversial 20th century debate. The black arts movement of the 1960s gave impetus to the popular black nationalistic notion that blues music belongs exclusively to African Americans. Subsequent anti-essentialist and pluralistic theories have problematized the black essentialist notion of racial ownership of music. The work presented below, an ethnographic study of Warmdaddy’s in Philadelphia examines two evenings of blues culture at that blues club. My findings indicate that neither of the traditional poles of the black music debate, essentialism and anti-essentialism, adequately describes the experience of blues music for Blacks and Whites who participate in it. Table of Contents Acknowledgements………………………………………………………...1 1) Introduction……………………………………………………………..2 2) Blues: Historical background………………………………………..…5 3) Philadelphia: Cultural and Racial Dynamics………………...…….…7 4) Warmdaddy’s – A data narrative……………………………………….9 I- Location and General Description………………………………...9 II- Tuesday Night……………………………………………………12 III- Monday Night…………………………………………………...15 IV- Monday vs. Tuesday: A Data Analysis………………………....20 5) Black Music Ideology: The Black Nationalism Approach…………...24 6) Pluralism: Towards a Warmdaddy’s Blues Meaning………………...30 7) Conclusion……………………………………………………………….43 Appendix 1………………………………………………………………..…45 Appendix 2…………………………………………………………………..46 Works Cited/Referenced………………………………………………….....47 Acknowledgements I feel endlessly lucky to have had such a broad support network while creating this thesis. I would like to extend my thanks first to Jimmy Pritchard, my informant and friend at Warmdaddy's.