Rouleur-Coverage-2.Pdf
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
THE WORLD PREMIERE CONCERT FILM of F*CK7THGRADE BEGINS STREAMING on JANUARY 25Th Singer/Songwriter Jill Sobule Shares Her Rock & Roll Life Story on Screen
CONTACT: Nikki Battestilli Marketing Director [email protected] CityTheatreCompany.org FOR IMMEDIATE RELEASE THE WORLD PREMIERE CONCERT FILM OF F*CK7THGRADE BEGINS STREAMING ON JANUARY 25th Singer/Songwriter Jill Sobule Shares Her Rock & Roll Life Story On Screen Performers: Jill Sobule, Kristen Henderson, Sarah Siplak, and Julie Wolf Pittsburgh, PA (January 10, 2021): As the Covid-19 pandemic continues to prevent a safe return to indoor performances, City Theatre is excited to announce the world premiere concert film of F*ck7thGrade. F*ck7thGrade began its journey at City Theatre three years ago when Associate Artistic Director and dramaturg Clare Drobot met singer/songwriter Jill Sobule in New York. City Theatre paired Ms. Sobule with playwright Liza Birkenmeier, who wrote the book for the show, and workshopped and presented what would become F*ck7thGrade in the theater’s 2018 Momentum Festival of New Plays. After adding OBIE Award-winning director Lisa Peterson and music director Julie Wolf to the creative team, the show was further developed at the Colorado New Play Festival in Steamboat Springs and at Actor’s Express in Atlanta, supported by the National New Play Network. The world premiere production was slated as the final show of City Theatre’s 2019/20 season when the Covid-19 pandemic stopped live performances across the country. The team at City Theatre created an outdoor, drive-in venue at Hazelwood Green and staged the concert version of the show over three nights in front of an invited audience. Videographers Mickey and Molly Miller of Human Habits captured the show live and served as editors, working closely with the directors, sound engineer Brad Peterson, and City Theatre’s artistic staff to create this theatrical, multi-camera concert film. -
Razorcake Issue #82 As A
RIP THIS PAGE OUT WHO WE ARE... Razorcake exists because of you. Whether you contributed If you wish to donate through the mail, any content that was printed in this issue, placed an ad, or are a reader: without your involvement, this magazine would not exist. We are a please rip this page out and send it to: community that defi es geographical boundaries or easy answers. Much Razorcake/Gorsky Press, Inc. of what you will fi nd here is open to interpretation, and that’s how we PO Box 42129 like it. Los Angeles, CA 90042 In mainstream culture the bottom line is profi t. In DIY punk the NAME: bottom line is a personal decision. We operate in an economy of favors amongst ethical, life-long enthusiasts. And we’re fucking serious about it. Profi tless and proud. ADDRESS: Th ere’s nothing more laughable than the general public’s perception of punk. Endlessly misrepresented and misunderstood. Exploited and patronized. Let the squares worry about “fi tting in.” We know who we are. Within these pages you’ll fi nd unwavering beliefs rooted in a EMAIL: culture that values growth and exploration over tired predictability. Th ere is a rumbling dissonance reverberating within the inner DONATION walls of our collective skull. Th ank you for contributing to it. AMOUNT: Razorcake/Gorsky Press, Inc., a California not-for-profit corporation, is registered as a charitable organization with the State of California’s COMPUTER STUFF: Secretary of State, and has been granted official tax exempt status (section 501(c)(3) of the Internal Revenue Code) from the United razorcake.org/donate States IRS. -
Words+Images
ARTCRAFT BUILDING NONPROFIT ORG. 2570 SUPERIOR AVENUE US POSTAGE SUITE 203 PAID CLEVELAND, OHIO 44114 PERMIT #4248 MUSE IS THE QUARTERLY JOURNAL PUBLISHED BY THE LIT WWW.THE-LIT.ORG CLEVELAND, OH ISSN 1942-275X 07 M U S E I S THE QUARTERLY JOURNAL PUBLISHED BY THE LIT 9 771942 275009 WORDS+IMAGES JULY 25-30 A writing workshop for students entering grades 10, 11, and 12 www.hb.edu/young_writers PRESENTED BY ISSUE06.10 MUSE IS THE QUARTERLY JOURNAL PUBLISHED BY THE LIT We’ve all been there: Trapped, imprisoned. Some by bars. VOLUME 3, ISSUE 2 JUN 2010 Some by substance. Some by people. Imprisoned is a bad place. It strips us of humanity, creativity, altruism, self-love. JUDITH MANSOUR Editor/Publisher Words, music, and images—art—can be a way out, though. [email protected] In March, I met with some friends who have begun a new TIM L ACHINA nonprofit organization called Jail Guitar Doors. Yep, the Design Director [email protected] same name as the song by the Clash, written for guitarist Wayne Kramer of the MC5 during his prison stay in the 1980s. DAVID MEGENHARDT Founded by Wayne and Margaret Kramer, and Billy Bragg, Jail Managing Editor [email protected] Guitar Doors gets guitars to prison inmates so that those who are inclined have a creative release—one that doesn’t involve R AY M C NIECE drugs, violence, or other bad behavior. They have been met Poetry Editor [email protected] by turns, with amazing receptivity and support, as well as with hostility and resistance. -
The Clash and Mass Media Messages from the Only Band That Matters
THE CLASH AND MASS MEDIA MESSAGES FROM THE ONLY BAND THAT MATTERS Sean Xavier Ahern A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill © 2012 Sean Xavier Ahern All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis analyzes the music of the British punk rock band The Clash through the use of media imagery in popular music in an effort to inform listeners of contemporary news items. I propose to look at the punk rock band The Clash not solely as a first wave English punk rock band but rather as a “news-giving” group as presented during their interview on the Tom Snyder show in 1981. I argue that the band’s use of communication metaphors and imagery in their songs and album art helped to communicate with their audience in a way that their contemporaries were unable to. Broken down into four chapters, I look at each of the major releases by the band in chronological order as they progressed from a London punk band to a globally known popular rock act. Viewing The Clash as a “news giving” punk rock band that inundated their lyrics, music videos and live performances with communication images, The Clash used their position as a popular act to inform their audience, asking them to question their surroundings and “know your rights.” iv For Pat and Zach Ahern Go Easy, Step Lightly, Stay Free. v ACKNOWLEDGMENTS This thesis would not have been possible without the help of many, many people. -
The Clash MP3 Collection Mp3, Flac, Wma
The Clash MP3 Collection mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Reggae Album: MP3 Collection Country: Russia Style: Punk, New Wave, Dub, Reggae MP3 version RAR size: 1302 mb FLAC version RAR size: 1370 mb WMA version RAR size: 1878 mb Rating: 4.2 Votes: 342 Other Formats: AC3 WAV VOC MMF FLAC MP4 MP1 Tracklist The Clash 1 Clash City Rockers 2 I'm So Bored With The U.S.A. 3 Remote Control 4 Complete Control 5 White Riot 6 White Man-In Hammersmith Palais 7 London's Burning 8 I Fought The Law 9 Janie Jones 10 Career Opportunities 11 What's My Name 12 Hate & War 13 Police & Thieves 14 Jail Guitar Doors 15 Garageland Give'em Enough Rope 16 Safe European Home 17 English Civil War 18 Tommy Gun 19 Julie's Been Workin For The Drug Squad 20 Last Gang In Town 21 Guns On The Roof 22 Drug-Stabbing Time 23 Stay Free 24 Cheapskates 25 All Time Young Punks London Calling 26 London Calling 27 Brand New Cadillac 28 Jimmy Jazz 29 Hateful 30 Rudie Can't Fail 31 Spanish Bombs 32 The Right Profile 33 Lost In The Supermarket 34 Clampdown 35 The Guns Of Brixton 36 Wrong 'Em Boyo 37 Death Or Glory 38 Koka Kola 39 The Card Cheat 40 Lover's Rock 41 Four Horseman 42 I'm Not Down 43 Revolution Rock 44 Train In Vain Sandinista! (CD 1) 45 Magnificient Seven 46 Hitsville U.K 47 Junco Partner 48 Ivan Meets G.I. Joe 49 Washington Bullets 50 Broadway 51 Lose This Skin 52 Look Here 53 Mensforth Hill 54 Junkie Slip 55 Kingstone Advice 56 One More Dub 57 Lightning Strikes Not Once But Twice 58 Corner Soul 59 Career Opportunities 60 Shepherds Delight 61 Police -
Bologna CLASH
1 Giugno 1980 Piazza Maggiore – Bologna CLASH abstracts tratti da “Non disperdetevi” di Oderso Rubini e Andrea Tinti Il concerto dei Clash in Piazza Maggiore è stato l'inizio per tanti musicisti e per tanti giovani, che si sono avvicinati per la prima volta ad un genere musicale. La piazza era piena e tra il pubblico c'erano tantissimi adolescenti. Quel live colpì pure noi, che eravamo già un po' smaliziati, figuriamoci che impatto ebbe sui giovanissimi. Segnò la vita di tanti. Saverio Pasotti – Chitarra Wind Open Lavorai alla realizzazione dell'iniziativa voluta da Zangheri in stretta collaborazione e in piena sintonia con la squadra costituita da Mauro Felicori. La rassegna RITMICITTA’ culminò in un concerto in Piazza Maggiore destinato a suscitare, come ho già ricordato, molte polemiche. Il momento di maggior richiamo fu l'esibizione dei Clash, complesso che ci venne indicato da Massimo Buda, il nostro critico musicale; ma ovviamente cercammo di coinvolgere nella eassegna anche i gruppi bolognesi. Band nate in aperta contestazione con l'amministrazione comunale salivano sul palco di una manifestazione organizzata dal Comune. Eravamo consapevoli della scelta artistica un po' "al limite" che gruppi come i Clash rappresentavano, ma anche questo si collocava nel solco che poi avremmo percorso negli anni successivi. Walter Vitali – Sindaco di Bologna il Comune organizzò il concerto dei Clash in Piazza Maggiore, che forse non hanno mai suonato, durante tutta la loro carriera, in una cornice così suggestiva. Era la rivolta musicale britannica regalata su un piatto d'argento, per far capire ai ragazzi quanto il Comune fosse loro vicino. -
Tutti Gli Album Tutte Le Canzoni
Tutti gli album Tutte le canzoni Martin Popoff IL CASTELLO sommario INTRODUZIONE 6 10 THE CLASH 48 GIVE ’EM ENOUGH ROPE 74 LONDON CALLING 120 SANDINISTA! 180 COMBAT ROCK 210 CUT THE CRAP RINGRAZIAMENTI 234 L'AUTORE 234 CREDITI PER LE IMMAGINI 235 INDICE 236 T 2C 2 Proof 1 Remote Control STRUMMER/JONES 3:00 SOTTO: Out of Control Tour. Con “Remote a storia di “Remote Control” è ironica. Il testo di Mick Control,” Mick esprime la sua frustrazione esprime frustrazione nei confronti della burocrazia, nello nei confronti della burocrazia che ha specifico delle grandi imprese e del governo, che hanno affossato gran parte dell'Anarchy Tour complottato per ostacolare e poi affossare gran parte del 1976. L dell'Anarchy Tour del '76 (si potrebbe pensare, ragionevolmente, per fermare l'anarchia), con la partecipazione di Sex Pistols, Clash, Damned e Johnny Thunders and the Heartbreakers. Il colpo di grazia arriva da EMI, l'etichetta dei Pistols. Il riferimento della canzone a un incontro a Mayfair riguarda una riunione degli azionisti EMI il 7 dicembre 1976, che determina Così la band sviluppa un'avversione per il brano—bersaglio facile, “Remote Control” col B-side “London’s Burning l'abbandono dei Pistols da parte dell'etichetta. data la melodia quasi sdolcinata della strofa—e ricorda l'incidente (Live),” 13 maggio 1977. L'ironia sta nel fatto che una canzone che nel primo verso della traccia di risposta “Complete Control” (box pp. esprime la rabbia della band per la mancanza di 45–46). La mancanza di sostegno a “Remote Control” da parte della controllo viene scelta dalla CBS come singolo band arriva ai fan e, di conseguenza, il brano non entra in classifica. -
By Vivien Goldman
PERFORMERS The Clash By Ira Bobbins — e j b — ITH THE SUDDEN the point of punk so hard that it death o f Joe stuck. Forever. Loads of young Strummer on toughs have professed them H jle c e m b e r 22, selves ready for whaddya-got re Wi t 02, the story of the Clash final bellion, but the Clash didn’t just ly came to an abrupt end. In fact, Sell and succumb to chaos; the the Last Gang in Town, as they Clash lived it. Full time. For sev called themselves in a song, had en years the band made huge cre packed it in some twenty years ative leaps, despite (more likely earlier, drained of the high ideals thanks to) the entropy, much of and united purpose that had fu it self-induced, of its existence. At eled some of the most fervent, a time when the record industry exhilarating and provocative was still dubious about, if not rock & roll ever made, No mat downright hostile to, punk, the ter. What the Clash consistent Clash - Joe Strum ly showed willful mer (vocals, gui disregard for the tar), Mick Jones Strangeness of its (guitar, vocals), position: Paul Simonon + The band’s (bass, vocals! and third British sin alternating drum gle, “Complete mers Nicky “Top Control,” was a vi per” Headon and tuperative 1977 Terry Chimes - achieved was far attack on CBS Records for releas greater than what it left on tape ing the Clash’s second 45. or burned in the memories of + A year later, the group those who saw the band on shelved punk for th|Ifingle stage. -
The Clash and Fugazi: Punk Paths Toward Revolution
Chapter 1 The Clash and Fugazi: Punk Paths Toward Revolution Mark Andersen Punk rock has always been about more than music. Born largely as a reaction to the self-indulgent excesses and perceived failure of the Sixties rock/revolution, punk offered a blistering critique of idealism sold out or gone bad. This stance was a double-edged sword. Punk's "ruthless criticism of everything existing" (Tucker 1978, 13) spared no one, and could slip towards nihilist extremes. As such, it made the idea of harnessing music for radical change an ever more perilous venture, where only angels or fools might dare to tread. Beneath noisy blasts of illusion-shattering negation, however, an unbending belief in the power of music to generate transformation still lurked. This sense of mission defined no band punk or otherwise-more profoundly than The Clash. Dubbed "The Only Band That Matters" by record company PR, the moniker nonetheless accurately evoked the risk-taking heroic spirit the band sought to embody. If the early Clash track "Hate And War" encapsulated the band's dismissal of the 1960s, they nonetheless borrowed freely from certain currents of that era. Indeed, their jagged, relentless music, close-cropped hair, quasi-military garb, and fierce sense of purpose suggested nothing less than a marriage of Detroit agit-rock legends MC5 with the Chinese Cultural Revolution. If their embrace by the punk underground proved short-lived as the band stretched towards broader horizons, The Clash never fully forsook that initial commitment or community. Many bands rose in the wake of The Clash also willing to risk the ridicule that might come with marrying rock to the pursuit of revolution. -
THE CLASH the CLASH Compils for Ever Compils for Ever
L’estimaTION DE VOS VINYLES 33 T / 45 T Estim’Vinyl® STUDIO - LIVE - SINGLES - CD COMPILS N°35 A CONSULTER EGALEMENT édito SUR LE SITE THE CLASH THE CLASH Compils for ever Compils for ever Mieux vaut une bonne compilation Better a good compilation than an qu'un album aux quelques titres album with some interesting titles. interessant. Mais avec the Clash, je me trompe, But with the Clash, I'm wrong, I moi adepte du punk à une cer- adept punk at a certain time well taine époque bien lointaine vous away confirms that all their albums confirme que tous leurs albums are good. sont bons. Que celui qui écoute un de leurs Whoever listens to one of their al- albums et ne bouge pas est soit un bums and does not move is either a peu trop trop bourré ou les produits little too drunk or the euphoric pro- euphorisants sont trop fort pour lui. ducts are too strong for him. Un conseil d'ami, remet-toi à la A friend's advice, go back to cha- camomille. momile. Cordialement Cordially Yehl Yehl C35-2 IL NE SERT À RIen d’être LE MEILLEUR T F RE SI VOUS ÊTES LE SEUL À LE SAVOIR l 2 SPÉCIAL THE CLASH 31 3 CODE TRADUCTION ÉTAT COUVERTURE ÉTAT VINYLE CODE TRADUCTION STATE COVERAGE STATE VINYL S Neuf Le disque est encore sous son Le disque est encore sous son S Nine The disc is still in its The disc is still in its (scellé) emballage d’origine. emballage d’origine. -
Kpcc-Kuor-Kvla-Kjai
Southern California Public Radio- FCC Quarterly Programming Report July 1, 2015-Sept 30,2015 Public Affairs Public Affairs START TIME Duration min:sec Issue 1 Issue 2 Show & Segment Guests /Hosts /Reporter WEDNESDSAY JULY 1, 2015 Law & Airtalk: Mayor Garcetti reverses position on homeless measures. Los Angeles Mayor Order/Courts/ Eric Garcetti says he will block enforcement of new measures that make it easier to 11:06 21:04 Housing Issues Police dismantle homeless encampments until the City Council softens some provisions. Gil Cedillo,Raquel Beard Airtalk: Los Angeles District Attorney Jackie Lacey explains new wrongful conviction Law & unit. The Los Angeles district attorney announced Monday that a team of veteran Order/Courts/Poli prosecutors will begin reviewing wrongful conviction claims from state prisoners 11:23 10:21 ce Politics who present new evidence of their innocence. Jackie Lacey Airtalk: Health care experts debate privacy threat of Covered California’s patient data collection. Covered California, the Affordable Care Act’s state exchange in California, will collect insurance company data on prescriptions, doctor visits and Public Health/ Computers/Int hospital stays, a move that has stirred serious concerns about data protection and Dr. Andrew Bindman, MD, 11:43 16:10 Medicine ernet/IT privacy. John Simpson Airtalk: Death penalty’s future in California after Supreme Court OK’s execution Law & drug. Over the next 120 days, California Governor Jerry Brown and prison officials Sacramento/State Order/Courts/ will be working to come up with a one-drug lethal injection method for the nearly Sam Stanton, Michael Ramos, 12:06 24:14:00 Politics Police 750 inmates on California’s death row, the largest in the nation. -
UNIVERSAL MUSIC • Slash Featuring Myles Kennedy and the Conspirators
Slash featuring Myles Kennedy And The Conspirators – World On Fire Banks - Goddess Troye Sivan – Trxye EP New Releases From Classics And Jazz Inside!!! And more… UNI14-34 UNIVERSAL MUSIC 2450 Victoria Park Ave., Suite 1, Willowdale, Ontario M2J 5H3 Phone: (416) 718.4000 Artwork shown may not be final UNIVERSAL MUSIC CANADA NEW RELEASE Artist/Title: Adam Cohen / We Go Home CD Bar Code: Cat. #: REZ008 Price Code: SP Order Due: Aug 21, 2014 Release Date: Sept. 16, 2014 File: Genre Code: 2 Box Lot: 30 Key Tracks: We Go Home Uniform Artist/Title: Adam Cohen / We Go Home LP – vinyl is one way sale Bar Code: Cat. #: B001817702 Price Code: PP Order Due: Aug 21, 2014 Release Date: Sept. 16, 2014 File: Genre Code: 2 Box Lot: Key Tracks: We Go Home Uniform Key Points: - Previous album ‘Like A Man’ (October 2012) CERTIFIED GOLD, selling 49K+ units to date - 3K+ new singles sold to date (title track “We Go Home” and “So Much To Learn”) as of end of July - “We Go Home” - #1 on CBC Radio 2’s Top 20 chart July 18, still Top 20 - “We Go Home” airplay on CBC R2, The Peak in Calgary, Espace Musique BBC R2 - Amazing Mini-Doc premiered on MOJO and Canada.com: http://ow.ly/zAEOc (12K+ views) - “We Go Home” video being released mid-August - Underplays, festivals & media blitz on album release in Halifax (Sept. 4-6), Calgary (Sept. 8), Vancouver (Sept. 10), Rifflandia (Sept. 11), Ottawa Folk Festival (Sept. 13), Toronto (Sept. 15/16) - Montreal media blitz Aug.