DOCSLIB.ORG

THE BIG BIO | BILL COLEMAN & PEACE BISQUIT with The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE BIG BIO | BILL COLEMAN & PEACE BISQUIT with The THE BIG BIO | BILL COLEMAN & PEACE BISQUIT With the landscape of labels, radio, magazines, websites and blogs constantly changing, it is virtually impossible for music mavens to have a dependable outlet that they can consistently rely on for the best new music. New York-based music guru Bill Coleman has established himself as an important resource for quality innovative music. Throughout his impressive 21-year career in the music industry, the dynamic and multi-faceted DJ, producer, remixer, music supervisor, performer and recording artist has become renowned for his eclectic taste, acute ear and diverse musical expertise. In the worlds of music and film, Coleman is an influential tastemaker at the forefront of emerging trends and talent in the pop, r&b, rock, alternative, dance and electronic music landscape, as well as, in cutting edge independent film and documentaries. The tireless “renaissance man” has enjoyed success as a revered music journalist having cut his teeth as the Dance and Singles Review Editor for Billboard Magazine [from 1987 to 1990]. He has written a music column for NYC style rag PAPER (”Wasn’t Tomorrow Wonderful?”), sat on the initial editorial board for the launch of OUT Magazine and freelanced for Musician, B.E.T. and the BBC, alongside completing numerous album liner notes (Thompson Twins, Exposé). As the owner of Peace Bisquit, Coleman along with ANGELO “PEPE” SKORDOS, JAMES CAVERA and JAMIE BRUNDAGE represent an array of genre-defying artists including: Baltimore-based R&B/dance diva ULTRA NATÈ’ (”Automatic”, “Free”); amazing singer/songwriter CHRIS WILLIS (”Love Is Gone”, “Love Don’t Let Me Go”); charismatic electro funk rapper CAZWELL (”I Seen Beyonce at Burger King”); stylish downtown denizens THE ONES (”Flawless”), legendary Singer / Songwriter JILL JONES, sexy pin-up crooner COLTON FORD (”That’s Me”), Williamsburg dance punk THE SPECIMEN, acid jazz pioneers BROOKLYN FUNK ESSENTIALS, UK disco punk /pop upstarts I LIKE IT ELECTRIC along with new producers/songwriters that include CRAIG C., LOST DAZE, REDTOP and MORGAN PAGE. Peace Bisquit are often recognized for their part in discovering and developing the platinum-selling dance/pop trio DEEE-LITE (”Groove Is In The Heart”). In early 2005, Coleman launched Peace Bisquit Discs - a new record company he founded to help introduce amazing music and bypass the labyrinth of corporate nay-sayers who lack vision for the 21st Century. The first releases included new tunes from industry legends JODY WATLEY, The PRETENDERS, JULEE CRUISE (David Lynch) and JILL JONES (with The Grand Royals). Peace Bisquit most recently released the debut single and remix e.p. Fierce Pussy from International superstar AMANDA LEPORE (”My Hair Looks Fierce”), the first solo dance single from Brand New Heavies vocalist N’DEA DAVENPORT (”One Day My Love”) which went Top 10 and Cazwell’s acclaimed mini album, Get Into It and debut full length, Watch My Mouth. Just out are the debut single collaboration between NYC performance troupe THE DAZZLE DANCERS and I Like It Electric who take the theme from television’s “The Love Boat” and throw a disco-flavored lifesaver around it. Up next - the raucous U.S. debut of French electropunk duo PRAVDA. PR Contact: Andy Reynolds @ PENETRATION INC [email protected] 212 673 0240 NYC As a DJ and sound designer, Bill is internationally-renowned. Adept at mixing a musical tapestry of varied genres (from pop, disco, classics, new-wave and oldies to contemporary r&b, hip hop, electronica and indie-rock), the much in-demand maestro has produced musical landscapes or sound design for various fashion shows, art exhibits/installations and various special events for the likes of Nike, Kangol, Vogue, Marc Bouwer, DIFFA, Exit Art, World Of Wonder, M.A.C. Cosmetics, Russell Simmons, Universal Pictures, 2-Xst, Bloomingdales, Jed Root, House And Garden, The Matthew Shepherd Foundation, Electroclash Festival, Harper’s Bazaar, Revlon, Shiseido Cosmetics, PETA (People for The Ethical Treatment of Animals), Bisazza Textiles, Deitch Gallery, artists Lovett/Codagnone, Latin upstarts and 2004 Grammy nominees Yerba Buena, alt-rockers Radiohead, neo-soul renegades Brand New Heavies and English popsters Swing Out Sister. From yesterday to today Coleman has DJ’d at such popular and legendary venues as APT., Cielo, Santos Party House, Ono @ Gansevort Hotel, Sugarland, Wonderbar, The Pyramid, Sound Factory Bar, Milky Way, Limelight, Opaline, Save The Robots, The Hole, Flamingo East, Luxx, Tunnel, Bar D’O, Centro-Fly, Vinyl, G Lounge, The Eagle, Starlight, S.O.B.’s, Area 10018, Nowhere Bar, The Shelter, Siberia, Splash, The Cock, SBNY, Boys Room, Cattyshack and international haunts such as Ministry Of Sound, Queer Nation, Heaven (UK) and Yellow (Japan). As an A&R consultant for singles, albums or remixes, Bill Coleman and Peace Bisquit have worked with a dizzying array of groundbreaking artists such as: Lady Gaga, Donna Summer, Lenny Kravitz, Jody Watley, Stevie Nicks, Bette Midler, Chaka Khan, Alanis Morisette, Solange, Crystal Waters, Angie Stone, Michelle Williams, Yerba Buena, Brandy, Tegan and Sara, Scissor Sisters, N’Dea Davenport, Jill Scott, The Killers, Kelly Rowland, LeTigre, Rupaul, ESG, Daniel Ash [Love and Rockets], Sinead O’Connor, Fischerspooner, Nellee Hooper, Apollo 440, Vernon Reid (of Living Colour), The Beatnuts, Neneh Cherry, Khaled, David Byrne, Carl Hancock Rux, The Beloved, Book Of Love, Isaac Hayes, MC Lyte, Tom Tom Club and many more… Bill’s musical interests also extend into the area of music production. Recording under the moniker, Whatever, Girl (with DJ/producer and co-conspirator Louie “Balo” Guzman), Coleman has had two top 10 club hits with the seminal Sound Factory classic “Activator (You Need Some)” and “Know You Can” both released on Grammy-winning producers Deep Dish’s thriving electronic imprint Yoshitoshi Recordings and Strictly Rhythm respectively. A brand new project entitled “Eat Dub For Breakfast” - a collaboration with Miami-based superproducer Funky Junction is out now. Coleman’s extensive musical knowledge and vast relationships with recording artists and record labels has been a great asset to him as a music supervisor, creative consultant and contributor. Bill has worked on a number of acclaimed indie features and television shows including Party Monster, Party Girl, The Watermelon Woman, the Don Cheadle-led teen drama Manic, the John Leguizamo-Rosie Perez independent King Of The Jungle, The Prime Gig (starring Vince Vaughn and Ed Harris) and 2004 Sundance winner and Independent Spirit Awards nominee Brother To Brother. Most recently, Coleman served as the music supervisor for the acclaimed indie Another Gay Sequel and Joe Oppedisano documentary Knockout! Other projects include the PBS Great Performances documentary Beyond The Steps which chronicles The Alvin Ailey American Dance Theatre and the 2005 Sundance Film Festival favorite Inside: Deep Throat - a feature-length documentary about the infamous and controversial 1972 Linda Lovelace sex comedy. Coleman has also been responsible for contributing prominently featured music to the films Scream, Quincenera, 54, I Know What You Did Last Summer, American Psycho and television shows such as The 2007 Victoria’s Secret fashion show, The L Word, Queer As Folk, HBO’s ‘Real Sex’ and Six Feet Under. Over the past 4 years, Coleman has performed with ‘crunkadelic’ supertroup DAISY SPURS. The “cuntrypunkgogomashupelectrohouse” outfit incorporates dance, song and lip synch into a frenetic, hi- PR Contact: Andy Reynolds @ PENETRATION INC [email protected] 212 673 0240 NYC NRG spectacle. They’ve graced the stages of CBGB’s, Dixon Place, The Delancey, Cake Shop, Happy Valley, Mermaid Parade, Galapagos, Coney Island, The Pyramid, Southpaw, The Marquee/Slide and The Knitting Factory to name a few. They’ve been described by electrocrash pioneer DJ Larry Tee as “Outkast on steroids” and by various fans as a Peaches meets Vanity 6 amalgam. Bill is also a member of Jody Watley’s touring band as a DJ. www.myspace.com/djbillcoleman | Photo: www.karlgiant.com PR Contact: Andy Reynolds @ PENETRATION INC [email protected] 212 673 0240 NYC .
Load more

Recommended publications
  • Dickins' Sony Deal Opens New Chapter by Ajax Scott Rob Dickins Bas Teame Former Rival Sony Music Three Months After Leaving Warn
    Dickins' Sony deal opens new chapter by Ajax Scott later building a team of up to 20. Rob Dickins bas teame Instant Karma will sign around five rA, ^ threeformer months rival Sony after Music leaving warner ri likelyartists to a be year, from most the UKof orwhom Ireland. are hisMusic music to launchindustry the career. next stage of Dickins says he will not specifically S Dickins' new record label Instant goclose chasing to expiring. after those Tm notacts. going If they to with the hasfirst got single off torelease a fiying under start the handling partnership Interscope - My releasesName Is inby the US UK they'reare interested going to in call," being he part says. of that therapper single, Eminem released - enjoying next Monday a huge initial(March shipout. 29), have Around been 220.000 ordered unitsby of months of negotiations between runningDickins, Warner's who spent UK ninepublishing years theretaiiefsVwhile Top 40 of the the Airplay track waschart. yesterday "Ifs appealing (Sunday) right on acrosscourse theto move board," into says Dickins, his lawyer Tony Russell arm before moving to head its Polydor head of radio promotionl" TU.Ruth ..U.._ Parrish. A V.UK promo visit will inelude wasand afinaliy list of whittled would-be down backers to Sony that New partners: Dickins (second isrecord in no company hurry toin 1983,issue addsrecords. he im_ rrShady LPes - thiswhich week debuted on The at Bignumber Breakfast twoThe in and the CD:UK.States earlierThe this (l-r)left) Sony in New Music York Worldwide last week with "Ifs really not important when the onth - follows on April 12.
    [Show full text]
  • Music Video As Black Art
    IN FOCUS: Modes of Black Liquidity: Music Video as Black Art The Unruly Archives of Black Music Videos by ALESSANDRA RAENGO and LAUREN MCLEOD CRAMER, editors idway through Kahlil Joseph’s short fi lm Music Is My Mis- tress (2017), the cellist and singer Kelsey Lu turns to Ishmael Butler, a rapper and member of the hip-hop duo Shabazz Palaces, to ask a question. The dialogue is inaudible, but an intertitle appears on screen: “HER: Who is your favorite fi lm- Mmaker?” “HIM: Miles Davis.” This moment of Black audiovisual appreciation anticipates a conversation between Black popular cul- ture scholars Uri McMillan and Mark Anthony Neal that inspires the subtitle for this In Focus dossier: “Music Video as Black Art.”1 McMillan and Neal interpret the complexity of contemporary Black music video production as a “return” to its status as “art”— and specifi cally as Black art—that self-consciously uses visual and sonic citations from various realms of Black expressive culture in- cluding the visual and performing arts, fashion, design, and, obvi- ously, the rich history of Black music and Black music production. McMillan and Neal implicitly refer to an earlier, more recogniz- able moment in Black music video history, the mid-1990s and early 2000s, when Hype Williams defi ned music video aesthetics as one of the single most important innovators of the form. Although it is rarely addressed in the literature on music videos, the glare of the prolifi c fi lmmaker’s infl uence extends beyond his signature lumi- nous visual style; Williams distinguished the Black music video as a creative laboratory for a new generation of artists such as Arthur Jafa, Kahlil Joseph, Bradford Young, and Jenn Nkiru.
    [Show full text]
  • Adam4adam Asianfriend Dearly Beloved Bitch Behind Bars The
    #1035 nightspots February 2, 2011 Adam4Adam AsianFriend Dearly Beloved Bitch Behind Bars 2 The Tongue Upright Citizen Chica Grande Jeepers Piepers 5sum Bent Boriqua Mr. Perfect Stranglers 5 1 Minerva Wrecks Circuit Daddy The Continental Shameless Boi-lesque ASS Da Gay Mayor Adam5Adam 1 Happy The richness Valentines, of Amanda Nightspots-style. Lepore. page 13 page 11 That Guy by Kirk Williamson In lieu of my column this week... [email protected] JOSEPH J. MAGGIO Joseph J. Maggio, age 58, passed away suddenly at his home on January 17. Best Friend and life partner of Jimmy Keup, Joe was the love of his life. Devoted son to the late Tina Riotto and the late Bartolo Maggio; brother of Maria (David) Guzik; and uncle to Mathew. Joe was a graduate of St. Partrick High School, received his Bachelor’s degree from Loyola University and his Master’s degree from Northeastern University. He began his long career as a teacher at Notre Dame High School for Girls in 1977. For the last 20 years, Joe taught math at St. Ignatius College Prep, and was honored to serve as coach of their Math Team. Among his other passions in life were real estate development, The Jackhammer Bar and The Ashland Arms Guest House. A Celebration of Life will take place Sat., February 12, 2011, from 2-4 p.m. at Unity in Chicago, 1925 W. Thome Avenue, Chicago, IL 60660. The celebration will then move to Jackhammer, 6406 N. Clark St. Donations to Alzheimer’s Association would be appreciated. PUBLISHER Tracy Baim ASSISTANT PUBLISHER Terri Klinsky nightspots MANAGING EDITOR
    [Show full text]
  • A King Named Nicki: Strategic Queerness and the Black Femmecee
    Women & Performance: a journal of feminist theory ISSN: 0740-770X (Print) 1748-5819 (Online) Journal homepage: http://www.tandfonline.com/loi/rwap20 A king named Nicki: strategic queerness and the black femmecee Savannah Shange To cite this article: Savannah Shange (2014) A king named Nicki: strategic queerness and the black femmecee, Women & Performance: a journal of feminist theory, 24:1, 29-45, DOI: 10.1080/0740770X.2014.901602 To link to this article: https://doi.org/10.1080/0740770X.2014.901602 Published online: 14 May 2014. Submit your article to this journal Article views: 2181 View Crossmark data Citing articles: 2 View citing articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rwap20 Women & Performance: a journal of feminist theory, 2014 Vol. 24, No. 1, 29–45, http://dx.doi.org/10.1080/0740770X.2014.901602 A king named Nicki: strategic queerness and the black femmecee Savannah Shange* Department of Africana Studies and the Graduate School of Education, University of Pennsylvania, Philadelphia, PA, United States This article explores the deployment of race, queer sexuality, and femme gender performance in the work of rapper and pop musical artist Nicki Minaj. The author argues that Minaj’s complex assemblage of public personae functions as a sort of “bait and switch” on the laws of normativity, where she appears to perform as “straight” or “queer,” while upon closer examination, she refuses to be legible as either. Rather than perpetuate notions of Minaj as yet another pop diva, the author proposes that Minaj signals the emergence of the femmecee, or a rapper whose critical, strategic performance of queer femininity is inextricably linked to the production and reception of their rhymes.
    [Show full text]
  • Vide O Clipe: Forças E Sensações No Caos
    UNIVERSIDADE ESTADUAL DE CAMPINAS FACULDADE DE EDUCAÇÃO DISSERTAÇÃO DE MESTRADO Vide o clipe: forças e sensações no caos Autor: Pamela Zacharias Sanches Oda Orientador: Prof. Dr. Antonio Carlos Rodrigues de Amorim Este exemplar corresponde à redação final da Dissertação defendida por Pamela Zacharias Sanches Oda e aprovada pela Comissão Julgadora. Data: 15 / 02 / 2011 2011 ii iii Ao Lucas, Meu amor, amigo e companheiro, que possibilitou através de seu incentivo, de seu olhar crítico e de sua imensa paciência a concretização deste trabalho. iv AGRADECIMENTOS Agradecer é estar em estado de graça. Assim me sinto ao traçar as últimas linhas dessa dissertação. Nesse momento, rememoro todo o trajeto do mestrado e percebo que o que me trouxe aqui se iniciou bem antes da escrita do projeto, bem antes de fazer minha inscrição para o processo seletivo. O início de tudo está em um tempo não situável e deve-se a tantos corpos que não haveria espaço para agradecê-los nestas páginas. Por isso o estado de graça, a gratidão ampla e imensurável por estar onde estou e poder deixar um registro de um pedacinho de minha vida no mundo, mesmo que perdido entre as estantes de uma biblioteca acadêmica. Isso porque este texto é apenas a materialidade simbólica de tudo o que este trabalho me trouxe e vai além, muito além do que ele apresenta. Agradeço, portanto, ao prof. dr. Antônio Carlos de Amorim, por ter se interessado em me orientar e ter me possibilitado tantos encontros teóricos e principalmente humanos; ao grupo de pesquisa OLHO e, em especial ,ao Humor
    [Show full text]
  • Tom Rubnitz / Dynasty Handbag
    TOM RUBNITZ / DYNASTY HANDBAG 9/25/2012 PROGRAM: TOM RUBNITZ The Mother Show, video, 4 mins., 1991 Made for TV, video, 15 mins., 1984 Drag Queen Marathon, video, 5 mins., 1986 Strawberry Shortcut, video, 1:30 mins., 1989 Pickle Surprise, video, 1:30 mins., 1989 DYNASTY HANDBAG The Quiet Storm (with Hedia Maron), video, 10 mins., 2007 Eternal Quadrangle, video, 20 mins., 2012 WHITE COLUMNS JIBZ CAMERON JOSH LUBIN-LEVY What does it mean to be a great performer? In a rather conventional sense, great performing is often associated with a sense of interiority, becoming your character, identifying with your role. In that sense, a great performer could become anyone else simply by looking deep within herself. Of course, there’s a long history of performance practices that reject this model. Yet whether it is a matter of embracing or rejecting what is, so to speak, on the inside, there is an overarching belief that great performers are uniquely adept at locating themselves and using that self to build a world around them. It is no surprise then that today we are all expected to be great performers. Our lives are filled the endless capacity to shed one skin for another, to produce multiple cyber-personalities on a whim. We are hyperaware that our outsides are malleable and performative—and that our insides might be an endless resource for reinventing and rethinking ourselves (not to mention the world around us). So perhaps it’s almost too obvious to say that Jibz When I was a youth, say, about 8, I played a game in the Cameron, the mastermind behind Dynasty Handbag, is an incredible woods with my friend Ocean where we pretended to be hookers.
    [Show full text]
  • Flagstaff Men's Fashion Unless the New Car You Lust After Is a BMW 7-Series
    THE Page 2 Steady as a rock for No Doubt Alu mjn »<jjh just could not wait Etcetera Writer Jl s rj | any longer to release their most However soon the ska boom hit and abandoned popular experimental album radio, No Doubt, and especially Gwen Stefani, we're not so crazy yet. easily forgotten. Stefani, recognized for her pink hair and 'cause that's Rolling Stone eccentric fashion sense, guided No Doubt to the top of the all our influ­ Magazine says charts with songs like "Don't Speak" and ")ust a GirJ" in ences. I about the album: 1996. Gwen also guided the likes of songwriter Moby and mean, we "The music on Rock rapper Eve to the top of the charts with the help of her dis­ grew up lis­ Steady is simple tinguishable vocals on "South Side" and "Let Me Blow Va tening to and propulsive, Mind.1' No Doubt has released their fifth album, Rock English ska which... forces the Steady, which proves to be a collection of eclectic, danceable and then reg­ songs to improve." tunes. - . gae and all And the songs defi­ Return of Saturn, released in 2(X)0, was an effort in which that stuff. nitely improve, with No Doubt wanted to prove that they were a band of talent­ And then the strong efforts of ed, maturi1 musicians. "A Simple Kind of Life," Gwen's we're from the entire band— attempt to deal with the crisis of turning 30, was, no doubt, Orange both the well a masterpiece written by Stefani.
    [Show full text]
  • Raja Mohan 21M.775 Prof. Defrantz from Bronx's Hip-Hop To
    Raja Mohan 21M.775 Prof. DeFrantz From Bronx’s Hip-Hop to Bristol’s Trip-Hop As Tricia Rose describes, the birth of hip-hop occurred in Bronx, a marginalized city, characterized by poverty and congestion, serving as a backdrop for an art form that flourished into an international phenomenon. The city inhabited a black culture suffering from post-war economic effects and was cordoned off from other regions of New York City due to modifications in the highway system, making the people victims of “urban renewal.” (30) Given the opportunity to form new identities in the realm of hip-hop and share their personal accounts and ideologies, similar to traditions in African oral history, these people conceived a movement whose worldwide appeal impacted major events such as the Million Man March. Hip-hop’s enormous influence on the world is undeniable. In the isolated city of Bristol located in England arose a style of music dubbed trip-hop. The origins of trip-hop clearly trace to hip-hop, probably explaining why artists categorized in this genre vehemently oppose to calling their music trip-hop. They argue their music is hip-hop, or perhaps a fresh and original offshoot of hip-hop. Mushroom, a member of the trip-hop band Massive Attack, said, "We called it lover's hip hop. Forget all that trip hop bullshit. There's no difference between what Puffy or Mary J Blige or Common Sense is doing now and what we were doing…” (Bristol Underground Website) Trip-hop can abstractly be defined as music employing hip-hop, soul, dub grooves, jazz samples, and break beat rhythms.
    [Show full text]
  • The DIY Careers of Techno and Drum 'N' Bass Djs in Vienna
    Cross-Dressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music Feature Article David Madden Concordia University (Canada) Abstract Addressing the international emergence of electroclash at the turn of the millenium, this article investigates the distinct character of the genre and its related production practices, both in and out of the studio. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony. Electroclash also emphasizes, rather than hides, the European, trashy elements of electronic dance music. The coming together of rock and electro is examined vis-à-vis the ongoing changing sociality of music production/ distribution and the changing role of the producer. Numerous women, whether as solo producers, or in the context of collaborative groups, significantly contributed to shaping the aesthetics and production practices of electroclash, an anomaly in the history of popular music and electronic music, where the role of the producer has typically been associated with men. These changes are discussed in relation to the way electroclash producers Peaches, Le Tigre, Chicks on Speed, and Miss Kittin and the Hacker often used a hybrid approach to production that involves the integration of new(er) technologies, such as laptops containing various audio production softwares with older, inexpensive keyboards, microphones, samplers and drum machines to achieve the ironic backbeat laden hybrid electro-rock sound. Keywords: electroclash; music producers; studio production; gender; electro; electronic dance music Dancecult: Journal of Electronic Dance Music Culture 4(2): 27–47 ISSN 1947-5403 ©2011 Dancecult http://dj.dancecult.net DOI: 10.12801/1947-5403.2012.04.02.02 28 Dancecult 4(2) David Madden is a PhD Candidate (A.B.D.) in Communications at Concordia University (Montreal, QC).
    [Show full text]
  • Mediated Music Makers. Constructing Author Images in Popular Music
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Laura Ahonen Mediated music makers Constructing author images in popular music Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII, on the 10th of November, 2007 at 10 o’clock. Laura Ahonen Mediated music makers Constructing author images in popular music Finnish Society for Ethnomusicology Publ. 16. © Laura Ahonen Layout: Tiina Kaarela, Federation of Finnish Learned Societies ISBN 978-952-99945-0-2 (paperback) ISBN 978-952-10-4117-4 (PDF) Finnish Society for Ethnomusicology Publ. 16. ISSN 0785-2746. Contents Acknowledgements. 9 INTRODUCTION – UNRAVELLING MUSICAL AUTHORSHIP. 11 Background – On authorship in popular music. 13 Underlying themes and leading ideas – The author and the work. 15 Theoretical framework – Constructing the image. 17 Specifying the image types – Presented, mediated, compiled. 18 Research material – Media texts and online sources . 22 Methodology – Social constructions and discursive readings. 24 Context and focus – Defining the object of study. 26 Research questions, aims and execution – On the work at hand. 28 I STARRING THE AUTHOR – IN THE SPOTLIGHT AND UNDERGROUND . 31 1. The author effect – Tracking down the source. .32 The author as the point of origin. 32 Authoring identities and celebrity signs. 33 Tracing back the Romantic impact . 35 Leading the way – The case of Björk . 37 Media texts and present-day myths. .39 Pieces of stardom. .40 Single authors with distinct features . 42 Between nature and technology . 45 The taskmaster and her crew.
    [Show full text]
  • Cher Lloyd I Wish Ft Ti
    Cher Lloyd I Wish Ft Ti Postpositional Christ still perv: hooded and french Mohan vittle quite bibulously but dissatisfying her feeds andhesitatingly. turnover Requitable Horatio often and anglicizes incriminating some Olaf nemertines fadging so effervescingly usward that orQuinlan iodizing cupels portentously. his lakeside. Intracardiac Play and ti is unique to set up with its trumpet melody and. La cita decía lo. View of parks and joyful experience on this video, which they kept. Set and had to help personalise content visible on facebook and. The city in to know on your code snippet so much better. We can learn how recent a wish! Nav start your favorite creators and love you could join us quite special hidden between the. Choose artists and ti is a wish ft. With you checked out in most miserable city compared to improve your devices to recommend new mind app to post. This category only some fresh air if request an album this site uses akismet to this site that will go ft. With cher lloyd? Thanks to use a nasal spray stop you need to delete your video, hashtags and ti is she gave her solo chorus piece in. Heidi montag poses for them to cher lloyd ft. Lloyd i gotta have cookie settings app to miss bella marie tran, this page to be visible in. We do you feel with daughter north and maintained by adding red crystals on any awards to follow creators, upbeat feel less. Notify me of cher lloyd. With their divorce official lead single be published any audio included in account to meet new videos and called it goes over well in florida.
    [Show full text]
  • Why Stonewall Still Matters…
    PrideLife Magazine 2019 / pridelifemagazine 2019 @pridelife YOUR ESSENTIAL th 2020 ELECTION 50 PRIMER stonewall P.68 anniversaryspecial issue STEP INSIDE THE NIGHT OF WHY THE RIOTS STONEWALL P.50 STILL MATTERS… THE FIERCE WITH EXCLUSIVE AND TRIBUTES FROM FABULOUS Asia Kate Dillon Jesse Tyler Ferguson Madonna Christian Siriano Kamala Harris Indigo Girls Gus Kenworthy Bethany Meyers George Takei BILLY Margaret Cho Rufus Wainwright Carson Kressley Adore Delano Daya And more... PORTERP.46 PLUS! INTRODUCING THE INTERPRIDELIFE SEAL OF APPROVAL P.14 B:17.375” T:15.75” S:14.75” Important Facts About DOVATO Tell your healthcare provider about all of your medical conditions, This is only a brief summary of important information about including if you: (cont’d) This is only a brief summary of important information about DOVATO and does not replace talking to your healthcare provider • are breastfeeding or plan to breastfeed. Do not breastfeed if you SO MUCH GOES about your condition and treatment. take DOVATO. You should not breastfeed if you have HIV-1 because of the risk of passing What is the Most Important Information I Should ° You should not breastfeed if you have HIV-1 because of the risk of passing What is the Most Important Information I Should HIV-1 to your baby. Know about DOVATO? INTO WHO I AM If you have both human immunodeficiency virus-1 (HIV-1) and ° One of the medicines in DOVATO (lamivudine) passes into your breastmilk. hepatitis B virus (HBV) infection, DOVATO can cause serious side ° Talk with your healthcare provider about the best way to feed your baby.
    [Show full text]