Rose Tattoo: Una Banda De Culte
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COMING out on SEPTEMBER 11, 2015 New Releases from KALASHNIKOV COLLECTIVE BUSTER BROWN DARRELL BANKS REDD KROSS the JUKEBOX ROMANTICS
COMING OUT ON SEPTEMBER 11, 2015 new releases from KALASHNIKOV COLLECTIVE BUSTER BROWN DARRELL BANKS REDD KROSS THE JUKEBOX ROMANTICS Exclusively Distributed by KALASHNIKOV COLLECTIVE L’Algebra Morente Del Cielo, LP STREET DATE: September 11, 2015 INFORMATION: Artist Hometown: Milan, Italy Key Markets: Italy, Germany, France, Austria, Belgium, Netherlands, Spain, Portugal, Canada, Russia, USA For Fans of: CRASS, CONTROPOTERE, UK SUBS, LA FRACTION, WORLD/INFERNO FRIENDSHIP SOCIETY, THE CLASH, WRETCHED, RAW POWER, NEGAZIONE, DECLINO L’Algebra Morente Del Cielo (The Dying Algebra of the Sky in English) is the sixth full-length release from KALASHNIKOV COLLECTIVE, a seven- sometimes eight-piece romantic punk group from Milano, Italy. Since their inception in 1996, KALASHNIKOV has been renowned for their frenetic live performances, ARTIST: KALASHNIKOV COLLECTIVE groundbreaking songwriting, and sincere dedication to the DIY spirit of punk. Defying easy classification, TITLE: L’Algebra Morente Del Cielo the band embraces a myriad of musical and cultural influences; imagine an ‘80s crossover punk band doing LABEL: Aborted Society the tango to synthesizers, and you’re somewhat close. Coining the term “Romantic Punk,” KALASHNIKOV CAT#: ABSOC033-1 may have altogether invented a new genre of music, and have fast become one of the most innovative FORMAT: LP and important bands in the punk underground worldwide. New wave, ska, metal, thrash, anarchopunk, GENRE: Punk traditional and classical interludes weave in and out at a breakneck pace, and somehow make perfect BOX LOT: 25 sense in the world of KALASHNIKOV. It is a lyrical protest against an impending dystopian future, and if SRLP: $13.98 the revolution were to throw a dance party, this would be the soundtrack. -
Lobby Loyde: the G.O.D.Father of Australian Rock
Lobby Loyde: the G.O.D.father of Australian rock Paul Oldham Supervisor: Dr Vicki Crowley A thesis submitted to The University of South Australia Bachelor of Arts (Honours) School of Communication, International Studies and Languages Division of Education, Arts, and Social Science Contents Lobby Loyde: the G.O.D.father of Australian rock ................................................. i Contents ................................................................................................................................... ii Table of Figures ................................................................................................................... iv Abstract .................................................................................................................................. ivi Statement of Authorship ............................................................................................... viiiii Acknowledgements ............................................................................................................. ix Chapter One: Overture ....................................................................................................... 1 Introduction: Lobby Loyde 1941 - 2007 ....................................................................... 2 It is written: The dominant narrative of Australian rock formation...................... 4 Oz Rock, Billy Thorpe and AC/DC ............................................................................... 7 Private eye: Looking for Lobby Loyde ......................................................................... -
Vodou and the U.S. Counterculture
VODOU AND THE U.S. COUNTERCULTURE Christian Remse A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2013 Committee: Maisha Wester, Advisor Katerina Ruedi Ray Graduate Faculty Representative Ellen Berry Tori Ekstrand Dalton Jones © 2013 Christian Remse All Rights Reserved iii ABSTRACT Maisha Wester, Advisor Considering the function of Vodou as subversive force against political, economic, social, and cultural injustice throughout the history of Haiti as well as the frequent transcultural exchange between the island nation and the U.S., this project applies an interpretative approach in order to examine how the contextualization of Haiti’s folk religion in the three most widespread forms of American popular culture texts – film, music, and literature – has ideologically informed the U.S. counterculture and its rebellious struggle for change between the turbulent era of the mid-1950s and the early 1970s. This particular period of the twentieth century is not only crucial to study since it presents the continuing conflict between the dominant white heteronormative society and subjugated minority cultures but, more importantly, because the Enlightenment’s libertarian ideal of individual freedom finally encouraged non-conformists of diverse backgrounds such as gender, race, and sexuality to take a collective stance against oppression. At the same time, it is important to stress that the cultural production of these popular texts emerged from and within the conditions of American culture rather than the native context of Haiti. Hence, Vodou in these American popular texts is subject to cultural appropriation, a paradigm that is broadly defined as the use of cultural practices and objects by members of another culture. -
Tennessee Williams and the Representation of Animal Images
International Journal of Innovation, Creativity and Change. www.ijicc.net Volume 9, Issue 2, 2019 Tennessee Williams and the Representation of Animal Images Muslim Mohda*, Lehmood Al-Mamourib, a,bAl-Mustaqbal University College Hilla ,Babylon , Iraq, Email: a*[email protected] Since Aristophanes, playwrights have cast animals in roles where they represent human behaviour. These playwrights have chosen one or more animals to pinpoint behavioural tendencies of their characters. Ben Jonson (Volpone), Anton Chekhov (The Seagull), Henrik Ibsen (The Wild Duck) and Eugene Ionesco (The Rhinoceros) are such playwrights who use animal imagery to depict, and comment on, human behaviour. This paper does not deal with animal imagery as it is generally understood in similes and metaphors; in dialogue and descriptions. Instead, this paper deals with animals and their images as metaphors of characters in respective plays. Tennessee Williams was one playwright who employed animals as motifs. He never tired of experimenting with the idea that animals, properly selected and harnessed, could best capture the mental state of his protagonists. This paper is concerned with the "why" and "how" of his powerful fascination. Key words: Animal imagery, conflict, metaphor. Introduction In his personal life, Williams was a fond lover of animals and always had a pet in his house. Attention to this aspect of his personal life was drawn by an apparently trite reference in Richard F. Leavitt's The World of Tennessee Williams, a book prepared from material, both pictorial and biographical, supplied by the playwright himself. It is therefore regrettable that his biographers and critics have generally ignored this - shall we call it the animal side - of his personality. -
Glocal Dialects in the Sydney Jazz Scene: Indigenisation Through the Influence of Oz Rock and Asian Musics
2016 © Jeremy Rose, Context 41 (2016): 35–44. Glocal Dialects in the Sydney Jazz Scene: Indigenisation Through the Influence of Oz Rock and Asian Musics Jeremy Rose There has been a growing interest in the indigenisation of jazz music around the world through a process known as ‘glocalisation’—the push and pull of both local and global music forces.1 This phenomenon has been witnessed in nationalist interpretations of jazz music outside of the USA, where artists seek to authenticate their music through adopting local traditional instruments and folk melodic material into jazz music contexts.2 Distinct national jazz identities have been audible in Brazilian, Nordic, and Japanese jazz scenes, to name a few. Musicians from these countries have conveyed their national character through jazz by borrowing from local traditional cultures, often creating unique musical statements that have added to the global discussion of diasporic jazz music identities. This article, which presents the findings of eleven interviews with Sydney jazz musicians, discusses how and why Sydney musicians are observed to be favouring some of the same sources as their Asian counterparts and enacting a process of indigenisation by drawing on a distinct form of popular music native to Australian soil: Oz rock. 1 Stuart Nicholson, Is Jazz Dead? (Or Has it Moved to a New Address) (New York: Routledge, 2005) 167. See also Stuart Nicholson, Jazz and Culture in a Global Age (Massachusetts: Northeastern University Press, 2014). 2 See E. Taylor Atkins, Blue Nippon: Authenticating -
PRESS KIT Cover Letter
PRESS KIT cover letter Hello dear friends of proper hard rock, we are STINGER, the band that you are still missing for your unforgetable live-event! We have achieved „best hard rock album“ of the German Pop & Rock Award 2017 and 2019 and we are sure we will also convince you with our wide range of own music, AC/DC cover songs and what else the rock giants of these days have to offer. You can book us as a part of the show, but also as the show itself! We can fill the period of an opening act, as well as the whole evening program. We will inform you about our music on these following pages. If you wish to see moving pictures, then please have a look on our website www.stingerrocks.com, or visit the YouTube channel, that can be found looking for „stingerrocks“ as well. You have a question about the technical details, costs or any other topic? Then get in touch with our manager Judy. Her contact details can be found at the bottom of each page. We would love to play live for you. Until then - keep rocking! STINGER rocks! represented by Judy Pieper-Köhler | phone: +49 (0) 170 4854816 | mail: [email protected] WWW.STINGERROCKS.COM BIOGRAphIE photo: Emeraldpics The award-winning band STINGER was founded in 2016. The head and rhythm guitarist of the band is Matthew Sting. The voice of the band belongs to Martin „Schaffi“ Schaffrath. The lead guitar is played by the youngest member of the squad, Ad- rian Seidel. -
At Last Bullamakanka the Motion Picture Music Credits
(Cast) Senators Aide (sic) Angry Anderson Great Barrier Reefers Rose Tattoo The Expression "Present Communication" Haran/Dowling - Mushroom Music, Mushroom Records Wendy & The Rockets "Play the game" Stapleton - Mushroom Music, Mushroom Records Sunnyboys "Discipline" Oxley - Mushroom Music, Mushroom Records Skyhooks "B-B-B-Boogie" Strauks - Mushroom Music, Mushroom Records Uncanny X Men "How do you get your kicks" Macainsh/Briggs - Solid Music, Mushroom Records Australian Crawl "Downhearted" Higgins/McDonough - Wheatley Music, EMI Records Moving Pictures "Back to the streets" A. Smith - Wheatley Music, Wheatley Records The Radiators "You" Nichol - Warner Bros., EMI Records Rose Tattoo "We can't be beaten" Anderson/Riley - Alberts Music, EMI Records Rose Tattoo "Branded" Anderson/Wells/Royall - Alberts Music, EMI Records Tony Catz Band "Bullamakanka" Macainsh - Solid Music, Mushroom Records Jo Jo Zep "Taxi Mary" Camilleri, Burstin & Faehse, Loud & Clear/Mushroom, Mushroom Records Soundtrack Co-ordination Michael Gudinski Robbie Williams Soundtrack available through Mushroom Records and Tapes Brass Band at racetrack University of NSW, Regiment Band Lyrics: The song Bullamakanka runs over the head and tail credits. Over the head credits, it runs in a shortened version, with just the first verse, fading out on the line ‘for nothing at all’. Over the tail credits, it runs longer. The song was written by Greg Macainsh and performed by the Tony Catz Band. The lyrics that follow are provisional - the band’s singer screeches as much as sings, in the approved Jimmy Barnes hard rock style (that’s not a criticism, just an observation). Question marks at the end of lines indicate uncertain lyrics. Any suggested improvements welcome: (The music over the tail credits begins with a guitar-driven instrumental) A guy fakes the limits, he’s along the way (?) I like riding the bus when I don’t have to pay Give me a woman who’s a little bit tough Show me the way to the nearest bar… Bullamakanka! I just wanna thank you.. -
Commencement Program, 2019
263 rd COMMENCEMENT MAY 20, 2019 20, MAY R D COMMENCEME 263 NT CLA S S O F 2 019 M A Y 20, 20 1 9 CLASS OF 2019 KEEPING FRANKLIN’S PROMISE In the words of one elegiac tribute, “Great men have two lives: one which occurs while they work on this earth; a second which begins at the day of their death and continues as long as their ideas and conceptions remain powerful.” These words befit the great Benjamin Franklin, whose inventions, innovations, ideas, writings, and public works continue to shape our thinking and renew the Republic he helped to create and the institutions he founded, including the University of Pennsylvania. Nowhere does Franklin feel more contemporary, more revolutionary, and more alive than at the University of Pennsylvania. His startling vision of a secular, nonsectarian Academy that would foster an “Inclination join’d with an Ability to serve Mankind, one’s Country, Friends and Family” has never ceased to challenge Penn to redefine the scope and mission of the modern American university. When pursued vigorously and simultaneously, the two missions – developing the inclination to do good and the ability to do well – merge to help form a more perfect university that educates more capable citizens for our democracy. Penn has embodied and advanced Franklin’s revolutionary vision for 279 years. Throughout its history, Penn has extended the frontiers of higher learning and research to produce graduates and scholars whose work has enriched the nation and all of humanity. The modern liberal arts curriculum as we know it can trace its roots to Franklin’s innovation to have Penn students study international commerce and foreign languages. -
The Quest for Freedom in Tennessee Williams' the Rose Tattoo And
Novita Dewi The Quest for Freedom in Tennessee Williams’ The Rose Tattoo and Sweet Bird of Youth Novita Dewi English Language Studies, Sanata Dharma University [email protected] Abstract This paper examines the interface of economic hardship, sexual repression, and fear of aging in Tennessee Williams’ plays of the 1950s. Set in modern capitalist society of America, The Rose Tattoo (1955) and Sweet Bird of Youth (1959) depict the characters who are thwarted in their search for freedom that can be equated with the celebration of material prosperity and eternal youth. Using Eric Fromm’s view of freedom-as-frightful in modern society, the discussion will reveal the entrapment of self-deception in the characters’ unrealistic hope to stay young and productive in a commercialised society where sex is a commodity. Keywords: economic hardship, sexual repression, fear of aging Introduction all absorbed in a pursuit of freedom, and this aspect has not been well documented. Numerous critics have labelled Throughout his plays, Williams portrays Tennessee Williams an erotic writer and a characters whose sex drive is born largely out disciple of D. H. Lawrence because of his of their desire to free themselves from other intense preoccupation with sex in most of his restrictions. Psychoanalysis assumes that the plays. Hirsch (1979: 4), for example, says that urge for sexual action is inextricably linked to Williams was a “confused moralist”, who the drive for power which is often believed that sex was something like “grace”, synonymous with freedom (Benson, 1974: and at the same time “impure”. In discussing 211). Thus freedom is related to the ability to Sweet Bird of Youth, Falk (1961) contends achieve one’s goal, one’s happiness, and one’s that Williams’ creativity began to decrease pleasure; and sex is only one instance of with the appearance of this sexually expression and fulfilment on the road to obsessive play. -
Time Guardian Music Credits
Music Allan Zavod Music Mixer Peter Smith Music Recorded at Music and Effects Sound Laboratory 'This Time I Know' Music Allan Zavod Robert Martin Lyrics Robert Martin Produced by Allan Zavod Sung by Angry Anderson Courtesy of Mushroom Records 'Angry' Anderson, front singer for hard-rocking Rose Tattoo since 1976, is too well known to detail at length here. At time of writing, Anderson had his own website here, and a relatively detailed wiki here, which includes many links, details of his personal life, and his eccentric views, which led to an attempt at a political career. Lyrics for the song, which ironically, in view of Rose Tattoo's music, is a synth power ballad in the 1980s romantic style: (after opening guitar flourish) Every time that I fell before Reason and rhyme were a tight closed door Every time that I thought I knew I never took the time to think it through I never stopped to realise You'll never see If you close your eyes … to the world around you … This time I know That our love's no mystery This time I know That the things I love, in you … Are the things I love, in me … Most people say love's a mystery No heart has to take what your mind won't see Everything learned, anything at all Has to be earned while you're standing tall The highest love you ever mined Lives in your heart, but was born in your mind But you love … It was worth your love ... This time I know That the things I love, in you .. -
Brevard Live January 2012
Brevard Live January 2012 - 1 2 - Brevard Live January 2012 Brevard Live January 2012 - 3 4 - Brevard Live January 2012 Brevard Live January 2012 - 5 6 - Brevard Live January 2012 page 15 page 13 page 17 page 31 Content january 2012 FEATURES page 51 OMS: BATTLE OF THE BANDS SOUL MAN SHOWS HIS STUFF Columns Brevard’s hardest working musician, Billy The Original Music Series turned out to Charles Van Riper Lee, has been recording his new album be an exiting experience. Four bands - Political Satire Honey Miller, The MC’s, Grindstone and “Beside Myself”. It’s Billy’s first original 24 ViliFi - will perform Sunday, January 8th, project in years. Matt Bretz sat down with Calendars 3pm to compete for the grand prize. him for an interview. Page 10 Page 20 Live Entertainment, 27 Concerts, Festivals KENTUCKY HEADHUNTERS ORLANDO CALLING - REVIEWED Chris Long The HeadHunters’ hard-driving music Instead of putting out the money for huge 32 Political Blog ranges far afield into boogie, old-style tours, a lot of artists have been doing the, rock ‘n’ roll, and white-boy electric guitar now quite large, festival circuit to get their blues. The result is as rowdy and wooly as Brevard Scene music out there. Fans love it too because We’re Out There! the singers themselves - a guitar-charged they only have to save for one ticket and 35 stomping sound described as “psycha- plan for one week to see them all. billy” and “hillbilly speed metal”.. Out & About Page 13 Page 22 Brevard’s vibrant 43 club & restaurant GREGG ALLMAN SEBASTIAN PICCIONE scene As a founding member of the Allman A fan since he was a kid, Sebastian Pic- Brothers Band and in his own storied cione was always drawn to comics be- Life & The Beach solo career, Gregg Allman has long been cause of his love of cartoons and his love 50 Column & More a gifted natural interpreter of the blues. -
ARIA Charts, 1986-10-05 to 1986-12-28
SINGLES CHART AUTHORISED AND ENDORSED BY THE AUSTRALIAN RECORD INDUSTRY ASSOCIATION WEEK ENDING 5TH OCTOBER, 1986 1W LW TI TITLE/ARTIST Co. Cat. No. 1 1 7 VENUS Bananarama EMI LS 1789 2 4 5 TAKE MY BREATH AWAY Berlin CBS BA 3464 3 2 9 DANCING ON THE CEILING Lionel Richie RCA 1843 MF 4 3 6 TRUE COLORS Cyndi Lauper CBS PR 45050 5 6 5 I COULD MAKE YOU LOVE ME Wa Wa Nee CBS BA 3475 • 6 13 3 STUCK WITH YOU Huey Lewis & The News FES K 83 • 7 17 3 MATTER OF TRUST Billy Joel CBS BA 3451 8 7 8 THE DEAD HEART Midnight Oil CBS BA 12208 9 5 12 PAPA DON'T PREACH Madonna WEA 728660 10 9 7 GLORY OF LOVE Peter Cetera WEA 728662 11 8 6 HIGHER LOVE Steve Winwood FES K 54 12 16 5 MAD ABOUT YOU Belinda Carlisle CBS ES 1139 • 13 19 3 MISSIONARY MAN Eurythmics RCA 104592 14 14 7 DANGER ZONE Kenny Loggins CBS BA 3456 15 15 8 OH L'AMOUR Erasure RCA MUTE 3000 16 11 12 SPIRIT IN THE SKY Dr. & The Medics CBS ES 1149 17 10 18 TOUCH ME (I WANT YOUR BODY) Samantha Fox EMI LS 1743 • 18 24 4 SO MACHO Sinitta RCA POS 3011 19 21 6 FIGHT FOR OURSELVES Spandau Ballet CBS BA 3466 20 12 18 STIMULATION Wa Wa Nee CBS BA 3373 21 20 8 BEFORE TOO LONG Paul Kelly & The Coloured Girls FES K 49 22 18 8 HOLY WORD I'm Talking FES K 39 23 22 8 DON'T YOU LOVE ME ANYMORE Joe Cocker EMI LS 1796 24 23 4 EVOLUTION Models FES K 90 25 28 4 DREAMS OF ORDINARY MEN Dragon POL 885 245-7 • 26 NEW DO YA DO YA (WANNA PLEASE ME) Samantha Fox EMI LS 1808 27 27 4 PART TIME LOVE AFFAIR Geisha EMI EMI 1749 • 28 44 3 DREAMTIME Daryl Hall RCA 104571 29 25 15 I WANNA BE A COWBOY