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Janette Beckman Reveals What Hip Hop Artists Used to Look Like
Janette Beckman Reveals What Hip Hop Artists Used to Look Like Written by Robert ID4305 Monday, 14 April 2008 08:00 - In the fall of 1982, celebrated photographer of the British music scene Janette Beckman moved to New York City, where she found hip hop on the edge of explosion. After a decade underground, the hip hop DJs, MCs, b-boys, fly girls, and graff writers were finally getting their due from the downtown crowd. While trains were covered in graffiti and boomboxes were blasting on the corners, DJs were up in the clubs while the dancers rocked the floor. Artists were getting signed and local hip hop legends were born. And while others called hip hop a fad, Beckman knew better. Her photographs, collected in The Breaks: Stylin'' and Profilin'' 1982-1990, transport us back to a time before music videos, marketing departments, and uber-stylists took control. The queen of the 80s album cover, Beckman shot the hip hop icons of the era: Africa Bambaataa, Grandmaster Flash and the Furious Five, Fearless Four, the World Famous Supreme Team, Lovebug Starsky, Salt''n''Pepa, Run-DMC, Stetsasonic, UTFO, Roxanne Shante, Sweet T, Jazzy Joyce, Slick Rick, Boogie Down Productions, Eric B. and Rakim, EPMD, NWA, Ice-T, 2 Live Crew, Tone Loc, Gang Starr, Ultramagnetic MCs, Rob Base and DJ EZ Rock, Special Ed, Leaders of the New School, Jungle Brothers, Beastie Boys, Rick Rubin, and countless others. The era was as original as it was innocent, and Beckman's images remind us of a culture that brought forth The Message before it got Paid in Full. -
Rulebook 2020 La Carrera Panamericana RULE BOOK 2020
Rulebook 2020 La Carrera Panamericana RULE BOOK 2020 CONTENTS I - EVENT AND DATE 05 VI - GENERAL OBLIGATIONS for Teams 14 II - INTRODUCTION 05 Article 8: Teams Suggestions 06 'H¿QLWLRQ 8.2 Minors 8.3 Licenses III - PROGRAM 2020 08 8.4 FEMADAC license coverage 15 Program & Activities 8.5 During the event 8.6 Changes of team members IV - ORGANIZATION & AUTHORITIES 10 8.7 Credential or identity cards Article 1: Organization Article 9: Entries and requirements 15 9.1 Entries Article 2: Endorsement of LCP 2020 11 9.2 Requirements 16 9.3 Competitors registered outside Mexico V - GENERAL CONDITIONS 11 9.4 Transportation and entry of cars into Mexico Article 3: Description of LCP 2020 9.5 Recommended custom brokers 17 3.1. Stages and types of sections Article 10: Starting order and Article 4: Eligibility of competing cars 11 Competition numbers 17 10.1 Groups and categories 10.2 Qualifying Stage 18 Article 5: Eligibility of the competitors 12 10.3 Starting order 5.1. Eligibility of the competitors 10.4 Competition numbers 5.2. Non-compliance 10.5 The absense of competititon numbers 5.3. Spare driver/co-driver &RQ¿UPDWLRQRIUHJLVWUDWLRQDQGDVVLJPHQW 2ႈFLDOFORWKLQJVSDUHGULYHUVFRGULYHUV of the numbers ,GHQWL¿FDWLRQRIWKHWHDP Article 6: Amendments and 12 on the competing car 19 supplements to the rules 6.1 Regulatory bulletins $UWLFOH7UDႈFUHJXODWLRQV 6.2. Publication of bulletins 0RGL¿FDWLRQVWRWKH5XOH%RRk Article 12: Repairs 19 2ႈFLDODUHDV Article 7: Application and 12.2 External assistance interpretation of the Rule Book 13 12.3 Forbidden acts 20 7.1. Responsibility 7.2. -
Charles Atlas
The term renaissance man is used rather too short film Ms. Peanut Visits New Atlas also created the 90-minute documentary freely these days, but it certainly applies to York (1999), before directing the Merce Cunningham: a Lifetime of Dance. And Charles Atlas, whose output includes film documentary feature The Legend in 2008, a year before Cunningham died, Atlas directing, lighting design, video art, set design, of Leigh Bowery (2002). The two filmed a production of the choreographer’s ballet live video improvisation, costume design and have remained close collaborators Ocean (inspired by Cunningham’s partner and documentary directing. – Atlas designed the lighting for collaborator John Cage) at the base of the For the past 30 years, Atlas has been best Clark’s production at the Barbican Rainbow Granite Quarry in Minnesota, the known for his collaborations with dancer and – but it was with another legendary performance unfurling against 160ft walls of rock. choreographer Michael Clark, who he began choreographer, who was himself Alongside his better-known works, Atlas has working with as a lighting designer in 1984. His a great influence on Clark, that directed more than 70 other films, fromAs Seen first film with Clark, Hail the New Puritan, was a Atlas came to prominence when on TV, a profile of performance artist Bill Irwin, mock documentary that followed dance’s punk he first mixed video and dance in to Put Blood in the Music, his homage to the renegade as his company, aided by performance the mid-1970s. diversity of New York’s downtown music scene artist Leigh Bowery and friends, prepared for Merce Cunningham was already of the late 1980s. -
The Racing Lamborghini Competition-Hardened Machinery out of Sant'agata Is Few and Far Between, but This 400GT 2+2 Has Documented Provenance
The Racing Lamborghini Competition-hardened machinery out of Sant'Agata is few and far between, but this 400GT 2+2 has documented provenance WORDS AND PHOTOGRAPHY BY JEFF KOCH he twin passions raised by automobiles and racing surely intersect on a twisty back road somewhere in Italy. Ferrari. Alfa. Lancia. Fiat. Maserati. All have storied racing in their past, with names and dates and places and carsall inextricably woven into the marque'sfabric and mystique; the association between Italian cars and racing isso strong that it's hard to think of an Italian car without some sort of competition provenance backing it up. The street cars benefit, in image if in no other way. After all, what captures the public imagination more than spinning overhead cams, a lusty exhaust note, a whiff of high-octane gas and subsequent exhaust, and a flash of brightly hued paint as it screams by in a blur of color and drama? And yet, as with any rule worth mentioning, there is an exception. Most prominent among the exceptions is Lamborghini,which has never really had 0 the racing provenance that one associates with its home country. Ferruccio simply wanted a better road car, and he set out to build one. 40 titmntiHCs mm 6 «otk am - julu 200c wmmiHcuom ong "Distance Love Affair Mark J. McCourt aving been indoctrinated into the order of dealership in Chicago, and she asked them to the Volvo car as an impressionable youth release their service records on the car to me, Iback in the mid 1980s, I've always ap which they did. -
APPENDIX Laserdisc
APPENDIX Laserdisc Laserdisc Laserdisc Sampler Laserdisc Soundtrack Laserdisc Promotional Issues Laserdisc David Gilmour Sampler Laserdisc David Gilmour Soundtrack Laserdisc David Gilmour Guest Appearances Laserdisc Roger Waters Laserdisc Roger Waters Soundtrack PINK FLOYD DVD DISCOGRAPHY Copyright © 2003-2011 Hans Gerlitz. All rights reserved. www.pinkfloyd-forum.de/discography [email protected] This discography is a reference guide, not a book on the artwork of Pink Floyd. The photos of the artworks are used solely for the purposes of distinguishing the differences between the releases. The product names used in this document are for identification purposes only. All trademarks and registered trademarks are the property of their respective owners. Permission is granted to download and print this document for personal use. Any other use including but not limited to commercial or profitable purposes or uploading to any publicly accessibly web site is expressly forbidden without prior written consent of the author. APPENDIX Laserdisc PINK FLOYD DVD DISCOGRAPHY PINK FLOYD DVD DISCOGRAPHY Appendix Laserdisc Live at Pompeii Label: Polygram Video Catalog number: 790 182-1 Release date: 1982 Country of origin: UK Notes: Pink Floyd concert recorded in the ruins of Pompeii, Italy in 1971. Live at Pompeii Label: Polygram Video Catalog number: 790 428-1 Release date: 1982 Country of origin: Holland Notes: Pink Floyd concert recorded in the ruins of Pompeii, Italy in 1971. Dutch text on rear cover. Live at Pompeii Label: Polygram Video Catalog numbers: 080 730-1 0 44008 073017 (barcode) Release date: 2000 Country of origin: UK Notes: Pink Floyd concert recorded in the ruins of Pompeii, Italy in 1971. -
Competition-Hardened Machinery out of Sant'agata Is Few and Far Between, but This 400GT 2+2 Has Documented Provenance the Racing
Competition-hardened machinery out of Sant'Agata is few and far between, but this 400GT 2+2 has documented provenance HMN Daily: July 1, 2006 http://www.hemmings.com/hsx/stories/2006/07/01/hmn_feature3.html FEATURE ARTICLE from Hemmings Sports & Exotic Car The Racing Lamborghini Hemmings Sports & Exotic Car - JULY 1, 2006 - BY JEFF KOCH Competition-hardened machinery out of Sant'Agata is few and far between, but this 400GT 2+2 has documented provenance The twin passions raised by automobiles and racing surely intersect on a twisty back road somewhere in Italy. Ferrari. Alfa. Lancia. Fiat. Maserati. All have storied racing in their past, with names and dates and places and cars all inextricably woven into the marque's fabric and mystique; the association between Italian cars and racing is so strong that it's hard to think of an Italian car without some sort of competition provenance backing it up. The street cars benefit, in image if in no other way. After all, what captures the public imagination more than spinning overhead cams, a lusty exhaust note, a whiff of high-octane gas and subsequent exhaust, and a flash of brightly hued paint as it screams by in a blur of color and drama? And yet, as with any rule worth mentioning, there is an exception. Most prominent among the exceptions is Lamborghini, which has never really had the racing provenance that one associates with its home country. Ferruccio simply wanted a better road car, and he set out to build one. Oh sure, Dan Gurney's Weslake F1 racing engines had destroked Lamborghini bottom ends, the marque had another brief dalliance in Formula One when Chrysler owned it a couple of decades back, and an Islero S attempted (and failed) to qualify for Le Mans in the late '60s. -
In the Spotlight: La Carrera Panamericana • Pan Delta Super Racing Festival • the New Caribbean Drag Racing Association
international La Carrera Panamericana IN THE SPOTLIGHT: LA CARRERA PANAMERICANA • PAN DELTA SUPER RACING FESTIVAL • THE NEW CARIBBEAN DRAG RACING ASSOCIATION La Carrera Panamericana If contesting a stretch of road called With a focus on which motorsports competitions and sanctioning the “Devil’s Backbone” gets your com- petitive juices flowing, then the La Carrera organizations are trending worldwide, PRI’s recurring international Panamericana (LCP) is the race and column spotlights a revitalized drag racing sanctioning group in Mexico is the place. Similar to Italy’s 1000 the Caribbean, an endurance race on the roadways of Mexico, and Mille Miglia, but more visceral “wild west” than refined motoring, the seven-day event a wildly popular grassroots event in China. is an endurance challenge for cars, drivers and support crews attracting cheering where the Sierra Madre mountains kiss the tourism, tourism major, sport major and crowds as it winds through the country. Pacific Ocean with white sand beaches, sport minor. Historic represents Group “What began as a car rally to mark the the route heads northwesterly, finishing B, and consists of categories: historic completion of the Mexican section of the 6233 feet above sea level at Durango, A, A plus, B and C. Group C is called Pan-American Highway is today consid- but only after negotiating the notoriously Original “Panamerican,” while Group D ered the longest running open road race,” sinuous “Devil’s Backbone” with 60 tunnels is Exhibition. Additionally, there is a cat- offered Anthony Cooper, international and more than 40 bridges. egory for “all others,” which is not eligi- liaison for the La Carrera Panamericana. -
New York Based Janette Beckman, Launches Her UK ‘Punk Rock Hip Hop Mash-Up’ Exhibition in London
New York based Janette Beckman, launches her UK ‘Punk Rock Hip Hop Mash-Up’ exhibition in London 19 – 31 January 2016 Punctum Gallery, Chelsea College of Arts, Milbank Janette Beckman’s photography spans Punk in London and Hip Hop in New York. In 2014, she launched her US Mash-Up series conceived with artist and designer Cey Adams, combining her iconic Hip Hop images with many of New York’s best-known graffiti artists. Cey selected the participating artists, and Janette let each artist choose one of her images to reinterpret in their own distinct style, creating new works of art. Her US Mash-Up images have been exhibited at the Museum of the City of New York, Le Salon - Paris, Fold Gallery - Iceland and Yale. For the launch of her UK Mash-Up series, Janette has decided to expand the collection to include artists, designers and musicians who will be reinterpreting portraits from her legendary British Punk era archive. British artists taking part in the Mash-Up include Horace Panter, Pam Hogg, Dan Holliday, Christos Tolera, Hattie Stewart, Ian Wright, Ian “Swifty” Swift, Chris Sullivan, Kosmo Vinyl and Marco Aurele Vecchione. The exhibition will also include Janette’s iconic images of the Punk Rock and Hip Hop scenes. Signed limited edition prints will be on for sale from £150. Horace Panter's Mash-Up artwork from Janette Beckman’s photo of him and the rest of the Specials at Southend Notes: JANETTE BECKMAN Janette Beckman has always brought a 'realness' to her work. Typically her photographs are not concert shots or stylised studio images, but are captured on the street where popular culture comes from. -
Title Spin/3 Magazine: Action Time Vision Type Article URL Https
Title Spin/3 Magazine: Action Time Vision Type Article URL https://ualresearchonline.arts.ac.uk/id/eprint/3868/ Dat e 2 0 0 8 Citation Bestley, Russ (2008) Spin/3 Magazine: Action Time Vision. Spin/3 Magazine: Action Time Vision. ISSN 1752-6442 Cr e a to rs Bestley, Russ Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Spin/3 ACTION TIME VISION Spin/3 Spin/3 ACTION ACTION T IME VI IME S ION Action Time Vision Contrary to the red-top myopia of the time, Punk wasn’t a singular spiky, dyed, Tony Brook white or black-haired leather-jacket-wearing gobbing entity – it was a broad (anti) church encompassing a range of innovative musical and visual styles. Genres and sub-genres developed with appropriate monikers – New Wave being the most obvious, but as far as I remember it, pretty much everything that was ‘new’ and less than three minutes long was, in the beginning at least, lumped together under Punk. I realise that this is contentious, but for simplicity’s sake let’s say that in Spin/3 we take a look at what is for us, a rich and vibrant form of inspiration, and let’s agree to call it The Punk Single. It is also important to note that back in the day these covers weren’t just seen as exciting, they were potentially explosive. -
Co-Driving La Carrera Panamericana
Co-Driving La Carrera Panamericana Introduction Co-driving (navigating) La Carrera is an enormous amount of fun. I’ve had the good fortune to compete in three events (2001 – 2003) in a Porsche 356 and 912. I’ve worked each event with two great drivers, each with different needs and styles. La Carrera navigation is not difficult, but it is daunting to novices. I remember coming out of the navigator’s meeting in 2001 rather shell-shocked. Fortunately, kind souls such as Andy Prill and Forrest Hatch took pity on me and gave me some help. In 2002, I’d forgotten everything I’d learned the year before, but after a few minutes in the navigator’s meeting it all came back and I was actually able to help some novices get squared away. In 2003, I was able to help about 8 or 9 navigators, and decided to write a quick guide with examples – something that I would have benefited from that first year.. I hope that others can build on this rough document, and that even this preliminary version will reduce the number of navigators leaving the meeting with a perplexed and frantic expression on their face. The Time Card The time card is one of two critical documents you will have during the event. A time card looks like this: 1 Only La Carrrera officials may write on your time card, except for the designated areas (which I’ve lightened on this image) in which you are required to write certain information. You will get a new time card each day. -
TOUR NOTES JANUARY 2019 Styles of Resistance
TOUR NOTES JANUARY 2019 Styles of Resistance Styles of Resistance: From the Corner to the Catwalk On View: January 18-February 24, 2019 Curated by: Amy Andrieux, Richard Bryan and Mariama Jalloh FEATURED DESIGNERS coup d’etat BROOKLYN, Frank William Miller, Jr., FUBU, Johnny Nelson!, Karl Kani, Melody Ehsani, Maurice Malone, Moshood, Philadelphia Print Works, PNB Nation, Sean John, Spike’s Joint, Studio 189, Shirt King Phade, The Peralta Project, Walker Wear, Willi Wear LTD, Xuly Bet, and more. FEATURED ARTISTS Alex Blaise, Anthony Akinbola, Aurelia Durand, Barry Johnson, Benji Reid, Dr. Fahamu Pecou, Hassan Hajjaj, Jamel Shabazz, Janette Beckman, Kendall Carter, Lakela Brown, Marc Baptiste, Michael Miller, Righteous Jones (Run P.), Ronnie Rob, TTK, and Victoria Ford. Themes: ● 70s and 80s ○ Police Brutality in the United States and the Black Panther Party ■ How did “self-actualization”and police brutality inspire groups like the Black Panther Party to build the foundation for the birth of hip-hop and streetwear fashion? ○ Graffiti and Social Movements ■ How did black and brown communities respond to continued police brutality and poverty globally? What art was produced as a response to these grievances while also building community? ■ How did graffiti play a role in advancing the hip-hop movement? ● 90s ○ Michael Jordan and Sneakers ■ Jordans quickly became incorporated into streetwear, so they were always in high demand. Because Jordans were vastly consumed by Black people, Jordans quickly became associated with crime and violence. ● Spike Lee commercial ○ Streetwear, Urbanwear and Luxury Brands ■ Luxury Designers, and NY Fashion week had a disdain for urban fashion. Not only was the word “urban” synonymous to “ghetto”, but this label was used to exclude black designers, and people from big media platforms, fashion shows and stores. -
Sonoma Major & Regionals 9 & 10
VOL. 59 | AUGUST 2018 The official publication of the San Francisco Region of the Sports Car Club Of America Sonoma Major & Regionals 9 & 10 p. 18 SFR SOLO ROUND 7 p. SFR SOLO ROUND 8 1948–2018 p. 10 CELEBRATING 70 YEARS Rentals, Arrive & Drive, & Support ● Great service and support team ● Fast and reliable cars ● Large inventory of parts at the track ● Large fleet of GEN2 & 3 Rentals ● Driver coaching Your CSR for the SFR AUGUST 2018 On the Cover: #82 James Chartres SRF3 has the whole Sonoma valley in his mirrors. Photo by Ron Cabral. Above: #89 Addison Lee T2 pushing the Mustang hard. Photo by Ron Cabral. Phone: (669) 232-4844 6 RE News 14 Notes from the Archive 18 Road Race www.accelracetek.com Email: [email protected] FEATURES 7 Wheelworks 16 Motel at the Track 26 SFR Solo Round 7 8 Detrmine the Future of the Region 17 Full Body Contact 28 Thunderhill Report 9 Sacramento Auto Cross Round 6 10 SFR Solo Round 8 IN EVERY ISSUE 4 Calendar 6 Travel Tech 29 Race Car Rentals 30 The Garage: Classified Ads The views expressed in The Wheel are those of the authors and do not necessarily reflect the position or policy of San Francisco Region or the SCCA. SAN FRANCISCO REGION SCCA REGION OFFICE BOARD OF DIRECTORS MAILING ADDRESS BARBARA MCCLELLAN Regional Executive PO Box 308, Willows, CA 95988 [email protected] LOCATION BLAKE TATUM Secretary PUBLISHER: THE WHEEL PUBLICATIONS 5250 Hwy 162, Willows, CA 95988 [email protected] Editor BLAKE TATUM [email protected] 530 934 4455 530 934 7275 fax TIM SULLIVAN Treasurer, Director Art Direction & Design JULIE LEFRANCOIS [email protected] [email protected] julielefrancois.com We have over a dozen PRICES START AT $550/DAY CONTRIBUTING WRITERS Blake Tatum, The Wheel is the Official publication of the San Francisco region of R.J.