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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. -
LAURA LEVINE Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art
LAURA LEVINE Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art ARTIST Laura Levine TITLE Tina Weymouth and Grandmaster Flash, NYC, 1981 MEDIUM Silver gelatin photographic print. Signed, titled, numbered in ink on the front and stamped on the back. Later printing from Laura Levine’s personal archive. DIMENSIONS 21” x 26” | Framed | Edition 7 of 50 16” x 20” | Unframed BIOGRAPHY Levine’s career as a music photographer enabled her to work with everyone from Björk to James Brown for magazines such as Rolling Stone and the New York Rocker (where she was Chief Photographer/Photo Editor). Levine’s intimate photographic portraits of artists from the punk, early hip-hop, New Wave, No Wave, and early downtown New York City music scene have been previously exhibited at New York’s Museum of Modern Art (MoMA), Steven Kasher Gallery, and are in the permanent collections of the Rock & Roll Hall of Fame and Museum, the Museum of Fine Arts (Houston), and the Smithsonian Institution’s National Portrait Gallery. PRICE $2,800 | Framed $2,500 | Unframed DZINE Gallery | 128 Utah Street, San Francisco, CA 94103 | www.dzineliving.com/gallery | 415.674.9430 Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art ARTIST Laura Levine TITLE Joey Ramone, NYC, 1982 MEDIUM Silver gelatin photographic print. Signed, titled, numbered in ink on the front and stamped on the back. Later printing from Laura Levine’s personal archive. DIMENSIONS 21” x 26” | Framed | Edition 4 of 50 16” x 20” | Unframed BIOGRAPHY Levine’s career as a music photographer enabled her to work with everyone from Björk to James Brown for magazines such as Rolling Stone and the New York Rocker (where she was Chief Photographer/Photo Editor). -
Omega Auctions Ltd Catalogue 28 Apr 2020
Omega Auctions Ltd Catalogue 28 Apr 2020 1 REGA PLANAR 3 TURNTABLE. A Rega Planar 3 8 ASSORTED INDIE/PUNK MEMORABILIA. turntable with Pro-Ject Phono box. £200.00 - Approximately 140 items to include: a Morrissey £300.00 Suedehead cassette tape (TCPOP 1618), a ticket 2 TECHNICS. Five items to include a Technics for Joe Strummer & Mescaleros at M.E.N. in Graphic Equalizer SH-8038, a Technics Stereo 2000, The Beta Band The Three E.P.'s set of 3 Cassette Deck RS-BX707, a Technics CD Player symbol window stickers, Lou Reed Fan Club SL-PG500A CD Player, a Columbia phonograph promotional sticker, Rock 'N' Roll Comics: R.E.M., player and a Sharp CP-304 speaker. £50.00 - Freak Brothers comic, a Mercenary Skank 1982 £80.00 A4 poster, a set of Kevin Cummins Archive 1: Liverpool postcards, some promo photographs to 3 ROKSAN XERXES TURNTABLE. A Roksan include: The Wedding Present, Teenage Fanclub, Xerxes turntable with Artemis tonearm. Includes The Grids, Flaming Lips, Lemonheads, all composite parts as issued, in original Therapy?The Wildhearts, The Playn Jayn, Ween, packaging and box. £500.00 - £800.00 72 repro Stone Roses/Inspiral Carpets 4 TECHNICS SU-8099K. A Technics Stereo photographs, a Global Underground promo pack Integrated Amplifier with cables. From the (luggage tag, sweets, soap, keyring bottle opener collection of former 10CC manager and music etc.), a Michael Jackson standee, a Universal industry veteran Ric Dixon - this is possibly a Studios Bates Motel promo shower cap, a prototype or one off model, with no information on Radiohead 'Meeting People Is Easy 10 Min Clip this specific serial number available. -
The Dictators Reviews
The Great Dictators | Arts | The Harvard Crimson 5/11/12 8:40 PM NEWS OPINION MAGAZINE SPORTS ARTS MEDIA FLYBY ABOUT US ADVERTISING TWITTER FACEBOOK RSS MOBILE SUBSCRIBE CLASSIFIEDS CAMBRIDGE, MA WEATHER: 44F The Great Dictators MOST READ By PETEY E. MENZ, CRIMSON STAFF WRITER 1. The Fallacy of Tuna Fish Economics Published: Thursday, April 05, 2012 2. The Delphic Renamed "The Dolphin" 3. Letter: What PBK Really Means 2 retweet 2 retweet 1 COMMENT EMAIL PRINT 4. Shielding the Vomlet 2 retweet 5. Alexander J. P. Kunkel '12 Finding High Fidelity My punk-rock years were unexpected. I grew up an hour away from Manhattan and decades away from the mid-seventies, and there was a time when these circumstances seemed the greatest tragedy of my life. That was when I spent all of my money on records and CDs, when I spent days listening to Patti Smith and Richard Hell, when there was a thrilling sense of danger in the band names “Dead Boys” and “Sex Pistols.” Punk was about disaffection, but I loved it with unfettered and unironic enthusiasm. Every band had something distinctive to listen to, and every band was amazing for it. It was during this manic stage of exploration that I discovered the Dictators, a short-lived group of Noo Yawk punks who cheerfully endorsed hamburgers, cheesy pop hits, and the suburban lifestyle. Fourteen years after they broke up, I was born, and fourteen years after that I discovered and soon fell in love with their debut album, “Go Girl Crazy.” I had purchased the record on vinyl during my freshman year, which meant I could only listen to it in my family’s living room, where my mother’s record player was permanently installed. -
American Punk: the Relations Between Punk Rock, Hardcore, and American Culture
American Punk: The Relations between Punk Rock, Hardcore, and American Culture Gerfried Ambrosch ABSTRACT Punk culture has its roots on both sides of the Atlantic. Despite continuous cross-fertiliza- tion, the British and the American punk traditions exhibit distinct features. There are notable aesthetic and lyrical differences, for instance. The causes for these dissimilarities stem from the different cultural, social, and economic preconditions that gave rise to punk in these places in the mid-1970s. In the U. K., punk was mainly a movement of frustrated working-class youths who occupied London’s high-rise blocks and whose families’ livelihoods were threatened by a declin- ing economy and rising unemployment. Conversely, in America, punk emerged as a middle-class phenomenon and a reaction to feelings of social and cultural alienation in the context of suburban life. Even city slickers such as the Ramones, New York’s counterpart to London’s Sex Pistols and the United States’ first ‘official’ well-known punk rock group, made reference to the mythology of suburbia (not just as a place but as a state of mind, and an ideal, as well), advancing a subver- sive critique of American culture as a whole. Engaging critically with mainstream U.S. culture, American punk’s constitutive other, punk developed an alternative sense of Americanness. Since the mid-1970s, punk has produced a plethora of bands and sub-scenes all around the world. This phenomenon began almost simultaneously on both sides of the Atlantic—in London and in New York, to be precise—and has since spread to the most remote corners of the world. -
A Facilitator's Guide to Using the PBS Program
A Facilitator’s Guide to Using the PBS Program ©2009 WNED/Buffalo•Toronto Credits and Acknowledgements Television Program Credits Facilitator Guide Credits Host DONALD FAISON Executive Project Director PAMELA JOHNSON , Ph.D. Producer/Director TOM SIMON Managing Editor ALAN NOWICKI Lead Writer - Coordinator ANN K. LUPO Writers JAMIE BERNANKE TOM SIMON Contributing Writers MARIA MOZZETTIXSTOCK MARCIANNE SPIESS KUKODA Editor DAVEVELAZQUEZ ROBERT SPINO Content Contributors JAN SUDA Segment Producers DAWNV. BROWN BETSY HALVORSEN DAVID PONTILLO BETH CRITOPH KATE BECK Executive Producer JOHN GRANT Graphic Design CAROL HAMMER Education & Outreach JOHN CRAIG , Ph.D. NAN SCHWEIGER For WNED WNED Communications DARWIN MCPHERSON SUZANNE KASHUBA Production Executive DAVID ROTTERMAN Reviewers KATE BECK , Consumer Credit Counseling of Buffalo Production Coordinator KEVIN RUSH DIANE BESSEL , UnitedWay of Buffalo & Erie County JENNY BRADBURY , PBSTeachers Production Manager PHILTEIBEL LAURA LEVINE ,The Jump$tart Coalition for Personal Financial Literacy Post Production CHRISTOPHERTHOMAS MARTHA NUCHERENO , Cheektowaga High School Promotion GWEN MYSIAK Special Thanks ERIE COMMUNITY COLLEGE Outreach & Web PAMELA JOHNSON , Ph.D. KALEIDA HEALTH NANCY HAMMOND Television Program Financial Experts National Advisory Board PETER BIELAGUS, Financial Advisor LORETTA ABRAMS, HSBC North America BETH KOBLINER, Financial Expert and Author BETH KOBLINER, Financial Expert and Author LAURA LEVINE ,The Jump$tart Coalition RON LIEBER, The New York Times BEN LEVY, Young Money -
The History of Rock Music: 1976-1989
The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The Golden Age of Heavy Metal (These are excerpts from my book "A History of Rock and Dance Music") The pioneers 1976-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Heavy-metal in the 1970s was Blue Oyster Cult, Aerosmith, Kiss, AC/DC, Journey, Boston, Rush, and it was the most theatrical and brutal of rock genres. It was not easy to reconcile this genre with the anti-heroic ethos of the punk era. It could have seemed almost impossible to revive that genre, that was slowly dying, in an era that valued the exact opposite of machoism, and that was producing a louder and noisier genre, hardcore. Instead, heavy metal began its renaissance in the same years of the new wave, capitalizing on the same phenomenon of independent labels. Credit goes largely to a British contingent of bands, that realized how they could launch a "new wave of British heavy metal" during the new wave of rock music. Motorhead (1), formed by ex-Hawkwind bassist Ian "Lemmy" Kilminster, were the natural bridge between heavy metal, Stooges/MC5 and punk-rock. They played demonic, relentless rock'n'roll at supersonic speed: Iron Horse (1977), Metropolis (1979), Bomber (1979), Jailbait (1980), Iron Fist (1982), etc. -
Jews, Punk and the Holocaust: from the Velvet Underground to the Ramones – the Jewish-American Story
Popular Music (2005) Volume 24/1. Copyright © 2005 Cambridge University Press, pp. 79–105 DOI:10.1017/S0261143004000315 Printed in the United Kingdom Jews, punk and the Holocaust: from the Velvet Underground to the Ramones – the Jewish-American story JON STRATTON Abstract Punk is usually thought of as a radical reaction to local circumstances. This article argues that, while this may be the case, punk’s celebration of nihilism should also be understood as an expression of the acknowledgement of the cultural trauma that was, in the late 1970s, becoming known as the Holocaust. This article identifies the disproportionate number of Jews who helped in the development of the American punk phenomenon through the late 1960s and 1970s. However, the effects of the impact of the cultural trauma of the Holocaust were not confined to Jews. The shock that apparently civilised Europeans could engage in genocidal acts against groups of people wholly or partially thought of by most Europeans as European undermined the certainties of post-Enlightenment modernity and contributed fundamentally to the sense of unsettlement of morals and ethics which characterises the experience of postmodernity. Punk marks a critical cultural moment in that transformation. In this article the focus is on punk in the United States. We’re the members of the Master Race We don’t judge you by your face First we check to see what you eat Then we bend down and smell your feet (Adny Shernoff, ‘Master Race Rock’, from The Dictators’ The Dictators Go Girl Crazy! [1975]) It is conventional to distinguish between punk in the United States and punk in England; to suggest, perhaps, that American punk was more nihilistic and English punk more anarchistic. -
The Observer This Weekend
26 | NEWS | WORLD * * * * 17.07.11 Laura Levine’s images of Madonna, in 1982; Chrissie Hynde and Iggy Pop, in 1987; and Michael Hutchence, in 1986. ‘I wanted to get away from all the artifice,’ she says. Courtesy of Steven Kasher Gallery, New York Unseen archive of the biggest 80s stars downtown galleries after working as tures from that shoot are well known, but New York gallery shows rare vintage prints of chief photographer and photo editor not the one in show. She was a pleasure of underground newspaper New York to work with and had a real sense of self Chrissie Hynde, Michael Stipe and Madonna Rocker . She also published in the Village even then. I set that picture up by asking Voice , Sounds and Rolling Stone . her to scream.” “My photo sessions would be very The show also includes an evocative The photographic show, titled Musi- relaxed,” said Levine. “Most of the sub- picture of Tina Weymouth of Talking by Vanessa (orpe cians , is being mounted by the Steven jectsJects I didn’t know beforehand, although Heads and hip-hop artist and DJ Grand- Arts and Media Correspondent Kasher Gallery and came about almost some became friends. The REM photo I master Flash. Marking the birth of hip- by accident after Kasher worked with took in Athens, Georgia, at a point where hop as a popular genre, it was taken in A revealing archive of unseen photo- Levine on another show chronicling the they were very good friends. It was one New York in 1981 in front of a wall of graphs of music stars taken more than same era. -
Inforiwatfonto USERS
INFORIWATfONTO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction Is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and teaming 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI' THE ART SWGS OF ANDRÉ PREVIN WITH LYRICS BY TONI MORRISON: HONEY AND RUE AND FOUR SOSGS FOR SOPRANO, CELLO AND PIANO A PERFORMER'S PERSPECTIVE D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Misical Arts in the Graduate School of the School of The Ohio State University By Stephanie McClure Adrian, B.M., M M ***** The Ohio State University 2001 D.M.A. -
Worldcharts TOP 75 + Album TOP 30 Vom 16.04.2020
CHARTSSERVICE – WORLDCHARTS – TOP 75 SINGLES NO. 1061 – 16.04.2020 PL VW WO PK ARTIST SONG 1 1 19 1 WEEKND blinding lights 2 2 10 2 DUA LIPA physical 3 3 23 1 DUA LIPA don't start now 4 4 24 4 SAINT JHN roses 5 - 1 5 DRAKE toosie slide 6 5 38 1 TONES & I dance monkey 7 8 10 7 DOJA CAT say so 8 6 6 6 LADY GAGA stupid love 9 7 9 5 JUSTIN BIEBER ft. QUAVO intentions 10 10 2 10 DUA LIPA break my heart 11 12 5 11 POWFU ft. BEABADOOBEE death bed 12 9 15 6 RODDY RICCH the box 13 13 20 8 LEWIS CAPALDI before you go 14 15 5 14 BENEE ft. GUS DAFFERTON supalonely 15 18 9 15 TOPIC ft. A7S breaking me 16 11 18 11 HARRY STYLES adore you 17 14 14 13 AVA MAX salt 18 16 3 10 WEEKND in your eyes 19 23 5 19 LIL MOSEY blueberry faygo 20 24 10 20 ROBIN SCHULZ ft. ALIDA in your eyes 21 22 21 21 KAROL G & NICKI MINAJ tusa 22 19 5 19 SZA & JUSTIN TIMBERLAKE the other side 23 17 12 12 JONAS BROTHERS what a man gotta do 24 29 30 6 REGARD ride it 25 25 8 23 KHALID & DISCLOSURE know your worth 26 20 23 7 ARIZONA ZERVAS roxanne 27 26 12 5 EMINEM ft. JUICE WRLD godzilla 28 21 21 4 BILLIE EILISH everything i wanted 29 27 28 1 MAROON 5 memories 30 30 7 25 SAM SMITH to die for 31 52 3 31 DOJA CAT boss bitch 32 28 32 2 POST MALONE circles 33 36 5 33 SURFACES sunday best 34 37 3 34 AVA MAX kings & queens 35 39 5 35 MABEL boyfriend 36 33 24 6 BLACK EYED PEAS ft. -
Catalogue a ‐ Z
Catalogue A ‐ Z A ? MARK AND MYSTERIANS "Same" LP CAMEO 1966 € 60 (US Garage‐Original Canada Pressing VG++++/VG+) 007 & SCENE " Landscapes" LP Detour € 12 (UK mod‐beat ' 70/ ' 80) 1‐2‐5 “Same” LP Misty lane € 13 (Garage punk dall’Olanda) 13th FLOOR ELEVATORS "Easter every Where" CD Spalax € 15,00 ('60 US Psych) 13th FLOOR ELEVATORS "Graeckle Debacle" CD Spalax € 15,00 ('60 US Psych) 13th FLOOR ELEVATORS "The Psychedelic Sound Of…" CD Spalax € 15,00 ('60 US Psych) 13th FLOOR ELEVATORS "Unlock the Secret" CD Spalx € 15,00 ('66 US Psych) 20/20 "Giving It All" 7" LINE 1979 € 15 (US Power Pop) 27 DEVILS JOKING "The Sucking Effect" LP RAVE 1991 € 10 (US Garage VG/M‐) 3 NORMAL BEATLES "We Name Is Justice" DLP BUBACK € 23 (Beat from Germany) 39 CLOCKS "Cold Steel To The Heart " LP WHAT'S SO FUNNY ABOUT 1985 € 35 (Psychedelic Wave from Germany) 39 CLOCKS "Subnarcotic" LP WHAT'S SO FUNNY ABOUT 1982 € 35 (Psychedelic Wave from Germany 1988 Reissue) 39 CLOCKS "The Original Psycho Beat" LP WHAT'S SO FUNNY ABOUT 1993 € 20 (Psychedelic Wave from Germany) 3D INVISIBLES "Robot Monster" 7" NEUROTIC BOP 1994 € 5 (US Punk Rock) 3D INVISIBLES "They Won't StayDead" LP NEUROTIC BOP 1989 € 15 (US Punk Rock) 440’S “Gas Grass Or As” 7” Rockin’ Bones € 5 (US Punk) 5 LES “Littering..” 7” HAGCLAND 198? € 5 (Power Pop dal Belgio M‐/M‐) 5.6.7.8.'S "Can't Help It !" CD AUGOGO € 14 (Japan Garage i 7"M‐/M) 5.6.7.8's "Sho‐Jo‐Ji" 7" THIRD MAN € 9 (Garage Punk from Tokyo) 60 FT DOLLS "Afterglow" 7" DOLENT € 3 (Promo Only) 64 SPIDERS "Potty Swat" 7" REGAL SELECT 1989 € 17 (US Punk M‐/M‐) 68 COMEBACK "Do The Rub" 7" BAG OF HAMMERS 1994 € 7 (US Punk Blues) 68 COMEBACK "Flip,Flop,& Fly" 7" GET HIP 1994 € 13 (US Punk Blues) 68 COMEBACK "Great Million Sellers" 7" 1+2 1994 € 8 (US Punk Blues) 68 COMEBACK "High Scool Confidential" 7" PCP I.