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Treball De Fi De Grau Títol
Facultat de Ciències de la Comunicació Treball de fi de grau Títol Autor/a Tutor/a Departament Grau Tipus de TFG Data Universitat Autònoma de Barcelona Facultat de Ciències de la Comunicació Full resum del TFG Títol del Treball Fi de Grau: Català: Castellà: Anglès: Autor/a: Tutor/a: Curs: Grau: Paraules clau (mínim 3) Català: Castellà: Anglès: Resum del Treball Fi de Grau (extensió màxima 100 paraules) Català: Castellà: Anglès: Universitat Autònoma de Barcelona AGRADECIMIENTOS - En primer lugar a mi familia, por aguantar mis arrebatos de locura pasajera y no tan pasajera durante la confección del trabajo en casa. A mis padres Jordi y Susana y a mi hermano Nil, que han hecho gala de una paciencia sin igual. - A Eric, Roc, Aitor i Pau, por abrir camino juntos en esto del punk siendo unos inexpertos totales. Por las muchas horas pasándolo genial juntos versionando a los más grandes y haciendo música, que es lo que nos apasiona. - A Pau V., por nuestras aventuras juntos por el mundo con las guitarras a cuestas con callos en los dedos y las cuerdas vocales destrozadas. Por muchas más. - A Ru y María, por su ayuda con el tema de los videoclips, gracias por estar allí cuando me ha faltado luz y fuerza. - A toda la gente de las plazas de Gracia, por las noches eternas jugando al gato y al ratón con la policía. A toda la gente del Banc Expropiat, que de forma totalmente altruista llevaba a cabo una función muy importante en el barrio ayudando a los más desfavorecidos y se ha visto injustamente envuelta en un espiral de altercados y violencia policial, ordenada desde arriba. -
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. -
2012 Program
PORTOBELLO FILM FESTIVAL FREE ENTRY 30 AUGUST– 16 SEPTEMBER 2012 www.portobellofilmfestival.com BLEK LE RAT Entry to all events if FREE and open to all over 18. ALTERNATIVE LONDON FILM FESTIVAL PORTOBELLO ALTERNATIVE PORTOBELLO POP UP CINEMA FILM FESTIVAL LONDON FILM INTERNATIONAL 3 ACKLAM ROAD, W10 5TY 30 Aug – 16 Sept 2012 FESTIVAL FILM FESTIVAL POP UP CINEMA WESTBOURNE Thu 30 Aug Welcome to the 17th Portobello Film Act Of Memory – 30 Aug 3 ACKLAM ROAD, W10 5TY STUDIOS GRAND OPENING Art at Festival. This year is non-stop new 30 August page 1 Portobello 242 ACKLAM ROAD, W10 5JJ CEREMONY London and UK films at the Pop Up Grand Opening Ceremony POP UP CINEMA Film Festival with The Spirit Of Portobello, docoBANKSY, 31 August page 9 2012 and a feast of international movies at and a new film from Ricky Grover International Shorts Introduction Westbourne Studios courtyard and Pop Up 1 September 9 6:30pm Cinema throughout the Festival, plus 7–19th at 31 August 2 The Muse Gallery – see page 18 for details. Westbourne Studios. Just For You London German Night What We Call Cookies up and coming directors inc Greg Hall & Wayne G Saunders (Natalie Hobbs) 2 mins It’s all very well watching films on the 2 September 10 Exploring various British stereotypes held by internet but nothing beats the live 1 September 2 International Feature Films Americans played out by motifs that are iconicly Are You Local? 3 September 11 American. Comedy. independent frontline film experience. West London film makers Turkish & Canadian Showcase Big Society (Nick Scott) 7 mins 2 September 3 An officer in the British army questions what it means We look forward to welcoming film 4 September 11 to fight for your country when he sees his hometown London Calling: From The Westway To British & USA State Of The Movie Art rife with antisocial behaviour. -
Origins of Rock the Seventies
from the definitive, illustrated encyclopedia of rock the definitive, illustrated encyclopedia of rock Richard Buskin, Alan Clayson, Joe Cushley, Rusty Cutchin, Jason Draper, Hugh Fielder, Mike Gent, Drew Heatley, Michael Heatley, Jake Kennedy, Colin Salter, Ian Shirley, John Tobler General Editor: Michael Heatley • Foreword by Scotty Moore FLAME TREE PUBLISHING from the definitive, illustrated encyclopedia of rock FlameTreeRock.com offers a very wide This is a FLAME TREE digital book range of other resources for your interest and entertainment: Publisher and Creative Director: Nick Wells Project Editor: Sara Robson Commissioning Editor: Polly Prior 1. Extensive lists and links of artists , Designer: Mike Spender and Jake The sunshine 1960s were followed by the comparatively grey 1970s. organised by decade: Sixties, Picture Research: Gemma Walters Yet a number of stars of that drab decade started their Contents Seventies etc. Production: Kelly Fenlon, Chris Herbert and Claire Walker life in the 1960s. 2. Free ebooks with the story of other Special thanks to: Joe Cushley, Jason Draper, Jake Jackson, Karen Fitzpatrick, Rosanna Singler and Catherine Taylor In Britain, the chameleon-like David Bowie suffered several musical genres, such as David Bowie ........................................4–5 years of obscurity, Status Quo were psychedelic popsters yet to soul, R&B, disco, rap & Hip Hop. Based on the original publication in 2006 discover 12-bar blues, while Humble Pie was formed by The Eagles ..........................................6–7 -
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. -
Festeja Sus 55 Años En Glastonbury
27/06/2010 12:39 Cuerpo E Pagina 2 Cyan Magenta Amarillo Negro 2 LUNES 28 DE JUNIO DE 2010 ETCÉTERA TRADICIÓN Y VERDAD EN CORTO Festeja sus 55 años Pagan fortuna Cara de ángel y por su vestido alma asesina Kylie Minogue demostró su Kika Édgar será “Paula bai- apoyo a la lucha contra el larina” en Mujeres asesinas sida vendiendo uno de sus 3; además promociona su en Glastonbury vestidos. La menuda artista más reciente álbum, Señor pop australiana subastó un amante. Aunque estaba deci- vestido negro sin mangas y dida a enfocarse completa- con la espalda al desnudo en mente en la promoción de su un ostentoso evento, realiza- tercera producción discográ- do el viernes al margen de la fica y olvidarse por un rato semana de la moda masculi- Será miembro de de la actuación, Pedro To- na en París. La pieza del dise- rres, productor de la serie, lo- ñador Jean Paul Gaultier fue la Academia gró convencerla de volver a vendida en 20 mil euros (24 El actor Christoph Waltz se- los foros de televisión para mil 770 dólares). rá miembro de la academia darle vida a Paula. del cine estadounidense, in- formó la Academy of Motion Picture Arts and Sciences. El australiano está entre los 135 cineastas invitados este año a entrar en la orga- nización y que podrán votar en la próxima entrega de los Oscar, a lo que a externado su profundo agradecimiento y orgullo sin confirmar su participación. AGENCIAS Aniversario. El primer guitarrista, cantante, compositor y co-fundador de la banda punk británica The Clash, celebró 55 años de vida en pleno Festival Glastonbury 2010. -
Morality in the Music Press, 1967-1983 by Patrick Michael John
Sometimes Good Guys Don’t Wear White: Morality in the Music Press, 1967-1983 by Patrick Michael John Glen A thesis submitted for the degree of Doctor of Philosophy Department of History November 2012 Abstract Sometimes Good Guys Don’t Wear White: Morality in the Music Press, 1967- 1983 This thesis argues that between 1967 and 1983 the music press became increasingly embroiled in extra-musical, social and cultural issues. The music press provided an arena for editors, journalists, musicians and readers to debate social mores. This has gone unnoticed in the existing historiography. The music press – which was conventionally assumed to favour ‘permissiveness’ – hosted a variety of different moral viewpoints that challenge our understanding of conversations on social mores from 1967-1983. Bringing the music press to the fore of historical analysis in this period illustrates that British moral discourse was complex, fragmented and drew from a variety of narratives from the conservative to the radical. The thesis examines how moral debates emerged in the late-1960s’ music press and then investigates the most salient themes that elicited discussions. These themes include youthful rebellion and generational divisions, sex, sexuality, drug use, gender, anti-racism, violent transgression, urban decay and alienation. The thesis analyses how these themes were narrated in the music press and identifies multiple viewpoints were articulated in reference to other tensions that affected moral conversations, such as the music press’s commercial concerns and journalistic styles. It recognises that the music press gave journalists, musicians and readers considerable scope to express their views. Thus the music press is a unique source for gauging the sentiments and proclivities of youth, music subcultures, the press and music industry. -
Was Born in Stepney, London Started Playing Drums When He Was 15 Years Old
Terry Chimes Terry Chimes (5/7/1956) was born in Stepney, London started playing drums when he was 15 years old. Terry was a founder member of The Clash, along with Paul Simon & Mick then team up with Joe Strummer and Keith Levene and formed The Clash. Terry played with The Clash from July 1976 to November 1976, January 1977 to April 1977, and again from May 1982 to February 1983. Both Chimes and Levene subsequently left, but Chimes was brought back to record the band's self-titled debut album “The Clash”. On the album sleeve he was credited as Tory Crimes. After recording the album Chimes left the band once again and was replaced by Topper Headon. In 1982, Headon was forced out of the band and Chimes was asked to rejoin for a U.S. tour, a tour supporting The Who, and the following UK tour. He is also in the music videos for, "Rock the Casbah", ”Should I stay or Should I Go”, and ”Career Opportunities.” After leaving The Clash, Chimes drummed in other bands including Johnny Thunders and the Heartbreakers in 1977 and 1984, Cowboys International in 1979, Generation X with Billy Idol from 1980 to 1981, Hanoi Rocks in 1985, The Cherry Bombz in 1986 (with ex Hanoi Rocks members Andy McCoy and Nasty Suicide and ex Sham 69/Wanderers/The Lords of the New Church Dave Tregunna) Terry briefly also toured with Black Sabbath from July 1987 through December 1987 on their Eternal Idol Tour in 1988. After 15 years he left the music business to pursue a career in alternative medicine and became a doctor of chiropractic and also an acupuncturist. -
Hitsville Uk: Punk Rock and Graphic Design in the Faraway Towns, 1976-84
Title Hitsville UK: Punk rock and graphic design in the faraway towns, 1976-84 Type Thesis URL http://ualresearchonline.arts.ac.uk/2296/ Date 2007 Citation Bestley, Russell (2007) Hitsville UK: Punk rock and graphic design in the faraway towns, 1976-84. PhD thesis, University of the Arts London. Creators Bestley, Russell 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 HITSVILLE UK: PUNK ROCK AND GRAPHIC DESIGN IN THE FARAWAY TOWNS, 1976-84 Thesis submitted for the degree of Doctor of Philosophy at the University of the Arts London by Russell Bestley School of Graphic Design London College of Communication October 2007 ACKNOWLEDGMENTS With thanks to my PhD supervisory team at the University of the Arts London: Janice Hart, Stuart Evans, Angus Carlyle and especially Roger Sabin for all their help and advice throughout the duration of this research. I would also like to thank John Robb, Ian Glasper, Alex Ogg, Roddy Moreno, Mike Dines, Dave Muggleton, Nikki Clayton and Kev Lycett for their time and patience in responding to my questions via email and in person, and my colleagues in the School of Graphic Design at the London College of Communication for their expertise, advice and support – Paul McNeil, Tony Credland, Ian Noble and Penny Hilton. The interactive and exhibition work would have been impossible without the valuable help of Rob Bevan, Alex and Chrysostomos at Company, Ged Babey, Tony Whatley and Rich Levene in Southampton, Les Buckingham at the Millais Gallery, Rhidian Davis at the BFI and Jenny Russell at the Rebellion Festival. -
Coversheet for Thesis in Sussex Research Online
A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details WITCHCRAFT AND THE BOOK TRADE IN EARLY MODERN ENGLAND Simon Francis Davies PhD Early Modern Literature and Culture University of Sussex September 2012 ii I hereby declare that this thesis has not been and will not be submitted in whole or in part to another university for the award of any other degree. Signature: iii University of Sussex Simon Davies DPhil Early Modern Literature and Culture Witchcraft and the Book Trade in Early Modern England Summary This thesis presents a study of the production and reception of English writing on witchcraft from the period 1560-1660 using the methodologies of the history of the book and the history of reading. The body of works under consideration includes scholarly treatises, news pamphlets, drama and ballads. The origins, literary contexts, production, dissemination and reception of these works are considered across the period. Analysis of reception involves consideration of contemporary library holdings, citations in print, binding and contemporary annotations; this section is based on study of the holdings of a number of research libraries in England and North America. -
Len Deighton. Ss-Gb (1978)
LEN DEIGHTON. SS-GB (1978) Len Deighton was born in London in 1929. He worked as a railway clerk before doing his National Service in the RAF as a photographer attached to the Special Investigation Branch. After his discharge in 1949, he went to art school--first to the St Martin's School of Art, and then to the Royal College of Art on a scholarship. It was while working as a waiter in the evenings that he developed an interest in cookery--a subject he was later to make his own in an animated strip for the Observer and in two cookery books. He worked for a while as an illustrator in New York and as art director of an advertising agency in London. Deciding it was time to settle down, Deighton moved to the Dordogne where he started work on his first book, The Ipcress File. Published in 1962, the book was an immediate and spectacular success. Since then he has written twenty-one books of fiction and non-fiction-- including spy stories, and highly-researched war novels and histories--all of which have appeared to international acclaim. Nazi-occupied Britain 1941 "In England they're filled with curiosity and keep asking, 'Why doesn't he come?' Be calm. Be calm. He's coming. He's coming!" Adolf Hitler. 4 September, 1940 at a rally of nurses and social workers in Berlin. Instrument of surrender--English Text *Of all British armed forces in United Kingdom of Great Britain and Northern Ireland including all islands* 1. The British Command agrees to the surrender of all British armed forces in the United Kingdom and Northern Ireland including all Islands and including military elements overseas. -
APUNTES NOVELA Punk-Años 80 Y 90
APUNTES NOVELA Punk-años 80 y 90 PDF generado usando el kit de herramientas de fuente abierta mwlib. Ver http://code.pediapress.com/ para mayor información. PDF generated at: Thu, 05 May 2011 21:17:02 UTC Contenidos Artículos Movimiento punk 1 Años 1980 12 The Clash 43 Juicio a las Juntas 57 Años 1990 62 Referencias Fuentes y contribuyentes del artículo 76 Fuentes de imagen, Licencias y contribuyentes 77 Licencias de artículos Licencia 79 Movimiento punk 1 Movimiento punk El movimiento punk es la contracultura que rodea a la música punk y los aficionados a ella. Usualmente vinculada a outsiders por la cultura popular, las prácticas contraculturales punks incluyen una serie de códigos de comportamiento, lenguaje, vestimenta y temáticas que se han vuelto recurrentes y que los distinguen. Su principal medio de expresión son los conciertos del género ("escena") y las publicaciones de aficionados ("fancine"). Historia Esta era la visión de no future (‘no futuro’) que ya para mediados de los años setenta tenían muchos jóvenes que veían como la sociedad se enfrentaba a una crisis profunda. Parecían haber sido llamados por los hombres de la escuela de Fráncfort (Adorno, Horkheimer, Marcuse, etc...) a llevar de un modo personal la teoría crítica. La industria musical cultural había generado un cúmulo de grandes escenarios, donde megaestrellas pop llenas de luces, vestuario y contratos millonarios con las grandes discográficas, simbolizaban la realidad de un estilo de vida que no identificaba a muchos jóvenes que se sentían día a día cada vez más marginados por el sistema. Londres fue el epicentro, la crisis del petróleo sumada a otros factores habían traído como resultado una importante desocupación, crecimiento de los barrios pobres, falta de respuestas y la perspectiva de un horizonte negro a aquellos sueños de realización que habían sido la meta de las generaciones anteriores.