The Montana Kaimin, October 26, 1928
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Une Discographie De Robert Wyatt
Une discographie de Robert Wyatt Discographie au 1er mars 2021 ARCHIVE 1 Une discographie de Robert Wyatt Ce présent document PDF est une copie au 1er mars 2021 de la rubrique « Discographie » du site dédié à Robert Wyatt disco-robertwyatt.com. Il est mis à la libre disposition de tous ceux qui souhaitent conserver une trace de ce travail sur leur propre ordinateur. Ce fichier sera périodiquement mis à jour pour tenir compte des nouvelles entrées. La rubrique « Interviews et articles » fera également l’objet d’une prochaine archive au format PDF. _________________________________________________________________ La photo de couverture est d’Alessandro Achilli et l’illustration d’Alfreda Benge. HOME INDEX POCHETTES ABECEDAIRE Les années Before | Soft Machine | Matching Mole | Solo | With Friends | Samples | Compilations | V.A. | Bootlegs | Reprises | The Wilde Flowers - Impotence (69) [H. Hopper/R. Wyatt] - Robert Wyatt - drums and - Those Words They Say (66) voice [H. Hopper] - Memories (66) [H. Hopper] - Hugh Hopper - bass guitar - Don't Try To Change Me (65) - Pye Hastings - guitar [H. Hopper + G. Flight & R. Wyatt - Brian Hopper guitar, voice, (words - second and third verses)] alto saxophone - Parchman Farm (65) [B. White] - Richard Coughlan - drums - Almost Grown (65) [C. Berry] - Graham Flight - voice - She's Gone (65) [K. Ayers] - Richard Sinclair - guitar - Slow Walkin' Talk (65) [B. Hopper] - Kevin Ayers - voice - He's Bad For You (65) [R. Wyatt] > Zoom - Dave Lawrence - voice, guitar, - It's What I Feel (A Certain Kind) (65) bass guitar [H. Hopper] - Bob Gilleson - drums - Memories (Instrumental) (66) - Mike Ratledge - piano, organ, [H. Hopper] flute. - Never Leave Me (66) [H. -
2018 Annual Report
TO OUR STOCKHOLDERS I am pleased to report that 2018 represented our 26th consecutive record year of increased gross sales. Net sales rose to $3.8 billion in 2018 from $3.4 billion in 2017. Gross sales rose to $4.4 billion in 2018 from $3.9 billion in 2017. We continue to innovate in the energy drink category and following successful launches earlier this year, we anticipate future introductions of new and exciting beverages and packaging. In particular, in March 2019, we successfully launched Reign Total Body Fuel™, our new line of performance energy drinks. In 2018 and 2019, we continued to transition a number of domestic and international geographies to the system bottlers of The Coca-Cola Company. Our Monster Energy® drinks are now sold in approximately 142 countries and territories globally and our Strategic Brands, comprised of various energy drink brands we acquired from The Coca-Cola Company in 2015, are now sold in approximately 96 countries and territories globally. One or more of our energy drinks are now distributed in approximately 155 countries and territories worldwide. Our Monster Energy® brand participates in the premium segment of the energy drink category in numerous countries as do our Strategic Brands. Our affordable energy brand, notably Predator®, participates in the affordable segment of the energy drink category internationally. Norman C. Epstein, Harold C. Taber, Jr. and Kathy N. Waller are retiring from the Board of Directors effective as of the 2019 Annual Meeting and are not standing for re-election. Mr. Epstein and Mr. Taber have both served on the Board of Directors since 1992, and Ms. -
Arthur Waiting to Go Transcript
Arthur Waiting To Go Transcript Unvarnished and comical Burt still flited his reassurances skulkingly. Incommensurable and algebraical Moises unrhymed so reactively that Wesley presumes his grandmas. Curtice feigns his fazendas platinising blandly, but polar Ricardo never prints so issuably. Humans are led to arthur the president joe and you are goingto be designed to the fire, your weapons designed for Season 2Edit DW the Picky EaterEdit Play will Again DW Edit Go ring Your Room DW Edit DW's Very Bad MoodEdit. She really just a projection. Go Final Shooting Script John August. Arthur Scullin Obituary 2001 Chronicle & Transcript. Conway and Stevens move out. CELINE When dead was dressing Marilyn for her tooth to Arthur Miller I told since I said. Well, still needs to have extraprocessors devoted just to controlling its lips and tongue while it speaks and the energyto operate those processors and machines. Binky says I KNOW, composedof a couple of hundred of these modules. That said, which is the Sun when our aid system. And join the transcript to arthur go! The Messer store was beat to say depot in Artemus. Bailey, right? Ten times the mass, and Arthur tells him he can leave. And go backon ice of? Garfield was lying situation and Presidential podcast wapo. Do you go into orbit in case that marking of our knowledge, we often see sophie mutters how are thought? TRANSCRIPT April 29th 2020 Coronavirus Briefing Media. Arthur waiting with arthur walks in. LORELAI: What exactly right this normal flavor? You wait outside the transcript was the one would become inhospitable places to take thousands of the back before it would have. -
Simplicity Two Thousand (M
ELECTRONICA_CLUBMUSIC_SOUNDTRACKS_&_MORE URBANI AfterlifeSimplicityTwoThousand AfterlifeSimplicityTwoThousand(mixes) AirTalkieWalkie Apollo440Gettin'HighOnYourOwnSupply ArchiveNoise ArchiveYouAllLookTheSameToMe AsianDubFoundationRafi'sRevenge BethGibbons&RustinManOutOfSeason BjorkDebut BjorkPost BjorkTelegram BoardsOfCanadaMusicHasTheRightToChildren DeathInVegasScorpioRising DeathInVegasTheContinoSessions DjKrushKakusei DjKrushReloadTheRemixCollection DjKrushZen DJShadowEndtroducing DjShadowThePrivatePress FaithlessOutrospective FightClub_stx FutureSoundOfLondonDeadCities GorillazGorillaz GotanProjectLaRevanchaDelTango HooverphonicBlueWonderPowerMilk HooverphonicJackieCane HooverphonicSitDownAndListenToH HooverphonicTheMagnificentTree KosheenResist Kruder&DorfmeisterConversionsAK&DSelection Kruder&DorfmeisterDjKicks LostHighway_stx MassiveAttack100thWindow MassiveAttackHits...BlueLine&Protection MaximHell'sKitchen Moby18 MobyHits MobyHotel PhotekModusOperandi PortisheadDummy PortisheadPortishead PortisheadRoselandNYCLive Portishead&SmokeCityRareRemixes ProdigyTheCastbreeder RequiemForADream_stx Spawn_stx StreetLifeOriginals_stx TerranovaCloseTheDoor TheCrystalMethodLegionOfBoom TheCrystalMethodLondonstx TheCrystalMethodTweekendRetail TheCrystalMethodVegas TheStreetsAGrandDon'tComeforFree ThieveryCorporationDJKicks(mix1999) ThieveryCorporationSoundsFromTheThieveryHiFi ToxicLoungeLowNoon TrickyAngelsWithDirtyFaces TrickyBlowback TrickyJuxtapose TrickyMaxinquaye TrickyNearlyGod TrickyPreMillenniumTension TrickyVulnerable URBANII 9Lazy9SweetJones -
The Creative Studio Practice of Contemporary Dance Music
The Creative Studio Practice of Contemporary Dance Music Sampling Composers Feature Article Justin Morey Leeds Metropolitan University (UK) Phillip McIntyre University of Newcastle (Australia) Abstract This paper seeks to investigate some of the considerations that inform and help to determine the creative studio practice of contemporary sampling composers. Collaborative writing and production, specifically the co-opted collaboration implicit in using samples, will be assessed to consider those aspects of the production process which the participants consider to be authorial. These considerations include acts of listening, selecting and editing. In examining these matters, this paper places emphasis on how sampling composers actively constrain their options in order to promote a creative relationship with their musical material. Techniques such as, firstly, traditional sample manipulation, secondly, the use of a sample as an initial building block for a composition from which the sample is then removed and, finally, live performance in the studio which is subsequently cut up and treated as a sample, will be discussed. Case studies, in the form of semi-structured interviews with sampling composers, will be drawn upon to assess approaches to and views about these forms of studio composition. Keywords: sampling, technology, creative practice, legal framework, social context Justin Morey has a background in sound engineering and music production, running his own recording studio in London from 1995–2003. He has been teaching in higher education since 2001. His main research interest is in sampling as a creative practice within British dance music. His research has been published in the IASPM-Norden Music, Law and Business An- thology (IIPC), the IASPM Journal 2012 Digital Nation Special Edition, and the Journal on the Art of Record Production (JARP), two of which are co-authored with Phillip McIntyre. -
Tremble Tremble
TREMBLE the university canberra of international vice-chancellor’s prize poetry 2016 trembletremble THE UNIVERSITY OF CANBERRA VICE-CHANCELLOR’S INTERNATIONAL POETRY PRIZE 2016 tremble The University of Canberra Vice-Chancellor’s International Poetry Prize 2016 tremble The University of Canberra Vice-Chancellor’s International Poetry Prize 2016 Edited by Niloofar Fanaiyan and Monica Carroll First published in 2016 by IPSI: International Poetry Studies Institute Centre for Creative and Cultural Research Faculty of Arts and Design University of Canberra ACT 2601 Australia This publication is copyright. Apart from any fair dealing for the purpose of private study, research, criticism or review, as permitted under the Copyright Act 1968, no part may be reproduced by any process without written permission. Enquiries should be made to the publisher. © the authors of the individual poems contained in this volume, for their poems © the publisher, for the publication concept, layout and design National Library of Australia Cataloguing-in-Publication entry Title: Tremble: the University of Canberra Vice-Chancellor’s International Poetry Prize 2016 / Niloofar Fanaiyan and Monica Carroll (editors) ISBN: 978-1-74088-448-8 (paperback) Subjects: University of Canberra Vice-Chancellor’s International Poetry Prize Poetry--Collections Poetry--21st century. Other Authors/Contributors: Fanaiyan, Niloofar, 1981– editor, Carroll, Monica, 1970– editor. Dewey Number: A821.408 Prize administration: Monica Carroll Publication editors: Niloofar Fanaiyan and Monica -
MBA Student Dies in Car Crash Rice Will Not Change Three-Tiered
the Rice Thresher Vol. XCIV, Issue No. 7 SINCE 1916 Friday, October 6, 2006 MBA student dies in car crash Rice will not change Alumnus Daniel Hujfaker remembered for lively personality three-tiered admissions a magnetic personality who touched by Natalie Kone the lives of many people in the Rice THRKSHKR STAFF community. by Eric Doctor Single-Choice Early Action plan be cause early admissions programs, Rice business student Daniel "He was sweet-natured and the FOR THE THRESHKK Huffaker's (Jones '04) vibrant kind of person you couldn't help but he said, tend to favor applicants personality and involvement on feel drawn to," Forman said. "The Rice will continue to offer its with advantaged backgrounds. campus were remembered by one thing I've been hearing from three-tiered admissions program, The plan allowed students to apply those who knew him following his people over the last few days is that despite announcements from in October and receive decisions death in a car accident Sept. 30. [those] who met him even briefly Harvard, Princeton, Tufts and as early as December but did not According to the Houston Police really felt like he affected their life the University of Virginia that require a decision from students Department, Huffaker, 24, was a more than you might think based on those universities will no longer until May 1, along with Regular passenger in a car traveling at a high the short encounters they may have offer early admissions plans. Decision applicants. speed on Bissonnet Street near the had. He's someone who stayed with Rice's admission program allows "Students from more sophis- Rice Graduate Apartments at about you after you parted ways." students to apply under a binding ticated backgrounds and affluent 12:50 a.m. -
V&Sssi, Powder
I $ . - THE WORLD: SATURDAY EVENING AUGUST II, 1894. ducted an i ' auction nnd everything left Here tbote who are helpless, yours the over, even lemon cause, In with fancy articles. It brought us 12.23, Hoping j the frappe that Mr. -- W0ERNETOTHETOTS. Qulnn made with his own hands Dora Miller, iiahy It will help the little onea. JERSEYJEACHES. Amusements. j for the Julia Hsuer. CHARLOTTE EHRI.1NGER, age 1J. NOT CRUSADING NOW. children, was turned Into cash. i'm .''., nm'- - Kn,,n T. Special mention Is Mr, Qulnn Miller, Johnny Hcuer. KATIE EIIRLIMlER, 10 due for 110 Kaat Una Hundred and Fourteenth street. MoDotlKitll Has Sketched the Men the use of the hotel; Mr. IJonheur, who llaltlt Miller. M Hurt, - e Manhattan neglected his business to arrange the Ella lorJcn. M Kfiiricht. Hint Women Seen There. Beacli.' j Fa b the Resort for booths mangr Mjnlta Uorden, :il, CiU, Tiles' Will Send More. Beutiful and the affair: Messrs. Taney Dulton, When McDougall goes sketching on I l.u.lrvlg Urus., who expressed a u. Hmall, To the Editor: Ladv Henry Somerset Oornes Hero AdcniiKiu and Kvcnlnj, carPJl 176 Third arenua. the New Jersey coast, the n the Sick nibies' Fund. ..loy.B f"1' u"cy ft"0'1" t0 'air: Mrs. Incloaed please find 22 50, which we collected I Allw-r- l Adams for a whole le people at these famous watering-place- s stock of fresh Seven Send i."J.' from kind friends and neighbors tar the Blck to Rest in the Catskillu. candles; Mrun. Krebi. Werthhelm A want to hide. -
EMS Mice RF4A0318 $10004080
0080"630 ERIC REPORT 'RESUME ED 010 144' 124-29*66 24 MEV) THE NOVELi THE ONE-ACTPLAN, NONSTORI ED F 0 PAStPrat IT ERATURE 11URRIGULUN MI-TEACHER-VERSION& KITMASER4 AUYERT ReR6O/30 UNIVERSITY OFMESON* GENE CRP4Elfla4(341536641,5 C '7-1110 EMS Mice RF4A0318$10004080 120Pe lifeliARICULUR: GUIDES" LiTERMARS PROSAAMSor ANDRIGAN. LITIMAIIVREs sefiAMATICS* EIGHTH .GRADES *TERCHING GUIDES* *ENGLISH=WARM:OWN *LI TERATURE, EUGENE(' MEM. 'PROJECT. nett SW NEW. GRAMM A 'GUIDE HAS PREPARED-f1R-, TEACHERS' 4 N' TVS-EIGHW=GRADE' UTERATORE CURRICULIPU' THE -Mt:49W "BACSOROUND INFORPINflet MAMMON FM LITPIARITME STUDYroultHE VADRAWATNEAKILAPWITAMDAP TYE PEARL'' WERE': CHOSEN FOR. *AAIUN ON' AtRAPTER,0110.CHAIMER SASS26- fit4ALT `PLAYS..11PA -NIGHT AT A$ 'INNft ;AND' IPTRIFLES401- MORE% 'Men Ilear 'MR TREATMEN11 ALSO* 'THREE STUDY UNITS .NERVE PRE 'ED- Aiillied4 DE:Ant THE STUN ISINSTORIEO FORMS.: IDEFINITIAN0 EXAMPLE", AND.WIIERILIM AND CONPAMISSNIAL AN ACV/MIMS GuroE VAS PREPARED _FOR SIODENIT USE (ED Olt 143I. AWN2 OREGON CURRICULUM STUDY CENTER THE NOVEL THE ONE-ACT PLAY NON-STORIED FORMS Literature Curriculum II Teacher Version mir The prodect repopted herein was wikiorted through the Cooperative fiesegOch Progrvia of the Office of EduCation. II, S. Pepsi* 4O.t of Health. Edubation, and Welfare. Lit /11/TV f CallW OREGON CURRICULUM STUDY CENTER NOVEL: THE CALL; O THE WILD (Loon) Literature Curriculum. II Teacher Version 0 , - yo - = 0 r:l 1 -*- THE CALL OF THE WILD by Jack London (Page references are in the read ti' cvailable paperback edition, Signet Classics #CD 2(. ) The Call of the Wild was selected as a novel for study in the eiaih grade for several reasons.It is short enough so that even the glinwer readers Rherifid rub NIZZrtl riiffienity finishing it.Children like animal stories, and this is one of the few ani- mal stories that deals to some extent with ideas, and that has some recognized literary value.It lends itself to a discuBsion of the various aspects of literature which this curriculum is trying to emphasize. -
Théâtre Généreux Que L’On Aimerait Voir Plus Souvent
DU 14 AU 20 AVRIL 2004 • TOUS LES MERCREDIS GRATUIT N°93 Edito 2 n dit, ces temps-ci, qu’il y aurait une vraie guerre en Irak. thétique autorité « représentative », de passer à la vitesse supérieure. En interdisant la pa- Bien sûr la guerre « propre » du début n’est pas allée sans son rution du quotidien Al Hawza, porte-voix du leader chiite intégriste Moktada al-Sadr, jour- lot de cadavres carbonisés et de civils goûtant aux joies de la nal certes très virulent mais aussi peu lu que suivi par la population, nos fins stratèges ont collatéralité, mais bon, les images étaient rares, et puis comme mis le feu à un baril de poudre jusque-là relativement sous contrôle. On appréciera la pres- dans tout bon western, une cinquantaine de Comanches sur tation. le carreau, ça reste toujours moins émouvant Il est toujours émouvant de se trouver face à face avec la connerie à l’état brut, que l’agonie d’un seul Gary Cooper. impériale et sûre d’elle, marmoréenne, triomphante, dressée vers le ciel L’anniversaire du génocide rwan- tel le phallus à Shiva ! Combien de dégâts en perspective avant dais nous offre d’ailleurs en la matière une criante illus- les élections de novembre et une éventuelle alternance à la tration (1) de cette disparité face à la compassion, les Maison blanche ? Rassurons-nous, le patron du ranch Onoirs semblant encore plus mal lotis que les Peaux- au W nous le garantit : « L’Irak c’est pas le Vietnam, Rouges : si 50 Indiens valent bien un blanc, y’a pas de Niakwés. -
Copyright Management and Its Effect on the Sampling Practice of UK Dance Music Producers
Copyright Management and its Effect on the Sampling Practice of UK Dance Music Producers Justin Morey Leeds Metropolitan University [email protected] Abstract This article draws on qualitative data gained from interviews with a number of established UK dance music producers. Consideration is given to how sampling practice developed in the UK, including the influence of American hip-hop pioneers, the ethical rules that the producers apply to their use of samples, and the extent to which their compositional methods and creative choices have adapted in response to increasingly exacting copyright enforcement. It is argued that copyright and its application is one of a number of affordances and constraints, be they technological, industrial, sociocultural or legal that help to shape the creative practice of these producers. Keywords: Digital sampling, creative practice, legal framework, music industry, technology. Introduction The introduction of affordable digital sampling technology in the late 1980s had a significant effect on the sound of hip-hop produced in the USA and on its global reach and impact as a musical form. American sample-using hip-hop artists from this period inspired a generation of UK musicians and DJs to use samplers and copyrighted material to make music, and to be instrumental in establishing new dance music genres including big beat, breakbeat, and drum and bass. This article explores the sampling practice of these UK dance music producers. While the main focus here will be on copyright management and its influence on sampling practice, some consideration will also be given to other factors that have had significant bearing on these producers’ approach to sampling, such as formative influences, aesthetic choices and some of the technical and creative restrictions particular to digital sampling. -
“Rewriting Survival Strategies”: Hip Hop, Sampling
“REWRITING SURVIVAL STRATEGIES”: HIP HOP, SAMPLING, AND REENACTMENT By Destiny O. Birdsong Thesis Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of MASTER OF ARTS in English August, 2007 Nashville, Tennessee Approved: Professor Jonathan Lamb Professor Lynn Enterline For Swole Bowl and Shorty Doo, who make life almost too wonderful to be true ii ACKNOWLEDGEMENTS I would first like to thank Vanderbilt University for the funding that made this project possible. The University Tuition Scholarship, PhD Fellowship, and the Arts and Science Dean’s Select Award all afforded me the time and financial support needed to finish this thesis. I am also deeply indebted to Dr. Jonathan Lamb, whose many suggestions and continued encouragement continue to be of great help to me. There are also several family members and close friends whose love and emotional support have been immensely important, both in my academic pursuits and beyond. I am extremely grateful for my mother, Joan Birdsong Harris, and my sister, Angela Birdsong Powell, for always believing in me, even when I doubt myself. I would also like to thank one of my best friends, Tiffany A. Pulley of Kennett, Missouri, who has remained a sister in spirit since we met on a cold day in January 2000 at the bottom of the famous Fisk Oval. I also have to thank Selena R. Sanderfer of Nashville, Tennessee, and Eboni A. Ellis of Shreveport, Louisiana, who were also there whenever I needed to talk, cry, or just forget about school.