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A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/ 84893 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications Culture is a Weapon: Popular Music, Protest and Opposition to Apartheid in Britain David Toulson A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in History University of Warwick Department of History January 2016 Table of Contents Acknowledgements………………………………………………………………...iv Declaration………………………………………………………………………….v Abstract…………………………………………………………………………….vi Introduction………………………………………………………………………..1 ‘A rock concert with a cause’……………………………………………………….1 Come Together……………………………………………………………………...7 Methodology………………………………………………………………………13 Research Questions and Structure…………………………………………………22 1)“Culture is a weapon that we can use against the apartheid regime”……...25 The Cultural Boycott and the Anti-Apartheid Movement…………………………25 ‘The Times They Are A Changing’………………………………………………..34 ‘Culture is a weapon of struggle’………………………………………………….47 Rock Against Racism……………………………………………………………...54 ‘We need less airy fairy freedom music and more action.’………………………..72 2) ‘The Myth -
Excesss Karaoke Master by Artist
XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not -
THE WORLD PREMIERE CONCERT FILM of F*CK7THGRADE BEGINS STREAMING on JANUARY 25Th Singer/Songwriter Jill Sobule Shares Her Rock & Roll Life Story on Screen
CONTACT: Nikki Battestilli Marketing Director [email protected] CityTheatreCompany.org FOR IMMEDIATE RELEASE THE WORLD PREMIERE CONCERT FILM OF F*CK7THGRADE BEGINS STREAMING ON JANUARY 25th Singer/Songwriter Jill Sobule Shares Her Rock & Roll Life Story On Screen Performers: Jill Sobule, Kristen Henderson, Sarah Siplak, and Julie Wolf Pittsburgh, PA (January 10, 2021): As the Covid-19 pandemic continues to prevent a safe return to indoor performances, City Theatre is excited to announce the world premiere concert film of F*ck7thGrade. F*ck7thGrade began its journey at City Theatre three years ago when Associate Artistic Director and dramaturg Clare Drobot met singer/songwriter Jill Sobule in New York. City Theatre paired Ms. Sobule with playwright Liza Birkenmeier, who wrote the book for the show, and workshopped and presented what would become F*ck7thGrade in the theater’s 2018 Momentum Festival of New Plays. After adding OBIE Award-winning director Lisa Peterson and music director Julie Wolf to the creative team, the show was further developed at the Colorado New Play Festival in Steamboat Springs and at Actor’s Express in Atlanta, supported by the National New Play Network. The world premiere production was slated as the final show of City Theatre’s 2019/20 season when the Covid-19 pandemic stopped live performances across the country. The team at City Theatre created an outdoor, drive-in venue at Hazelwood Green and staged the concert version of the show over three nights in front of an invited audience. Videographers Mickey and Molly Miller of Human Habits captured the show live and served as editors, working closely with the directors, sound engineer Brad Peterson, and City Theatre’s artistic staff to create this theatrical, multi-camera concert film. -
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. -
Durabteilung Beginn Auf 1, Eventuell Zweite Molltonika
Vier unterschiedliche Stufen Durabteilung Beginn auf 1, eventuell zweite Molltonika 1234 Parallelprogression Ärzte, Die: Himmelblau (S, G), Beatles, The: Here there and everywhere (S), Culcha Candela: Hamma! (S), Cure, The: Boys don't cry (S, R), Billy Joel: Uptown girl (S 123[45]), Juanes: La camisa negra (R), Mark Forster: Bauch und Kopf (R 123/74) 1235 (Parallelprogression), 1236 (Parallelprogression), 1243 1245 7 Years Bad Luck (Punkrock): A plain guide (to happiness) (I), Aerger (Deutschpop): Kleine Schwester (I, R) Vanessa Amorosi (Bravopop): Shine (R), Tina Arena (Cover): Show me heaven (R), Bachman Turner Overdrive: Hey you (R), Jennifer Brown: Naked (I, R), Joe Cocker: No ordinary world (R), Jude Cole: Madison (S, R), Corrs, The: All the love in the world (S), Counting Crows: Rain king (R), Nelly Furtado: In god’s hands (R), Faith Hill: Breathe (R), Gewohnheitstrinker (Punk): High Society (R), Michael Jackson: My girl (B), Jack Johnson: Upside down (R), Labrinth feat. Emeli Sandé (Reggae): Beneath your beautiful (T), Fady Maalouf (Bravopop): Blessed (Rf), Maroon 5 (Alternativepop): Won’t go home without you (R11224511), Amanda Marshall: Fall from Grace (I, S, R), Don McLean: Vincent (S), Melanie C: If that were me (S, R), Metro Station (Bravopop): Shake it (B), Alanis Morissette: Ur (T), Nena: 99 Luftballons (S, R), Laura Pausini: Il mio sbaglio più grande (I, S, R), Katy Perry: Thinking of you (R bzw. 124-4), Reamon: Josephine (I, S), Reel Big Fish (Skarock): Somebody hates me (Rf), Sell out (I, S, Z1), Savage Garden: I knew -
The Right Profile: Economic Drivers and the Outlook
FRBSF ECONOMIC LETTER 2016-05 February 22, 2016 The Right Profile: Economic Drivers and the Outlook BY JOHN C. WILLIAMS Headline news can give false impressions of what motivates monetary policymakers. While international developments and financial market volatility are closely monitored, what matters for policy is how those things affect jobs and inflation. The U.S. economy has had strong job growth, and inflation is low but on course to reach target. The best course remains a gradual pace of policy rate increases. The following is adapted from a presentation by the president and CEO of the Federal Reserve Bank of San Francisco to Town Hall Los Angeles on February 18. Good afternoon, it’s a pleasure to be here. I gave my first public speech as President of the San Francisco Fed at Town Hall Los Angeles nearly five years ago. I always enjoy coming back. I’ll start out by stating something you all know. The Federal Reserve has a dual mandate: maximum employment and price stability. We want everyone who wants a job to be able to find one and for inflation to average 2% per year. I mention this because there are aspects of the current discussion—and worry—about the economy and monetary policy that should be seen in context. The narrative of the punditry can sound alarming, and can give a false impression of what motivates monetary policymakers. Today I’d like to talk about where we are on each of those goals, where I see the economy headed, and put some of those concerns in context. -
Why Am I Doing This?
LISTEN TO ME, BABY BOB DYLAN 2008 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, RECORDINGS & BOOKS. © 2011 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Listen To Me, Baby — Bob Dylan 2008 page 2 of 133 1 INTRODUCTION .................................................................................................................................................................. 4 2 2008 AT A GLANCE ............................................................................................................................................................. 4 3 THE 2008 CALENDAR ......................................................................................................................................................... 5 4 NEW RELEASES AND RECORDINGS ............................................................................................................................. 7 4.1 BOB DYLAN TRANSMISSIONS ............................................................................................................................................... 7 4.2 BOB DYLAN RE-TRANSMISSIONS ......................................................................................................................................... 7 4.3 BOB DYLAN LIVE TRANSMISSIONS ..................................................................................................................................... -
The White Animals
The 5outh 'r Greatert Party Band Playr Again: Narhville 'r Legendary White AniMalr Reunite to 5old-0ut Crowdr By Elaine McArdle t's 10 p.m. on a sweltering summer n. ight in Nashville and standing room only at the renowned Exit/In bar, where the crowd - a bizarre mix of mid Idle-aged frat rats and former punk rockers - is in a frenzy. Some drove a day or more to get here, from Florida or Arizona or North Carolina. Others flew in from New York or California, even the Virgin Islands. One group of fans chartered a jet from Mobile, Ala. With scores of people turned away at the door, the 500 people crushed into the club begin shouting song titles before the music even starts. "The White Animals are baaaaaaack!" bellows one wild-eyed thirty something, who appears mainstream in his khaki shorts and docksiders - until you notice he reeks of patchouli oil and is dripping in silver-and-purple mardi gras beads, the ornament of choice for White Animals fans. Next to him, a mortgage banker named Scott Brown says he saw the White Animals play at least 20 times when he was an undergrad at the University of Tennessee. He wouldn't have missed this long-overdue reunion - he saw both the Friday and Saturday shows - for a residential closing on Mar-A-Lago. Lead singer Kevin Gray, a one-time medical student who dropped his stud ies in 1978 to work in the band fulltime, steps onto the stage and peers out into the audience, recognizing faces he hasn't seen in more than a decade. -
Words+Images
ARTCRAFT BUILDING NONPROFIT ORG. 2570 SUPERIOR AVENUE US POSTAGE SUITE 203 PAID CLEVELAND, OHIO 44114 PERMIT #4248 MUSE IS THE QUARTERLY JOURNAL PUBLISHED BY THE LIT WWW.THE-LIT.ORG CLEVELAND, OH ISSN 1942-275X 07 M U S E I S THE QUARTERLY JOURNAL PUBLISHED BY THE LIT 9 771942 275009 WORDS+IMAGES JULY 25-30 A writing workshop for students entering grades 10, 11, and 12 www.hb.edu/young_writers PRESENTED BY ISSUE06.10 MUSE IS THE QUARTERLY JOURNAL PUBLISHED BY THE LIT We’ve all been there: Trapped, imprisoned. Some by bars. VOLUME 3, ISSUE 2 JUN 2010 Some by substance. Some by people. Imprisoned is a bad place. It strips us of humanity, creativity, altruism, self-love. JUDITH MANSOUR Editor/Publisher Words, music, and images—art—can be a way out, though. [email protected] In March, I met with some friends who have begun a new TIM L ACHINA nonprofit organization called Jail Guitar Doors. Yep, the Design Director [email protected] same name as the song by the Clash, written for guitarist Wayne Kramer of the MC5 during his prison stay in the 1980s. DAVID MEGENHARDT Founded by Wayne and Margaret Kramer, and Billy Bragg, Jail Managing Editor [email protected] Guitar Doors gets guitars to prison inmates so that those who are inclined have a creative release—one that doesn’t involve R AY M C NIECE drugs, violence, or other bad behavior. They have been met Poetry Editor [email protected] by turns, with amazing receptivity and support, as well as with hostility and resistance. -
Protest Music As Adult Education and Learning for Social Change: a Theorisation of a Public Pedagogy of Protest Music
Australian Journal of Adult Learning Volume 55, Number 3, November 2015 Protest music as adult education and learning for social change: a theorisation of a public pedagogy of protest music John Haycock Monash University Since the 1960’s, the transformative power of protest music has been shrouded in mythology. Sown by musical activists like Pete Seeger, who declared that protest music could “help to save the planet”, the seeds of this myth have since taken deep root in the popular imagination. While the mythology surrounding the relationship between protest music and social change has become pervasive and persistent, it has mostly evaded critical interrogation and significant theorisation. By both using the notion as a theoretical lens and adding to scholarship in the field, this article uncovers understandings of the public pedagogical dimensions of protest music, as it takes place as a radical practice and critical form of contemporary mass culture. In doing this, this article provides a theorisation of public pedagogy as it encapsulates protest music, and those who are conceptualised as the critical and radical public pedagogues who produce this mass cultural form. Keywords: public pedagogy; protest music; adult learning; education for social change 424 John Haycock Maybe it’s just the time of year Maybe it’s the time of man I don’t know who I am But life is for learning… Joni Mitchell, Woodstock, (1970), [side B, track 5]. Introduction The emergence of protest or a political popular music in the 1960s has been inextricably linked in the popular imaginary and public history with social change and youth revolt. -
The Uses and Misuses of Popular Music Lyrics in Legal Writing, 64 Wash
Washington and Lee Law Review Volume 64 | Issue 2 Article 4 Spring 3-1-2007 [Insert Song Lyrics Here]: The sesU and Misuses of Popular Music Lyrics in Legal Writing Alex B. Long Follow this and additional works at: https://scholarlycommons.law.wlu.edu/wlulr Part of the Legal Writing and Research Commons Recommended Citation Alex B. Long, [Insert Song Lyrics Here]: The Uses and Misuses of Popular Music Lyrics in Legal Writing, 64 Wash. & Lee L. Rev. 531 (2007), https://scholarlycommons.law.wlu.edu/wlulr/vol64/iss2/4 This Article is brought to you for free and open access by the Washington and Lee Law Review at Washington & Lee University School of Law Scholarly Commons. It has been accepted for inclusion in Washington and Lee Law Review by an authorized editor of Washington & Lee University School of Law Scholarly Commons. For more information, please contact [email protected]. [Insert Song Lyrics Here]: The Uses and Misuses of Popular Music Lyrics in Legal Writing Alex B. Long* Table of Contents I. For Those About To Rock (I Salute You) .................................... 532 II. I'm Looking Through You ........................................................... 537 A. I Count the Songs That Make the Legal Profession Sing, I Count the Songs in Most Everything, I Count the Songs That Make the Young Lawyers Cry, I Count the Songs, I Count the Songs ................................................. 537 B . A dd It U p ............................................................................... 539 C. I'm Looking Through You .................................................... 541 1. It Takes a Profession of Thousands To Hold Us Back .... 541 2. Baby Boomers Selling You Rumors of Their History ..... 544 3. -
Brand New Cadillac.Ptb
BRAND NEW CADILLAC As recorded by The Clash (From the 1979 Album LONDON CALLING) Transcribed by Eoin Watson Words and Music by V. Taylor ([email protected]) E5 A5 A B5 B A7 x xx 7 fr. xxx 5 fr. xx 5 fr. xxx 7 fr. xx 7 fr. xx 5 fr. A Intro P = 146 1 4 I 4 V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V eV V V V V V V V eV V V V V V V V eV V V V V V V V eV V Gtr I let ring let ring let ring let ring T A (0) (0) (0) (0) (0) (0) (0) (0) (0) (0) (0) (0) (0) (0) (0) B 0 0 1 0 0 0 1 0 0 0 1 0 0 0 1 0 0 0 3 3 0 0 3 3 0 0 3 3 0 0 3 3 E5 Gtr II c k c k j _ _ _ _ _ _ _ 5 I V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V eV V V V V V V V eV V V V V V V V eV V V V V V V V eV V let ring let ring let ring let ring let ring T A (0) (0) (0) 0 (0) (0) (0) (0) (0) (0) (0) (0) (0) (0) (0) B 0 0 1 0 0 0 1 0 0 0 1 0 0 0 1 0 0 0 3 3 0 0 3 3 0 0 3 3 0 0 3 3 B 1st Verse E5 E5 E5 E5 E5 E5 E5 E5 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ 6 open6 open 6 open6 open 6 open6 open 6 open6 open 6 open6 open 6 open6 open 6 open6 open 6 open6 open 9 I V V V V V V eV V V V V V V V eV V V V V V V V eV V V V V V V V eV V T A B 0 0 1 0 0 0 1 0 0 0 1 0 0 0 1 0 0 0 3 3 0 0 3 3 0 0 3 3 0 0 3 3 V V V V V V V V V W V V W I k u j u k k k u j u k k k u Gtr III 12 12 12 12 [[[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[ T 12 12 12 12 12 12 A 12 (12) 12 B sl.