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PUNK/ASKĒSIS by Robert Kenneth Richardson a Dissertation
PUNK/ASKĒSIS By Robert Kenneth Richardson A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY WASHINGTON STATE UNIVERSITY Program in American Studies MAY 2014 © Copyright by Robert Richardson, 2014 All Rights Reserved © Copyright by Robert Richardson, 2014 All Rights Reserved To the Faculty of Washington State University: The members of the Committee appointed to examine the dissertation of Robert Richardson find it satisfactory and recommend that it be accepted. ___________________________________ Carol Siegel, Ph.D., Chair ___________________________________ Thomas Vernon Reed, Ph.D. ___________________________________ Kristin Arola, Ph.D. ii ACKNOWLEDGEMENTS “Laws are like sausages,” Otto von Bismarck once famously said. “It is better not to see them being made.” To laws and sausages, I would add the dissertation. But, they do get made. I am grateful for the support and guidance I have received during this process from Carol Siegel, my chair and friend, who continues to inspire me with her deep sense of humanity, her astute insights into a broad range of academic theory and her relentless commitment through her life and work to making what can only be described as a profoundly positive contribution to the nurturing and nourishing of young talent. I would also like to thank T.V. Reed who, as the Director of American Studies, was instrumental in my ending up in this program in the first place and Kristin Arola who, without hesitation or reservation, kindly agreed to sign on to the committee at T.V.’s request, and who very quickly put me on to a piece of theory that would became one of the analytical cornerstones of this work and my thinking about it. -
Crisis on Infinite Earths Free
FREE CRISIS ON INFINITE EARTHS PDF DC Comics | 368 pages | 25 May 2007 | D C Comics (a division of Warner Brothers - A Time Warner Entertainment Co.) | 9781563897504 | English | New York, United States How to Watch 'Crisis on Infinite Earths' Crossover Event on Netflix - What's on Netflix At the beginning of time, the Big Bang occurred, forming the universe. However, where there should have been one universe, there were many, each one a replication of the first, with their own separate histories. The Crisis on Infinite Earths was a Multiversal catastrophe that resulted in the destruction of countless parallel universes, and Crisis on Infinite Earths recreation of a single positive matter universe and an antimatter universe at the dawn of time. At the present time, a great white wall of pure antimatter energy stretches out across the cosmos. It pervades the Multiverse, consuming entire galaxies. On an unknown Crisis on Infinite Earths world, a being named Pariah arrives. He Crisis on Infinite Earths forced to witness the death of multiple worlds in multiple dimensions. He disappears as he is transported to the parallel world known as Earth-Three. On that world, the Crime Syndicate, in a rare demonstration of heroism, strives to save their beleaguered planet. However, even their combined might cannot prevent their deaths at the antimatter wall. The planet's sole hero, Alexander Luthor, retreats to his home where his wife, Lois, holds their infant son, Alexander Jr. Luthor places his son into an experimental rocket capsule and launches him from the planet Earth. As Earth-Three dies, Alexander's capsule pierces the vibrational wall separating dimensions. -
The Melbourne Punk Scene in Australia's Independent Music History
ANZCA09 Communication, Creativity and Global Citizenship. Brisbane, July 2009 The Melbourne Punk Scene in Australia’s Independent Music History Morgan Langdon La Trobe University [email protected] Morgan Langdon completed her Honours in Media Studies at La Trobe University. This paper is an excerpt from her thesis on the history of independent music culture in Melbourne. She plans to begin her PhD in 2010. Abstract The existence of independent music communities and culture within Australia’s major cities today is largely attributed to the introduction of punk in the late 1970s. Among the inner city youth, a tiny subculture emerged around this sprawling, haphazard style of music that was quickly dismissed by the major players in the Australian music industry as bereft of commercial possibilities. Left to its own devices, punk was forced to rely solely on the strength of the independent music network to release some of the most original music of the era and lay the foundations for a celebrated musical culture. This paper examines the factors that contributed to and influenced the early Australian punk scenes, focusing in particular on Melbourne between 1975 and 1981. It shows that the emergence and characteristics of independent music communities within individual cities can be attributed to the existence of certain factors and institutions, both external and internal to the city. Keywords Australian music history, subculture, punk, independent music. Introduction In 1986, the Australian Broadcasting Tribunal published the results of an inquiry into the importance of the broadcasting quota for local music content. Throughout this inquiry, investigations are made into the existence of a distinctly Australian “sound”. -
Risk Music Credits
composer Don Miller-Robinson Music Supervision Christine Woodruff Music Recorded at Big Bang Theory Trackdown Digital Engineered by Don Miller-Robinson & Damian Candusso Hammond, Fender Rhodes Stu Hunter Drums Hamish Stuart Bass Sam Dixon Analogue Synthesizers Alexander Nettelbeck Percussion Huey Benjamin Guitars, various instruments Don Miller-Robinson "Friday On My Mind" written by Harry Vanda/George Young. © 1966 J. Albert & Son Pty Ltd performed by The Easybeats, courtesy of Albert Productions "The Sound" written by Ash Hansen (control), performed by Rumanastone ℗ 2000 Mushroom Records Australia Pty Ltd, licensed from Festival Music Group "Whatever Makes You Happy" written by Ben Nash, Ivy League Music/Mushroom Music Publishing performed by 78 Saab, courtesy of Ivy League Records "Undecided" written by Michael Bower & Richard Morrison, Universal Music Publishing Pty Ltd performed by The Masters Apprentices, courtesy of Jim Keays "Hej" written by Harada/Skinner/Battah/Blackshaw published by Chatterbox Records Pty Ltd, performed by Skulker, ℗ 2000 Chatterbox Records Pty Ltd, Licensed from Chatterbox/Phantom Records "20th Century Boy" written by Marc Bolan, courtesy of Wizard (Bahamas) Limited licensed from Festival Music Pty Ltd, performed by Skulker ℗ 2000 Chatterbox Records Pty Ltd, Licensed from Chatterbox/Phantom Records "Naughty" written by Blackshaw/Skinner/Battah/Harada published by Chatterbox Records Pty Ltd, performed by Skulker, ℗ 2000 Chatterbox Records Pty Ltd, Licensed from Chatterbox/Phantom Records "Another Up" written -
Revolution Rock
REVOLUTION ROCK A celebration of Brisbane’s music history 1942–2002 1.The Concept Abstract Based on research, there are about 209,000 live performers of music in Australia. Queensland accounts for 16% of this total, which is the third highest in Australia. The music industry contributed $266m to Australia’s gross product in 1995–96. REVOLUTION ROCK Attending live music concerts accounts for the majority of time spent by consumers on A celebration of Brisbane’s entertainment, closely followed by attending museums and galleries. music history 1942–2002 In one year in Australia there are: ★ 12 million attendances at public art galleries ★ 6.7 million admissions to live theatre Concept ★ 5 million admissions to musical theatre (including opera) Through collaboration with individual artists and the community, the Revolution Rock ★ 3.4 million attendances at dance performances project will examine key events in Brisbane’s social history which have galvanised residents ★ 4 million attendances at classical music concerts, and and artists to creative action in order to protect, preserve and enhance their cultural identity. ★ 19 million attendances at popular music concerts. Format Source: Australia Council Website Music Industry development and Brisbane’s future as a creative city. Revolution Rock is a multimedia project, which will include recording of oral history, film, (Flew et al. Nov 2001, QUT Creative Industries Research and Application Centre.) video and print media, live concert, exhibit, book and memorabilia, focussing on the Background Brisbane music phenomena from the 1940s to the present day. 5.1 Music has been identified as a major growth industry worldwide. The development of the Music industry provides significant wealth generating and export opportunities for Revolution Rock contents Brisbane, Queensland and Australian economies. -
May 2017.Pub
Volume 31 Issue 5 City Park Radio FM 103.7 Launceston May 2017 Entries for the 2017 CBAA Commu- Meetings nity Radio Awards are now open! These awards promote and recognise excellence in community broadcasting, acknowledging the accomplishments of stations and their programs, initiatives or Management Committee practices that increase their capability and improve the services offered to that Saturday 20th May 9.30am station's community. If you love some of our programs and think they are good enough to be a CPR finalist in these national awards, consider entering now. The deadline for entries end soon To find out more about the 2017 Awards categories, criteria and how to SPONSORS enter, download the guide. http://www.cbaa.org.au/sites/default/files/ • media/2017 -CBAA -Awards -Criteria.pdf 2 Fix It All entries are via the CBAA online entry platform • Barratts Music https://cbaa.awardsplatform.com/ and remember, entries close on at 9am • Carbil Computers AEST on 8 May . If you enter one of our programs, please also let one of the programming • Community Care Tas committee know as well. • Launceston Travel and Translator Mast & Hut Cruise Centre As you can see, the mast • M&A Flood Rural Supplies has been erected, the anten- • Neil Pitt Menswear na and microwave dish in- stalled and the compound • Northern Midlands RSLA has been fenced… and of • Olde Tudor Hotel/Bistro course the power has been connected. • Olde Tudor Pharmacy Ian Campbell has advised • Outside Flowers the installation of transmitter and STL receive equipment • Rob Soward has been completed. Test • Rosemary Armitage transmissions are not too far away. -
Characters – Reference Guide
Player’s Guides 01 Player’s Guide to Playing HeroClix 02 Player’s Guide to Powers and Abilities 03 Player’s Guide to Characters: Errata and Clarifications 04 Player’s Guide to Characters: Reference 05 Player’s Guide to Team Abilities 06 Player’s Guide to Maps 07 Player’s Guide to Tactics I: Objects, Resources, and Hordes 08 Player’s Guide to Tactics II: Feats and Battlefield Conditions Any game elements indicated with the † symbol may only be used with the Golden Age format. Any game elements indicated with the ‡ symbol may only be used with the Star Trek: Tactics game. Items labeled with a are available exclusively through Print-and-Play. Any page references refer to the HeroClix 2013 Core Rulebook. All Player’s Guides can be found at http://www.heroclix.com/downloads/rules Table of Contents Legion of Super Heroes† .................................................................................................................................................................................................. 1 Avengers† ......................................................................................................................................................................................................................... 2 Justice League† ................................................................................................................................................................................................................ 4 Mutations and Monsters† ................................................................................................................................................................................................ -
Music Business and the Experience Economy the Australasian Case Music Business and the Experience Economy
Peter Tschmuck Philip L. Pearce Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Music Business and the Experience Economy . Peter Tschmuck • Philip L. Pearce • Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Editors Peter Tschmuck Philip L. Pearce Institute for Cultural Management and School of Business Cultural Studies James Cook University Townsville University of Music and Townsville, Queensland Performing Arts Vienna Australia Vienna, Austria Steven Campbell School of Creative Arts James Cook University Townsville Townsville, Queensland Australia ISBN 978-3-642-27897-6 ISBN 978-3-642-27898-3 (eBook) DOI 10.1007/978-3-642-27898-3 Springer Heidelberg New York Dordrecht London Library of Congress Control Number: 2013936544 # Springer-Verlag Berlin Heidelberg 2013 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer. -
Aria Hall of Fame
SOLUTION 1 more solutions on next page SUDOKU Rating Rating R F E R 9 4 8 6 1 7 2 3 5 3 2 4 8 6 9 7 1 5 N 7 1 2 3 5 8 6 4 9 9 6 7 1 4 5 2 3 8 E E 5 3 6 4 2 9 8 7 1 5 1 8 7 2 3 9 4 6 I T 2 8 3 9 6 1 4 5 7 2 7 1 9 3 6 5 8 4 MiNDFOOD 4 5 1 7 8 3 9 6 2 6 5 9 4 8 7 3 2 1 WHEEL WORDS 6 9 2 4 5 3 1 8 8 3 2 5 1 6 9 7 Create words of four letters or 7 4 more using the given letters 1 6 5 8 3 2 7 9 4 8 4 5 6 9 2 1 7 3 once only, but always including the centre letter. Do not use 8 7 4 1 9 6 5 2 3 7 9 6 3 1 4 8 5 2 proper names or plurals. See if you can find a nine-letter word 3 2 9 5 7 4 1 8 6 1 3 2 5 7 8 4 6 9 using up all the letters. © Lovatts Puzzles © Lovatts Puzzles Rating Rating SOLUTION 3 2 4 5 8 7 6 9 1 3 6 8 9 4 1 2 5 7 FERN TERNE, FINE TREEN 9 6 5 4 3 1 2 8 7 7 9 4 5 2 6 1 8 3 REIN TRINE RENT ENTIRE 7 8 1 6 2 9 5 4 3 5 1 2 7 3 8 4 6 9 TEEN REFINE TERN RENTER 4 3 8 9 6 2 1 7 5 4 2 6 3 1 5 7 9 8 TINE ENTERER ENTER REFINER 2 1 7 8 4 5 3 6 9 8 3 7 4 6 9 5 2 1 FEINT REINTER FINER TEENIER 6 5 9 1 7 3 4 2 8 9 5 1 2 8 7 3 4 6 INERT TERRENE INFER TERRINE, 1 4 6 3 9 8 7 5 2 2 8 5 1 9 3 6 7 4 INTER REFERENT NITRE 5 9 2 7 1 4 8 3 6 6 7 3 8 5 4 9 1 2 NINE-LETTER WORD 8 7 3 2 5 6 9 1 4 1 4 9 6 7 2 8 3 5 INTERFERE © Lovatts Puzzles © Lovatts Puzzles FIND-A-WORD ARIA HALL OF FAME Complete the names of these legendary musicians and bands recognised by the Australian Recording Industry Association and find the missing parts in the grid of letters. -
Hold Fast: Technologies of Distinction in the Australian Hardcore Music Scene
Hold Fast: Technologies of Distinction in the Australian Hardcore Music Scene Author Driver, Christopher Published 2018-12 Thesis Type Thesis (PhD Doctorate) School School of Hum, Lang & Soc Sc DOI https://doi.org/10.25904/1912/957 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/385865 Griffith Research Online https://research-repository.griffith.edu.au Hold Fast: Technologies of Distinction in the Australian Hardcore Music Scene by Christopher Driver B/Comms, MA, BA (Hons) School of Humanities, Languages and Social Science Griffith University This thesis is submitted in fulfillment of the requirements of the degree of Doctor of Philosophy December 2018 1 Abstract Having emerged in the discourse of suburban American iterations of punK in the late 1970s, hardcore music has become an important cultural resource for groups around the world. The subsequent spread of the original musical tropes and development of multiple trajectories of musical and stylistic innovation have resulted in a complex and multifaceted constellation of ideas, practices and objects that now constitute the hardcore music scene. Despite its growth, scholarly discourse in the field continues to operate almost exclusively in response to what has come to be called the ‘subcultures’ framework (Clarke et al 1976). The focus has been placed on the question of whether such forms can be conceptualised in terms of coherent and subversive ideologies, effectively setting the parameters of the debate in ways that have marginalised considerations of the musical experiences of participation, and which have limited sociological attempts to comprehend the significance of hardcore music as a social force. -
0090735 John Willsteed Thesis
John Willsteed N0090735 It’s Not The Heat, It’s The Humidity Developing a practice-based method for cultural history curation and dissemination Submitted in fulfilment of the requirement for the degree of Doctor of Philosophy School of Media, Entertainment and Creative Arts Creative Industries Faculty Queensland University of Technology 2017 John Willsteed - It's Not The Heat, It's The Humidity 1 ABSTRACT This research contributes new knowledge about the curation and presentation of cultural history. I tested relationships between curation and performance through the development of an interdisciplinary approach to capturing, storing and sharing the histories of subcultures or scenes, and the creation of a public performance centred around the Brisbane punk and post-punk music scene. The project contributes new understanding of how public stories about popular culture can be presented while simultaneously generating new knowledge about the culture itself. KEYWORDS Brisbane, punk, curation, performance STATEMENT OF AUTHORSHIP The work contained in this thesis has not been previously submitted to meet requirements for an award at this or any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made. QUT Verified Signature JOHN WILLSTEED 07/02/2017 John Willsteed - It's Not The Heat, It's The Humidity 2 CONTENTS CHAPTER 1 - INTRODUCTION ..................................................................................................... -
The History of Roadrunner (1978-83)
THE HISTORY OF ROADRUNNER (1978-83) By Donald Robertson Synopsis This is the story of how an Adelaide punk fanzine blossomed into a well-loved national music magazine that chronicled the glory days of Australian post-punk and ‘pub rock’ music in the period 1978-83. The do-it-yourself ethos espoused by the UK punk movement in the mid-1970s was strongly felt in Australia and inspired bands to form, play live and record and release their own records. The concurrent expansion of live music venues across the country (mainly pubs) meant more bands could live, work and play. Roadrunner was also very much a product of this do-it-yourself ethos. From the bunch of evangelical music fans and writers who initially came together, some left and others joined and as those involved became more technically proficient the magazine developed and grew. With no financial backing (until the final despairing issue), Roadrunner survived for five years due to the combination of a posse of enthusiastic (and usually unpaid) contributors, a creative and understanding production crew, a sympathetic printer, the support of key music industry personalities and— perhaps most important of all—a small but dedicated readership. In 2017, the University of Wollongong in New South Wales made all 48 issues of Roadrunner available in a digital archive (at http://ro.uow.edu.au/roadrunner/). The History of Roadrunner 1 IntroduCtion When Martin Sharp, the internationally acclaimed Australian artist, died in 2013, I read that the University of Wollongong had created a digital archive of the Sydney and London Oz magazines that he was such a part of.