Original Flyer for the Last Resort CHAPTER ONE 1977–1979
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Rights in a Pandemic – Lockdowns, Rights and Lessons from HIV In
RIGHTS IN A PANDEMIC Lockdowns, rights and lessons from HIV in the early response to COVID-19 UNAIDS | 2020 Cover photo: Supplied to UNAIDS by Twinkle Paul, Guyanese transgender activist Contents 2 Foreword 4 Abbreviations and acronyms 6 Executive summary 12 Introduction 14 Methodology 16 Setting the scene: limiting movement of people in response to COVID–19 19 COVID–19 public health orders and human rights 19 Avoid disproportionate, discriminatory or excessive use of criminal law 22 Stop discriminatory enforcement against key populations 24 Explicitly prohibit state-based violence, and hold law enforcement and security forces accountable for disproportionate responses or actions when enforcing COVID-19 response measures 25 Include reasonable exceptions to ensure legal restrictions on movement do not prevent access to food, health care, shelter or other basic needs 29 Take proactive measures to ensure people, particularly from vulnerable groups, can access HIV treatment and prevention services and meet other basic needs 37 Rapidly reduce overcrowding in detention settings and take all steps necessary to minimize COVID-19 risk, and ensure access to health and sanitation, for people deprived of liberty 39 Implement measures to prevent and address gender-based violence against women, children and lesbian, gay, bisexual, transgender and intersex people during lockdowns 41 Designate and support essential workers, including community health workers and community-led service providers, journalists and lawyers 46 Ensure limitations on movement are specific, time-bound and evidence- based, and that governments adjust measures in response to new evidence and as problems arise 47 Create space for independent civil society and judicial accountability, ensuring continuity despite limitations on movement 50 Conclusion 52 References Foreword The COVID-19 crisis has upended the world. -
Dylan, Cash, and the Nashville Cats Exhibit to Feature Jon Langford Artwork Exhibit Opens March 27, 2015, for a Two-Year Run
Dylan, Cash, and the Nashville Cats exhibit to feature Jon Langford artwork Exhibit opens March 27, 2015, for a two-year run NASHVILLE, Tenn., December 9, 2014 – The Country Music Hall of Fame® and Museum has unveiled the artwork for its forthcoming exhibit Dylan, Cash, and the Nashville Cats: A New Music City. Created by renowned artist and punk rocker Jon Langford, the commissioned painting will serve as the exhibit motif and inspiration for other artistic elements in the exhibit design. Langford is a founding member of influential punk band the Mekons and of pioneering hard-country rockers the Waco Brothers. He was born in Newport, Wales, and studied fine art at Leeds University. Langford is known for his powerful portraits of country and rock icons, including Hank Williams, Johnny Cash, and Elvis Presley. His punk rock instincts and singular artistic eye converge in a painting style that is distinctive, demanding of engagement, and at times politically charged. For Langford, the line between Acuff-Rose and Strummer-Jones is a direct one. His preferred medium is acrylic/mixed media on “square-ish wooden objects.” The exhibit logo is intricately layered in Langford’s characteristic style. It features portraits of ’60s-era Dylan and Cash, the cityscape as seen on the back cover of Dylan’s 1969 album, Nashville Skyline, and a background of exhibit-related graffiti— including names of the featured musicians, song titles, lyrics and symbols of the era. The Country Music Hall of Fame and Museum, in addition to its broad scope of educational programs and archival focus, is widely known for its provocative mix of museum exhibits showcasing the evolving history of country music. -
Various the Trojan Skinhead Reggae Collection Mp3, Flac, Wma
Various The Trojan Skinhead Reggae Collection mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Reggae Album: The Trojan Skinhead Reggae Collection Country: Europe Released: 2009 Style: Reggae MP3 version RAR size: 1239 mb FLAC version RAR size: 1530 mb WMA version RAR size: 1737 mb Rating: 4.2 Votes: 227 Other Formats: MIDI APE FLAC MP4 AUD MMF MP1 Tracklist Hide Credits Skinhead Train 1-1 –The Charmers 2:40 Producer – Lloyd CharmersWritten-By – Charmers* Hee Cup 1-2 –Sir Harry 2:14 Producer – Edward 'Bunny' Lee*Written-By – Unknown Artist –King Cannon (Karl Overproof (aka Little Darlin') 1-3 2:41 Bryan)* Producer – Lynford AndersonWritten-By – Williams* Copy Cat 1-4 –Derrick Morgan 2:38 Producer – Leslie KongWritten-By – Morgan* The Law 1-5 –Andy Capp 2:17 Producer – Lynford AndersonWritten-By – Lee*, Anderson* Soul Call 1-6 –The Soul Rhythms 2:57 Producer – J. Sinclair*Written-By – Bryan* Music Street 1-7 –The Harmonians* 1:59 Producer – Edward 'Bunny' Lee*Written-By – Lee* V Rocket 1-8 –The Fabion Producer – Albert Gene Murphy*Written-By – Albert George 2:37 Murphy What Am I To Do 1-9 –Tony Scott 3:15 Producer – Tony Scott Written-By – Scott* Spread Your Bed 1-10 –The Versatiles 2:17 Written-By – Byles* John Public (Tom Hark) 1-11 –The Dynamites 2:13 Producer – Clancy EcclesWritten-By – Bopape* Casa Boo Boo 1-12 –Cool Sticky* Producer – 'Prince' Tony Robinson*Written-By – Unknown 2:33 Artist Smile (My Baby) 1-13 –The Tennors 2:57 Producer – Albert George MurphyWritten-By – Murphy* Zapatoo The Tiger 1-14 –Roland Alphonso 2:38 Producer -
Presidential Commission on the Supreme Court of the United States
Presidential Commission on the Supreme Court of the United States Composition of the Supreme Court Tuesday, July 20, 2021 Written Statement of Marin K. Levy Professor of Law, Duke University School of Law Co-Chair Bauer, Co-Chair Rodriguez, and distinguished members of the Commission: Thank you for the opportunity to testify on the subject of Supreme Court expansion and composition. By way of background, I am a Professor of Law at the Duke University School of Law and a faculty advisor to the Bolch Judicial Institute. My research and teaching over the past twelve years have focused on judicial administration and appellate courts. It is a distinct honor and privilege to speak with you on these matters. Court expansion and other changes to the Court’s composition implicate fundamental questions about the role and operation of our nation’s highest court. These include whether expanding the Court would harm the institution’s legitimacy, whether expansion would prompt a series of expansions in the future, whether an expanded Court could function well as a single decision-making body, and whether expansion would contradict existing constitutional norms and conventions. Even if the answers to these questions were known, there is a larger background question to be answered—namely how such considerations should be weighted in assessing any proposal to change the Court’s structure. It is no easy task that the Commission has been given, and I hope that the legal community and public at large is cognizant of this. In contrast to the subject of the panel, my own testimony will be fairly circumscribed. -
Sweet at Top of the Pops
1-4-71: Presenter: Tony Blackburn (Wiped) THE SWEET – Funny Funny ELVIS PRESLEY – There Goes My Everything (video) JIMMY RUFFIN – Let’s Say Goodbye Tomorrow CLODAGH RODGERS – Jack In The Box (video) FAME & PRICE TOGETHER – Rosetta CCS – Walkin’ (video) (danced to by Pan’s People) THE FANTASTICS – Something Old, Something New (crowd dancing) (and charts) YES – Yours Is No Disgrace T-REX – Hot Love ® HOT CHOCOLATE – You Could Have Been A Lady (crowd dancing) (and credits) ........................................................................................................................................................ THIS EDITION OF TOTP IS NO LONGER IN THE BBC ARCHIVE, HOWEVER THE DAY BEFORE THE BAND RECORDED A SHOW FOR TOPPOP AT BELLEVIEW STUDIOS IN AMSTERDAM, WEARING THE SAME STAGE OUTFITS THAT THEY HAD EARLIER WORN ON “LIFT OFF”, AND THAT THEY WOULD WEAR THE FOLLOWING DAY ON TOTP. THIS IS THE EARLIEST PICTURE I HAVE OF A TV APPEARANCE. 8-4-71: Presenter: Jimmy Savile (Wiped) THE SWEET – Funny Funny ANDY WILLIAMS – (Where Do I Begin) Love Story (video) RAY STEVENS – Bridget The Midget DAVE & ANSIL COLLINS – Double Barrel (video) PENTANGLE – Light Flight JOHN LENNON & THE PLASTIC ONO BAND – Power To The People (crowd dancing) (and charts) SEALS & CROFT – Ridin’ Thumb YVONNE ELLIMAN, MURRAY HEAD & THE TRINIDAD SINGERS – Everything's All Right YVONNE ELLIMAN, MURRAY HEAD & THE TRINIDAD SINGERS – Superstar T-REX – Hot Love ® DIANA ROSS – Remember Me (crowd dancing) (and credits) ......................................................................................................................................................... -
Aryan Nations/Church of Jesus Christ Christian
Aryan Nations/Church of Jesus Christ Christian This document is an archived copy of an older ADL report and may not reflect the most current facts or developments related to its subject matter. INTRODUCTION Recent years have not been kind to Aryan Nations, once the country's most well-known neo-Nazi outpost. Bankrupted by a lawsuit from a mother and son who were assaulted by Aryan Nations guards, the group lost its Idaho compound in 2001. Though he continued to serve as Aryan Nations’ leader, Richard Butler suffered the effects of age and ill health, and the group splintered into factions in 2002. Butler claimed to be reorganizing Aryan Nations but died in September 2004, leaving the group’s future as uncertain as ever. Founder and Leader: Richard Butler (1918-2004) Splinter groups (and leaders): Tabernacle of Phineas Priesthood ( Charles Juba, based in Pennsylvania); Church of the Sons of Yahweh (Morris Gullett, based in Louisiana) Founded: Mid-1970s Headquarters : Hayden, Idaho Background: Butler first became involved with the Christian Identity movement after serving in the U.S. Air Force during World War II. He studied under Wesley Swift, founder of the Church of Jesus Christ Christian, until Swift died. Butler then formed Aryan Nations. Media: Internet, videos, posters, e-mail, chat rooms, online bulletin boards, conferences. Ideology: Christian Identity, white supremacy, neo-Nazi, paramilitary Connections: Aryan Nations has had members in common with several other white supremacist and neo-Nazi groups, including National Alliance, the Ku Klux Klan and The Silent Brotherhood/The Order Recent Developments: Once the most well-known neo-Nazi group in the United States, Aryan Nations has suffered substantially in recent years due to Butler’s ill health, and a lawsuit that cost the group its Northern Idaho compound in 2001. -
Viking Interview: Q&A with Jamey Jasta by Daniel Offner When
Viking Interview: Q&A with Jamey Jasta By Daniel Offner When uttered, the name “Hatebreed” brings many things to mind, but what stands out most is the vocal talent of Jamey Jasta. Jasta, along with band mate Chris Beattie, founded the band in 1994 out of New Haven, Connecticut. Jasta is not only the lead singer of Hatebreed but has also gone off to do successful side projects with bands Icepick and Kingdom of Sorrow. He has also gone off to host MTV’s reincarnation of the 80’s hit program Headbanger’s Ball. This year Jamey will be touring with both Hatebreed (on the Jagermeister Music Tour) and Kingdom of Sorrow (at Ozzfest in Texas). The following is my Viking Interview with Jamey Jasta. Viking News: Where did the name Hatebreed come from? Jamey Jasta: “From the Misfits song ‘Hatebreeders’. We just took off the ‘e-r- s’.” VN: What inspired you guys to play music? JJ: “Well I think when me and (Chris) Beattie started the band we were already in other bands, and the other bands fizzled out. So to start this band and to play this music the inspiration was to do something bigger and better and more focused. But I think initially for both of us we were just drawn to music because of the community in itself.” VN: What type of bands influenced your style of music as a whole? JJ: “I would say bands like Slayer, Sepultura, Obituary, Entombed and more metal stuff like Carcass. On the hardcore side Agnostic Front, Killing Time, Sheer Terror, Integrity, Earth Crisis and bands like that.” VN: You mentioned Agnostic Front, which is playing the Dour Festival with you guys in Belgium. -
Pdf Anti-Defamation League
ghs15-1_cv_ghs15-1_cv 8/7/2019 2:35 PM Page 2 COLOR IS FOR APPROXIMATION ONLY – DO NOT USE FOR COLOR APPROVAL JOURNAL OF HATE STUDIES JOURNAL OF HATE J OURNAL OF H ATE S TUDIES Volume 15, No. 1 15, No. Volume 1 - 278 Pages 2019 Gonzaga University I NSTITUTE FOR H ATE S TUDIES E NGAGING WITH C OMMUNITIES FOR J USTICE Gonzaga Institute for Hate Studies | Spokane, WA 99258-0043 | 509.313.3665 www.gonzaga.edu/hatestudies Volume 15 2019 Number 1 Journal of Hate Studies Gonzaga University Institute for Hate Studies Copyright © 2019 By Gonzaga University Institute for Hate Studies The Journal of Hate Studies is published by the Gonzaga University Institute for Hate Studies. The purpose of the Journal is to promote the sharing of interdisciplinary ideas and research relating to the study of what hate is, where it comes from, and how to combat it. The Institute for Hate Studies operates under the auspices of Gonzaga University in Spokane, Washington. The views expressed in the Journal are those of the authors and should not be attributed to the Institute for Hate Studies, Gonzaga University, the institutions with which the authors are affiliated, or the editors. The Journal welcomes unsolicited manuscripts (including essays and shorter pieces) and suggestions for improving the Journal. Manuscripts and other communications should be sent to Director, Gonzaga University Institute for Hate Studies, Gonzaga University, Spokane, WA USA 992580099. For more information about the Gonzaga University Institute for Hate Studies and the Journal of Hate Studies, please visit www.gonzaga.edu/ hatestudies. -
Alexander B. Stohler Modern American Hategroups: Lndoctrination Through Bigotry, Music, Yiolence & the Internet
Alexander B. Stohler Modern American Hategroups: lndoctrination Through Bigotry, Music, Yiolence & the Internet Alexander B. Stohler FacultyAdviser: Dr, Dennis Klein r'^dw May 13,2020 )ol, Masters of Arts in Holocaust & Genocide Studies Kean University In partialfulfillumt of the rcquirementfar the degee of Moster of A* Abstract: I focused my research on modern, American hate groups. I found some criteria for early- warning signs of antisemitic, bigoted and genocidal activities. I included a summary of neo-Nazi and white supremacy groups in modern American and then moved to a more specific focus on contemporary and prominent groups like Atomwaffen Division, the Proud Boys, the Vinlanders Social Club, the Base, Rise Against Movement, the Hammerskins, and other prominent antisemitic and hate-driven groups. Trends of hate-speech, acts of vandalism and acts of violence within the past fifty years were examined. Also, how law enforcement and the legal system has responded to these activities has been included as well. The different methods these groups use for indoctrination of younger generations has been an important aspect of my research: the consistent use of hate-rock and how hate-groups have co-opted punk and hardcore music to further their ideology. Live-music concerts and festivals surrounding these types of bands and how hate-groups have used music as a means to fund their more violent activities have been crucial components of my research as well. The use of other forms of music and the reactions of non-hate-based artists are also included. The use of the internet, social media and other digital means has also be a primary point of discussion. -
Critiques of Cultural Decadence and Decline in British
Purifying the Nation: British Neo-Fascist Ideas on Representations of Culture Steven Woodbridge, Kingston University Paper for the ‘Dangerous Representations’ multi-disciplinary Conference, Sussex University, June, 2001 Introduction Although fascism and neo-fascism have emphasised ‘action’ in politics, we should not underestimate the extent to which far right ideologues have sought to engage in the intellectual and cultural arena. This paper investigates the ideas, attitudes and discourse of the post-1945 British far right concerning representations of culture. I will argue that the ideological texts of the far right show a recurrent concern with the need for the so-called ‘purification’ of national culture. In essence, there is a belief expounded by the extreme right that ‘liberal’ cultural forms have resulted in national decadence, in turn showing the extent to which the nation itself is in serious decline. Consequently, there has been a consistent call in far right texts and statements for the ‘regeneration’ of the nation, together with the expression of a conviction that national culture requires ‘cleansing’ as part of this ambitious project. The far right’s key ideologues in Britain have regularly expressed views on what constitutes ‘true’, legitimate and authentically ‘British’ cultural representations, and they have often pointed to what is (in their estimation) ‘decadent’ versus ‘healthy’ cultural and national identities. It is intended in this paper to illustrate the far right’s prescription for political and cultural renewal through a brief exploration of the intellectual texts of three neo- fascist movements operating after 1945: the Union Movement (UM), formed in 1948, the National Front (NF), formed in 1967, and the British National Party (BNP), 1 formed in 1982. -
Angry Aryans Bound for Glory in a Racial Holy War: Productions of White Identity in Contemporary Hatecore Lyrics
Angry Aryans Bound for Glory in a Racial Holy War: Productions of White Identity in Contemporary Hatecore Lyrics Thesis Presented in Partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Roberto Fernandez Morales, B.A. Graduate Program in Sociology The Ohio State University 2017 Thesis Committee: Vincent Roscigno, Advisor Hollie Nyseth Brehm Eric Schoon Copyright by Roberto Fernandez Morales 2017 Abstract The Southern Poverty Law Center reports that, over the last 20 years, there has been a steady rise in hate groups. These groups range from alternative right, Neo Confederates, White Supremacist to Odinist prison gangs and anti-Muslim groups. These White Power groups have a particular race-based ideology that can be understood relative to their music—a tool that provides central recruitment and cohesive mechanisms. White supremacist rock, called Hatecore, presents the contemporary version of the legacy of racist music such as Oi! and Rock Against Communism. Through the years, this genre produces an idealized model of white supremacist, while also speaking out against the perceived threats, goals, and attitudes within white supremacist spaces. In this thesis, I use content analysis techniques to attempt to answer two main questions. The first is: What is the ideal type of white supremacist that is explicitly produced in Hatecore music? Secondly, what are the concerns of these bands as they try to frame these within white supremacist spaces? Results show that white supremacist men are lauded as violent and racist, while women must be servile to them. Finally, white supremacist concerns are similar to previous research, but highlight growing hatred toward Islam and Asians. -
Authenticity, Politics and Post-Punk in Thatcherite Britain
‘Better Decide Which Side You’re On’: Authenticity, Politics and Post-Punk in Thatcherite Britain Doctor of Philosophy (Music) 2014 Joseph O’Connell Joseph O’Connell Acknowledgements Acknowledgements I could not have completed this work without the support and encouragement of my supervisor: Dr Sarah Hill. Alongside your valuable insights and academic expertise, you were also supportive and understanding of a range of personal milestones which took place during the project. I would also like to extend my thanks to other members of the School of Music faculty who offered valuable insight during my research: Dr Kenneth Gloag; Dr Amanda Villepastour; and Prof. David Wyn Jones. My completion of this project would have been impossible without the support of my parents: Denise Arkell and John O’Connell. Without your understanding and backing it would have taken another five years to finish (and nobody wanted that). I would also like to thank my daughter Cecilia for her input during the final twelve months of the project. I look forward to making up for the periods of time we were apart while you allowed me to complete this work. Finally, I would like to thank my wife: Anne-Marie. You were with me every step of the way and remained understanding, supportive and caring throughout. We have been through a lot together during the time it took to complete this thesis, and I am looking forward to many years of looking back and laughing about it all. i Joseph O’Connell Contents Table of Contents Introduction 4 I. Theorizing Politics and Popular Music 1.