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Rancid Indestructible Mp3, Flac, Wma
Rancid Indestructible mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Indestructible Country: Europe Released: 2003 Style: Ska, Punk MP3 version RAR size: 1123 mb FLAC version RAR size: 1279 mb WMA version RAR size: 1454 mb Rating: 4.7 Votes: 709 Other Formats: AA MP3 MP1 WAV AUD FLAC VQF Tracklist Hide Credits 1 Indestructible 2 Fall Back Down Red Hot Moon 3 Vocals – Skinhead RobWritten-By – Reed*, Frederiksen*, Aston*, Armstrong* 4 David Courtney 5 Start Now 6 Out Of Control Django 7 Written-By – Armstrong* 8 Arrested In Shanghai 9 Travis Bickle 10 Memphis Spirit Of '87 11 Written-By – Carlock*, Frederiksen*, Armstrong* 12 Ghost Band 13 Tropical London Roadblock 14 Written-By – Reed*, Frederiksen*, Armstrong* 15 Born Frustrated 16 Back Up Against The Wall 17 Ivory Coast Stand Your Ground 18 Mixed By – Tim Armstrong 19 Otherside Credits Artwork By [Design] – Nicholas "Nick" Pritchard Bass, Vocals – Matt Freeman Drums – Brett Reed Edited By – Dave Carlock, Edmund Monsef, Seth McLain Engineer [Additional] – Andrew Alekel Engineer [Assistant] – Citris Reynolos, Dan Hoal, John Silas Cranfield, Pete Martinez Engineer, Edited By – Nick Raskulinecz Guitar, Vocals – Lars Frederiksen Guitar, Vocals, Artwork By [Cover Photo] – Tim Armstrong Keyboards – Vic Ruggiero* Mastered By – Brian Gardner Mixed By – Brett Gurewitz (tracks: 6, 10, 12 to 14, 19), Douglas Boehm* (tracks: 1, 3, 4, 7 to 9, 11, 15, 16, 17), Joe Baresi* (tracks: 2, 5), Rob Schnapf (tracks: 1, 3, 4, 7 to 9, 11, 15, 16, 17) Mixed By [Assistant] – Kevin Dran Percussion – Luis Conte Producer, Engineer [Additional], Vocals [Guest] – Brett Gurewitz Vocals [Guest] – Siedah Garrett Written-By – Frederiksen* (tracks: 1, 2, 4, 5, 6, 7, 9, 10, 12, 13, 15, 16 to 19), Armstrong* (tracks: 1, 2, 4, 5, 6, 8, 9, 10, 12, 13, 15, 16 to 19) Notes Recorded at Sound City Studios, Grand Master Recorders, Sondra Recorders. -
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. -
September 1995
Features CARL ALLEN Supreme sideman? Prolific producer? Marketing maven? Whether backing greats like Freddie Hubbard and Jackie McLean with unstoppable imagination, or writing, performing, and producing his own eclectic music, or tackling the business side of music, Carl Allen refuses to be tied down. • Ken Micallef JON "FISH" FISHMAN Getting a handle on the slippery style of Phish may be an exercise in futility, but that hasn't kept millions of fans across the country from being hooked. Drummer Jon Fishman navigates the band's unpre- dictable musical waters by blending ancient drum- ming wisdom with unique and personal exercises. • William F. Miller ALVINO BENNETT Have groove, will travel...a lot. LTD, Kenny Loggins, Stevie Wonder, Chaka Khan, Sheena Easton, Bryan Ferry—these are but a few of the artists who have gladly exploited Alvino Bennett's rock-solid feel. • Robyn Flans LOSING YOUR GIG AND BOUNCING BACK We drummers generally avoid the topic of being fired, but maybe hiding from the ax conceals its potentially positive aspects. Discover how the former drummers of Pearl Jam, Slayer, Counting Crows, and others transcended the pain and found freedom in a pink slip. • Matt Peiken Volume 19, Number 8 Cover photo by Ebet Roberts Columns EDUCATION NEWS EQUIPMENT 100 ROCK 'N' 10 UPDATE 24 NEW AND JAZZ CLINIC Terry Bozzio, the Captain NOTABLE Rhythmic Transposition & Tenille's Kevin Winard, BY PAUL DELONG Bob Gatzen, Krupa tribute 30 PRODUCT drummer Jack Platt, CLOSE-UP plus News 102 LATIN Starclassic Drumkit SYMPOSIUM 144 INDUSTRY BY RICK -
Roots Radical – Place, Power and Practice in Punk Entrepreneurship Sarah Louise Drakopoulou Dodd
Roots radical – Place, power and practice in punk entrepreneurship Sarah Louise Drakopoulou Dodd The significance continues to grow of scholarship that embraces critical and contextualized entrepreneurship, seeking rich explorations of diverse entrepreneurship contexts. Following these influences, this study explores the potentialized context of punk entrepreneurship. The Punk Rock band Rancid has a 20-year history of successfully creating independent musical and related creative enterprises from the margins of the music industry. The study draws on artefacts, interviews and videos created by and around Rancid to identify and analyse this example of marginal, alternative entrepreneurship. A three-part analytic frame was applied to analysing these artefacts. Place is critical to Rancid’s enterprise, grounding the band socially, culturally, geographically and politically. Practice also plays an important role with Rancid’s activities encompassing labour, making music, movement and human interactions. The third, and most prevalent, dimension of alterity is that of power which includes data related to dominance, subordination, exclusion, control and liberation. Rancid’s entrepreneurial story is depicted as cycles, not just a linear journey, but following more complicated paths – from periphery to centre, and back again; returning to roots, whilst trying to move forwards too; grounded in tradition but also radically focused on dramatic change. Paradox, hybridized practices, and the significance of marginal place as a rich resource also emerged from the study. Keywords: entrepreneurship; social construction; punk rock; paradox; marginality; periphery Special thanks are due to all the punks and skins who have engaged with my reading of the Rancid story, and given me so much support and feedback along the way, especially Rancid’s drummer, Branden Steineckert, Jesse from Machete Manufacturing, Kostis, Tassos (Rancid Punx Athens Crew) and Panayiotis. -
Strapping Young Lad
THE DAYGLO’S AUSSIE TOUR #3 APRIL/MAY 2005 - ABSOLUTELY FREE PUNK, HARDCORE & METAL - THE SCUM ALSO RISES STRAPPING YOUNG LAD and shitloads more! ABSOLUTE EDITORIAL Absolute Editorial #3 Things are coming together nicely for us here at Absolute Underground. This is starting go be fun! We’re getting into a few free shows and people are starting to send in CD’s for us to review. We’ve got a lot of new people pitching in to make this rag better than ever. Emily Kendy joins us from Vancouver and brings with her a very impressive resume (The Nerve, Discorder, Terminal City, Exclaim...). We’ll be featuring a different Vancouver based band each issue starting with scum punks the Excessives. With the new Arena and Rod Stewart having played Victoria, you can just feel that this is going to be a great year for live music around town. I’m always impressed with the turnout and energy of the younger crowds at the all-ages shows. Even if you’re old you should go check one out sometime. You might find it invigorating to jump in a circle pit of mohawked fury. It was great hanging out with the crew at Spitfire Tattoo special thanks to Rick and Amanda. Electric Frankenstein was an amazing show and just proves that Victoria gets wicked shows all the time. A big middle finger to the asshole bouncers @ Diego’s who wouldn’t let me in even though I was on the guest list and then proceeded to tell the headlining act CHOKE to “pack their shit, they weren’t going to play.” This was after two huge idiots working the door beat up CHOKE’s drummer who weighs about a buck ten soaking wet. -
Omega Auctions Ltd Catalogue 28 Apr 2020
Omega Auctions Ltd Catalogue 28 Apr 2020 1 REGA PLANAR 3 TURNTABLE. A Rega Planar 3 8 ASSORTED INDIE/PUNK MEMORABILIA. turntable with Pro-Ject Phono box. £200.00 - Approximately 140 items to include: a Morrissey £300.00 Suedehead cassette tape (TCPOP 1618), a ticket 2 TECHNICS. Five items to include a Technics for Joe Strummer & Mescaleros at M.E.N. in Graphic Equalizer SH-8038, a Technics Stereo 2000, The Beta Band The Three E.P.'s set of 3 Cassette Deck RS-BX707, a Technics CD Player symbol window stickers, Lou Reed Fan Club SL-PG500A CD Player, a Columbia phonograph promotional sticker, Rock 'N' Roll Comics: R.E.M., player and a Sharp CP-304 speaker. £50.00 - Freak Brothers comic, a Mercenary Skank 1982 £80.00 A4 poster, a set of Kevin Cummins Archive 1: Liverpool postcards, some promo photographs to 3 ROKSAN XERXES TURNTABLE. A Roksan include: The Wedding Present, Teenage Fanclub, Xerxes turntable with Artemis tonearm. Includes The Grids, Flaming Lips, Lemonheads, all composite parts as issued, in original Therapy?The Wildhearts, The Playn Jayn, Ween, packaging and box. £500.00 - £800.00 72 repro Stone Roses/Inspiral Carpets 4 TECHNICS SU-8099K. A Technics Stereo photographs, a Global Underground promo pack Integrated Amplifier with cables. From the (luggage tag, sweets, soap, keyring bottle opener collection of former 10CC manager and music etc.), a Michael Jackson standee, a Universal industry veteran Ric Dixon - this is possibly a Studios Bates Motel promo shower cap, a prototype or one off model, with no information on Radiohead 'Meeting People Is Easy 10 Min Clip this specific serial number available. -
Put on Your Boots and Harrington!': the Ordinariness of 1970S UK Punk
Citation for the published version: Weiner, N 2018, '‘Put on your boots and Harrington!’: The ordinariness of 1970s UK punk dress' Punk & Post-Punk, vol 7, no. 2, pp. 181-202. DOI: 10.1386/punk.7.2.181_1 Document Version: Accepted Version Link to the final published version available at the publisher: https://doi.org/10.1386/punk.7.2.181_1 ©Intellect 2018. All rights reserved. General rights Copyright© and Moral Rights for the publications made accessible on this site are retained by the individual authors and/or other copyright owners. Please check the manuscript for details of any other licences that may have been applied and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. You may not engage in further distribution of the material for any profitmaking activities or any commercial gain. You may freely distribute both the url (http://uhra.herts.ac.uk/) and the content of this paper for research or private study, educational, or not-for-profit purposes without prior permission or charge. Take down policy If you believe that this document breaches copyright please contact us providing details, any such items will be temporarily removed from the repository pending investigation. Enquiries Please contact University of Hertfordshire Research & Scholarly Communications for any enquiries at [email protected] 1 ‘Put on Your Boots and Harrington!’: The ordinariness of 1970s UK punk dress Nathaniel Weiner, University of the Arts London Abstract In 2013, the Metropolitan Museum hosted an exhibition of punk-inspired fashion entitled Punk: Chaos to Couture. -
The Irish Diaspora Lived Ethics of the Dropkick Murphys Punk Band
Catholicism and Alcoholism: The Irish Diaspora lived ethics of the Dropkick Murphys punk band Kieran James & Bligh Grant University of Southern Queensland, Toowoomba, 4350, Australia. Corresponding author: Kieran James ([email protected]) Abstract A POSTMODERN IRISH NATIONALISM This paper discusses the contemporary Irish- American punk band, the Dropkick Murphys, and in particular the band‘s most recent studio album The Dropkick Murphys (hereafter DMs) have 2007s The Meanest of Times. We find that the unabashedly adopted an image and worldview band‘s resurgent Irish nationalism is both uniquely of a resurgent and triumphalist Irish a product of the Irish Diaspora, and, although the nationalism grounded in singing of Irish band might be unwilling to admit it, American traditions, festivities, towns and places, and culture and its self-confident jingoistic patriotism. use traditional Irish instrumentation in some of The band‘s attitude to Roman Catholicism is, in their music. Fictitious characters in songs Sartre‘s (2003) words, a unique synthesis of invariably are given Irish names, such as facticity and transcendence in that they ‗Flannigan‘s Ball‘ and ‗Fairmount Hill‘. acknowledge its reality as a shadow overhanging both their pasts and their presents. However, the However, what emerges is as obviously a band seems to go beyond simply acknowledging its product of the USA as it is of Ireland. spectre by adopting, expressing, and/or reflecting Although Dublin is referenced in songs (e.g. some degree of religious faith themselves without the cover of ‗Rocky Road to Dublin‘), Boston, going so far as to be clearly a ‗Catholic band‘ like, America‘s ‗Irish city‘, is referenced more for example, the Priests. -
“Punk Rock Is My Religion”
“Punk Rock Is My Religion” An Exploration of Straight Edge punk as a Surrogate of Religion. Francis Elizabeth Stewart 1622049 Submitted in fulfilment of the doctoral dissertation requirements of the School of Language, Culture and Religion at the University of Stirling. 2011 Supervisors: Dr Andrew Hass Dr Alison Jasper 1 Acknowledgements A debt of acknowledgement is owned to a number of individuals and companies within both of the two fields of study – academia and the hardcore punk and Straight Edge scenes. Supervisory acknowledgement: Dr Andrew Hass, Dr Alison Jasper. In addition staff and others who read chapters, pieces of work and papers, and commented, discussed or made suggestions: Dr Timothy Fitzgerald, Dr Michael Marten, Dr Ward Blanton and Dr Janet Wordley. Financial acknowledgement: Dr William Marshall and the SLCR, The Panacea Society, AHRC, BSA and SOCREL. J & C Wordley, I & K Stewart, J & E Stewart. Research acknowledgement: Emily Buningham @ ‘England’s Dreaming’ archive, Liverpool John Moore University. Philip Leach @ Media archive for central England. AHRC funded ‘Using Moving Archives in Academic Research’ course 2008 – 2009. The 924 Gilman Street Project in Berkeley CA. Interview acknowledgement: Lauren Stewart, Chloe Erdmann, Nathan Cohen, Shane Becker, Philip Johnston, Alan Stewart, N8xxx, and xEricx for all your help in finding willing participants and arranging interviews. A huge acknowledgement of gratitude to all who took part in interviews, giving of their time, ideas and self so willingly, it will not be forgotten. Acknowledgement and thanks are also given to Judy and Loanne for their welcome in a new country, providing me with a home and showing me around the Bay Area. -
Saladdays 23 Press Web.Pdf
23 THE TRASE THE ORIGINAL. SINCE NOW. DC_15S1.TRASE.GREEN.240X225+5.indd 1 17/02/15 17:57 One mag two Covers WHAT’S HOT Awolnation - Ramona Rosales Pushing - Federico Tognoli Editor In Chief/Founder - Andrea Rigano Art Director - Antonello Mantarro [email protected] Advertising - Silvia Rapisarda [email protected] Traduzioni - Fabrizio De Guidi Photographers Luca Benedet, Arianna Carotta, Alessio Fanciulli Oxilia, Alex Luise, Gaetano Massa, Fabio Montagner, Luca Pagetti, Enrico Rizzato, Federico Romanello, Ramona Rosales, Kari Rowe, Alberto Scattolin, Federico Tognoli Artwork Thunderbeard thunder-beard.blogspot.com Contributors Francesco Banci, Milo Bandini, Luca Basilico, Stefano Campagnolo, Marco Capelli, Matteo Cavanna, Cristiano Crepaldi, Young D, Fabrizio De Guidi, Flavio Ignelzi, Max Mameli, Marco Mantegazza, Simone Meneguzzo, Turi Messineo, Max Mbassadò, Angelo Mora(donas), Noodles, Eros Pasi, Marco Pasini, Davide Perletti, Salmo, SECSE, Alexandra Romano, Alessandro Scontrino, Marco ‘X-Man’ Xodo Stampa We Are Renegades / Rigablood Tipografia Nuova Jolly - Viale Industria 28 35030 Rubano (PD) Salad Days Magazine è una rivista registrata presso il 08 Black Hole 54 Cancer Bats Tribunale di Vicenza, N. 1221 del 04/03/2010. 12 Boost 58 Norm Will Rise 20 Awolnation 64 Family Album Get in touch 24 Justin “Figgy” Figueroa 72 Close Up - I Lottatori Del Rap www.saladdaysmag.com [email protected] 30 Don’t Sweat The Technique 76 Necro facebook.com/saladdaysmag 34 Lo Skateboard Alla Stretta Olimpica 81 Diane Arbus E Il Bambino Nel Parco twitter.com/SaladDays_it 37 Young Blood 84 Rebellion Fest Instagram - @saladdaysmagazine 40 Danny Trejo 87 Pseudo Slang L’editore è a disposizione di tutti gli interessati nel 44 Adolescents vs Svetlanas 92 Highlights collaborarecon testi immagini. -
Masculinity in Emo Music a Thesis Submitted to the Faculty of Arts and Social Science in Candi
CARLETON UNIVERSITY FLUID BODIES: MASCULINITY IN EMO MUSIC A THESIS SUBMITTED TO THE FACULTY OF ARTS AND SOCIAL SCIENCE IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF MUSIC BY RYAN MACK OTTAWA, ONTARIO MAY 2014 ABSTRACT Emo is a genre of music that typically involves male performers, which evolved out of the punk and hardcore movements in Washington DC during the mid-80s. Scholarly literature on emo has explored its cultural and social contexts in relation to the “crisis” of masculinity—the challenging of the legitimacy of patriarchy through “alternative” forms of masculinity. This thesis builds upon this pioneering work but departs from its perpetuation of strict masculine binaries by conflating hegemonic and subordinate/alternative masculinities into a single subject position, which I call synergistic masculinity. In doing so, I use emo to explicate this vis-à-vis an intertextual analysis that explores the dominant themes in 1) lyrics; 2) the sites of vocal production (head, throat, chest) in conjunction with pitch and timbre; 3) the extensional and intensional intervallic relationships between notes and chords, and the use of dynamics in the musical syntax; 4) the use of public and private spaces, as well as the performative masculine body in music video. I posit that masculine emo performers dissolve these hierarchically organized masculinities, which allows for a deeper musical meaning and the extramusical signification of masculinity. Keywords: emo, synergistic masculinity, performativity, music video, masculinities, lyrics, vocal production, musical syntax, dynamics. ABSTRAIT Emo est un genre musical qui implique typiquement des musiciens de sexe masculine et qui est issu de movement punk et hardcore originaire de Washington DC durant les années 80. -
The Long History of Indigenous Rock, Metal, and Punk
UNIVERSITY OF CALIFORNIA Los Angeles Not All Killed by John Wayne: The Long History of Indigenous Rock, Metal, and Punk 1940s to the Present A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in American Indian Studies by Kristen Le Amber Martinez 2019 © Copyright by Kristen Le Amber Martinez 2019 ABSTRACT OF THESIS Not All Killed by John Wayne: Indigenous Rock ‘n’ Roll, Metal, and Punk History 1940s to the Present by Kristen Le Amber Martinez Master of Arts in American Indian Studies University of California Los Angeles, 2019 Professor Maylei Blackwell, Chair In looking at the contribution of Indigenous punk and hard rock bands, there has been a long history of punk that started in Northern Arizona, as well as a current diverse scene in the Southwest ranging from punk, ska, metal, doom, sludge, blues, and black metal. Diné, Apache, Hopi, Pueblo, Gila, Yaqui, and O’odham bands are currently creating vast punk and metal music scenes. In this thesis, I argue that Native punk is not just a cultural movement, but a form of survivance. Bands utilize punk and their stories as a conduit to counteract issues of victimhood as well as challenge imposed mechanisms of settler colonialism, racism, misogyny, homophobia, notions of being fixed in the past, as well as bringing awareness to genocide and missing and murdered Indigenous women. Through D.I.Y. and space making, bands are writing music which ii resonates with them, and are utilizing their own venues, promotions, zines, unique fashion, and lyrics to tell their stories.