Campus to Introduce New Safe Ride Home Program Natalie Howell Safe Ride Home Program
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Phonographic Performance Company of Australia Limited Control of Music on Hold and Public Performance Rights Schedule 2
PHONOGRAPHIC PERFORMANCE COMPANY OF AUSTRALIA LIMITED CONTROL OF MUSIC ON HOLD AND PUBLIC PERFORMANCE RIGHTS SCHEDULE 2 001 (SoundExchange) (SME US Latin) Make Money Records (The 10049735 Canada Inc. (The Orchard) 100% (BMG Rights Management (Australia) Orchard) 10049735 Canada Inc. (The Orchard) (SME US Latin) Music VIP Entertainment Inc. Pty Ltd) 10065544 Canada Inc. (The Orchard) 441 (SoundExchange) 2. (The Orchard) (SME US Latin) NRE Inc. (The Orchard) 100m Records (PPL) 777 (PPL) (SME US Latin) Ozner Entertainment Inc (The 100M Records (PPL) 786 (PPL) Orchard) 100mg Music (PPL) 1991 (Defensive Music Ltd) (SME US Latin) Regio Mex Music LLC (The 101 Production Music (101 Music Pty Ltd) 1991 (Lime Blue Music Limited) Orchard) 101 Records (PPL) !Handzup! Network (The Orchard) (SME US Latin) RVMK Records LLC (The Orchard) 104 Records (PPL) !K7 Records (!K7 Music GmbH) (SME US Latin) Up To Date Entertainment (The 10410Records (PPL) !K7 Records (PPL) Orchard) 106 Records (PPL) "12"" Monkeys" (Rights' Up SPRL) (SME US Latin) Vicktory Music Group (The 107 Records (PPL) $Profit Dolla$ Records,LLC. (PPL) Orchard) (SME US Latin) VP Records - New Masters 107 Records (SoundExchange) $treet Monopoly (SoundExchange) (The Orchard) 108 Pics llc. (SoundExchange) (Angel) 2 Publishing Company LCC (SME US Latin) VP Records Corp. (The 1080 Collective (1080 Collective) (SoundExchange) Orchard) (APC) (Apparel Music Classics) (PPL) (SZR) Music (The Orchard) 10am Records (PPL) (APD) (Apparel Music Digital) (PPL) (SZR) Music (PPL) 10Birds (SoundExchange) (APF) (Apparel Music Flash) (PPL) (The) Vinyl Stone (SoundExchange) 10E Records (PPL) (APL) (Apparel Music Ltd) (PPL) **** artistes (PPL) 10Man Productions (PPL) (ASCI) (SoundExchange) *Cutz (SoundExchange) 10T Records (SoundExchange) (Essential) Blay Vision (The Orchard) .DotBleep (SoundExchange) 10th Legion Records (The Orchard) (EV3) Evolution 3 Ent. -
Razorcake Issue
PO Box 42129, Los Angeles, CA 90042 #17 www.razorcake.com It’s strange the things you learn about yourself when you travel, I took my second trip to go to the wedding of an old friend, andI the last two trips I took taught me a lot about why I spend so Tommy. Tommy and I have been hanging out together since we much time working on this toilet topper that you’re reading right were about four years old, and we’ve been listening to punk rock now. together since before a lot of Razorcake readers were born. Tommy The first trip was the Perpetual Motion Roadshow, an came to pick me up from jail when I got arrested for being a smart independent writers touring circuit that took me through seven ass. I dragged the best man out of Tommy’s wedding after the best cities in eight days. One of those cities was Cleveland. While I was man dropped his pants at the bar. Friendships like this don’t come there, I scammed my way into the Rock and Roll Hall of Fame. See, along every day. they let touring bands in for free, and I knew this, so I masqueraded Before the wedding, we had the obligatory bachelor party, as the drummer for the all-girl Canadian punk band Sophomore which led to the obligatory visit to the strip bar, which led to the Level Psychology. My facial hair didn’t give me away. Nor did my obligatory bachelor on stage, drunk and dancing with strippers. -
Songs About U.S. Cities
Songs about U.S. Cities Here’s the 30-page list I compiled from Wikipedia: Abilene Abilene by George Hamilton IV Akron My City Was Gone by The Pretenders Downtown (Akron) by The Pretenders Albuquerque Albuquerque by Weird Al Yankovic Point Me in the Direction of Albuquerque by Tony Romeo Albuquerque by Neil Young Albuquerque by Sons of the Desert Bring Em Out by T.I. The Promised Land Chuck Berry Space Between Us Sister Hazel By the Time I Get to Phoenix Frank Sinatra, Dean Martin, Roger Miller Train Kept A Rollin' Stray Cats Wanted Man Johnny Cash, Bob Dylan, Nick Cave Blue Bedroom Toby Keith Get Your Kicks on Route 66 Perry Como Cowboy Movie David Crosby Make it Clap Busta Rhymes Allentown Allentown by Billy Joel Allentown Jail by Kingston Trio Amarillo Is This the Way to Amarillo by Neil Sedaka and Howard Greenfield Amarillo by Morning by George Strait If Hollywood Don't Need You (Honey I Still Do) by Don Williams Amarillo Sky by Jason Aldean Anchorage Anchorage by Michelle Shocked Atlanta ATL alt. rock song by Butch Walker, from Sycamore Meadows 2008 Atlanta Lady by Marty Balin (of Jefferson Airplane) Atlanta by Stone Temple Pilots, from No. 4 1999 Atlanta Burned Again Last Night by country group Atlanta, from Pictures 1983 Bad Education by Tilly and the Wall 2006 Badstreet U.S.A by Michael Hayes (wrestler) 1987 Communicating Doors by The Extra Lens (From Undercard, 2010) Hot 'Lanta (instrumental) by The Allman Brothers, from At Fillmore East 1971 F.I.L.A (Forever I Love Atlanta) by Lil Scrappy feat. -
Extant Sites ‐ Properties Associated with Minneapolis Music
Extant Sites ‐ Properties Associated with Minneapolis Music Building Date Dates Used for Information Obtained Names Project Address Street Type Genres Extant | Demolished Still Music Related Current Use Notes from Various Sources Mapped Construction date Demolished Music From Originally located at 809 Aldrich Ave N, but that building was demolished in 1970 with I‐94 construction; new building at current location built. Place where Prince's parents, John Nelson and Mattie Shaw met while playing a concert. • 1301 10th Avenue North; Original house at 809 Aldrich Ave N • Started a new annual festival to replace the northside presence at the Aquatennial Phyllis Wheatley Center 1301 10th Ave N Community Center All Extant 1970 NA 1970‐Current Yes Community Center Parade which was contentious after the 1967 incident Yes o Northside Summer Fun Festival drew 6,000 people in its 6th year on August 9, 1978; performers included Sounds of Blackness, Flyte Tyme, Mind & Matter, Quiet Storm, and Prince o Prince also played in 1980 • Hosted Battle of the Bands concerts (no cash prize, just honor) • Original building built in 1924 as a settlement house; http://phylliswheatley.org/ Research • Music Notes Mural: Prince has famous picture in front of it from 1977 by Robert Whitman (book Prince Pre‐fame) 94 S 10th Street o http://www.hungertv.com/feature/the‐photographer‐behind‐princes‐first‐ever‐photo‐ shoot/ Music Notes 88 10th St S Mural All Extant 1908 NA 1971‐Current No The CPG o Painted in 1972 by owners of Schmidt Music (1908); Tom Schmitt great grandson of Yes company’s founder o Van Cliburn, one of world’s finest pianists, did photo session there http://minnesota.cbslocal.com/2014/03/30/finding‐minnesota‐the‐mystery‐musical‐mural/ o Featured in Time Magazine piece with Wendell Anderson o The notes are the third movement “Scarbo” in the piece “Gaspard de la Nuit” Research luxury hotel in 1926. -
AN OPINION ABOUT the OPINION Professor Doug Heidenreich
William Mitchell College of Law Student Newspaper The Opinion Volume 45, Issue 1 Spring 2000 Inside this issue: AN OPINION ABOUT THE OPINION Professor Doug Heidenreich Special points of interest: William Mitchell College of ship among the students. He faced a lege had been named at the time of Law, as we know it today, owes its formidable task. The students came the merger had been Minnesota's From the Editor 2 character to a stern, humorless man from diverse backgrounds and made most prominent and respected jurist named Stephen R. Curtis. When, in their homes in different cities. at the end of the 19th Century. He 1958, the college trustees had to se- Nearly all worked full time during had been known among legal schol- lect a dean to oversee the merging of the day, came to classes in the eve- ars and judges throughout the coun- two disparate student bodies and the ning, and, tired and hungry, escaped try for the clarity and cogency of his WMCL Forum 2 creation of a new full-time faculty, each night into the St. Paul black- opinions. A Mitchell opinion could they chose a man with no connection ness almost before the echoes of the carry special weight. Thus, the title to the two old schools that had last evening bell had died. was meant to announce in a subtle rather reluctantly merged Curtis, in his effort to way that the college newspaper on paper to form WMCL. stimulate a feeling of esprit de corps would carry on this tradition of qual- These two night law schools, among the students, quickly did two ity. -
The History of Rock Music: the 2000S
The History of Rock Music: The 2000s History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2006 Piero Scaruffi) Populists (These are excerpts from my book "A History of Rock and Dance Music") The gloomy mood of the USA during the wars of Afghanistan and Iraq was reflected by much of the grass-roots music of the late 1990s. The real protagonist of much of the stories was the collective subconscious of a country that was on a quest for a new identity. A sense of moral confusion permeated the sounds and the lyrics of the bands that harked back to the musical traditions of the USA. The moral center of mass had shifted, and it wasn't clear where. The languid alt-country of Washington's Canyon on their debut Canyon (2001) was emblematic of the existential lack of focus. New York's National (2) spun the allegorical tales of The National (2001) in a stately country-pop style. Sad Songs For Dirty Lovers (2003), a soap opera of ordinary misfits tinged with Lou Reed-ian expressionism and Leonard Cohen-ian existentialism, upped the ante, as did the atmospheric and solemn Boxer (2007). New York's Hold Steady, formed by Lifter Puller's vocalist Craig Finn and guitarist Tad Kubler, concocted an old-fashioned, infectious mix of hard- rock, roots-rock and power-pop, drenched in semi-biogaphical themes of ordinary blue-collar life, on Almost Killed Me (2004), Separation Sunday (2005), which is basically a rock opera, and Boys And Girls In America (2006), which contained epic tales of frustrated suburban kids anchored to solid hooks and riffs. -
Issue #12, Feb
PO Box 42129, Los Angeles, CA 90042 #12 www.razorcake.com few months ago, Todd and I got a chance to see two legendary Last week, I ran into a guy I know: a forty-something maintenance East LA punk bands – Los Illegals and The Brat – play at a worker in East LA, a Mexican immigrant, and also a student. He was Japanese American Museum. It was a strange place to see punk reading an issue of the zine Nervy Girl. He told me that I’d inspired him to AA bands. Their sets were incredibly short. It was an amazing show, pick up a copy of the zine. Since I’d never hear of it, I asked him what he anyway. After the show, Todd spotted The Brat’s guitarist walking around meant. He told me that all my talk of a media monopoly and the need for with copies of the only record they’ve released. I looked at Todd to make independent voices to balance out the mainstream corporate voices got to sure I wasn’t hallucinating. Because I have to admit, I’ve dreamed of him. He was in Hollywood and saw the zine and never would’ve picked it seeing this record in record stores so many times without actually seeing it up if not for me. He felt embarrassed purchasing it, he said, but now he that I’d begun to believe that the record only existed in dreams (and was glad he did. “Have you heard about all these women getting killed in Jimmy Alvarado’s record collection). -
Certain Songs Intertekstuaalisuuden Vaikutus Kertomukseen the Hold Steadyn Rocksanoituksissa
Certain Songs Intertekstuaalisuuden vaikutus kertomukseen The Hold Steadyn rocksanoituksissa Juha-Matti Stenholm Pro gradu -tutkielma Taiteiden ja kulttuurin tutkimuksen laitos Kirjallisuus Jyväskylän yliopisto Elokuu 2016 JYVÄSKYLÄN YLIOPISTO Tiedekunta – Faculty Laitos – Department Humanistinen tiedekunta Taiteiden ja kulttuurin tutkimuksen laitos Tekijä – Author Juha-Matti Stenholm Työn nimi – Title Certain Songs – Intertekstuaalisuuden vaikutus kertomukseen The Hold Steadyn rocksanoituksissa Oppiaine – Subject Työn laji – Level Kirjallisuus Pro gradu -tutkielma Aika – Month and year Sivumäärä – Number of pages Kesäkuu 2016 91 Tiivistelmä – Abstract Analysoin pro gradu -tutkielmassani yhdysvaltalaisen muusikon Craig Finnin rockyhtye The Hold Steadylle kirjoittamia sanoituksia. Tarkoituksenani on selvittää, miten intertekstuaalisten viittausten tuntemus voi vaikuttaa merkittävästi tekstin luentaan. Tutkimuksen aineistona on The Hold Steadyn albumi Stay Positive, mutta analyysissa laajennan tutkimusta monesti käsittämään yhtyeen koko tuotantoa. Tutkimuksen keskeisimmät viitekehykset ovat intertekstuaalisuuden tutkimus, Kiril Taranovskin subtekstianalyysi, sekä rocklyriikan tutkimus. Tutkimuskohteeseen tutustuminen on vaatinut myös huolellista lähilukua. Käsittelen laulujen sanoituksia pitkälti runoudentutkimuksen keinoin. Tutkimuksen analyysiosiossa tarkastelen The Hold Steadyn kappaleiden sanoituksissa esiintyviä intertekstuaalisia viittauksia. Jaan löytämäni viittaukset kolmeen osaan subtekstin alkuperän mukaan. Analyysissa selvitän, -
Oktoberfest: Mates, Music and Mischief VSU Update Anti-Poverty Week the Roundhouse: It’S Hip Not to Be Square CD: the Red Paintings, Destro the Robots EP Y
. 2 1 .W S2 06 20 22 Oc ber tober 16 - Octo Oktoberfest: Mates, Music and Mischief VSU Update Anti-Poverty Week The Roundhouse: It’s Hip not to be Square CD: The Red CD: Madlib Beat Paintings, Destroy Konducta The Robots EP Vol. 1 & 2: Movie Scenes here’s no doubting The Red Paintings’ ability for writing songs. Three adlib has been changing chords for one of the busiest Reviews T producers in hip hop. these guys is a gateway to infinite variation, espe cially with MHe has been seen in the combination of violin and many forms, most famousl y as cello weaving in and out of the Quasimoto. He also produced art-rock aural landscape. the brilliant Madvillainy with MF memories of abductions and Doom and in another form was a thumping track, while Black If you’ve seen their live shows, alien experi mentation.’ For a one half of Jaylib with the late Mozart con tains a fantastic piano then you’re already a fan. more Earth-based description Jay Dee. sample and Outerlimit is much Members dressed as geishas of this EP, think Brian Molko lighter and whimsica l. or in alien outfits strut out with heavier testicles meeting an Yet despite this, for the alongside onstage paint arti sts Australian com bination of Muse uninitiated, Madlib’s beats are Th benefit of there being so many capturing the expe rience on and Trail Of Dead… like a new pair of underwear. tracks is that it gives Madlib a canvas. Really, these are just They feel good, but it may take a greater chance to show off his All six (well, 5 and a half) tr acks some of the aspects of a live few spins to get into the groove. -
Great Aunt Idas
October 2006 That motownphilly magazine from CITR 101.9 FM GREAT AUNT IDAS BRIAN JONESTOWN SHINDIG ffi »MASSACRE VIG09IAIV3S ROCK YOURBODY WORLDS 3 ^? OWN ADVENTIJRESTENCILLINGO PANURGE MIXTAPE MIXED APE$ •_% CITR LIMITED EDITION APPAREL_2 I 3510VUVM SNV3CAMT FIS HSlffil HAVEN E svuiiim NiaaiHiiu1 ISLANDS we art? BESNARD LAKES Wmm VANGAALEN WITH GUEST LEEROY STAGGER „. , LADVHAWK CALIFONE /ftU.A6ES\ I GENERAL J V^ISSHJN/ CATFISH HAVEN (FROM CHICAGO) SATURDAY NOVEMBER 4 my!gay!husband! UBC SUB BALLROOM TICKETS AT ZULU, SCRATCH, ._-_,*„. SATURDAY OCTOBER 21 RED CAT, THE OUTPOST (UBC) EVWrl THE COLUMBIA (303 COLOMBIA ST) DECEMBER 10 FRIDAY £. K© CROATIAN OCTOBER 20 CULTURAL CENTRE w w w.sea Ied w i thakisspresents Srt®cwS>@9t the Gentle Art of Editing ALLOWEEN CAME EARLY FOR ME this year. I them and cleanse their bodies of Bad Grammar OCTOBER'2006 H usually fail to plan my hallowed alter-ego Thetans. When everyone has been properly until the last minute, and then join the hordes purged, we'll all fly on a great shining spaceship in a frenzied rush down to Dressew in search of to a Linguistic Utopia and five forever and never be Editor something even mildly original. But this year I wrong or semantically ambiguous DAVID RAVENSBERGEN opted for a new approach, and laid my plans way Assistant Editor The Gentle Art of Editing 3 back in the early days of summer. I decided to dress What are the highlights of this issue? MARLO CARPENTER 1 David Ravensbergen . Art Director up as a Volunteer Coordinator, complete with my I love the Great Aunt Ida piece. -
Interview with Slug from Atmosphere,Sage Francis Grasps
Interview with Slug from Atmosphere Ever since the start of their own record label with Rhymesayers Entertainment and the release of their debut album Overcast! during the mid-’90s, Minneapolis hip-hop duo Atmosphere has risen to be one of the biggest names in independent music. Recently I managed to have a chat the MC of the duo in Slug about the group’s North Of Hell Tour making a stop at Lupo’s Heartbreak Hotel on November 18, their new album Southsiders, life continuously on the road, and an inside look at one of the most talented rappers around today. Rob Duguay: Atmosphere will be coming to Lupo’s on November 18 to once again set the stage on fire. You’ve performed in Providence numerous times, so what always makes you want to mark The Creative Capital on your calendar when you head out on tour? Slug: We’ll go anywhere that’ll let us perform so there’s no real way to answer the question on why we keep coming back. The real question is why do you let us keep coming back? We keep coming back to Providence because you guys treat us like you love us. You guys treat us like we’re amazing and that’s the kind of validation you just don’t get everywhere. I’m a freak for validation, I love it, it’s like orgasmic. Technically we’ll go anywhere that lets us/ Estonia, Providence, Uruguay, anywhere. RD: We’re all looking forward to the show at Lupo’s and it should be a blast. -
Motif Interviews Craig Finn of the Hold Steady
Motif Interviews Craig Finn of The Hold Steady Craig Finn from Brooklyn indie rock act The Hold Steady believes the lyrics make the song and it shows with everything he writes. In support of his second solo release, Faith In The Future, he’ll open for New Jersey act Titus Andronicus at The Met in Pawtucket on Saturday March 26 as part of his current tour with them. I had a chat with Finn about making the transition from where he grew up in Minneapolis to where he lives now in Brooklyn, what his vision of his new album was while he was making it, being a fan of hip-hop and what his plans are after this current excursion. Rob Duguay: You grew up in the Minneapolis music scene, starting Lifter Puller and then moving to Brooklyn after the band broke up in 2000 to eventually start The Hold Steady in 2004. When you moved to Brooklyn was it a rough adjustment? Craig Finn: It’s certainly a bigger city; during my first year in New York my ability to take the wrong subway was impressive. I was riding all over and I was definitely getting on the wrong train. Daily stuff like that took some adjustment but I was also very excited to live in New York and have a bigger area to explore. I get a lot of inspiration artistically from walking around and seeing things so I was initially excited to kind of get lost in neighborhoods I didn’t know. I think I adjusted pretty quickly though.