THE PANAMA CANAL REVIEW 2, from Lockages at Pedro Miguel
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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. -
Cold Chisel to Roll out the Biggest Archival Release in Australian Music History!
Cold Chisel to Roll Out the Biggest Archival Release in Australian Music History! 56 New and Rare Recordings and 3 Hours of Previously Unreleased Live Video Footage to be Unveiled! Sydney, Australia - Under total media embargo until 4.00pm EST, Monday, 27 June, 2011 --------------------------------------------------------------- 22 July, 2011 will be a memorable day for Cold Chisel fans. After two years of exhaustively excavating the band's archives, 22 July will see both the first- ever digital release of Cold Chisel’s classic catalogue as well as brand new deluxe reissues of all of their CDs. All of the band's music has been remastered so the sound quality is better than ever and state of the art CD packaging has restored the original LP visuals. In addition, the releases will also include previously unseen photos and liner notes. Most importantly, these releases will unleash a motherlode of previously unreleased sound and vision by this classic Australian band. Cold Chisel is without peer in the history of Australian music. It’s therefore only fitting that this reissue program is equally peerless. While many major international artists have revamped their classic works for the 21st century, no Australian artist has ever prepared such a significant roll out of their catalogue as this, with its specialised focus on the digital platform and the traditional CD platform. The digital release includes 56 Cold Chisel recordings that have either never been released or have not been available for more than 15 years. These include: A “Live At -
Northbound Single-Lane by Marsha Mathews Finishing Line Press AA Poeticpoetic Traveloguetravelogue Ofof Thethe Heartheart
Issue Number Fifteen Spring/Summer 2012 In Case of Rapture Lefty Frizzell Fiction by William Dockery A story of a one-of-a-kindness The Way ’Twas A memory captured by a snapshot A Flying Elizabeth Family Reunion and Hazel Families that fly together... The women behind the picture Brush With the Law Northbound Non-ignorance of the law is an excuse Single - Lane A collection of Southern poetry Daddy’s in the Closet ...and that’s where he’s going to stay Lisa Love’s Life Where humor and reality hang out Kids and Politics Why Daddy drinks California Itch Go west, young man with apologies to Norman Rockwell E-Publisher’s Corner CaliforniaCalifornia ItchItch found the above picture tucked inside an old college “Because you can’t go any further west,” someone else said. yearbook. It featured the original members of Contents “Can’t go no further—this here’s Under Pressure, a band that we hastily assembled in injun territory.” Copas said, quoting September of 1970 for a freshman talent show at the the California stream-of-conscious- ness comedy troupe, Firesign Theater. East Tennessee Baptist college we attended. All of us were fed up with our par- IIThe only member of Contents not was before holes in jeans were cool). ticular circumstances. Kling and Copas pictured was (Dancin’) Dan (the Man) BoatRamp, the farmdog, was trying were bored with Nashville, and those Schlafer; he had joined us in early 1971, to imitate my stance and smile for the of us finishing up our college careers and by the time this was snapped—in camera. -
Jerry Garcia Song Book – Ver
JERRY GARCIA SONG BOOK – VER. 9 1. After Midnight 46. Chimes of Freedom 92. Freight Train 137. It Must Have Been The 2. Aiko-Aiko 47. blank page 93. Friend of the Devil Roses 3. Alabama Getaway 48. China Cat Sunflower 94. Georgia on My Mind 138. It Takes a lot to Laugh, It 4. All Along the 49. I Know You Rider 95. Get Back Takes a Train to Cry Watchtower 50. China Doll 96. Get Out of My Life 139. It's a Long, Long Way to 5. Alligator 51. Cold Rain and Snow 97. Gimme Some Lovin' the Top of the World 6. Althea 52. Comes A Time 98. Gloria 140. It's All Over Now 7. Amazing Grace 53. Corina 99. Goin' Down the Road 141. It's All Over Now Baby 8. And It Stoned Me 54. Cosmic Charlie Feelin' Bad Blue 9. Arkansas Traveler 55. Crazy Fingers 100. Golden Road 142. It's No Use 10. Around and Around 56. Crazy Love 101. Gomorrah 143. It's Too Late 11. Attics of My Life 57. Cumberland Blues 102. Gone Home 144. I've Been All Around This 12. Baba O’Riley --> 58. Dancing in the Streets 103. Good Lovin' World Tomorrow Never Knows 59. Dark Hollow 104. Good Morning Little 145. Jack-A-Roe 13. Ballad of a Thin Man 60. Dark Star Schoolgirl 146. Jack Straw 14. Beat it on Down The Line 61. Dawg’s Waltz 105. Good Time Blues 147. Jenny Jenkins 15. Believe It Or Not 62. Day Job 106. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Cold Chisel Breakfast at Sweethearts Mp3, Flac, Wma
Cold Chisel Breakfast At Sweethearts mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Breakfast At Sweethearts Country: Australia Style: Pop Rock, Classic Rock MP3 version RAR size: 1134 mb FLAC version RAR size: 1254 mb WMA version RAR size: 1886 mb Rating: 4.6 Votes: 848 Other Formats: MMF VOX MPC MIDI VQF MP2 VOX Tracklist A1 Conversations 4:28 A2 Merry Go Round 3:40 A3 Dresden 3:52 A4 Goodbye (Astrid Goodbye) 2:49 A5 Plaza 2:06 B1 Shipping Steel 3:22 B2 I'm Gonna Roll Ya 3:23 B3 Showtime 3:42 B4 Breakfast At Sweethearts 4:06 B5 The Door 4:15 Companies, etc. Manufactured By – WEA Records Pty. Limited Distributed By – WEA Records Pty. Limited Phonographic Copyright (p) – WEA Records Pty. Limited Copyright (c) – WEA Records Pty. Limited Published By – Rondor Music Pty. Ltd. Produced At – Albert Studios Engineered At – Albert Studios Mastered At – EMI Studios 301 Credits Art Direction – Ken Smith Bass – Phil Small Drums – Steve Prestwich Guitar – Ian Moss Harmonica – Dave Blight Management [Personal Management] – Rod Willis Management [Tour Management] – Dave Ferguson Photography By [At The Marble Bar, Sydney Hilton Hotel] – Greg Noakes Piano, Organ, Backing Vocals – Don Walker Producer, Mastered By – Richard Batchens Slide Guitar – Tony Faehse (tracks: B1) Vocals – Ian Moss (tracks: A5), Jim Barnes* Written-By – Walker*, Moss* (tracks: A3), Barnes* (tracks: A4) Notes Produced and engineered at Albert Studios, Sydney Mastered at E.M.I. Studios, Sydney On sleeve: "This is the neon strip Where baracudas cruise Drivers, midnight looters Zipped in sharkskin jackets Waiting for a Mark Their brains are soft computers" Distributed by WEA Records Pty. -
Paul Gauguin
Paul Gauguin Painter, Sculptor 1848 – 1903 • Born on June 7, 1848 in Paris, france • Mother was peruvian, family lived Peru for 4 years • Family returns to France when he is 7 • Serves in the Merchant Marine, then the French Navy • Returns to Paris and becomes a Stockbroker • Marries a danish woman and they have 5 children • They live in Copenhagen where he is a stockbroker • Paints in his free time – buys art in galleries and makes friends with artists Portrait of Madame Gauguin • Decides he wants to (1880) paint full time – leaves his family in Copenhagen and goes back to Paris • His early work is in the impressionist style which is very popular at that time • He is not very successful at his art, he is poor • Leaves France to find a simpler life on a tropical island Aline Gauguin Brothers (1883) Visits his friend Vincent vanGogh in Arles, France where they both paint They quarrel, with van Gogh famously cutting off part of his ! own ear Gauguin leaves france and never sees van Gogh again Night Café at Arles (1888) Decides he doesn’t like impressionism, prefers native art of africa and asia because it has more meaning (symbolism) He paints flat areas of color and bold outlines He lives in Tahiti and The Siesta (1892) paints images of Polynesian life Tahitian women on the beach (1891) • His art is in the Primitivist style- exaggerated body proportions, animal symbolism, geometric designs and bold contrasting colors • Gauguin is the first artist of his time to become successful with this style (so different from the popular impressionism) • His work influences other painters, especially Pablo Picasso When do you get married? (1892) Gauguin spent the remainder of his life painting and living ! in the Marquesas Islands, a very remote, jungle-like ! place in French Polynesia (close to Tahiti) Gauguin’s house, Atuona, ! Marquesas Islands Gauguin lived ! alone in the ! jungle, where ! one day his houseboy arrived to find him dead, with a smile on his face. -
Finding Form Art at Saint Mary's
Summer 2007 . Finding Form Art at Saint Mary’s Your gift to the Annual Fund creates. Your gift could help a young woman... who has always dreamed in color... attend Saint Mary’s... where she will learn theories and techniques… and study the ideas and events… that have inspired expression through the ages… ideas that will change her perspective… and give her the power… to change the perspective of others. The Annual Fund A Larger Canvas Gifts to the Annual Fund help provide fifinancial nancial aidaid andand scholarshipsscholarships toto SaintSaint Mary’sMary's students.students. NineNine out out of ten Saint Mary’sMary's studentsstudents receivereceive somesome kindkind ofof fifinancial nancial assistance.assistance. YourYour contribution,contribution, largelarge oror small, small, makes a difference! Please support the Annual Fund by making a gift onlineonline atat www.saintmarys.eduwww.saintmarys.edu oror byby callingcalling (800)(800) SMC-8871.SMC-8871. tableof contents Volume 82, Number 2 Summer 2007 FEATURES Courier (USPS 135-340) is published four times a year by Saint Mary’s College, Notre Dame, IN 46556-5001. 4 From Inspiration Periodicals postage paid at the Post Offi ce at Notre Dame, IN 46556 to Installation and at additional mailing offi ces. POSTMASTER: Send address changes by Scot Erin Briggs to Alumnae Relations, Saint Mary’s College, 110 Le Mans Hall, Notre The fourth in a six-part series on the Dame, IN 46556-5001. College’s nationally accredited programs. Copyright 2007 Saint Mary’s College, Page 4 Notre Dame, IN 46556. Reproduction in whole or part is 10 The Artist’s Way prohibited without written permission. -
The Anchor Newspapers
Rhode Island College Digital Commons @ RIC The Anchor Newspapers 9-11-1939 The Anchor (1939, Volume 11 Issue 01) Rhode Island College of Education Follow this and additional works at: https://digitalcommons.ric.edu/the_anchor Recommended Citation Rhode Island College of Education, "The Anchor (1939, Volume 11 Issue 01)" (1939). The Anchor. 47. https://digitalcommons.ric.edu/the_anchor/47 This Book is brought to you for free and open access by the Newspapers at Digital Commons @ RIC. It has been accepted for inclusion in The Anchor by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. Greetings , lanket Tax Payable Class of 1942 ! THE ANCHO Today RHODE ISLAND COLLEGE OF EDUCATION Vol. XI, ::--Jo.1 PROVIDENCE, RHODE ISLAND, MONDAY, SEPTEMBER 11, 1939 Price 10c Repainted College Interior Barnard Practice Trustees Expected to Name Greets R i c_e_a_n_s__ T _o_d_a----=--y Assignments Made College Head in October Guide Editor Dean Lists New Students in Shower Repairs to Commence Preparatory Course Board Pays Honor ,Professor Brown President in October Until Appointment The list of students who will prac to Attainments Much discussed plans for altera tice at Henry Barnard School from The new President of R. I. C. E. tions in the physical aspect of Rhode September, 1939 to February , 1940 of Dr. Alger to take the place of Doctor John Island College of Education ha'Ve in preparation rfor spring state train Lincoln 1A1ger, ,who resigned in Aug finally been partially carried into ef irug assignments was made •known by Declaring that '"Doctor John Al ust, will not 1be named until Octo fect. -
8. Siestas and Snoozes
87 8. Siestas and Snoozes When one yawns until the hinges of the jaws can’t open any wider and stretches to the point of tumbling over, drowsiness seeks satisfaction in sleep: The body is demanding attention. Twenty or thirty minutes of rest are called for, ideally during the fall in vigilance between three and five in the afternoon. Studies show that halfway through the day at least twenty minutes of sleep boosts one’s intellectual and physical performance. In East Asia, many companies make time available for workers and staff to take a nap after lunch. Elsewhere, however, this break that promotes wellbeing is rarely respected. Like other practices that once seemed so difficult to establish, however, leadership and example, together with appropriate facilities, could make for an enduring change. If people are really a company’s most precious resource, why can’t a break that makes them more productive become established practice? When one is sleepy, it shows: Edgar Degas’ (1834-1917) The Ironers (fig. 134) is a justly famous work that captures this theme perhaps better than any other. Figure 134.- . Edgar Degas (France, 1834-1917). The Ironers, circa 1878/79. – Oil on canvas, 76 x 81.5 cm. Musée d'Orsay, Paris France Two women in a laundry stand before an ironing bench. Degas places them along a diagonal. The one on the left, already in a state of lethargy, yawns as drowsiness overcomes her; beside her, her exhausted workmate leans heavily on her iron, pressing down with both hands. Confined in the close frame of the painting, the women evoke an emotion that the restricted space intensifies. -
THE GETAWAY GIRL: a NOVEL and CRITICAL INTRODUCTION By
THE GETAWAY GIRL: A NOVEL AND CRITICAL INTRODUCTION By EMILY CHRISTINE HOFFMAN Bachelor of Arts in English University of Kansas Lawrence, Kansas 1999 Master of Arts in English University of Kansas Lawrence, Kansas 2002 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY December, 2009 THE GETAWAY GIRL: A NOVEL AND CRITICAL INTRODUCTION Dissertation Approved: Jon Billman Dissertation Adviser Elizabeth Grubgeld Merrall Price Lesley Rimmel Ed Walkiewicz A. Gordon Emslie Dean of the Graduate College ii ACKNOWLEDGMENTS I would like to express my appreciation to several people for their support, friendship, guidance, and instruction while I have been working toward my PhD. From the English department faculty, I would like to thank Dr. Robert Mayer, whose “Theories of the Novel” seminar has proven instrumental to both the development of The Getaway Girl and the accompanying critical introduction. Dr. Elizabeth Grubgeld wisely recommended I include Elizabeth Bowen’s The House in Paris as part of my modernism reading list. Without my knowledge of that novel, I am not sure how I would have approached The Getaway Girl’s major structural revisions. I have also appreciated the efforts of Dr. William Decker and Dr. Merrall Price, both of whom, in their role as Graduate Program Director, have generously acted as my advocate on multiple occasions. In addition, I appreciate Jon Billman’s willingness to take the daunting role of adviser for an out-of-state student he had never met. Thank you to all the members of my committee—Prof. -
Eindhoven Footnotes 2 Not Knowing the City of Knowledge Eindhoven Footnotes 2 Not Knowing the City of Knowledge 2 Introduction Jacqueline Schoemaker
Eindhoven Footnotes 2 Not Knowing the City of Knowledge Eindhoven Footnotes 2 Not Knowing the City of Knowledge 2 Introduction Jacqueline Schoemaker SOMETIMES SOMEONE ASKS me to pass on to others a method of approaching public space that was passed on to me several years ago. It’s a simple method, one you can apply yourself, anywhere you are, if you feel that the territory you custom- arily move about in, or even some territory you don’t know at all, needs closer examination. Here’s what you do: you draw a random straight line on a topographical map of the territory you’re about to explore, and you walk, as closely as possible, on that line. You don’t choose where you walk but you let yourself be dictated by a predetermined route that doesn’t follow but cuts right through the logic of the planned environ- ment, the logic, that is, of the social, political and economic fabrics that make up the territory. You become a stranger to those structures, you 3 EINDHOVEN FOOTNOTES don’t walk from home to work or from a concert to the train station, but you walk westward, or you walk until the steady rain makes you seek shelter. How do you walk a straight line? You can’t. In reality, you make an irregular zigzag move- ment while you walk. The straight line that you drew on the map cuts through houses, office buildings, railway lines, enclosed industrial areas, roads under construction, woods without footpaths. In order to stay as closely as possible on the straight line, you have to diverge from it, continually.